title: Jane Mayer

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<mask> (born 1955) is an American investigative journalist who has been a staff writer for The New Yorker since 1995. She has written for the publication about money in politics; government prosecution of whistleblowers; the United States Predator drone program; Donald Trump's ghostwriter, Tony Schwartz; and Trump's financial backer, Robert Mercer. In 2016, <mask>'s book Dark Money—in which she investigated the history of the right-wing billionaire network centered on the Koch brothers—was published to critical acclaim. Early life and education
<mask> was born in New York City. Her mother, Meredith (née Nevins), is a painter, print-maker and former president of the Manhattan Graphics Center. Her father, <mask>, was a composer. Her paternal great-great-grandfather was Emanuel Lehman, one of the founders of Lehman Brothers.Her maternal grandparents were Mary Fleming (Richardson) and Allan Nevins, a historian and John D. Rockefeller, Jr.'s authorized biographer. <mask> attended two non-denominational secondary schools: Fieldston, in the northwest area of the Bronx borough of New York City; and—as an exchange student in 1972-1973—Bedales, a boarding school in the village of Steep, Hampshire, England. A 1977 magna cum laude graduate of Yale University, she was elected to Phi Beta Kappa and served as senior editor of the Yale Daily News and as campus stringer for Time magazine. She continued her studies at Oxford University. Career
<mask> began her career as a journalist in Vermont writing for two small weekly papers, The Weathersfield Weekly and The Black River Tribune, before moving to the daily Rutland Herald. She worked as a metropolitan reporter for the now-defunct Washington Star, and in 1982 joined The Wall Street Journal, where she worked for 12 years. She was the first woman at the WSJ to be named White House correspondent, and subsequently, senior writer and front page editor.She served as a war correspondent and foreign correspondent for the Journal, where she reported on the bombing of the American barracks in Beirut, the Persian Gulf War, the fall of the Berlin Wall, and the last days of Communism in the former Soviet Union. <mask> also contributes to the New York Review of Books, The Washington Post, the Los Angeles Times, and the American Prospect. <mask> has co-authored two books: Strange Justice: The Selling of Clarence Thomas (1994) (co-authored with Jill Abramson), a study of the nomination and appointment of Clarence Thomas to the U.S. Supreme Court; and Landslide: The Unmaking of the President, 1984–1988 (1989; co-authored with Doyle McManus), an account of Ronald Reagan's second term in the White House. Strange Justice was adapted as a 1999 Showtime television movie of the same name, starring Delroy Lindo, Mandy Patinkin, and Regina Taylor. Strange Justice was a finalist for the 1994 National Book Award for Nonfiction, and both books were finalists for the National Book Critics Circle Award. Time magazine said of Strange Justice: "Its portrait of Thomas as an id suffering in the role of a Republican superego is more detailed and convincing than anything that has appeared so far." Of Landslide, The New York Times Washington correspondent Steven V. Roberts said, "This is clearly a reporter's book, full of rich anecdote and telling detail....I am impressed with the amount of inside information collected here." In an Elle magazine interview, <mask> said about her next article, “I’m focusing broadly on stories about abuses of power, threats to democracy, and corruption.”

The Dark Side
<mask>'s third nonfiction book, The Dark Side: The Inside Story of How the War on Terror Turned into a War on American Ideals (2008), addresses the origins, legal justifications, and possible war crimes liability of the use of enhanced interrogation techniques (commonly considered torture) on detainees and the subsequent deaths of detainees, sometimes victims of mistaken identity, under such interrogation by the CIA and DOD. The roles of Dick Cheney and attorneys David Addington and John Yoo in providing cover for the grisly procedures were prominent. The book was a finalist for the National Book Awards. In her New York Times review of The Dark Side, Jennifer Schuessler described the book as "the most vivid and comprehensive account we have so far of how a government founded on checks and balances and respect for individual rights could have been turned against those ideals." The Times subsequently named The Dark Side one of its ten most notable books of the year. Military and diplomatic historian, Colonel Andrew J. Bacevich, reviewing the book in The Washington Post, wrote: "[<mask>'s] achievement lies less in bringing new revelations to light than in weaving into a comprehensive narrative a story revealed elsewhere in bits and pieces."Washington Post reporter Joby Warrick reported that <mask>'s book revealed that a Central Intelligence Agency (CIA) analyst warned the Bush administration that "up to a third of the detainees at Guantanamo Bay may have been imprisoned by mistake." The administration ignored the warning and insisted that all were enemy combatants. In a story appearing the same day in The New York Times, reporter Scott Shane reported <mask>'s book as disclosing International Committee of the Red Cross officials had concluded in a secret report in 2007: "the Central Intelligence Agency's interrogation methods for high-level Qaeda prisoners constituted torture and could make the Bush administration officials who approved them guilty of war crimes." <mask> said of her book: "I see myself more as a reporter than as an advocate." Civil liberties
<mask> covered the Obama administration's prosecution of whistleblowers with an article about former National Security Agency (NSA) official Thomas Drake. Despite Obama's campaign promises of transparency, <mask> wrote, his administration "has pursued leak prosecutions with a surprising relentlessness." She won the Polk Award for the article, and the judges said her article helped expose "prosecutorial excess" and "helped lead to all major charges against Drake being dropped."Drones
In 2009, <mask> covered the Obama administration's use of drones. "The number of drone strikes has risen dramatically since Obama became President", she wrote. Her article described errors, ethical concerns, and potential unintended consequences in the increased use of drone strikes. Money in politics
For many years, <mask> has written about money in politics, covering and criticizing both liberals and conservatives. In 1997, she wrote an article about "dubious Democratic Party fundraising tactics leading to the 1996 election." The article described how the Clinton campaign "marketed the prestige and glamour of the Presidency as never before." In 2004, she wrote an article on George Soros and other activist billionaires who sought "to use their fortunes to engineer the defeat of President George W. Bush in the 2004 election."The article described Soros's "extreme measures" and how his "outsized financial role in the election" had "stirred alarm". In 2010, <mask> published an article about the political activities of the Koch brothers, describing their "war against Obama" and funding of the Tea Party and nonprofit organizations that sought to block liberal policy proposals and defeat Democratic candidates. The article was a finalist for the 2011 National Magazine Awards. In 2011, <mask> reported on retail sales millionaire Art Pope's dominant spending in North Carolina politics. It documented his extraordinarily successful efforts as a Koch brothers ally, who held seats on the boards of their Americans for Prosperity and Citizens for a Sound Economy organizations, to target both Democrats and moderate Republican state legislators and it predicted the redistricting-generated loss of Democratic congressional delegation seats. Her article won a Toner Prize for Excellence in Political Reporting, and the judges called it "the kind of journalism that strengthens democracy and shows the value of a free press." Mark Bauerlein, writing in the Chronicle of Higher Education, was critical of the piece, saying the article was "a tendentious, poorly-researched, and weakly argued bit of journalism" and that "Pope never gets a fair shake."In response to criticism, <mask> supplemented her article with a blog entry pointing out that, despite Pope's claims that he was "not an heir", his "political career was launched" by more than $300,000 from his parents. In 2012, <mask> wrote an article about President Obama's efforts to raise money from liberal billionaires, and the decision of his campaign to flip-flop and encourage fundraising from super PACs. Following the 2016 election cycle, <mask> covered the exertion of considerable influence of former Democratic strategist and pollster Patrick Caddell, in his capacity as advisor to reclusive contributor Robert Mercer for The New Yorker. Hedge fund director Mercer, joined in his efforts by his daughter Rebekah, has been an increasingly important source of substantial funding for right wing campaigns, including the successful candidacy of Donald Trump. Dark Money
In 2016, Doubleday published <mask>'s fourth book, Dark Money, which became an instant national best-seller. The New York Times named it one of the ten best books of the year. The New York Review of Books described it as "absolutely necessary reading for anyone who wants to make sense of our politics", and Esquire called <mask> "quite simply one of the very few, utterly invaluable journalists this country has".In interviews about her book, <mask> said approximately six investigators, led by former New York Police Commissioner Howard Safir, had been hired by the industrialist Koch brothers in an effort to try to dig up dirt in order to smear her reputation, as well as accusations of plagiarism being leveled against her. She responded by publicly airing those tactics of intimidation, effectively debunking the smear campaign. Dark Money won the 2017 Helen Bernstein Award, and was a finalist for the PEN Jean Stein Prize, the Los Angeles Times Book Prize and the J. Anthony Lukas Book Prize. Eric Schneiderman resignation
On May 7, 2018, within hours of publication of an article <mask> co-wrote with Ronan Farrow in The New Yorker,  New York State Attorney General Eric Schneiderman, resigned, effective May 8, 2018. During his term in office, he had been accused of physical abuse by at least four women with whom he had been romantically involved, and also of habitually abusing alcohol and prescription drugs. <mask> and Farrow had reported that they had confirmed the women's allegations both with photographs of contusions, as well as with statements from friends with whom the alleged victims had confided subsequent to the claimed assaults. Though he denied the allegations, Schneiderman stated he resigned because they "effectively prevent me from leading the office’s work".Governor Andrew Cuomo assigned a special prosecutor to investigate the filing of possible criminal charges against Schneiderman. Appearances
<mask> has appeared as a guest on the Charlie Rose Show, as well as on the Late Show with David Letterman. She was also a guest on the Bill Moyers Journal show on PBS in 2008, and appeared as a guest on PBS Tavis Smiley show on August 7, 2008, to discuss her book The Dark Side, which had just made The New York Times Best Seller list. She appeared as a guest on Comedy Central's The Colbert Report on August 12, 2008. On January 26, 2009, <mask> was interviewed at the Yale Law School Law and Media lecture series by Linda Greenhouse, Distinguished Journalist in Residence, and Emily Bazelon, Truman Capote Fellow in Creative Writing. In October 2008, <mask> participated in a panel discussion of journalists at the Nieman Foundation for Journalism at Harvard University, devoted to the media's coverage of the Iraq War. That same month <mask> participated as a panelist in a discussion of the same subject at the Newseum in Washington, D.C.Although not a personal appearance by <mask>, the FOX show 24 had a minor character in its seventh season named <mask>. The character was named after <mask>, who wrote, ""Well, there's kind of a balancing sensation. The elevation to the U.S. Senate is a nice start to the year, but the sex change is a bit disappointing, since if I have to be male, I was hoping for a younger, more fit body, and a better head of hair. It does however fulfill one of my greatest fantasies, which is that I have long had subpoena envy." <mask> has appeared frequently on Free Speech TV's Democracy Now! program. On February 17, 2016, she was interviewed by American University journalism professor Charles Lewis, the founder of the Center for Public Integrity, at a public discussion of her career and Dark Money that was broadcast on C-Span.Awards and honors
<mask> was awarded the 2008 John Chancellor Award for Excellence in Journalism for her investigative report leading to her book The Dark Side. The Award, presented annually by the Columbia University Graduate School of Journalism, is given to reporters for "distinguished cumulative accomplishments." In presenting the award, Nicholas Lemann, dean of the journalism school and one of the nine members of the award committee, noted that <mask> and her fellow winner, Andrew C. Revkin (science reporter for The New York Times) "set the gold standard for journalists, and we have benefited tremendously from their dedication and hard work." She also has won the Ridenhour Book Prize and the New York Public Library's Helen Bernstein Book Award for Excellence in Journalism. <mask> was a finalist in the National Magazine Awards for 2007 for her nonfiction piece in The New Yorker entitled The Black Sites, which was subsequently collected in The Best American Magazine Writing 2008, published by Columbia University Press, and edited by Jacob Weisberg. In 2008, <mask> was awarded a Guggenheim Fellowship in connection with her work on her third book, The Dark Side. In 2009, <mask> was awarded the Hillman Prize, the Shorenstein Center's Goldsmith Book Prize for trade book of the year, and the J. Anthony Lukas Book Prize for The Dark Side.She received the Edward Weinthal Award from Georgetown University, in 2009, and the James Aronson Award for Social Justice Journalism in 2010. <mask> was awarded the George Polk Award for Magazine Reporting in 2011 for her investigative reporting on the relentless United States Department of Justice prosecution of NSA whistleblower Thomas Andrews Drake. <mask>'s article in The New Yorker told the story of how Drake faced up to 35 years in federal prison for communicating non-classified information about an NSA surveillance program known as "Trailblazer" to Baltimore Sun reporter Siobahn Gorman, who wrote a prize-winning article about it. Drake had been arrested after an investigation meant to identify the source for the Pulitzer Prize-winning 2005 New York Times report on warrantless wiretapping, Neither Drake nor any other NSA employee had actually been the story's source. After <mask>'s story was published, the prosecution dismissed all 10 felony charges against Drake. He pleaded guilty to one misdemeanor count of violating rules regarding the retention of classified materials. In 2012, <mask> received the Toner Prize for Excellence in Political Reporting for her coverage of North Carolina state politics.In 2020, <mask> was awarded the Mirror Award for the Best Single Article/Story for her New Yorker article on detailing relation between Fox News and the White house. Personal life
<mask> married William B. Hamilton, also a journalist, in 1992. Hamilton is the former national editor at The Washington Post and former Washington editor for The New York Times. Hamilton's father was a foreign correspondent and U.N. bureau chief for The New York Times and his grandfather was the editor and publisher of The Augusta (Georgia) Chronicle and a member of the Democratic National Committee. Their daughter Katherine Hamilton was the 2015 winner of the Truman Scholarship from Washington, D.C.

<mask> is a member of the American Academy of Arts and Sciences, the American Philosophical Society, and a steering board director of the Reporters Committee for the Freedom of the Press. Bibliography

See also
 New Yorkers in journalism

References

External links
 Official website
 <mask> at The New Yorker

1955 births
Living people
Journalists from New York City
American investigative journalists
American newspaper reporters and correspondents
American people of German-Jewish descent
American political writers
American women writers
People educated at Bedales School
Ethical Culture Fieldston School alumni
Yale University alumni
Alumni of the University of Oxford
The Washington Star people
Los Angeles Times people
The Wall Street Journal people
The Washington Post people
The New Yorker staff writers
Date of birth missing (living people)
American women journalists
Lehman family
Fellows of the American Academy of Arts and Sciences
Members of the American Philosophical Society

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Jane Meredith Mayer
Mayer
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William Mayer
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Jane Mayer
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Jane Mayer


title: Jack Davey (cricketer)

type: original

texts:
<mask> (born 4 September 1944) is a former English cricketer. <mask> was a left-handed batsman who bowled left-arm fast-medium. An opening bowler, <mask> had a successful career with Gloucestershire County Cricket Club which spanned from the 1966 season to the 1978 season. His name sometimes appeared in reports and on scorecards as J.J. <mask>, although this was not accurate: the second initial was a mischievous creation by his county captain Tony Brown and the writer Alan Gibson, whose campaign to embellish <mask>'s name even extended to the production of a commemorative tie, in <mask>'s testimonial season, with "J.J?" on it. Early life
Born in Tavistock, <mask> was the son of an auctioneer's clerk who played and administered club cricket for over 30 years, as well as playing for Devon. He was educated at Tavistock Grammar School, where when playing cricket for the school, as well as in his early club cricket days, <mask> wanted to be a slow left-arm bowler.It wasn't until when he was playing for his village club side, Milton Abbot, that the team found itself short of a seam bowler. <mask>, who at the time was 14, was given the new ball. He performed so well in his new role, that for the rest of his career he would become a seam bowler. Upon leaving school, he began an apprenticeship as a compositor for the Tavistock Gazette. After performing well in club cricket, he later made his debut in county cricket for Devon in the 1964 Minor Counties Championship against Cornwall. <mask> played Minor counties cricket for Devon on four more occasions in 1965. Gloucestershire
It was in 1965 that he came to Gloucestershire's attention, appearing for the county Second XI on a couple of occasions in that year.The following season, <mask> made his first-class debut for the county against Cambridge University, although he spent the majority of 1966 in the county Second XI. 1967 saw <mask> establish himself in the Gloucestershire team, making regular first-class appearances, as well as making his List A debut against Lancashire in the Gillette Cup. His first full season playing for Gloucestershire was a successful one, with his left-arm bowling taking 60 wickets at a bowling average of 27.65. He took his first five wicket haul, one of two that season, against Surrey when he took 5/40. However, it was in that season that he took his career best bowling figures, 6/95 against Nottinghamshire. Standing over 6 feet tall, <mask> was an opening bowler, often sharing the new ball with South Africa Test cricketer Mike Procter, who had joined Gloucestershire in the season before <mask>'s debut. With South Africa being banned from international cricket due to their governments apartheid policies, this ended Procter's international career, thus allowing him and <mask> to form a highly productive partnership over the next decade.Throughout the 1970s, <mask> played an important support role for Procter, taking over 40 wickets in 1971 and 1972, plus chipping in with 26 in 1973. <mask> was just as successful in the limited-overs arena. He was played in the famous semi-final of the 1971 Gillette Cup, which didn't end until five-to-nine, with <mask> bowling 11 overs for the cost of 22 runs. Despite this, Lancashire won the match and proceeded to the final. He considers this the bowling performance he is most proud of. <mask> made a notable performance in the semi-final of the 1972 Benson & Hedges Cup against Yorkshire, when he bowled 9 overs, conceding just 6 runs. 7 of his maiden overs came with Geoffrey Boycott at one end, a batsman though not known for his fast scoring rate.He won the 1973 Gillette Cup with Gloucestershire, playing through the majority of the tournament with painkilling injections in both his knees, a fact kept quiet among his contemporaries in cricket. The lumps of fat under both his kneecaps were removed in an operation, which caused <mask> to miss a large part of the 1974 season. He consistently averaged in the mid to low twenties with the ball in hand between over 20 wickets for 4 straight seasons from 1972 to 1974. Following his most successful first-class season in 1975, in which he took 64 wickets at an average of 26.26, which included his highest quantity of five wicket hauls, claiming 5 of them in 20 matches. However, after the 1976 season, in which his bowling performances dipped in both forms of the game when compared to preceding seasons, he played less often for Gloucestershire thereafter. With his time at the county coming to an end, <mask> had his benefit year in 1978, alongside teammate and close friend David Shepherd. He did though make 15 first-class appearances in his last season in 1978, taking 30 wickets at a respectable average of exactly 30.His final first-class match came against Yorkshire at North Marine Road Ground, Scarborough. This was his 175th first-class match for Gloucestershire. His career with Gloucestershire spanned 13 seasons, during which time he took 411 wickets at an average of 28.51, with <mask> taking a five wicket haul on 9 occasions, although he never took a ten wicket haul in a match. <mask> generally batted at number 11 in the Gloucestershire batting order, and was well known as a blocker. An example of his defensive nature came against Glamorgan on the last day of the 1973 season. <mask> came to the crease with Gloucestershire 210/9, still requiring 57 runs to win. <mask> scored 17 runs off 94 balls, supporting number 10 John Mortimore, who scored the majority of the runs in their partnership as Gloucestershire went on to win.He scored 918 runs during his first-class career, at a batting average of 7.77. He made a solitary half century, which came against Glamorgan in 1977, which was his only first-class appearance that season. His final season also saw him play 9 List A matches, the last coming against Lancashire in the 2nd round of the 1978 Gillette Cup. His List A career with the county spanned 12 season, during which time he took 170 wickets at an average of 26.21, with best figures of 4/11. Later life
With the end of his career with Gloucestershire, <mask> embarked on new pursuits. In an interview for the Wisden Cricketers' Almanack in 1975, he stated his desire to become a heavy goods vehicle driver on a full-time basis, having worked as one for the winters of 1973 and 1974 after acquiring his licence. In previous winters he had worked as a carpet salesman in Bristol, where he had made his home with his wife, Melora, who herself was originally from Princetown, Devon.The end of his professional cricketing career did not bring an end to his cricketing endeavours. He appeared for Devon in a single Minor Counties Championship match in 1981 against Cornwall, as well as making 2 List A appearances in the 1983 NatWest Trophy against Leicestershire and Warwickshire in the 1985 NatWest Trophy. He later ran the Court Farm pub in Abbotskerswell for many years. <mask> appeared in the 1997 documentary Grace & Favour: A Portrait of Gloucestershire County Cricket Club, alongside former teammates Zaheer Abbas and David Allen, and later Gloucestershire player Mark Alleyne. In 2009, he appeared in a short comedy film entitled Dow Jones, where he played the part of Dow Jones' girlfriend. When his lifelong friend and former teammate David Shepherd died, <mask> described him as being "like a brother". At the time of Shepherd's funeral, <mask> was semi-retired and living in Topsham, Devon.References

External links
<mask> at ESPNcricinfo
<mask> at CricketArchive

1944 births
Living people
People from Tavistock
English cricketers
Devon cricketers
Gloucestershire cricketers
English male film actors
Male actors from Devon

masks:
Jack Davey
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title: Hrishikesh Mukherjee

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<mask> (30 September 1922 – 27 August 2006) was an Indian film director, editor and writer regarded as one of the greatest filmmakers of Indian cinema, known for a number of films, including Anari, Satyakam, Chupke Chupke, Anupama, Anand, Abhimaan, Guddi, Gol Maal, Majhli Didi, Chaitali, Aashirwad, Bawarchi, Khubsoorat, Kissi Se Na Kehna, and Namak Haraam. Popularly known as Hrishi-da, he directed 42 films during his career spanning over four decades, and is named the pioneer of the 'middle cinema' of India. Renowned for his social films that reflected the changing middle-class ethos, <mask> "carved a middle path between the extravagance of mainstream cinema and the stark realism of art cinema". He also remained the chairman of the Central Board of Film Certification (CBFC) and of the National Film Development Corporation (NFDC). The Government of India honoured him with the Dada Saheb Phalke Award in 1999 and the Padma Vibhushan in 2001. He received the NTR National Award in 2001 and he also won eight Filmfare Awards. Early life and background
<mask> was born in the city of Calcutta in pre-independence India (now Kolkata) to a Bengali brahmin family.He studied science and graduated in chemistry from the University of Calcutta. He taught mathematics and science for some time. Career
<mask> chose to begin working, initially as a cameraman, and then film editor, in B. N. Sircar's New Theatres in Calcutta in the late 1940s, where he learned his skills from Subodh Mitter ('Kenchida'), a well known editor of his times. He then worked with Bimal Roy in Mumbai as film editor and assistant director from 1951, participating in the landmark Roy films Do Bigha Zamin and Devdas. His debut directorial venture, Musafir (1957), was not a success, but he persisted and received acclaim for his second film Anari in 1959. The film, crew and cast won five Filmfare Awards, with <mask> only losing the Best Director Award to his mentor, Bimal Roy. In the following years he made numerous films.Some of his most notable films include: Anuradha (1960), Chhaya (1961), Asli-Naqli (1962),  Anupama (1966), Aashirwad (1968), Satyakam (1969), Guddi (1971), Anand (1971), Bawarchi (1972), Abhimaan (1973), Namak Haraam (1973), Mili (1975), Chupke Chupke (1975), Alaap (1977), Gol Maal (1979), Khubsoorat (1980) and Bemisal (1982). He was the first to introduce Dharmendra in comedy roles, through Chupke Chupke, and gave Amitabh Bachchan his big break with Anand in 1970, along with Rajesh Khanna, he also introduced Jaya Bhaduri to Hindi cinema in his film Guddi. Having worked with his mentor, Bimal Roy as an editor, in films like Madhumati, he was much sought after as an editor as well. Later life
<mask> was honoured with the Dadasaheb Phalke Award by the Government of India, in 1999. <mask> was chairman of the Central Board of Film Certification and of the National Film Development Corporation. He was also awarded the Padma Vibhushan, the second highest civilian award for his contribution to Indian cinema by government of India in 2001 . The International Film Festival of India honoured him with a retrospective of his films in November 2005.He holds the distinction of working with almost all the top Indian stars since independence of India in 1947. His last film was Jhooth Bole Kauwa Kaate. Since his original hero Amol Palekar had grown old he had to cast Anil Kapoor. He has also directed TV serials like Talaash. Death
In later life, <mask> suffered from chronic kidney failure and would go to Lilavati Hospital for dialysis. He was admitted to Lilavati Hospital in Mumbai early on Tuesday, 6 June 2006 after he complained of uneasiness. <mask> died few weeks later on 27 August 2006.Personal life
<mask> was married and has three daughters and two sons. His wife died more than three decades before him. His younger brother Dwarkanath <mask> helped write the screenplay for many of his films. He was an animal lover and had many dogs and sometimes an odd cat at his residence in Bandra, Mumbai. He was staying with only his servants and pets in the last phase of his life. Family members and friends would visit him regularly. of India, 2006. . page 122.References

External links

 <mask> <mask> at AllMovie

Bengali people
Bengali Hindus
Bengali film directors
Film directors from Kolkata
University of Calcutta alumni
20th-century Indian film directors
Recipients of the Padma Vibhushan in arts
1922 births
2006 deaths
Deaths from kidney failure
Hindi-language film directors
Dadasaheb Phalke Award recipients
Kerala State Film Award winners
Recipients of the Padma Shri in arts
Producers who won the Best Feature Film National Film Award
Directors who won the Best Feature Film National Film Award

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Hrishikesh Mukherjee
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title: Nerlens Noel

texts:
<mask> (born April 10, 1994) is an American professional basketball player for the New York Knicks of the National Basketball Association (NBA). His collegiate basketball career ended in his first season with a tear of his anterior cruciate ligament (ACL) at the University of Kentucky. <mask> was drafted with the sixth overall pick in the 2013 NBA draft by the New Orleans Pelicans. His rights were later traded to the Philadelphia 76ers. He plays center and power forward, and was one of the top high school basketball players in the class of 2012. High school career

Born outside Boston in Malden, Massachusetts to Haitian immigrant parents, <mask> spent his first two years of high school at Everett High School. After his sophomore year, he transferred to Tilton School in Tilton, New Hampshire.<mask> was originally a part of the class of 2013, but reclassified to the 2012 college recruiting class. <mask> averaged 12.6 points, 7.2 rebounds and 3.9 blocks per game as a senior. He was rated as the #1 player in the class of 2012 by ESPN and Scout.com, and the #2 player by SLAM. <mask> was selected to play in the 2012 Nike Hoop Summit and the 2012 Jordan Brand Classic. In addition to his high school career, <mask> also played AAU basketball on the same team as future Sixers teammate Michael Carter-Williams. Shortly before his high school graduation, an article in The New York Times described <mask> as being hailed as one of the best shot blockers of his generation, although he was also described as having unrefined offensive skills. College career

After deliberating among several elite college basketball programs, <mask> decided in April 2012 that he would be going to the University of Kentucky to play NCAA Division I basketball.He made his verbal commitment by revealing the UK logo shaved in the back of his head on national television. Since <mask> was well known for his elite shot blocking abilities, fans and the media had high expectations for him to fill the shoes of Anthony Davis, who had just led the Kentucky Wildcats to a national championship in the previous season, was the 2011–2012 National Player of the Year in the NCAA, and set a Kentucky and NCAA freshman single-season block record with 186. In his third game on November 16, 2012, he accumulated 15 points, 7 rebounds, 4 assists, 1 block, and 4 steals against Lafayette. On January 12, 2013, although Kentucky lost the game against Texas A&M, <mask> recorded 15 points, 11 rebounds, 7 blocks, 6 assists, and 4 steals. On January 29, 2013, <mask> set the UK single-game record with 12 blocks in an 87–74 team victory over #16 Ole Miss. Five of the blocks happened while <mask> had four personal fouls, and two of them were denials on slam dunk attempts. The UK school record was previously nine blocks, set by Sam Bowie in 1981 and was then tied by Andre Riddick in 1993.Although he recorded only two points, Ole Miss coach Andy Kennedy said in the post-game press conference that "[<mask>] was the difference in the game" and that he is "an incredible defensive presence." Ole Miss senior forward Murphy Holloway added that he believes Nerlens <mask> is the "best shot blocker [he has] played against", including Anthony Davis. On February 12, 2013, in a game against the Florida Gators, <mask> tore the ACL in his left knee after blocking a Florida lay-up, forcing him to sit out the remainder of the season. Before his injury, it was projected that he would be the 1st overall pick in the 2013 NBA draft. Despite his injury, <mask> decided to declare for the 2013 draft on April 15, 2013. <mask> was honored with many awards, including SEC Freshman of the Year, SEC Defensive Player of the Year, SEC First Team, SEC All Freshman Team, and SEC Community Service Team. In addition to earning All-SEC first team honors by the league's coaches, <mask> earned first-team honors from the Associated Press, continuing a four-year streak of UK players earning first-team AP honors.The Wildcats'  center was joined by UNLV Runnin' Rebels' Anthony Bennett, UCLA Bruins's Shabazz Muhammad, Oklahoma State Cowboys's Marcus Smart and Kansas Jayhawks's Ben McLemore on the Freshman All-America team. He was the fifth Kentucky player under coach John Calipari to earn the honor from the USBWA, joining John Wall, DeMarcus Cousins, Anthony Davis, and Michael Kidd-Gilchrist. Professional career

NBA draft
<mask> entered the 2013 NBA draft after playing one season at the University of Kentucky and was projected to be one of the top picks, with many considering <mask> the favorite to be picked first in the draft. He was invited to sit in the "green room", a room of the projected top 10 to 15 collegiate basketball players during the draft and ended up being selected with the sixth overall pick by the New Orleans Pelicans. There were concerns around the league about his torn left ACL, which may have caused him to slide down the draft. Later that night, <mask>'s draft rights were traded along with a 2014 first round pick to the Philadelphia 76ers in exchange for guard Jrue Holiday and the draft rights to Pierre Jackson. Philadelphia 76ers (2013–2017)

Draft year injury and rookie season (2013–2015)
On July 12, 2013, the trade sending <mask> to the 76ers was finalized.On September 24, 2013, he signed with the 76ers. Although the 76ers' original plan was to have <mask> play during the 2013–14 season, <mask> missed the entire season as he recovered from knee surgery. In July 2014, <mask> joined the Philadelphia 76ers for the 2014 NBA Summer League. In game one of the 76ers' Orlando Summer League schedule, <mask> played his first minutes of professional basketball, scoring a game-high 19 points in the 76ers' 83–77 loss to the Orlando Magic. On October 29, 2014, <mask> made his long-awaited NBA debut in the 76ers' 103–91 loss to the Indiana Pacers. In just under 35 minutes of action as a starter, he recorded 6 points on 2-of-11 shooting, along with 10 rebounds and 3 blocks. Two days later, the 76ers exercised their third-year team option on <mask>'s rookie scale contract, extending the contract through the 2015–16 season.Later that day, he recorded 14 points, 10 rebounds, 3 blocks, 2 assists and 1 steal in a loss to Milwaukee Bucks. On January 30, he recorded 14 points, 6 rebounds, 4 steals, and a then-career-high 6 blocks in a 103–94 win over the Minnesota Timberwolves. Participating in the 2015 Rising Stars Challenge on February 13, <mask> recorded 4 points and 4 rebounds as Team USA were defeated by Team World, 121–112. On February 20, <mask> recorded 12 points, 9 rebounds, 4 steals, and a career-high 9 blocks in a loss to the Indiana Pacers. A week later against Washington, <mask> became just the third 76ers' rookie to record 100 blocks in a season. Injury and rotation issues (2015–2017)
On October 30, 2015, the 76ers exercised their fourth-year team option on <mask>'s rookie scale contract, extending the contract through the 2016–17 season. On December 30, he recorded a season-high 20 points and 9 rebounds in a 110–105 win over the Sacramento Kings.On February 11, he was ruled out of the 2016 Rising Stars Challenge due to tendinitis in his right knee. On October 22, 2016, <mask> was ruled out for three to five weeks due to an inflamed plica above his left knee that required surgery. After spending time with the Delaware 87ers of the NBA Development League on injury rehab assignments in late November and early December, <mask> made his season debut for the 76ers on December 11 against the Detroit Pistons, having missed the first 23 games. He scored eight points in 10 minutes off the bench before leaving the game in the second quarter with a left ankle sprain. Even before he returned to the team, <mask> was particularly vocal about the log-jam the 76ers had at the center position with him as well as Joel Embiid, Jahlil Okafor, and Richaun Holmes competing for time on the court. In his second game back from injury, <mask> posted just eight minutes against the Los Angeles Lakers, much to his frustration. <mask> expressed his dissatisfaction with his limited role in a post-game conference, lamenting "I'm not an eight-minute player.So I don't know what that's about. I don't really care [who he's paired with]. I need to be on the court playing basketball. I'm too good to be playing eight minutes right now—that's crazy... Need to figure this [stuff] out". Following a matchup against the Brooklyn Nets in which <mask> did not play, coach Brett Brown announced <mask> would not participate in the 76ers regular rotation for the foreseeable future while emphasizing the move was unrelated to <mask>'s recent disagreements with the team. Contrary to Brown's statement, <mask> returned two games later, and assumed a backup role behind Embiid as Okafor recovered from a right knee injury.On January 24, 2017, while making his first start of the season in place of the injured Joel Embiid, <mask> scored a season-high 19 points and had three blocked shots in a 121–110 win over the Los Angeles Clippers. Dallas Mavericks (2017–2018)
On February 23, 2017, <mask> was traded to the Dallas Mavericks in exchange for Justin Anderson, Andrew Bogut and a 2017 protected first-round pick. He made his debut for the Mavericks two days later, recording nine points and 10 rebounds off the bench in a 96–83 win over the New Orleans Pelicans. On March 3, 2017, in his first start for the Mavericks, <mask> tied a career high with 17 rebounds while scoring 15 points in a 104–100 win over the Memphis Grizzlies. On June 23, 2017, the Mavericks tendered a $4.1 million qualifying offer to make <mask> a restricted free agent. On August 26, 2017, he accepted the one-year, $4.1 million qualifying offer, officially re-signing with the Mavericks two days later. In the Mavericks' season opener on October 18, 2017, <mask> had 16 points, his most since joining Dallas, and 11 rebounds in a 117–111 loss to the Atlanta Hawks.On December 8, 2017, he underwent surgery to repair a torn ligament in his left thumb. He subsequently missed 42 games, returning to action on February 28, 2018 against the Oklahoma City Thunder, recording four points, three rebounds and four fouls in 16 minutes in a 111–110 overtime loss. On March 6, 2018, he had a season-high 14 rebounds in a 118–107 win over the Denver Nuggets. On April 3, 2018, he was suspended without pay for five games for violating the terms of the NBA/NBPA Anti-Drug Program. Oklahoma City Thunder (2018–2020)
On July 6, 2018, <mask> signed a two-year contract with the Oklahoma City Thunder. On October 28, 2018, he had 20 points and 15 rebounds in a 117–110 win over the Phoenix Suns. On December 31, he scored 15 points in 15 minutes in a 122–102 win over the Dallas Mavericks.On January 8 against the Minnesota Timberwolves, <mask> was taken off the court on a stretcher in the third quarter after taking an elbow in the face and hitting the floor hard. Due to concussion, he missed the next three games. New York Knicks (2020–present)
On November 25, 2020, <mask> signed a one-year contract with the New York Knicks. On August 11, 2021, the Knicks re-signed <mask> to a three-year, $32 million deal. He has two older brothers and one younger sister; both of <mask>'s older brothers played for Division I college football programs. His oldest brother, Jim, played for Boston College, while Rodman played for North Carolina State. References

External links

 Kentucky Wildcats bio

1994 births
Living people
African-American basketball players
American men's basketball players
American sportspeople of Haitian descent
Basketball players from Massachusetts
Centers (basketball)
Dallas Mavericks players
Kentucky Wildcats men's basketball players
New Orleans Pelicans draft picks
New York Knicks players
Oklahoma City Thunder players
Parade High School All-Americans (boys' basketball)
Philadelphia 76ers players
Power forwards (basketball)
Sportspeople from Everett, Massachusetts
Sportspeople from Malden, Massachusetts
21st-century African-American sportspeople

masks:
Nerlens Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
Noel
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title: James Dillon (composer)

texts:
<mask> (born 29 October 1950) is a Scottish composer who is often regarded as belonging to the New Complexity school. <mask> studied art and design, linguistics, piano, acoustics, Indian rhythm, mathematics and computer music, but is self-taught in composition. <mask> was born in Glasgow, Scotland. Honours include first prize in the Huddersfield Contemporary Music Festival in 1978, the Kranichsteiner music prize at Darmstadt in 1982, and five Royal Philharmonic Society composition awards, most recently for his chamber piece Tanz/Haus: triptych 2017. <mask> taught at Darmstadt from 1982 to 1992, and has been a guest lecturer and composer at various institutions around the world. He taught at the University of Minnesota School of Music in Minneapolis, Minnesota from 2007 to 2014. Selected works
His major works include choral and vocal music, including the cycle L'évolution du vol (1993) and the opera Philomela (2004), the orchestral works helle Nacht (1987), ignis noster (1992), Via Sacra (2000), and La navette (2001), as well as a violin concerto for Thomas Zehetmair (2000) and the piano concerto Andromeda (2006) for his partner, Noriko Kawai, all showing an ease of writing for large forces.From 1982–2000, <mask> worked on the Nine Rivers cycle, a 3-hour work for voices, strings, percussion, live electronics and computer-generated tape. The epic work was first performed in full in Glasgow, November 2010. Andrew Clements of The Guardian awarded it a full five stars, describing the last movement (“Oceanos”) as having a “Wagnerian grandeur” and stating, “The cumulative power of [Nine Rivers] is massive, the range of musical experience vast.”

His considerable body of chamber music, often written expressly for a performer's individual abilities, includes solos for clarinet, drumkit, cello, flute, piccolo, guitar, violin, viola, and accordion, alongside eight string quartets (1983, 1991, 1998, 2004, 2008, 2010, 2013, 2017), the five-part Book of Elements for piano (1997–2002) and the soadie waste for piano and string quartet (2002/3). In 2013, Tom Service referred to the Book of Elements as “the most significant contribution to the pianist's repertoire since György Ligeti's Études.” His fourth string quartet received the 2005 Royal Philharmonic Society Music Award for Chamber-Scale Composition. He won the same award in 1997 (for Traumwerk, Book 1), 2002 (for The Book of Elements 5), and 2017 (for Tanz/Haus: triptych 2017). His music has been published by Edition Peters since 1982. 2, 1991

Siorram, viola, 1992

Lumen naturæ, violin, viola, cello, 1992

Vernal Showers, violin, ensemble (flute [+ piccolo, alto flute], oboe, harp, guitar, mandolin, viola, cello, double bass, harpsichord, percussion), 1992

l'ascension, 2 percussion, 1993 (section of L'Évolution du vol; may be performed separately)

le vent, l'arbre et le temps, double bass, 1993 (section of L'Évolution du vol; may be performed separately)

Redemption, clarinet, violin, piano, 1995

Traumwerk, Book 1, 2 violins, 1995–96

Todesengel, clarinet, vibraphone, 1996

String Quartet No.3, 1998

Eos, cello, 1999

La Coupure – Nine Rivers 5, percussion, live electronics, film, 1989–2000

Two Studies, accordion, 2001

Traumwerk, Book 2, violin, harpsichord, 2001

Traumwerk, Book 3, violin, piano, 2001–02

The Soadie Waste, piano, string quartet, 2002–03

The Magic Stick, piano, percussion, 2005

String Quartet No. 4, 2005

The Hesperides, cello, piano, 2007

Theatrum: figuræ, oboe (+ English horn), clarinet (+ contrabass clarinet), bass clarinet, trumpet, trombone, 2 percussion, 2007

String Quartet No. 5, 2003–08

The Leuven Triptych, flute, oboe, clarinet, bassoon, trombone, harp, guitar, cello, double bass, piano (+ synthesizer), percussion, live electronics, 2008–09

String Quartet No. 6, 2010

Oslo/Triptych, flute (+ piccolo, bass flute, shortwave radio), clarinet (+ E-flat clarinet, bass clarinet, contrabass clarinet, shortwave radio), 2 violins, viola, cello, piano (+ harmonium/synthesizer), percussion (+ shortwave radio, voice transformer), 2011

New York Triptych, flute (+ piccolo, alto flute, bass flute), oboe (+ English horn), clarinet (+ E-flat clarinet, bass clarinet), violin, viola, cello, piano (+ electronic keyboard), percussion, shortwave radio, fixed media, 2011–12

String Quartet No. 7, 2013

Tanz/Haus: triptych 2017, flute, clarinet, electric guitar, violin, cello, double bass, piano, accordion, percussion, 2017

String Quartet No. 8, 2017

String Quartet No. 2001."<mask>, <mask>". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. External links
 Entry at The Living Composers Project

 Art of the States: the soadie waste world premiere performance of <mask> work

1950 births
Living people
20th-century classical composers
20th-century British composers
20th-century British male musicians
20th-century Scottish musicians
21st-century classical composers
21st-century British composers
21st-century British male musicians
British classical composers
British male classical composers
Scottish classical composers

masks:
James Dillon
Dillon
Dillon
Dillon
Dillon
Dillon
James
Dillon


title: Keri Rosebraugh

texts:
<mask> is an American artist and art administrator. Her artworks often deal with ecological themes and focus on human being’s relationship with nature. Art education and career
<mask> is an American artist who lives and works in Marnay Sur Seine, France and Los Angeles, California. Her artworks often deal with ecological themes and focus on human being’s relationship with nature. <mask> was born to Fred and <mask> in Portland, Oregon. She grew up in Tigard, Oregon where she attended Tigard High School. In 2018 she was inducted into Tigard High School’s Distinguished Alumni, an award bestowed to a former student who has made significant contributions to the greater good of the community, country, or state.In 1986 she began studying at Art Center College of Design, in Pasadena. She graduated with honors and a BFA, Art Center College of Design, Pasadena, CA in illustration in 1989. From 1989 through 2013 <mask>’s illustration clients included The New York Times Book Review, the Los Angeles Times, The Peterson Automotive Museum, the San Francisco Chronicle, Harcourt Brace, The Biography Channel, The History Channel, Disney Consumer Products, DreamWorks SKG, Rosetta Getty, the Toronto Star, and the Miami New Times. <mask>'s associations with environmentally conscious groups include Grist, Mother Earth News and Earth Island Journal, with all of whom she was an active participant and contributor. In September 2011, she collaborated with Peter Schulberg and Barefoot Wines to create a large-scale mural composed entirely of trash to promote "One Beach", a film series highlighting the innovative creations of artists who support clean and sustainable beaches. The mural went on display in Venice, California. In 2013, <mask> was awarded first place in the San Diego Museum of Art Artist Guild’s juried exhibition titled, “Contemporary Expression - The Creative Spirit.”

In 2014 <mask> moved to Florence, Italy and attended Studio Arts Centers International, where she received an MFA, Studio Art Centers International, Florence, Italy in Studio Arts.In 2015 she collaborated with french artist Philippe Nodluaner to create a large scale installation showing support and solidarity for Paris after the terrorist attacks on November 13, 2015. The form was created using 200 baguettes in the shape of an Ankh on the banks of the River Seine in Paris. In 2016, a giclee of the installation became part of the permanent collection of the Museo d’Arte Contemporania di Florina, in Greece. <mask>’s artwork was included into three month long group exhibitions titled Gaia I, Gaia II, and Gaia III in Paris, France in conjunction with the International Summit on Climate Change: City Hall (2nd arrondissement), Maison Bleue, and Galerie Amarrage. Her artwork was also shown in Artclash 2016 at the Sala d’Arme in Palazzo Vecchio in Florence, Italy and Plantarium at Casa de Carraresi in Treviso, Italy. In October 2016, <mask>’s artwork was included into the Natural History Museum/State Darwin Museum in Moscow, Russia for an exhibition on ecology titled Now & After. In 2017 her work was part of a group show titled After Hours at the Main Museum in Los Angeles and in 2018 at Yonsei University in Seoul, Korea as part of the GAMMA Young Artist’s Exhibition.<mask> is currently working on a 12 foot sculptural commission mixing indigenous wood from the Oregon coast and copper metal to form a large scale shape similar to a tree and antler. This will be installed in early 2020 at the Sweetshop in Gearhart, Oregon. <mask> has had three solo exhibitions: Nature And Man at the Cartavetra Galleria in Florence, Italy (2016), Nature And Man at the Nuetra institute Gallery and Museum in Los Angeles, California (2016) and God’s Logos at the Co-op Gallery in Los Angeles, California. (2011) Her next solo exhibition will take place in Gearhart, Oregon at the Sweetshop, in conjunction with the Clatsop County Arts Summit 2019. Art administration
<mask> <mask> served as the President of the Society of Illustrators of Los Angeles for two years and is a member of the Board of Directors for the Eco-Logical Art Gallery of Los Angeles, a non-profit eco-focused art gallery. In 2008 and 2009, she participated in the gallery's "Drive-By" public art exhibitions which converted billboards across Los Angeles and San Francisco – replacing advertisement spaces with original artwork – under the direction of gallery owner Peter Schulberg. From 2012-2014 she managed the adult arts program for the Cultural Affairs Department of Los Angeles at Barnsdall Art Park.Rosebraugh taught drawing and painting at Barnsdall Art Park from 1997 - 2014. She was a teacher and the assistant to artistic director Carole Robb for the
Rome Art Program in 2016 in Rome Italy. Rosebraugh taught illustration classes at the Pacific Northwest College of Art in Portland, Oregon from 1992-1994. In the summer of 2019 <mask> collaborated with Mathilde Rousseau Domec to create L’Expressoir, an artist residency program in Marnay Sur Seine, France which focuses on bringing people together to emphasize the importance of meaningful and multi-layered cultural exchanges through music and art. She currently serves as the director of L’Expressoir. <mask> also serves as a Board Member of Responsible Education and Media, a Los Angeles-based non-profit organization with a stated goal of "raising public awareness and consciousness of social and political issues concerning the global community" by exploiting the fields of art and entertainment. Articles, Press
Articles, Press Solidarity Art in Paris - Strength in Baguettes, The Florentine newspaper, 2015 Campus Italia - editione 2015 seconda serie, RAI television interview, RAI World, 2015 First Place Award of Excellence - Artist Profile, San Diego Museum of Art Artist's Guild, 2013 Beautiful Sign Is Made From Garbage, Mother Nature Network, 2013 G Word television episode on billboard artists re Eco-LA Gallery, Discovery's Planet Green, 2012 Time Lapse YouTube video of One Beach Mural, Barefoot Wines, 2012 <mask> <mask>'s Eco-Art Tackles Themes of Destruction, Reuse, Mother Nature Network, 2011 21st Century Gargoyles Drawn on Found Paper, Treehugger 2011

Selected exhibitions
2013 Eco Art (Group show): Malibu Lumber Yard Gallery, Malibu, CA.2011 Gods' Logos (Solo Show): Co-op 28 Gallery, Los Angeles, CA. 2011 Navigating LA (Group show): The Studio for Southern California History, Los Angeles, CA. 2010 SHFT Pop up Exhibition (Group show): The Continental, Los Angeles, CA. 2009 Satsuma 7 (Group show): Satsuma Gallery, North Hollywood, CA. 2009 Wisdom Within Us (Group show): Create: Fixate @ Premiere Events Center, Los Angeles, CA. 2008 Recycled Billboard Exhibition (Group show): Eco-logical Art Gallery, Los Angeles, CA. 2007 Cannibal Flower Exhibition (Group show): Los Angeles, CA.2006 Everything But The Kitchen Sync (Group show): La Luz De Jesus Gallery, Hollywood, CA. 2005 Society of Illustrator's Member Exhibition (Group show): New York, NY. 2004 Junior Arts Center Gallery (Group show): Barnsdall Park, Los Angeles, CA. 1999 Arroyo Arts Collective Jail Exhibition (Group show): Los Angeles, CA. See also
 Environmental art
 Environmental movement
 Greenmuseum.org
 Sustainable art

References

External links

Living people
Artists from Portland, Oregon
Year of birth missing (living people)
Artists from Los Angeles
Art Center College of Design alumni

masks:
Keri Rosebraugh
Keri Rosebraugh
Rosebraugh
Marilyn Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Rosebraugh
Keri
Rosebraugh
Rosebraugh
Rosebraugh
Keri
Rosebraugh


title: Lois Weber

texts:
<mask> (June 13, 1879 – November 13, 1939) was an American silent film actress, screenwriter, producer and director. She is identified in some historical references as "the most important female director the American film industry has known", and among "the most important and prolific film directors in the era of silent films". Film historian Anthony Slide has also asserted, "Along with D.W.Griffith, <mask> was the American cinema's first genuine auteur, a filmmaker involved in all aspects of production and one who utilized the motion picture to put across her own ideas and philosophies". <mask> produced a body of work which has been compared to Griffith's in both quantity and quality and brought to the screen her concerns for humanity and social justice in an estimated 200 to 400 films, of which as few as twenty have been preserved. She has been credited by IMDb with directing 135 films, writing 114, and acting in 100. <mask> was "one of the first directors to come to the attention of the censors in Hollywood's early years". <mask> has been credited with pioneering the use of the split screen technique to show simultaneous action in her 1913 film Suspense.In collaboration with her first husband, Phillips Smalley, in 1913 <mask> was "one of the first directors to experiment with sound", making the first sound films in the United States. She was also the first American woman to direct a full-length feature film when she and Smalley directed The Merchant of Venice in 1914, and in 1917 the first American woman director to own her own film studio. During the war years, <mask> "achieved tremendous success by combining a canny commercial sense with a rare vision of cinema as a moral tool". At her zenith, "few men, before or since, have retained such absolute control over the films they have directedand certainly no women directors have achieved the all-embracing, powerful status once held by <mask>". By 1920, <mask> was considered the "premier woman director of the screen and author and producer of the biggest money making features in the history of the film business". Among <mask>'s notable films are: the controversial Hypocrites, which featured the first full-frontal female nude scene, in 1915; the 1916 film Where Are My Children?, which discussed abortion and birth control and was added to the National Film Registry in 1993; her adaptation of Edgar Rice Burrough's Tarzan of the Apes novel for the very first Tarzan of the Apes film, in 1918; The Blot (1921) is also generally considered one of her finest works. <mask> is credited with discovering, mentoring, or making stars of several women actors, including Mary MacLaren, Mildred Harris, Claire Windsor, Esther Ralston, Billie Dove, Ella Hall, Cleo Ridgely, and Anita Stewart, and with discovering and inspiring screenwriter Frances Marion.For her contribution to the motion picture industry, <mask> was awarded a star on the Hollywood Walk of Fame on February 8, 1960. Early life
<mask> <mask> was born on June 13, 1879, in Allegheny City, Pennsylvania, the second of three children of Mary Matilda Snaman  and <mask>, an upholster and decorator who had spent several years in missionary street work. She was the younger sister of Elizabeth Snaman <mask> and older sister of <mask> Howland, who later appeared in two of <mask>'s films in 1916 and married assistant director Louis A. Howland. The <mask>s were a devout middle class Christian family of Pennsylvania German ancestry. <mask> was considered a child prodigy and an excellent pianist. As a girl, music was her passion, and her most treasured possession was a baby grand piano. <mask> left home and lived in poverty while working as a street-corner evangelist and social activist for two years with the evangelical Church Army Workers, an organization similar to the Salvation Army, preaching and singing hymns on street corners and singing and playing the organ in rescue missions in red-light districts in Pittsburgh and New York, until the Church Army Workers disbanded in 1900.In June 1900, <mask> was almost 21 and living with her parents and two sisters at 1717 Fremont Street, Allegheny, Pennsylvania, where she was a music student. By April 1903, <mask> was performing as a soprano singer and pianist. She toured the United States as a concert pianist until her final performance in Charleston, South Carolina, a year later. After a piano key broke during a recital, <mask> retired from the concert stage, having lost her nerve to play in public. Theater career
Frustrated by the futility of one-on-one conversions, and following the advice of an uncle in Chicago, <mask> decided to take up acting about 1904, and moved to New York City, where she took some singing lessons. <mask> later explained her motivation: "As I was convinced the theatrical profession needed a missionary, he suggested that the best way to reach them was to become one of them so I went on the stage filled with a great desire to convert my fellowman". For five years <mask> was a repertory and stock actress.After short stint as a soubrette in the farce comedy "Zig-Zag" for a Chicago-based touring company, <mask> resigned as it "proved too superficial for her altruistic aims". In 1904, <mask> joined the road company of "Why Girls Leave Home", where she became "a musical comedy prima donna and melodrama heroine". <mask> received "promising reviews" for her performance; for example, The Boston Globe wrote in September 1904 that she "sang two very pretty songs very effectively and won considerable applause". The troupe's leading man and manager was Wendell Phillips Smalley (1865–1939), a grandson of Oliver Wendell Holmes, and the elder son of New York Tribune war and foreign correspondent George Washburn Smalley (1833-1916) and Phoebe Garnaut Phillips (1841-1923), the adopted daughter of abolitionist Wendell Phillips. Smalley, who had attended Balliol College, Oxford and was a graduate of Harvard University, had been a lawyer in New York for seven years, and as a stage actor made his professional stage debut in August 1901 in Manhattan. He appeared in productions of Harrison Grey Fiske, Minnie Maddern Fiske, and Raymond Hitchcock. After a brief acquaintance, just before her 25th birthday, <mask> and Smalley, aged 38, married on April 29, 1904 in Chicago, Illinois.After initially touring separately from her husband, and then accompanying him on his tours, about 1906 <mask> left her career in the theater and became a homemaker in New York. During this period <mask> wrote freelance moving picture scenarios. Film career
In 1908, <mask> was hired by American Gaumont Chronophones, which produced phonoscènes, initially as a singer of songs recorded for the chronophone. Both Herbert Blaché and his wife, Alice Guy, later claimed to have given <mask> her start in the movie industry. At the end of the 1908 theatrical season, Smalley joined <mask> at Gaumont. Soon <mask> was writing scripts, and in 1908 <mask> began directing English language phonoscènes at the Gaumont Studio in Flushing, New York. In 1915 <mask> directed and starred in a film she had written called Hypocrites.In 1910, <mask> and Smalley decided to pursue a career in the infant motion picture industry. For the next five years, they worked and were credited as The Smalleys (but typically <mask> received sole writing credit) on dozens of shorts and features for small production companies like Gaumont, the New York Motion Picture Co., Reliance Studio, the Rex Motion Picture Company, and Bosworth, where <mask> wrote scenarios and subtitles, acted, directed, designed sets and costumes, edited films, and even developed negatives. <mask> took two years off her birth date when she signed her first movie contract. <mask> and Smalley had a daughter, Phoebe (named after Smalley's mother), who was born on October 29, 1910, but died in infancy. Rex Motion Picture Company
By 1911, <mask> and Smalley were working for William Swanson's Rex Motion Picture Company, based at 573–579 11th Avenue, New York City. While at Rex, <mask> gained her reputation as "a serious social uplifter and as the leading partner in the Weber-Smalley unit." In 1911, <mask> acted in and directed her first silent short film, A Heroine of '76, sharing the directorial duties with Smalley and Edwin S. Porter.At the time of Rex's merger with five other studios to form the Universal Film Manufacturing Company on April 30, 1912, <mask> and Smalley were the "prima facie heads of Rex", and had relocated to Los Angeles. Rex continued as a subsidiary of Universal, with <mask> and Smalley running it, making one two-reel film each week, until they left Rex in September 1912. Carl Laemmle startled the film industry with his use of and advocacy for women directors and producers, including <mask>, Ida May Park and Cleo Madison. In the autumn of 1913, shortly after the incorporation of Universal City, <mask> was elected its first mayor in a close contest that required a recount, and Laura Oakley as police chief. At the time, Universal's publicity department claimed Universal City was "the only municipality in the world that possesses an entire outfit of women officials". In March 1913, <mask> starred in the first English language version of Oscar Wilde's The Picture of Dorian Gray, which was produced for the New York Motion Picture Co., directed by Smalley from an adaptation by <mask>, and featuring Wallace Reid as Dorian Gray. In 1913, <mask> and Smalley collaborated in directing a ten-minute thriller, Suspense, based on the play Au Telephone by André de Lorde, which had been filmed in 1908 as Heard over the 'Phone by Edwin S. Porter.Adapted by <mask>, it used multiple images and mirror shots to tell of a woman (<mask>) threatened by a burglar (Sam Kaufman). <mask> is credited with pioneering the use of the split screen technique to show simultaneous action in this film, but the "oft-mentioned triptych shots had already been used in the Danish "The White Slave Trade" films (Den hvide slavehandel) (1910), and for telephone conversations." According to Tom Gunning, "No film made before WWI shows a stronger command of film style than Suspense [which] outdoes even Griffith for emotionally involved filmmaking". Suspense was released on July 6, 1913. In late 1913, <mask> and Smalley made The Jew's Christmas, a three-reel silent film that dramatizes the conflict between traditional Jewish values and American customs and values, illustrating the challenges of cultural assimilation, especially the generational conflict over interfaith marriage and the second generation's abandonment of the faith and customs of their ancestors. In "the earliest portrayal of a rabbi in an American film", The Jew's Christmas told the story of an orthodox rabbi (Smalley) who ostracizes his daughter (<mask>) for marrying a gentile, but is reconciled twelve years later on Christmas Eve when he meets an impoverished small child, who turns out to be his granddaughter. Endeavoring to combat racial discrimination and antisemitism, the film aims to show that love is stronger than any religious ties, and that "the tie of blood overbears the pride and prejudice of religion".In its assertion of "Melting-pot idealism" by its approval of intermarriage between people of different religions, the film was considered controversial at the time of its release on December 18, 1913. In 1914, a year in which she directed 27 movies, <mask> became "one of the first directors to come to the attention of the censors". That year, <mask> co-directed an adaptation of Shakespeare's The Merchant of Venice with Smalley, who also played Shylock. making her the first American woman to direct a feature-length film in the United States, and the first person who "directed the first feature-length Shakespearean comedy". In February 1914, Universal released the four-reel Rex silent film which was also adapted by <mask> and Smalley, and was also produced, directed, and starred <mask> as Portia, and Smalley as Shylock. The film featured Douglas Gerrard, Rupert Julian, and Jeanie MacPherson, who would play a major role in cinema as Cecil B. DeMille's favorite screenwriter. A "prominent rabbi in Chicago strongly objected on the grounds that the play 'more than any other book, more than any other influence in the history of the world, is responsible for the world-wide prejudice against the Jews'", but the film was praised at the time as "a supreme adaptation of Shakespeare".Robert Hamilton Ball considered the film "careful, respectful, dignified, but lacking in passion and poetry", which he attributes to the difficulty it had satisfying the censor, and because the film was a special release rather than a release on the regular programme, exhibitors had to pay extra for it, which may have contributed to its swift demise. The Merchant of Venice is now considered a lost film. One film that illustrates the paradoxical nature of <mask>'s role and films was her 1914 film The Spider and Her Web, where she advocates both modesty and maternalism. In this film, <mask> plays "The Spider", a vamp living the "ultra-modern high life" who seduces and ruins intellectual men until frightened into adopting an orphan baby, which results in the salvation of the lead character through motherhood. Bosworth
As Universal was reluctant to make feature-length films, in the summer of 1914 <mask> was persuaded to move to the Bosworth company by Julia Crawford Ivers, the first woman general manager of a film studio, to take over the production duties from Hobart Bosworth on a $50,000 a year contract, making her "the best known, most respected and highest-paid" of the dozen or so women directors in Hollywood at that time. In 1914, Bertha Smith estimated <mask>'s audience at five to six million a week. In fact, by 1915 <mask> was as famous as D.W. Griffith and Cecil B. de Mille.While at Bosworth, <mask> and Smalley made six features and one short, The Traitor. "Energized by evangelistic zeal and social conscience", from early in her career <mask> saw movies as "a vehicle for evangelism", and "an opportunity to preach to the masses", and to encourage her audience to be involved in progressive causes. In a 1914 interview <mask> declared: "In moving pictures I have found my life's work. I find at once an outlet for my emotions and my ideals. I can preach to my heart's content, and with the opportunity to write the play, act the leading role, and direct the entire production, if my message fails to reach someone, I can blame only myself." As many of <mask>'s films focused on a moral topic, she "was often mistaken as a Christian fundamentalist, but she was more of a libertarian, opposing censorship and the death penalty and championing birth control. The need for a strong, loving and nurturing home was clearly promoted as well and if there was a single maxim that underlay each film it was that selfishness and egocentricity erode the individual and community".Although not a practicing Christian Scientist, <mask> attended the Christian Science church regularly, according to Adela Rogers St. Johns, and, in at least two of her films, Jewel (1915) and its remake, A Chapter in Her Life (1923), Christian Science plays a prominent role. <mask>'s impeccable reputation and "impressive middle-class credentials" allowed her considerable artistic freedom in her presentation of controversial issues. In 1914, <mask> made her first major feature, a controversial version of Hypocrites, a four-reel allegorical drama shot at Universal City which she wrote, directed and produced, addressing social themes and moral lessons considered daring for the time. Hypocrites included the first film full-frontal female nudity, inspired by Jules Joseph Lefebvre's 1870 allegorical painting La Vérité, with truth portrayed in the ghostly figure of the Naked Truth, literally shown by an unidentified nude woman (Margaret Edwards). Margaret Sinclair Edwards (born 1877, New York City – died January 14, 1929, New York City), known on the stage as "Daisy Sinclair", appeared with the theatrical companies of Edward Harrigan, Eddie Foy, and Gus Edwards, among others. Her husband, John Edwards, an invalid, died the same year she did (1929). She appeared as Marguerite Edwards in A Physical Culture Romance in 1914, and in <mask>'s Sunshine Molly in 1915.Although the nudity was tastefully done (it was passed by the National Board of Review of Motion Pictures after a two-month delay), it was still banned in Ohio; caused riots in New York; and James Michael Curley, the mayor of Boston, demanded that every frame displaying the naked figure of Truth be hand-painted to clothe the then unidentified actress. Hypocrites was released finally by Bosworth on January 15, 1915, and premiered at Manhattan's prestigious Longacre Theatre, and was "celebrated as a cultural, artistic, and moral landmark for the film industry", and "praised for its use of multiple exposures and complex film editing". While its negative cost was $18,000, it earned $119,000 in sales in the United States alone and made <mask> "a household name". In a 1917 interview, <mask> denied the film was indecent and defended the film: "Hypocrites is not a slap at any church or creed – it is a slap at hypocrites, and its effectiveness is shown by the outcry amongst those it hits hardest, to have the film stopped". Universal

In April 1915, <mask> and Smalley left Bosworth when the founder left the company due to ill health. After being promised they could make feature-length films by Carl Laemmle, they returned to Universal Pictures. <mask>'s first movie for Universal was Scandal, in which both <mask> and Smalley starred, that featured the consequences of gossip mongering.In 1916, <mask> directed 10 feature-length films for

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title: Lois Weber

texts:
 release by Universal, nine of which she also wrote, and she also became Universal Studios' highest-paid director, earning $5,000 a week. She "enjoyed complete freedom in overseeing most stages of the film-making process – choice of stories and actors, writing of scripts (which she invariably did herself), as well as direction". Universal head Carl Laemmle, "who was known more for his frugality and cunning business sense than philanthropy", said of <mask>: "I would trust <mask> with any sum of money that she needed to make any picture that she wanted to make. I would be sure that she would bring it back." In 1916, <mask> explained her philosophy of directing films: "I'll never be convinced that the general public does not want serious entertainment rather than frivolous", and "A real director should be absolute. He (or she in this case) alone knows the effects he wants to produce, and he alone should have authority in the arrangement, cutting, titling or anything else that may seem necessary to do to the finished product. What other artist has his work interfered with by someone else?...We ought to realize that the work of a picture director, worthy of a name, is creative". Bluebird Photoplays

In February 1916, <mask> and Smalley were transferred to Universal's Bluebird Photoplays brand, where they made a dozen features, including The Dumb Girl of Portici (also known as Pavlowa), adapted by <mask> from Daniel Auber's 1828 opera La muette de Portici, Russian ballerina Anna Pavlova's only screen appearance, which was directed to Pavlova's satisfaction by <mask>. The film also starred Rupert Julian as Masaniello. Released to popular acclaim, it premiered on April 3, 1916 at the Globe Theatre in Manhattan. Hoping to "become the editorial page of the studio", and to "provoke a middle-class sense of responsibility for those less fortunate than themselves, and to stimulate moral reforms", <mask> specialized in making films that stressed both high quality and moral rectitude, including films of the "burning social and moral issues of the day", among them such controversial themes as abortion, eugenics, and birth control in Where Are My Children? (1916), influenced by the trial of Charles Stielow, an innocent man who was almost executed, opposition to capital punishment based on circumstantial evidence in  The People vs. John Doe; and alcoholism and opium addiction in Hop, the Devil's Brew, which were all successful at the box office, but, while embraced by reformers in the film industry, "drew the ire of the conservatives". Despite the predominance of strong women in her films, in 1916 <mask> disassociated herself from the women's suffrage movement.In Where Are My Children? (working title: The Illborn), which was released on April 16, 1916, <mask> advocates social purity, birth control, and eugenics to prevent the "deterioration of the race" and the "proliferation of the lower classes", and makes "an indirect case for birth control or perhaps even for legalized, and safe, abortions". The film starred Tyrone Power, Sr. and his then-wife Helen Riaume; future star Mary MacLaren made her debut. It also makes use of several trick photography scenes, with an emphasis on multiple exposures to convey information or emotions visually. As a recurring motif, every time a character becomes pregnant, a child's face is double exposed over their shoulder. In March 1916, the National Board of Review expressed disapproval of the film for showings to mixed audiences, but later approved it for adult showings. It was banned in Pennsylvania on the grounds that it "tended to debase or corrupt morals", but Universal won a case in Brooklyn, New York in 1916 to show the film after the district attorney filed suit against the theater manager and the Universal exchange president.Controversy, the threat of censorship, and the banning of Where Are My Children? in some locations helped fuel the box office success of the film, estimated to have grossed in excess of $3 million, in an era where ticket prices were less than 50c each, and "rocketed <mask>'s name to larger audiences, bigger box-office returns, and an even higher annual income". The film spread <mask>'s fame internationally. For example, Kevin Brownlow indicates that this film attracted 30,000 in Preston, Lancashire, 40,000 in Bradford, Yorkshire, and 100,000 in two weeks in Sydney. In 2000, the Library of Congress Motion Picture Conservation Center copyrighted a preservation print reconstructed from several incomplete prints. Shoes, a "sociological" film released in June 1916 that <mask> directed for the Bluebird Photoplays, was based on Stella Wynne Herron's short story of the same name, which had been published in Collier's magazine earlier that year. Herron took inspiration from noted social reformer Jane Addams's 1912 book A New Conscience and an Ancient Evil.The nonfiction book depicts the struggles of working-class women for consumer goods and upward mobility and their dubious sexual activities, including prostitution. Starring Mary Maclaren as Eva Meyer, a poverty-stricken shopgirl who supports her family of five, who needs to replace her only pair of shoes, and is so desperate that she sells her virginity for a new pair, it proved to be the most booked Bluebird production of 1916. A version restored digitally from three extant fragments by EYE Film Institute Netherlands, made its debut in North America in July 2011. A scene from the restored "Shoes" showing architect John B. Parkinson's 1910 design for Pershing Square in Downtown Los Angeles has been used by the grassroots Pershing Square Restoration Society in promoting their campaign to restore the historic park. After another significant censorship battle, and a vigorous publicity campaign by Universal, on May 13, 1917, Universal released The Hand That Rocks the Cradle, "one of the most forceful films ever made in support of legalizing birth control", a follow-up to the previous year's top money-maker for Universal, Where Are My Children? Directed by <mask> and Smalley based on their original script, it starred Smalley and <mask>, in her last screen appearance, as a doctor's wife arrested and imprisoned for illegally disseminating family planning information. Influenced by the recent trial and imprisonment of pioneer birth control advocate Margaret Sanger, the film drew explicitly on her headline-generating activism.The film was released only weeks after Sanger's own film, Birth Control, was banned under a 1915 ruling of the United States Supreme Court that films "did not constitute free speech", and the ruling of the New York Court of Appeals that a film on family planning may be censored "in the interest of morality, decency, and public safety and welfare". Sensitive to the opinions of local communities, and hoping to avoid powerful censorship boards in the northeast and midwest, The Hand That Rocks the Cradle was distributed primarily in the southern and western regions of the United States, with the result that it did not attain the record-breaking attendance set by Where Are My Children? the previous year. When The Hand That Rocks the Cradle opened at Clune's Auditorium in Los Angeles in June 1917, <mask> appeared on stage, bitterly denouncing attempts to alter or suppress her film. While The Hand That Rocks the Cradle is now lost, the surviving script and accompanying marketing materials make it clear that <mask> mounted an unstinting argument in favor of "voluntary motherhood". Lois Weber Productions

In June 1917 <mask> became the first American female director to establish and run her own movie studio when she formed her own production company, Lois Weber Productions, with the financial assistance of Universal. She leased a self-contained estate, and had offices, dressing rooms, scenic and property rooms, and a  shooting stage constructed.Smalley was made studio manager, and the Smalleys made their home on the studio lot at 1550 N. Sierra Bonita Avenue. According to film historian Shelley Stamp, while <mask> and Smalley were often co-credited as directors, it was "the wife who clearly had the artistic vision to drive the business partnership forward". By this time, <mask>'s "idealized collaborative marriage" with Smalley had begun to show signs of deterioration, which was accelerated by the increased focus of critics and journalists on <mask> as the dominant filmmaker, at the expense of Smalley, after 1916, and <mask> increasingly took credit for her contributions after 1917. However, as early as 1913, some saw <mask> as the "fertile brain" in the partnership, with Smalley seen as an indolent womanizer "who chased every woman on the lot", which resulted in arguments and shouting matches. <mask> consciously resisted the industry's movement toward assembly line-style studio film making. "By concentrating on only one production at a time, and mobilizing her entire workforce around that effort, <mask> aimed for quality film making rather than efficient bookkeeping". <mask>'s independence allowed her to shoot her films in sequence, as she preferred (rather than out of order to suit production schedules).William D. Routt indicates that "Lois Weber Productions were a good investment, cost-effective. The company made movies cheaply: in later years at least shooting on location even for interiors, using a small cast, working fast. Its somewhat sensational topics and titles guaranteed at least a modest box office return, and at times may have done much better than that." Karen Mahar attributes the success of <mask>'s films of the 1910s to their representation of "the generational conflict of the era" between the traditional view of women and that of the freedoms of the emerging "New Woman and the emergent consumer culture". Mahar argues that "<mask>'s life was an expression of this generational divide: she was a stage performer and a Church Army Worker, a filmmaker and a middle-class matron, a childless advocate of birth control who 'radiates domesticity'". While <mask> was clearly a New Woman by virtue of her career, she was also publicly identified as the wife and collaborator of her first husband. Shelley Stamp argues that <mask>'s "image was instrumental in defining both her particular place in film-making practices, and women's roles within early Hollywood generally", and that her "wifely, bourgeois persona, relatively conservative and staid, mirrored the film industry's idealized conception of its new customers: white, married, middle-class women perceived to be arbiters of taste in their communities".While <mask>'s beliefs reflected modern values, as did her career as a filmmaker that was atypical for women of her era, she had "internalized much of what the Victorians deemed proper behavior for women", and there are "strong elements of the Victorian code of womanhood in her films". The Smalleys exemplified and promoted the Victorian ideal of marriage as companionship and a partnership. In 1917, <mask> was the only woman granted membership in the Motion Picture Directors Association, and from 1917 <mask> was active in supporting the newly established Hollywood Studio Club, a residence for struggling would-be starlets. After the United States entered World War I, <mask> served on the board of the Motion Picture War Service Association, headed by D. W. Griffith and including Mack Sennett, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, William S. Hart, Cecil B. DeMille, and William Desmond Taylor. The Association raised funds for the construction of a thousand-bed hospital. In 1918, the Fox Film Corporation hired <mask> to direct Queen of the Seas, in which Annette Kellerman swam and dove naked. However, she was replaced eventually by John G. Adolfi.In September 1918, <mask> broke her left arm in two places when she fell in Barker Brothers, a downtown Los Angeles store, forcing her to be hospitalized in the California Hospital. <mask>'s arm was still causing her trouble seven months later. Anita Stewart Productions
Despite continuing to work at Universal, and renting out her studio to other independent producers, including Marshall Neilan, <mask> found it difficult to pay the bills and to find the capital to finance her own productions. By December 1918, <mask> had left Universal, and signed a contract with Louis B. Mayer to direct Anita Stewart for $3,500 a week. In a letter to <mask>, Mayer proclaimed: "My unchanging policy will be great star, great director, great play, great cast. You are authorized to get these without stint or limit. Spare nothing, neither expense, time, or effort.Results only are what I'm after." <mask> made two films with Stewart as the lead: A Midnight Romance and Mary Regan, both released in 1919 to mixed reviews. Famous Players-Lasky
Needing finances, in July 1919 <mask> signed a contract with Famous Players-Lasky to direct five films to be distributed through Paramount-Artcraft for $50,000 each, plus one-third of the profits, and guaranteed first-run bookings in Paramount theaters. By January 1920, Smalley and <mask> purchased a two-level home at 1917 N. Ivar Avenue, Hollywood, later the home of Preston Sturges in the 1940s. In October 1920, <mask> purchased the studio facilities at 4634 Santa Monica Boulevard in Los Angeles, near Sunset Boulevard, which she had been leasing for the previous three years. By February 1921, <mask> was at the zenith of her career, regarded "as fearless in the production of her pictures as she once was in her struggle for a living, and her indubitable position is that of one of the best directors of the screen." One newspaper wrote, "<mask> is not only the foremost woman director – she's the whole works", and attributed her success to having "a feminine touch lacking in most man-made films".In an effort to protect the American film industry, by 1921 <mask> advocated the prohibition of the importation of all European films into the United States. In May 1921, <mask> anticipated the possibility of both color and "three-dimensional films". Following "the cinematic rumination on modern marriage begun by Cecil B. DeMille" and like other post-war filmmakers, <mask> turned her attention toward marriage and domestic life to honor her deal with Famous Players-Lasky with such melodramas as To Please One Woman, What's Worth While? Too Wise Wives, and What Do Men Want? However, as the United States entered the Jazz Age in the 1920s, <mask> came to be seen as passé, in part because of her "propensity for didacticism" but also because her "values became increasingly archaic; her moralising, propagandistic tone was unsuited to the era of the 'flapper' girl and a hedonism that seemed all the more urgent". By this time her "morally upright films bored modern audiences", her crusading was unwanted, and her views were considered "quaint". Her fall from favor was also due to her inability or unwillingness to adapt to changing audience tastes, and "her refusal to feature big-name stars or to glamorize consumerist excess in her films."After an advance screening in February 1921, Paramount executives decided not to distribute the fourth film in their arrangement with <mask>, What Do Men Want? a domestic melodrama about a philandering husband and a faithful wife (Claire Windsor), and to cancel their arrangement with <mask> to distribute her films. After making 13 films, by April 1921, Lois Weber Productions collapsed, and <mask> was forced to release all her contracted staff, with the exception of two novice actors. While she would direct a few other movies, effectively her career as a Hollywood director was over. F.B. Warren Corporation

After reading the articles "Impoverished College Teaching" and "Boycotting the Ministry" in the April 30, 1921 issue of Literary Digest about the underpayment of educators and clergy, <mask>, with scenarist Marion Orth, crafted a melodramatic narrative to bring the issue to life in The Blot. Starring Claire Windsor and Louis Calhern, The Blot was her masterpiece, her most successful film from this period and probably <mask>'s best-known film today.The film "rejects the values of capitalist America that measures the value of people in wealth and property" by depicting the compromises and choices impoverished women are forced to make to achieve social mobility and financial security. It "condemns capitalistic materialism and linked consumerism with sexual exploitation", and addresses class, money, and ethnicity. "<mask>'s basically Christian ethos shines clearly through this plot: the text disapproves of both the new consumerist immigrant class, and the old aristocratic one". Despite xenophobic assumptions, <mask> advocates learning, asceticism, and service to the needy. According to film historian Kevin Brownlow in The Blot, "<mask>'s technique is reminiscent of that of William C. deMille, with its quietness, in its use of detail, and its emphasis on naturalism. <mask> used the same method of direction, too, filming in continuity." To tell with maximum realism this story of a college professor's family – hardworking but with only a meager income – <mask> filmed in real houses, using a special lighting rig, and gave supporting roles to non-actors.To emphasize this film was a woman-centered narrative, in a "radical departure from Hollywood practice", <mask> used point-of-view cutting from the perspective of the professor's wife. <mask> also used extreme close-ups and an ambiguous ending, that Richard Combs describes The Blot as "so un-Griffithian as to seem almost modernistically open-ended", while others see it as almost surreal, declaring it "the Los Olvidados of the literally down at heel middle class". Due to the collapse of her distribution deal with Paramount, <mask> was forced to distribute The Blot

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