Showing posts with label Melodrama Romance Sentimentalism. Show all posts
Showing posts with label Melodrama Romance Sentimentalism. Show all posts
Wednesday, July 9, 2014
Wednesday, April 30, 2014
First Love #13 I Joined a Teenaged Sex Club (1951 comic)
Source.
"How many faces passing you on the street are hungry with loneliness? How many poor human creatures like you and me are trapped into desperate measures to escape the pain of being always alone! Perhaps you'll understand better when you know my life story and why . . . "
"How many faces passing you on the street are hungry with loneliness? How many poor human creatures like you and me are trapped into desperate measures to escape the pain of being always alone! Perhaps you'll understand better when you know my life story and why . . . "
Thursday, February 13, 2014
Horatio Alger
Andy Grant's Pluck
Ben's Nugget
Ben, the Luggage Boy; Or, Among the Wharves
Bound to Rise; Or, Up the Ladder
Brave and Bold
Cash Boy
Cast Upon the Breakers
Chester Rand
Cousin's Conspiracy
Do and Dare — a Brave Boy's Fight for Fortune
Driven from Home; Or, Carl Crawford's Experience
Erie Train Boy
Errand Boy; Or, How Phil Brent Won Success
Facing the World
Fame and Fortune
Five Hundred Dollars
Frank and Fearless
Frank's Campaign; Or, The Farm and the Camp
From Canal Boy to President
From Farm to Fortune
Grand'ther Baldwin's Thanksgiving, with Other Ballads and Poems
Hector's Inheritance, Or, the Boys of Smith Institute
Helping Himself; Or, Grant Thornton's Ambition
Herbert Carter's Legacy; Or, the Inventor's Son
Tuesday, December 31, 2013
Wednesday, December 11, 2013
Penny Dreadfuls: Proto-Hardboiled, Detective, Adventure and Thriller Dreadfuls
Adventure Dreadfuls
Crime and Detective Dreadfuls
The Mysteries of London
The Mysteries of Paris
- Adventures of Buffalo Bill from Boyhood to Manhood, by Colonel Prentiss Ingraham
- California Joe, the Mysterious Plainsman, by Colonel Prentiss Ingraham
- Jesse James, the Outlaw, by W. B. Lawson
- Deadwood Dick's Doom; or, Calamity Jane's Last Adventure
Crime and Detective Dreadfuls
The Mysteries of London
The Mysteries of Paris
- The Mysteries of Paris, Volume 1 of 6 - Sue, Eugène, 1804-1857
- The Mysteries of Paris, Volume 2 of 6 - Sue, Eugène, 1804-1857
- The Mysteries of Paris, Volume 3 of 6 - Sue, Eugène, 1804-1857
- The Mysteries of Paris, Volume 4 of 6 - Sue, Eugène, 1804-1857
- The Mysteries of Paris, Volume 5 of 6 - Sue, Eugène, 1804-1857
- The Mysteries of Paris, Volume 6 of 6 - Sue, Eugène, 1804-1857
Old Sleuth
- Old Sleuth, Cad Metti, the Female Detective Strategist: or, Dudie Dunne Again in the Field
- Old Sleuth, A Desperate Chance: or, The Wizard Tramp's Revelation (1897)
- Old Sleuth, The "Dock Rats" of New York: or, The Smuggler Band's Last Stand
- Old Sleuth, Oscar the Detective: or, Dudie Dunne, the Exquisite Detective
- Old Sleuth, A Successful Shadow: or, A Detective's Successful Quest (1897)
- Old Sleuth, Two Wonderful Detectives: or, Jack and Gil's Marvelous Skill (c1898)
- Old Sleuth, Wonder Jack, the Detective: or, The Witch of Manhattan (New York: J. S. Ogilvie Pub. Co., c1894)
- Fred Fearnot's Revenge, or Defeating a Congressman, by Hal Standish
- Fred Fearnot's Day, or The Great Reunion at Avon, by Hal Standish
- Nick Carter, Detective: The Solution of a Remarkable Case, by a celebrated author
- The Great Spy System, or, Nick Carter's Promise to the President, by a celebrated author
Tuesday, December 10, 2013
Wednesday, October 2, 2013
The Pulp Magazines Project 1896-1946 Smut/Romance
Source. Click on images to view scans of the magazines.
The Blue Book Magazine | Established in 1907 | Story-Press | Edited by Donald Kennicott (1929-52) | Total Issues: 613.
Breezy Stories | Established in 1915 | C.H. Young | Edited by Cashel St. John Pomeroy | Total Issues: 360.
The Cavalier | Established in 1908 | Frank Munsey Co. | Edited by Robert H. Davis | Total Issues: 163.
Ginger Stories | Established in 1928 | King; Various 1935- | Edited by Natalie Messenger (1928-31) | Total Issues: 64.
The Green Book Magazine | Established in 1909 | Story-Press | Edited by Anonymous | Total Issues: 151.
Hutchinson's Story Magazine (UK) | Established in 1919 | Hutchinson | Edited by Erle Lunn (1919-21) | Total Issues: 125.
"I Confess" | Established in 1922 | Dell Publishing | Edited by Elizabeth Sharp | Total Issues: 209.
Live Stories | Established in 1913 | Street & Smith; New Fiction | Edited by Anonymous | Total Issues: 166.
Love Story Magazine | Established in 1921 | Street & Smith | Edited by Daisy Bacon (1929- ) | Total Issues: 1172.
The Merry Magazine (UK) | Established in 1924 | Amalgamated Press | Edited by Anonymous | Total Issues: 68.
New Love Magazine | Established in 1941 | Popular Publications | Edited by Peggy Graves | Total Issues: 126.
People's Magazine | Established in 1906 | Street & Smith | Edited by A.L. Sessions (1906-09) | Total Issues: 279.
Romance | Established in 1919 | Ridgway Co. | Edited by Arthur Hoffman (1919-20) | Total Issues: 27.
Saucy Stories | Established in 1916 | Inter-Continental Publishing | Edited by Wyndham Martyn | Total Issues: 129.
Snappy Magazine | Established in 1929 | Lowell, et al | Ed. by Anonymous | Total Issues: +/- 105.
Snappy Stories | Established in 1912 | New Fiction | Edited by Virginia O'Day and Alexander Samalman | Total Issues: 321.
Sweetheart Stories | Established in 1925 | Dell Publishing | Ed. by Dorothy F. Grinnell | Total Issues: 324.
Snappy, Spicy, and Girlie Pulps | Est. in 1922-39 | King; DM, et al | Ed. by Various | Total Issues: < 1000.
Pulp, Slick, and Book-Paper Magazines | Est. in 1821-1905 | Various | Edited by Various
The Blue Book Magazine | Established in 1907 | Story-Press | Edited by Donald Kennicott (1929-52) | Total Issues: 613.
Breezy Stories | Established in 1915 | C.H. Young | Edited by Cashel St. John Pomeroy | Total Issues: 360.
The Cavalier | Established in 1908 | Frank Munsey Co. | Edited by Robert H. Davis | Total Issues: 163.
Ginger Stories | Established in 1928 | King; Various 1935- | Edited by Natalie Messenger (1928-31) | Total Issues: 64.
The Green Book Magazine | Established in 1909 | Story-Press | Edited by Anonymous | Total Issues: 151.
Hutchinson's Story Magazine (UK) | Established in 1919 | Hutchinson | Edited by Erle Lunn (1919-21) | Total Issues: 125.
"I Confess" | Established in 1922 | Dell Publishing | Edited by Elizabeth Sharp | Total Issues: 209.
Live Stories | Established in 1913 | Street & Smith; New Fiction | Edited by Anonymous | Total Issues: 166.
Love Story Magazine | Established in 1921 | Street & Smith | Edited by Daisy Bacon (1929- ) | Total Issues: 1172.
The Merry Magazine (UK) | Established in 1924 | Amalgamated Press | Edited by Anonymous | Total Issues: 68.
New Love Magazine | Established in 1941 | Popular Publications | Edited by Peggy Graves | Total Issues: 126.
People's Magazine | Established in 1906 | Street & Smith | Edited by A.L. Sessions (1906-09) | Total Issues: 279.
Romance | Established in 1919 | Ridgway Co. | Edited by Arthur Hoffman (1919-20) | Total Issues: 27.
Saucy Stories | Established in 1916 | Inter-Continental Publishing | Edited by Wyndham Martyn | Total Issues: 129.
Snappy Magazine | Established in 1929 | Lowell, et al | Ed. by Anonymous | Total Issues: +/- 105.
Snappy Stories | Established in 1912 | New Fiction | Edited by Virginia O'Day and Alexander Samalman | Total Issues: 321.
Sweetheart Stories | Established in 1925 | Dell Publishing | Ed. by Dorothy F. Grinnell | Total Issues: 324.
Snappy, Spicy, and Girlie Pulps | Est. in 1922-39 | King; DM, et al | Ed. by Various | Total Issues: < 1000.
Pulp, Slick, and Book-Paper Magazines | Est. in 1821-1905 | Various | Edited by Various
Saturday, May 4, 2013
Tuesday, September 13, 2011
Selected Stories of Agnes Boulton
His Former Wife - 10 Story Book, May, 1910
With Eyes of Flesh - Young's Magazine, May, 1913
Out of the Past - Breezy Stories, January, 1917
In Bohemia - Breezy Stories, July, 1917
Oh, La-La! - Breezy Stories, January, 1918
Only a Shop Girl - Breezy Stories, March, 1918
The Snob - The Smart Set, June, 1921
Monday, September 12, 2011
Alphonse Mucha
Website of Mucha Museum in Prague
The Slav Epic official site (EN)
The Slav Epic
Works by Alphonse Mucha at the Art Renewal Center
Painting by Mucha Graces Pisek, N. Dak., Church
Mucha Gallery at MuseumSyndicate
Alphonse Mucha – article on La Plume
Alphonse Mucha – illustrations from Le Pater
Sunday, April 10, 2011
Why I Make Melodramas (1936) by Alfred Hitchcock
What Is Melodrama?
One man's drama is another man's melodrama.
In the Victorian theatre there were only two divisions of entertainment - the melodrama and the comedy. Then snobbery asserted itself. What you saw at Drury Lane was drama. At the Lyceum it was melodrama. The only difference was the price of the seat.
"Melodrama" came to be applied by sophisticates to the more naive type of play or story, in which every situation was overdrawn and every emotion underlined.
But still the definition is not universal. The "melodrama" of the West-end may be taken as drama in the Provinces. To some extent "melodrama" seems to be in the eye - and mind - of the beholder.
In real life, to be called "melodramatic" is to be criticised. The term suggests behaviour which is hysterical and exaggerated.
A woman may receive the news of her husband's death by throwing up her arms and screaming, or she may sit quite still and say nothing. The first is melodramatic. But it may well happen in real life. In the cinema a melodramatic film is one based on a series of sensational incidents. So melodrama, you must admit, has been and is the backbone and lifeblood of the cinema.
I use melodrama because I have a tremendous desire for understatement in film-making. Understatement in a dramatic situation powerful enough to be called melodramatic is, I think, the way to achieve naturalism and realism, while keeping in mind the entertainment demands of the screen, the first of these being for colourful action.
Examine what was popular in the provincial theatre before films and you will see that the first essential was that the play had plenty of "meat." It is to that audience, multiplied many times, we must cater in films.
But - and it is a difficult "but" - the same audience has been taught to expect the modern, naturalistic treatment of their "meaty" dramas. The screen has created the expectation of a degree of realism which was never asked of the theatre.
Now realism on the screen would be impossible. Actual life would be dull, in all but its more exceptional aspects, such as crime. Realism, faithfully represented, would be unreal, because there is in the minds of the cinema or theatre audience what I would call the "habit of drama." This habit causes the audience to prefer on the screen things that are outside their own, real-life experience.
So there is the problem - how to combine colour, action, naturalism, the semblance of reality, and situations which will be intriguingly unfamiliar to most of the audience. All these must be blended.
My own greatest desire is for realism. Therefore I employ what is called melodrama - but which might as well be called ultra-realism - for all my thinking has led me to the conclusion that there is the only road to screen realism that will still be entertainment.
Perhaps the strangest criticism I encounter is that I sometimes put wildly improbable things, grotesque unrealities, on the screen when actually the incident criticised is lifted bodily from real life. The reason is that the strange anomalies of real life, the inconsequences of human nature, appear unreal.
On the other hand, if they are real they may be too near the onlooker's experience and he does not go to the cinema to see his own troubles at closer range.
The man who understands the psychology of the public better than anybody else to-day is the editor of the successful, popular modern newspaper. He deals to a great extent in melodrama. The modern treatment of news, with its simple statement, which makes the reader "live" the story, is brilliant in its analysis of the public mind.
If the film-makers understood the public as newspapers do they might hit the mark more often.
If I admit I prefer to make films that may be so classified I must first define it. Try to define it for yourself and see how difficult it is.
One man's drama is another man's melodrama.
In the Victorian theatre there were only two divisions of entertainment - the melodrama and the comedy. Then snobbery asserted itself. What you saw at Drury Lane was drama. At the Lyceum it was melodrama. The only difference was the price of the seat.
"Melodrama" came to be applied by sophisticates to the more naive type of play or story, in which every situation was overdrawn and every emotion underlined.
But still the definition is not universal. The "melodrama" of the West-end may be taken as drama in the Provinces. To some extent "melodrama" seems to be in the eye - and mind - of the beholder.
In real life, to be called "melodramatic" is to be criticised. The term suggests behaviour which is hysterical and exaggerated.
A woman may receive the news of her husband's death by throwing up her arms and screaming, or she may sit quite still and say nothing. The first is melodramatic. But it may well happen in real life. In the cinema a melodramatic film is one based on a series of sensational incidents. So melodrama, you must admit, has been and is the backbone and lifeblood of the cinema.
I use melodrama because I have a tremendous desire for understatement in film-making. Understatement in a dramatic situation powerful enough to be called melodramatic is, I think, the way to achieve naturalism and realism, while keeping in mind the entertainment demands of the screen, the first of these being for colourful action.
Examine what was popular in the provincial theatre before films and you will see that the first essential was that the play had plenty of "meat." It is to that audience, multiplied many times, we must cater in films.
But - and it is a difficult "but" - the same audience has been taught to expect the modern, naturalistic treatment of their "meaty" dramas. The screen has created the expectation of a degree of realism which was never asked of the theatre.
Now realism on the screen would be impossible. Actual life would be dull, in all but its more exceptional aspects, such as crime. Realism, faithfully represented, would be unreal, because there is in the minds of the cinema or theatre audience what I would call the "habit of drama." This habit causes the audience to prefer on the screen things that are outside their own, real-life experience.
So there is the problem - how to combine colour, action, naturalism, the semblance of reality, and situations which will be intriguingly unfamiliar to most of the audience. All these must be blended.
My own greatest desire is for realism. Therefore I employ what is called melodrama - but which might as well be called ultra-realism - for all my thinking has led me to the conclusion that there is the only road to screen realism that will still be entertainment.
Perhaps the strangest criticism I encounter is that I sometimes put wildly improbable things, grotesque unrealities, on the screen when actually the incident criticised is lifted bodily from real life. The reason is that the strange anomalies of real life, the inconsequences of human nature, appear unreal.
On the other hand, if they are real they may be too near the onlooker's experience and he does not go to the cinema to see his own troubles at closer range.
The man who understands the psychology of the public better than anybody else to-day is the editor of the successful, popular modern newspaper. He deals to a great extent in melodrama. The modern treatment of news, with its simple statement, which makes the reader "live" the story, is brilliant in its analysis of the public mind.
If the film-makers understood the public as newspapers do they might hit the mark more often.
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