Studio Production Research Articles

“Sonic Spaces for the Stray”: (Dif)Fusing Dis-location in Sound Installation and Performance

This project examines subjectivity and its embodiment through the application of interactive electronics within sound installation and performance. It employs a merging of theory, method and practice that has not been fully researched to date and which represents a valuable addition to sound performance and electroacoustic composition. My artistic research focuses on an ongoing series of improvisational/compositional experiments, moving between a dedicated workspace and sound production studios where I will work with acousticians, engineers, and programmers. The aim is to develop gestural/embodied approaches for applying interactive electronics within sound performance and fixed-media composition—mining tensions between failure and fluency; and diffusion strategies that highlight correspondences between embodiment, sound and space—emphasizing tensions between absence and presence. Foundational research includes studying methods and applications for investigating spatialization and psychoacoustics, employed by artists including Maryanne Amacher. I will also study concepts/methods developed by artists such as George E. Lewis, focusing on interaction between algorithmically-based technology tools and physical gesture in musical improvisation. This research also engages with Julia Kristeva’s psychoanalytically-based writing on abjection and the sublime, grounding my studio-based research in theoretical inquiry that engages with subjectivity and embodiment. Supplementary research will address psychoacoustics, aural architecture, and spatialization theory and technologies. The outcome of the project will be twofold: a body of sound installations and performances demonstrating an interactive approach to addressing relationships between the body, materiality, sound, space and situation; and a set of reflective writings that articulates the poetics and affective aspects of this multi-layered inquiry. The completed project will offer new knowledge production in the field of artistic research, and transmission of interdisciplinary knowledge to creative practitioners.

PERENCANAAN PUSAT INDUSTRI KREATIF ANIMASI,KOMIK, DAN ILUSTRASI DI KOTA SAMARINDA PENDEKATAN ARSITEKTUR METAFORA

Samarinda City has many communities that are engaged in animation, comic and illustration but do not have the forum with the facilities and infrastructure to support activities such as drawing studios, production studios and functions to accommodate animation, comic and illustration communities so that these community activities often change locations, or working online because they don't have a fixed studio making them ineffective. Therefore, the Center for Creative Industries in Animation, Comics and Illustration is presented as a production house that will be able to answer the potentials and issues. Hence it would be able to accommodate animators, illustrators and comic artists to create and explore their creativities so that the quality of the animations, comics and local illustrations to increase, especially in East Kalimantan.The form concept of the Center for Creative Industries in Animation, Comic and Illustration takes the theme of “metaphoric architecture” which is the supposition of form. The form that is taken for the Creative Industry Center is a computer mouse and speech bubble. The metaphorical architecture is used to describe the function of the building and add to the aesthetics of the building.

Does the profile of HEI authorities influence quality research?

Objectives, methodology. Comparative analysis of the production by genre, percentages and differences between the teaching staff to identify what is conducive or not the investigation. Using a methodology of documentary research, leading to decision-making. Contribution. The analysis presented is the result of documentary research carried out in the period 2014-A and 2014-B, framed studio production by full-time faculty (PTC) in relation to publications and/or quality jobs in qualified areas that reflect the effort made. in that period. These results led to the decision making and action by the authorities of the campus. It also features production by gender and comparative age.

Not in front of the children? An analysis of sex on screen in Italy

Despite the fact that both state owned (RAI) and privately owned (Mediaset) Ital-ian television channels habitually adopt scantily dressed women in provocative poses to fulfill a purely decorative function on daytime television, a closer look at Italian TV reveals that it is far less liberated than it seems. In fact, in stark contradiction to the apparent unrestraint of autochthonous studio productions, references to sex and sexuality in imported fictional products tend to be severely mitigated in their translated forms. Furthermore, it also appears that sexual behaviour beyond traditional male/female ‘mainstream’ sexual practices becomes in-creasingly taboo in translation, as they too are either toned down or totally eliminated. Relegated to cable and satellite channels or late-night/early morning viewing on one of the privately owned Mediaset channels, programs containing very explicit sexual content such as US produced ‘Sex and the City’ are moderated quite significantly for Italian audiences, not only in terms of the pervasive use of strong, taboo language, but also for explicit references to a variety of sexual practices.This paper will discuss the norms which govern the translation of ‘adult’ materials for Italian TV both from an examination of the linguistic content of the programs themselves and from the point of view of operators involved in the dubbing process.

In the Making: Queer Publishing and Transpedagogies

Handbook: Supporting Queer and Trans Students in Art and Design Education is a practical guide and a collaborative intervention in art and design pedagogy. Handbook is also a collaboratively produced artist book with a hand-printed letterpress cover. Here I consider processes of studio production, physical “objectness,” and distribution of Handbook as models for pedagogy-in-the-making. The handmade is a methodology and an orientation, a connection point between publishing, transpedagogies, and embodied art practices. I argue that artist publishing and printmedia offer demanding and multifaceted forms of production for trans and queer pedagogy. I center on the studio as a site that both intertwines with and exceeds equity work. To see these methods of studio-based and collaborative work in action requires reading Handbook beyond its written content; a closer look at the materiality and processes of artist publishing reveals useful daily practices of support and survival of trans and queer life in academia and beyond.

Kelly , Catriona Soviet Art House: Lenfilm Studio under Brezhnev (review)

REVIEWS 757 and montage, with montage scenes and declamation being used ‘to achieve a sense of realism’ (pp. 207, 209). Here the ‘concepts of theatrical rhythm, declamation, and characterisation remain largely intact despite the enormous political pressure’ Prokof´ev underwent (p. 210). That said, Guillaumier largely stays clear from discussing the external political forces that prompted revisions of his Soviet operas. Overall, the book gives an in-depth analysis and vivid narrative of the music and would be of particular interest to musicologists and operatic producers, but also to the non-specialist reader. Reading the book, one is often prompted to study the operatic scores, as the text sometimes refers to bars which are not included in the given musical examples. The musical description of acts and scenes sometimes does not follow the logical progression of the plot, which is partially compensated with the inclusion of Synopses at the end of the book. Despite these minor caveats, this well considered and compelling monograph does indeed provide ‘a coherent and illuminating narrative of Prokofiev’s operatic career’ (p. 2) and Guillaumier’s scholarly work certainly contributes significantly to the existing Prokof´ev scholarship. Department of Music Viktoria Zora Goldsmiths, University of London Kelly, Catriona. Soviet Art House: Lenfilm Studio under Brezhnev. Oxford University Press, Oxford and New York, 2021. xxii + 512 pp. Illustrations. Notes. Bibliography. Index. £81.00; £29.99. When she was an exchange student in Voronezh in the early 1980s, Catriona Kelly sought ‘salvation’ (p. xiv) in cinema, perhaps to dispel the boredom of provincial life. While astonished by acclaimed films from Abuladze, Paradzhanov and Tarkovskii, Joseph Heifitz’s now obscure Married for the First Time (Lenfil´m, 1979) ‘stayed with her as well’ (p. xv). The author was moved by Heifitz’s film, which is indeed an affective, if of course, clichéd, example of Lenfil´m’s efforts to convey the personal, to evoke emotional registers among the (often quite appreciative) audiences. Aleksei German’s My Friend Ivan Lapshin (Lenfil´m, 1984), an ‘art house’ film of the time, demonstrated to her what types of experimental films Lenfil´m Studios was still able to produce. Kelly’s work reads like the product of someone enthusiastically interested in Soviet film of the ‘Brezhnev era’. This enthusiasm often leaps from the pages and has brought me back to re-watching many of the films I had forgotten. Far too much scholarly work in film studies has focused on specific films or ostensibly groundbreaking directors. The resulting generalizations have tended to obscure rather than enlighten cinematic history. Kelly’s absorbing SEER, 99, 4, OCTOBER 2021 758 monograph is a rare study, based on a significant documentary base (in addition to an impressive array of archival and secondary sources, she enriches her discussion with interviews with many figures active now or previously in Lenfil´m) of the most critical site in cinema, the production studio. The work under review is an original contribution to the study of Soviet film. Her diachronic study of Lenfil´m from the early 1960s to the collapse of the Soviet Union (and in a concise conclusion, into the 1990s) includes compelling analyses of dozens of films, both now obscure and those long celebrated. Kelly also advances convincing arguments as to why the collective nature of Lenfil´m’s (indeed Soviet film efforts generally) often produced captivating cinema. More on this later. Kelly examines the people: directors, editors, camera operators, set and costume designers, and studies directors and Leningrad (city and regional) officials, among others, who collectively, as it were, constituted Lenfil´m and shaped its productions. She states that, as opposed to banal invocations of an overarching era of stagnation, Lenfil´m, during the 1960s and 1970s, produced an array of films ‘at once lyrical and obscure’ (p. xvi). Many Lenfil´m productions were also, as she observes, ‘some of the most widely discussed cultural events of the era’ (p. 23), including Gelb Panfilov’s No Path through Fire (1968), Il´ia Averbach’s Monologue, Dinara Asanova’s Woodpeckers Don’t Get Headaches (1976) and Aleksei German’s Twenty Days without a War (1976). Of the nineteen chapters in her book (not counting the introduction and...

Transformation of a warehouse into a professional production studio

A major film production studio was slated for demolition due to the expansion of a theme park. Audio tracks for many popular films and animated productions were designed, recorded and mixed in the facility. Space for the new studio was included in a large office renovation project that was occurring in several large existing warehouse/office buildings. The acoustical challenges of providing sound isolation between and among adjacent recording, control and editing spaces as well as between the studios and the exterior which included building box-in-box-in-box isolation systems within the existing warehouse posed an interesting challenge. With the unforgiving structural system of the existing warehouse building, thinking both outside and inside of the box was necessary. Fitting the low velocity ductwork in the relatively low ceiling height of the existing structure was not easily accomplished. Each of the existing limitations of the warehouse building was overcome by closely working with the Design Team and the Contractor. Acoustical shaping and finish materials were designed and selected to meet the criteria of the users for reverberation, room response, low frequency sound control, diffuseness and background noise. The users were pleased to work in a studio that allowed the artists and the engineers to work throughout the day into the night and through thunderstorms. The studio has been very well-received by the users, since the resulting sound tracks translated very well when played back in a variety of venues.

On Grace, Glory, and Fake Gold: A Queer Tangent in Tapestry

In this writing, I use the tangent as a queer methodology to craft an ontology of tapestry. Art historical anecdotes, familial immigrant stories, and queer declarations of faith are interwoven tangents that attempt, perhaps, to weave a tapestry of their own. Through this, I focus on my own studio production and engage the tangential positionality of weaving to consider tapestry as a form that mirrors the Catholic disavowal of queer people. The Magnificat tapestries discussed remediate Italian Renaissance paintings of the Madonna and Child as Jacquard woven tapestries. Appropriation, mutation, and decadence are manifested in these tapestries, and further examined through ethnic legacies and queer temporalities. Narratives of immigrant Marian devotion are met with musings on drag to consider their overlap and opposition. Throughout this writing I engage queerness, ethnicity, and the sacred to imagine, and offer, a queer vision of grace.

A Critical Companion to James Cameron, edited by Adam Barkman and Antonio Sanna

Over a span of forty years, James Cameron has become synonymous with the box-office blockbuster. Bigger stars, budgets, and technological innovations have led the director to transcend spectacle-centric contemporaries like Roland Emmerich and Michael Bay, reframing him in the words of Thomas Elsaesser, as “the embodiment of the post-auteur author” (248). For Elsaesser, the post-auteur author is distinguished in part by their ability to synergise art and business into a single entity. As is the case with Cameron, this often culminates in the formation of a production studio or visual effects company, but Cameron’s desire to create universally appealing films while exercising total control over their production seems to transcend even this tradition.

The effect of film production studios on housing prices in Atlanta, the Hollywood of the South

Governments compete to attract film productions to their communities, expecting them to provide economic benefits directly through local purchases and employment and indirectly through publicity and image building. Atlanta, Georgia, has become a large film production hub, partially because of a state tax credit programme. As a result, permanent production facilities have been established that may influence surrounding real estate prices. Convenience and a desire to live among other creatives may encourage actors, technical workers and support staff to live nearby, and the film industry cachet may attract additional residents, increasing house prices. However, if the facilities are perceived to be similar to other industrial operations, they may negatively affect surrounding house prices. We investigate film production studios’ effect on residential property values using housing sales data and information on film production studios’ location, size and year established. To mitigate bias from the potential endogeneity of studios’ location choices, we augment the standard hedonic pricing framework to incorporate proximity to a film production studio and construct treatment and comparison groups. Using a spatial difference-in-difference framework, we find that while houses located closest to film production studios tend to sell for lower prices than houses further away, the discount is not attributable to the studios. Instead, the establishment of a new studio, especially a large one, is a positive event in the housing market. These findings have important policy implications for local governments in making decisions about film industry incentives and facilities’ site selection as possible drivers of redevelopment.

Bordering an Industry: KVOS-TV and Canawest Film Productions in the Pacific Northwest

In 1953, Bellingham’s KVOS-TV aired its first broadcast—Queen Elizabeth II’s coronation—to audiences in northwest Washington State and southwest British Columbia. KVOS was the second television station in Washington and the first in British Columbia. As the station—and the popularity of television—grew, KVOS turned a persistent focus to attracting television audiences in the Vancouver metropolitan region and Vancouver Island. The station established a subsidiary in Vancouver in 1960 to produce commercials for local Canadian advertisers. This subsidiary grew into a full-fledged film production studio, Canawest Film Productions, which produced commercials, industrial films and animation for clients on both sides of the border. For a brief period, KVOS and Canawest fostered a unique relationship among an American broadcaster, Canadian and American advertisers, and cross-border audiences. Canawest was shuttered in 1977 after the Canadian legislature passed Bill C-58, ending tax deductions for Canadian companies advertising on American TV stations. This paper gives insight into the cross-border design of KVOS as well as Canawest’s role in producing audiovisual material in the 1960s and 1970s. In doing so, this paper reflects on the tensions between culture and economics in the face of financial incentive and policy intervention.

Recreating the Beatles

Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular type. Because of their focus on replicating the band’s iconic costumes and hairdo, they usually limit themselves to an easily reproducible core repertoire, forgoing the elaborate post-1966 studio productions. By contrast, sound-alikes strive for complete aural accurateness, often recreating the heavily produced compositions the Beatles never performed outside of the studio. One of the industry’s top-tier Beatles sound-alikes are the Analogues. Neglecting all mimetic visual effects, they re-animate the albums created after 1966, using the same orchestrations and instrumentations as the Beatles, including rare vintage instruments such as the Mellotron. Their approach bears parallels to historically informed performance (HIP), a common practice in Early Music, yet it operates within an entirely different framework. Informed by sound recordings, the Analogues deconstruct and re-record the Beatles’ music to construct their own performance, in the process conceiving a modern technology-based type of HIP. This article begins by establishing a typology of Beatles tributes before examining the process of staging an Analogues performance. It argues that the Analogues’ approach to historical recreation allows them to transcend criticism typically aimed at tributes and, paradoxically, lay claim to an “authentic” performance of what is inherently inauthentic, a live imitation of a recording. Overall, this article demonstrates how HIP can be used effectively outside of its mainstream classical context as a tool for popular music researchers and performers.

Strategi Inovasi Desain Poduk Tas Fashion Kayu Mindi di Krebet Pajangan Bantul Yogyakarta

Currently, Yogjakarta as one of the target world tourism destinations certainly needs to prepare many things, especially in the industrial era 4.0 in the present. The first improvement is around human resources who have a strategic role in entering this era. The creative industry currently has sufficient opportunities to transfer technology, whether in waste processing (eg wood) as the basic material for creating functional products with global competitiveness. Especially in the Bantul area as an export-oriented handicraft production warehouse. In this research, we collaborated with UKM Partners 'Ruaya' which explored mindi wood as the main raw material for the creative industry. Ruaya is a home industry that focuses on making wood-based fashion bags. As for the activities carried out to achieve the output target agreed upon by the Partner, among others: First, conducting assistance activities for studio management and production management; Second, holding a design innovation workshop program to produce unique and highly competitive export superior products; Third, carry out a strengthening workshop program in the e-Commerce sector; Fourth, assisting the production process based on design innovation that was developed during the time with partners; Fifth, conducting a regulatory program and technical guidance on IPR registration by the IPR Extension Team from the Director General of IPR, and the Ministry of Human Rights, DIY, and Sixth, assisting in the process of drafting IPR drafts and registering IPRs.

The involuntary confession of euphoria: ‘Chemsex’ porn and the paradox of embodiment

This article focusses on the representation of the body in ‘chemsex pornography’ and looks at selected examples of embodiment in amateur and studio productions. Presenting the idea of the ‘euphoric body’, a representation of the body that shows sexual and drug-high pleasure, I explore how this depiction presents a paradox for pornographic representation because of how it disrupts the specific bodily performances associated with the form, and even ultimately the body’s raced white status. Looking at videos from both amateur and professional content producers, such as Nastypig303 on Pornhub and Liam Cole’s, ‘Scene Six’, Cum Junkie (2017), I explore the opportunities and limitations involved in representing drug-high sex. Deploying a social theoretical model, I discuss pleasure as being something fundamentally unknowable, and pornography, as a disciplining and knowledge-producing structure. Against these, I argue that representation of the euphoric body has created new visual tropes in pornography, whilst either challenging what is possible in the form, or actually reaffirming divisions linked to the biopolitics of class and race.

A sonic step closer

The preservation risks surrounding music master tapes—the high-quality sources of most commercial recordings between the 1950s and 1990s—were dramatically highlighted in recent coverage of Universal Music’s 2008 vault fire. Other challenges include storage costs, chemical instability of tape stocks and technological obsolescence of playback equipment, with the industry’s ability to tackle these still unclear. This article examines an emerging solution—donation to public archival institutions—using recent experiences at the Alexander Turnbull Library (part of the National Library of New Zealand) as a case study. Focusing on the master-tape collections of the Viking and Ode record labels, it examines their status as a form of ‘popular music heritage’, practical considerations such as copyright, digitization work, and how this work is leveraged by the labels to reissue legacy recordings. There has been little scholarly study of master tapes and the article also explores their research potential in terms of sound quality, studio production and industry history. Master tapes, the article concludes, hold considerable aesthetic, commercial and historical significance.

“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman

“To awaken of an artist in every musician”… : to the 120th anniversary of the birth of I. S. Shteiman

O Anjo Azul: do fim do Expressionismo à influência da Paramount – um filme de Josef von Sternberg

“The success of the film will depend on the naked thighs of Miss Dietrich”. This was the answer that Heinrich Mann gave to Emil Jannings, when he asked the novelist if he had liked his performance. Made in 1930 and directed by Josef von Sternberg, The Blue Angel will always be remembered in the history of cinema as the movie in which the myth of Marlene Dietrich was born. However, its merits go well beyond this fact. The Blue Angel is the prototype of a hybrid film, made in Germany by an Austrian settled in America since he was a young boy, having been influenced not only by the American studio production, but also by the German Expressionism, through Max Reinhardt. A director whose cinema Nöel Simsolo compares to tapestry, in which all the elements are always necessary and important, with the supremacy of the décor because everything that appears on the screen becomes it. More than a motion picture that marks the end of an era, that of the German silent cinema, or the German Expressionism, more than a ‘foreign’ production of Paramount, The Blue Angel is above all a film by Josef von Sternberg, a point of arrival and a point of departure for all the marvels to come.

Transient soundscape production

Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education.

Box office collection of sequel movies: exploring brand extension effect

The ever-increasing popularity of Hindi Cinema, also called Bollywood, provides a tremendous opportunity for production houses and studios. This study aims to study the role sequels play as brand extensions in this multibillion-dollar industry. In the first study, we analyse earnings for both sequels and non-sequels movies released during last three years, while accounting for various parameters that could affect a movie's performance. In the second study, we conduct an experiment to capture customers' perceptions of precursors of purchase behaviour. Results indicate that overall sequels perform better than non-sequel movies, and have higher ratings on precursors of purchase behaviour than non-sequel movies. We also found that word of mouth (WOM) publicity would be positive and higher for a sequel. Further, brand extensions through sequels also help take the load off the pre-release marketing budget. The research also opens up avenues into fields such as television series, web series, and books.

Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema by Barbara Tepa Lupack

Reviewed by: Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema by Barbara Tepa Lupack Richard D. Deverell (bio) Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema By Barbara Tepa Lupack. Ithaca, NY: Cornell University Press, 2020. 408 pages, 59 halftones, 1 map, 6" x 9". $22.95 paper, $10.99 ebook. In Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema, literature and film scholar Barbara Tepa Lupack examines the lives and work of Leo and Ted Wharton, creators of an independent film production studio in Ithaca, New York, during the 1910s. Tracing the influence of the Whartons' work on the film industry during the silent era, Lupack argues that their serials, "which aroused the enthusiasm of audiences worldwide, played a vital role in the evolution of cinema as a mass medium and as a form of entertainment for people of all ages and backgrounds; and they became forerunners of today's ubiquitous crime and mystery procedurals and sensation-filled commercial blockbusters" (xi). Lupack's analysis proceeds chronologically, with each chapter largely focusing on the production of a specific film. She uses this to her advantage, so that the vignettes of production and filming mirror the themes the Whartons examined in their work. Lupack writes that, in their short films, "The Whartons spoke directly to the concerns [End Page 431] of their age and to the interests of their audiences" (13). These themes included the New Woman and feminism of the early twentieth century, particularly through shorts with women protagonists such as The Exploits of Elaine from1914 to 1915 (84). Works like The Mysteries of Myra (1916) blended sexuality with the occult while advancing special effects techniques, thereby entertaining their audiences while contributing to popular culture portrayals of the New Woman and the supernatural (132–33, 146–47). Lupack discusses how the Whartons used their films to address other contemporary social issues, including concerns about disreputable institutions, eugenics, and the eventual creation of the United Way, though their message came second to their professional standards of filmmaking and the need to turn a profit (192, 185–88, 219). With war on the horizon, the Wharton brothers similarly tapped into fears of foreign sabotage (165, 211, 219). Like many films from this period, a great deal of the Whartons' work was lost to time, so Lupack bases her close readings of the films on any extant clips, the archived scripts, and production photographs. In likening the Wharton brothers to other film histories, Lupack describes the complicated mechanism for film censorship, with state boards employing varying standards and even some municipalities denying content that the state itself approved. In addition to navigating these official censors, the Whartons worked with William Randolph Hearst, who was a hands-on producer and often dictated content or required reshoots to match his ideological vision (165, 175, 177, 202–03). Filming in New York, the Whartons made extensive use of the varied geography surrounding Ithaca and the Finger Lakes region (52, 54, 69). Upstate New York offered further benefits due to its proximity to New York City and New Jersey, then the headquarters of the American film industry (22–23). Unfortunately, following World War I, the film industry moved out west to Los Angeles (227). This, combined with the Whartons' own financial woes once they went fully independent and no longer relied on Hearst for funding and promotion, ended both their business and the film industry in Ithaca (237). Lupack draws extensively on the Wharton Collection in the Division of Rare and Manuscript Collections at Cornell University, the Wharton Collection at the History Center in Tompkins County, New York, and the Wharton Studio Photographs Collection at Ithaca College. She uncovers a great deal of the local involvement in and reaction to the Whartons' productions via newspapers such as the Ithaca Journal, the Cornell Daily Sun, and the Cornell Alumni News. These accounts help fill in some of the gaps in official studio production records as they feature more human interest stories that help bring the Whartons and their cadre of actors and studio hands to life. Finally, Lupack uses film trade publications including Moving Picture World...