Scott Lord Mystery Film
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Basil Rathbone in Sherlock Holmes and the Secret Wea...
Scott Lord Silent Film: Biblical Drama, Ben Hur (Fred Niblo, 1925)
Scott Lord Silent Film: Silent Film Studio Tour (M.G.M, 1925)


The 1925 Studio Tour of Metro Goldwyn Mayer, true to the extratextual discourse of its magazine advertisements that boasted of a firmament full of stars, featured a dozen of the studios directors that were then present on the backlot filming that year, inluding Victor Sjostrom, Dimitri Buchowerski, Monta Bell, Rupert Holmes, Eric von Stroheim, Fred Niblo, King Vidor, Joseph von Sternberg, Christy Cabanne, Tod Browning, William A. Wellman, Jack Conway, Edmund Goulding and Marcel de Sarno. Actors and actresses featured in the studio tour included Zazu Pitts, Roman Novarro, Aileen Pringle, Gertrude Olmstead, Norma Shearer, Mae Murray, Lew Cody, Estelle Clark, Conrad Nagel, and Lon Chaney
Silent Film
Scott Lord Silent Film: Cabiria (Pastrone, 1914)
Scott Lord Mystery: Strangers on a Train (Alfred Hitchcock, 1946)
Postscript: Embrace: Dr. Martin Luther and Coretta Scott King Statue added to Boston Freedom Trail
Below is my original blog entry on "The Image" and I myself quake in many ways:
Although the Boston Freedom Trail is meant to be a tour of the Revolutionary War and the grave of Crispus Attucks, a stevadore killed in the Boston Massacre, is directly outside the Church window where I am right now, the new statue of Martin Luther King holding his wife, Coretta Scott King has been unveiled on Boston Common. Another piece of history, ourchurch ran a film on this week marking the one hundreath year of radio broadcasting of the church service, there having been a shop that sold radios across the street on Tremont Street. The service is in progreess upstairs and on WEZE while I am in my wife's library. Donna, please accept these photos as symbolic of our spending our Sundays together. photos: Scott Lord photo: Scott Lord Postscript:The Girl on the Flying Trapeze I spend every Sunday on the Freedom Trail, which our church is on, and I listen to the ministers conduct tours in case I'm needed when in the library or if I think I should point out the Granary Burial Ground. This morning we had a new addition, a sculpture where the usually have a Christmas Star. The other Christmas lights are still in Boston Common. As it is Freedom Trail art, I thought I would add it here, but it takes a couple of photos to conquer the height distance and perspective. It is an installation- a sculture of a girl on a swing put into an envirornment where art meets reality. Girl on a Swing photos: Scott Lord
Scott Lord Mystery: Held for Ransom (Clarence Bricker, 1938)
Silent Film: Sherlock Holmes, The Devil’s Foot (Elvey, 1921)
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Silent Film Silent Film
Boston skyline from Donna’s Cambridge terrace,...
Scott Lord Silent Film: Harold Lloyd in Haunted Spooks (Hal Roach, 1920)
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Scott Lord Horror Comedy: One Frightened Night (Christy Cabanne, 1935)
Scott Lord Horror Comedy: Scared Stiff (McDonald, 1945)
Scott Lord Silent Film: Mary Pickford in What The Daisy Said (D.W. Griff...
Mac Ahlberg (Bert Torn) with Marie Forsa
The films screenplay was written by its director. There is the use of an expository retrospective voice over during exterior shots of Marie Forsa during exterior shots; the character being an omnicient she already knows the plotline's denoument. The technique could have been used more fully , near beautifully,had the film been more of a serious drama. The plot turns when Juliette brings Justine to a party, which becomes a quiet orgy. She is then introduced an older man, who brings her home with him and she is brought from liscentiousness to romance. The motif is underdeveloped by the film's levity- that Justine is decieved into a love affair is left as a plot gimmick rather than as a moral theme, but in that way the decadence is supported by its its own hedonist theme rather than a plot theme like The Rise and Fall of Susan Lennox where love is the morality.
The bedroom is darkened as he unfastens her bra and the director uses closeshots and superimposures to depict their making love. The voice over connects adjacent scenes, but the motif of sex in the darkness and erotic moviegoing in the darkness is subtle when connected with later scenes. Only through the tenderness of his lovemaking can the bedroom and movie theater (screening room) be connected thematiclly He photographs her nude of the beach and then, as spectator, screens the film in a projection room. During a dinner party, she undresses while, dancing, being shown nude in profile and over the shoulder. She uses voice over to explain that the two are in love and yet he is more intellectually concerned with dabating free love and morality-the open marriage. He then brings her to the projection room to screen one of his films, the camera cutting back and forth between a close shot of her as vouyer and explicit sex scenes on the screen- the direction is reversed one hundred and eighty degress, from screen to spectator. He underesses her from behind in the darkened room and makes love to her slowly from that position. The use of the vouyer is supradiegetic rather than infradiegetic and positions the subject as spectator.
There is an amazing slightly low angled close shot of her lifting her dress in a subsequent scene. her lover returns her to the orgy from the beginning of the film, where she appears with Juliette- she is now a woman.
Mac Ahlberg had photographed the Swedish film Cats (Kattorna, Henning Carlsen) in 1965.
Marie Forsa appeared in the Joseph Sarno films Veil of Blood, Girl Meets Girl (1974) and Butterflies.
Inga silent film
Scott Lord The Moonstone
Happy Thirteenth Anniversary, Donna
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Tommorow is our thirteenth Anniversary. I took Donna to lunch on Temple Street again to a restararaunt we go to once a month and decided to take a short cut across Boston Common and down Beacon Hill. Once a month I also aske her if she would like to visit the Old State House. Today, she passed the entrace to Massachusetts State House and asked if we could go inside. We've been to the Boston Antheneum, and there were marble statues inside the State House as well. She particularly like a statue of a nurse treating a wounded soldier (I have had a coronary bypass several years ago) and my favorite was of John Adams. Happy Anniversay Donna and Thank You for a wondeful date this afternoon.
Scott Lord Mystery: Murder in Times Square (Lew Landers, 1943)
Film Art
Scott Lord Silent Film: La Vie et la passion de Jésus Christ (1903) - YouTube
The Moonstone
Silent Film: Silent Horror
Film Art
Film Art
Art
A Hanukkah Card for Donna that has been coming all year; I try to read it every day and please feel invited to subscrbe
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From: My Jewish Learning <community@myjewishlearning.com>
Date: Friday, December 8, 2023
Subject: This Hanukkah Prayer Is About Courage and Miracles
To: scottlordnovelist@gmail.com
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Scott Lord Mystery: E.G. Marshall in CBS Radio Mystery Theater The Adven...
Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated
From: scottlordnovel <noreply@google.com>
Date: Thu, Jun 23, 2011 at 11:31 AM
Subject: [scottlordnovel] Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated
To: scottlordnovelist@gmail.com
Scott Lord updated the page Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem. View the changes below.
Color key: Insertion | Deletion
Wife in Mirror, 1966 by William Stilson The painted was kept in a gallery on Bearskin Kneck when the present author lived there. She is, for the most part, "the real Inga", though only a painting. She is the only direct subject of the first scene of the film: there is the use of voice over narrative and flashforward. In the opening shot she is seen in mediuum full shot, her having finished her correspondence. Depending upon what hour she had begun, there previously had been added to that an infrequent journal entry in epistolary form addressed to her lover more often than not rather than to herself. Despite its seeming to be too early in the evening, she appears to be putting a manuscript into the top drawer of her desk, which she closes with her right hand. If it can be said that as an actress she will be drifting and that her instructions are to dress off to the right of her chair, on film the sequence is an on camera turn-her directions to sit into the set have been precluded in that later within the scene there is the use of retrospective narrative cut in shots of her sitting at the desk from within a half hour of her having risen from her chair, the camera intriguing the spectator by suprisingly creating a voyouerism within discourse throught its third person omniscient voice, the transdiegetic aspect of its having omniprescence being temporal rather than spatial as it returns to a cutback shot in the present tense. There is a cup of coffee on the desk, the height of which is above her knees while below her stomach. At first, the tight closeups, close ups and medium close shots are lensed from behind the desk, from a vantage point not thought possible for the camera to acquire, as though there were physically no wall behind it, much like a three wall set, whereas the medium shots are near to being filmed over the shoulder and in three quarter profile. Near to the right of the chair, she has already skimmed the contents of the drawer before closing it and has brought her glance to the horizontal plane, the subjective high angle withheld from the film as she is to lower her view to reassure herself that the objects on the desk are neatly placed, her not necessarily imediately having noticed the telephone having had been being now more to the left within the square created by what is either a computer or a television with a digital video recorder within the polished wooden rectangle . The script given to the actress includes description as to whether or not there is an object on the desk that ostensibly belongs to him, it appearing during the course of the scene that there is the disclosure that they could more than live together or that they were seeing each other frequently. The script has also withheld information from the actress untill shooting. If one or more of the items are his, they could include a gift that she had brought back as a present still waiting for him or older articles they had acquired together, the emotional content of the spatial object within the filmed frame subject to the look and actions of the character. Were the films use of multiple cameras to include her surveying the desk, watching her eyes would have relayed a sentimental look in her having accomplished having written the particular letter or poem and in their sense of immediacy and yet there is an urgency that has concluded or transformed, something indicative of her being unfailiar with a newly felt emotion, one different than she previously had concieved it would be were she to ever experience it. As she slowly, only gradually lowers her eyelids, it is not according to a personal, solipstic fascination, but more so her lips are only slightly apart, her having ostensibly precluded opening them any wider as her unspoken response to something she had remembered his having said and would not allow herself to answer, to quote or to reiterate, she herself only having heard it said only once, only by him on that occaision, it cloistered within her memory-laden femininity as she looked to him to kiss her eyelids again. There was now a smoothness, or ease to her movements, one in part self acknowledgement, there being a look of introspective holiness, or spiritual beauty derived from that which is known intimately, and known as being particularly singular or unique to her own experience; there is a sensuality to her being in reflection and yet her herself being an an emotive image as a softness impinged her sensibility and her sensibility of self awareness. Within the transcription of her moving image into the dramaturgical significance it would acquire positioned within the linear visual plotline, projected onto, and or projected for the ideal viewer of an implied or disembodied spectator is her solitude projected as not only a mobilized gaze, but as an act of prayer that can be taken as a metaphor for what not only would be tacit between them when they later would meet, but also for her present need to speak to him at that moment- female desire as transcendental. It is discernable, before viewing the retrospective interdiegetic shots of her penning what she had only then finished writing, that it may hvae been only after her having recieved, or found, an earlier letter of his, or a volume of poetry on the shelf in which he had written something in the margins and had telephoned her about in hope she would have time to thumb through the book to find it. Was it that belief, and accordingly beauty, was the desire for union with something that found the fondness of appreciation? "I can't say a word on this telephone untill your finished telling me everything." "Why did you stop using words while we were making love?" The shot at present is stationary. An as objectification of pleasure, her body, and any beauty inherent within the erotic object as a quality and its accompanying position of belief as the desire for a transcendental love and ideal beauty, in its femininity is beauty as is modified, her nudity and its foreshadowing of its possible later reoccurrence in the film beuaty that as an objectification of pleasure takes action rather than being only transitory, beauty as perpetual, truth, searched for as being absolute, held by her spontaneity; as an aethetic continuum there is a sensuality to the narrative-spatial dimensions of the scene in which its motifs are encased as she is the center of the vertical composition, the spatial planes of the room limited to the vertical frameline untill divulged by her horizontal movement. Within the spectatorial address or any consequent objectification of spectatorial pleasure or desire, including viewer identification as desire for an erotic subjectivity as erotic object, the sequence, itself designed as thematicly autonomous, is not an autonomous single shot in that there is a cutting for continuity that includes reframings and cutting to similar angles. There is a thematic unity of context within the interframe narrative that, in being centered around her and her movement, her movement and or action theatrical space in relation to object positions that within their spatial proximity to her and within their spatial contiguity to each other are measured by linear perspective as non-moving height or width, is becoming increasingly interested in her. Within narrative as a mode of address, the viewer is not only interpellated but reproduced, transmogrified or reconfigured, as subject and, within a unfied ideal spectatorial position is brought into a suture pattern of characterization, there being a suture pattern to identification, an appearance dissappearance within the relationship of protagonist observer, an absence presence of emotion, the emotion involved in reception, each relsolution of narrative action holding a lack of closure in the presence and absence of future event, particularly in that the view has constructed an imaginary eroticism which is either supported by the object of fantasy, or brought to a greater excitement than that which the viewer had been looking forward to while waiting. There is, casually, an erotic relationship of hers, whether erotic action or fantasy, contained in what she is doing that becomes seemingly more singular, which at first seems almost ordinary, the viewer only omniscient in that the left shot is left as imaginary and as being among the possible movements she could make within the limited space of the frame, and then in turn, within each framing, there being a diegetic logic of the erotic, there a suture relationship between the camera's decisions and selections, the individual's agency,or fate, or urgency within her particular position in the narratvie core and the viewer as fantasisizing desire to act as protagonist while vouyer. As to create a shot to shot contrast of spatial configuration, the spatial distance she is kept from the camera and each object brings a diegetic connontation that the action of the scene is her desire, or her desire to transcend sexual gratification. There is a discursive organization to the contiguous images that lends them a figurative context, a cutting for emotional effect with legnthy static shots that bring to poin her meditations and continuous shots of varying, yet measurably comparable, duration; each reframing a perspectival acknowledgement of each slight purient motion on her part and each decision as to how long they are to continue, the suprise of the nymph elapsed; each a deigetic reference to each postition her body acquires to create spatial temporality while creating vanishing points with off-screen space that had previously been onscreen and with space eroticlly hidden inhabited by the image in the shot to follow;each a reference to her moving without being as near to him as she could be. YouTube Video erotic trailer written in between revisionsAn Erotic Trailer Reel Two Scott Lord |
Go to page: Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem
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