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This work, naming 4,000 related individuals, contains the lineages of about fifty families, the main branches of which were located in Virginia, Maryland, and North and South Carolina. Genealogies of the following families are given: Allen, Aston, Barker-Bradford-Taylor, Berkeley-Ligon-Norwood, Binns, Butler, Claiborne, Clark, Colclough, Crafford, Crayfford-Crafford, Davis, Doniphan, Eldridge, Flood, Godwyn, Gray, Gregg, Griffis, Grigsby, Harris, Haynes, Jones, Mallory, Mason, Moore, Mumford-DeJarnette-Perryman, Newton, Norwood, Pace, Peche-Cornish-Everard-Mildmay-Harcourt-Crispe, Reade, Ruffin, Sledge, Smith, Sowerby-Sorsby, Stone-Smallwood-Smith, Stover, Thomas, Travis, Warren, Woodliffe, Wynne, and Wythe.
The story of the most terrifying case of demonic possession in the United States. It became the basis for the hit film “The Haunting in Connecticut” starring Virginia Madsen. Shortly after moving into their new home, the Snedeker family is assaulted by a sinister presence that preys one-by-one on their family. Exhausting all other resources, they call up the world-renowned demonologists Ed and Lorraine Warren—who have never encountered a case as frightening as this... No one had warned the Snedekers their new house used to be an old funeral home. Their battle with an inexplicable and savage phenomena had only just begun. What started as a simple “poltergeist” escalated into a full-scale war, an average American family battling the deepest, darkest forces of evil—a war this family could not afford to lose.
On the relationship between early cinema and 19th century theatre.
Exhaustively researched and accessibly written, D.W. Griffith: Master of Cinema is a remarkably comprehensive biography of the legendary director and his days creating his craft at the American Biograph Company between 1908 through 1913. Meticulously detailed, utilizing a wealth of archival documents and photographs, the book effectively details Griffith’s place as a film pioneer. Even a casual film fan can see the lines being drawn from the techniques Griffith developed to modern cinematic experience. Ira Gallen’s exploration of Griffith’s family and his early life sets the stage for his career, and give great context for who he would become. His intricate details about early stage and film paint such a vivid and evocative picture of the time that you will be truly drawn into another world while reading it.
BEST KNOWN AS THE DIRECTOR of such spectacular films as The Ten Commandments and King of Kings, Cecil B. DeMille lived a life as epic as any of his cinematic masterpieces. As a child DeMille learned the Bible from his father, a theology student and playwright who introduced Cecil and his older brother, William, to the theater. Tutored by impresario David Belasco, DeMille discovered how audiences responded to showmanship: sets, lights, costumes, etc. He took this knowledge with him to Los Angeles in 1913, where he became one of the movie pioneers, in partnership with Jesse Lasky and Lasky’s brother-in-law Samuel Goldfish (later Goldwyn). Working out of a barn on streets fragrant with orange blossom and pepper trees, the Lasky company turned out a string of successful silents, most of them directed by DeMille, who became one of the biggest names of the silent era. With films such as The Squaw Man, Brewster’s Millions, Joan the Woman, and Don’t Change Your Husband, he was the creative backbone of what would become Paramount Studios. In 1923 he filmed his first version of The Ten Commandments and later a second biblical epic, King of Kings, both enormous box-office successes. Although his reputation rests largely on the biblical epics he made, DeMille’s personal life was no morality tale. He remained married to his wife, Constance, for more than fifty years, but for most of the marriage he had three mistresses simultaneously, all of whom worked for him. He showed great loyalty to a small group of actors who knew his style, but he also discovered some major stars, among them Gloria Swanson, Claudette Colbert, and later, Charlton Heston. DeMille was one of the few silent-era directors who made a completely successful transition to sound. In 1952 he won the Academy Award for Best Picture with The Greatest Show on Earth. When he remade The Ten Commandments in 1956, it was an even bigger hit than the silent version. He could act, too: in Billy Wilder’s classic film Sunset Boulevard, DeMille memorably played himself. In the 1930s and 1940s DeMille became a household name thanks to the Lux Radio Theater, which he hosted. But after falling out with a union, he gave up the program, and his politics shifted to the right as he championed loyalty oaths and Sen. Joseph McCarthy’s anticommunist witch hunts. As Scott Eyman brilliantly demonstrates in this superbly researched biography, which draws on a massive cache of DeMille family papers not available to previous biographers, DeMille was much more than his clichéd image. A gifted director who worked in many genres; a devoted family man and loyal friend with a highly unconventional personal life; a pioneering filmmaker: DeMille comes alive in these pages, a legend whose spectacular career defined an era.