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James Henry Murphy, son of George Franklin Murphy (1883-1970) and Cora Augusta Walker (1858-1895), was born in 1883 in Gonzales County, Texas. He married Edna Mae King, daughter of James S. King (1861-1922) and Lavicie Wiley (1867-1909), in 1909 in Pandora, Texas. They had two children. He married Modene McDonald in 1909. They had one child. He died in 1970 in Floresville, Texas. Ancestors, descendants and relatives lived mainly in Virginia, North Carolina, Tennessee, Louisiana and Texas.
For news junkies and fans of the bizarre-but-true, here is an outrageous collection of all-real, all-weird news stories culled from the nation's mainstream newspapers. Line art throughout.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.