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Added note: to the person who asked if I blocked IP address!
each message has the same email address,
but the IP addresses are all different
 each one of them, completely different
but yes, I did block with the ignore button.
altho it won't do any good, as another IP will be used!!
this is a `sleek scamming operation!


Sorry, forgot to mention that the site listed in
the bogus message, could possibly contain a `virus`
so please do not chance it by clicking on it.
I have deleted by the ignore poet button
all of the messages..thanks, don't want to start a panic,
however if you receive any of these in your feedback
please , to be on the safe side, do the same
and delete by the ignore poet button..

 TO My Dear Friends and Poetry Readers..
 I am sorry but I have to shut down my feedback,
 as some idiot is playing games with my poetry site,
out of sheer jealousy, I am sure, I see no other reason..

I have had the following message,
 posted in ten of my feedback boxes,
they all contain the same message and
same email  address, it must have taken
some time for this idiot to do all this
 in each poem critique box. 12 x who knows!!
it does not bother me to shut down feedback,
 as I do not need praise TO BE ABLE TO WRITE,
it's nice hearing from friends, or those who
 enjoy my writes, but it is not necessary
to keep me writing, however,

I am sorry to shut my friends off,
if any of you wish to contact me,
please do so in Guestbook,
I will leave that open.
Thanks , and I am sorry to shut you all out
 because of one sick mind!!

Peace, and light of love to you all,
AngelRose! of fantasyIsland

2011-04-27 18:51:47
IP: 90\.24\.172\.69

Rating: Excellent
The rise of European cinema was interrupted by the
outbreak of World War
I when the film industry in United States flourish
ed with the rise of
Hollywood, typified most prominently by the great
 innovative work of
D. W. Griffith in The Birth of a Nation (1914) a
nd Intolerance (1916).
However in the 1920s, European filmmakers such
ml as Sergei Eisenstein,
 F. W. Murnau, and Fritz Lang, in many ways in
spired by the meteoric
war-time progress of film through Griffith, al
ong with the contributions
 of Charles Chaplin, Buster Keaton and others
, quickly caught up with
American film-making and continued to furthe
r advance the medium. In the
1920s, new technology allowed filmmakers to
 attach to each film a
soundtrack of speech, music and sound effec
ts synchronized with the
 action on the screen. These sound films we
re initially distinguished
by calling them "talking pictures", or tal
kies. The next major step in
 the development of cinema was the introd
uction of so-called "natural
color", which meant color that was http:/
category2.html photographically recorded
from nature rather than being
 added to black-and-white prints by hand
-coloring, stencil-coloring or
 other arbitrary procedures, although t
he earliest processes typically
 yielded colors which were far from "n
atural" in appearance. While the
 addition of sound quickly eclipsed sil
ent film and theater musicians,
 color replaced black-and-white much m
ore gradually. The pivotal innov
ation was the introduction of the thr
ee-strip version of the Technicolor
 process, which was first used for sh
ort subjects and for isolated seq
uences in a few feature-length films
 released in 1934, then for an entire
 feature film, Becky Sharp, in 1935.
 The expense of the process was daunt
ing, but continued favorable public
response and enhanced http://www.kiwa
ta.com/images/film/category3.html bo
x-office receipts increasingly justi
the added cost. The number of films
 made in color slowly increased year
after year. In the e
2011-04-27 18:38:27
IP: 189\.58\.39\.211

(Reconstructed) Rating: Excellent
The rise of European cinema was in
terrupted by the outbreak of
 World War I when the film indust
ry in United States flourished
with the rise of Hollywood, typi
fied most prominently by the g
reat innovative work of D. W. G
riffith in The Birth of a Nation (
1914) and Intolerance (1916). Ho
wever in the 1920s, European
filmmakers such http://www.kiwa
as Sergei Eisenstein, F. W. Mur
nau, and Fritz Lang, in many ways
inspired by the meteoric war-ti
me progress of film through Grif

 along with the contributions
of Charles Chaplin, Buster Ke
 and others, quickly caught up
 with American film-making and
continued to further advance t
he medium. In the 1920s, new
hnology allowed filmmakers to
attch to each film a soundtrac
 of speech, music and sound e
ffects synchronized with the
n on the screen. These sound
films were initially disting
 by calling them "talking pic
tures", or talkies. The next
step in the development of ci
nema was the introduction o
f so-cal
led "natural color", which m
eant color that was http:/
.html photographically rec
orded from
nature rather than being a
dded to black-and-white p
rints by hand
-coloring, stencil-colorin
g or other arbitrary proc
edures, altho
ugh the earliest process
es typically yielded col
ors which were f
ar from "natural" in ap
pearance. While the add
ition of sound qui
ckly eclipsed silent f
ilm and theater musici
ans, color replaced
black-and-white much
 more gradually. The pi
votal innovation was
the introduction of the
 three-strip version of
 the Technicolor p
rocess, which was first
used for short subjects
 and for isolated
 sequences in a few feat
ure-length films releas
ed in 1934, then
for an entire feature
 film, Becky Sharp, in
 1935. The expense of
 the process was daun
ting, but continued fav
orable public respon
se and enhanced http://w
 box-office receipts in
creasingly justified t
he added cost. The n
umber of films made i
n color slowly increa
sed year after year. In
 the e

etc. etc. it goes on and on!!!!!!
bla, bla,bla.bla..................

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