Contested Election Case Of James Wickersham V Charles A Sulzer Deceased And George B Grigsby From The Territory Of Alaska Classic Reprint

Excerpt from Contested-Election Case of James Wickersham V. Charles A. Sulzer, Deceased, and George B. Grigsby, From the Territory of Alaska Sm: I have the honor to present herewith a letter from the Hon. James Wickersham inclosing the original copy of a notice of contest and the petition and statement specifying particularly the grounds of his contest for a seat in the House of Representatives of the Sixty-sixth Congress as Delegate from the Territory of Alaska, which notice of contest could not, it is stated, he served on said Sulzer owing to his death two days prior to the issuance of his certificate of election by the canvassing board of the Territory of Alaska. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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.