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Talk:Great Depression in the United Kingdom

[Untitled]
"income tax was raised from 22.5 pence to 25 pence in the pound"
 * Does this mean 1s 10d ha'penny (9.375%) to 2s 1d (10.4166667%); or is the person confused about old money Jooler 00:43, 6 Mar 2004 (UTC)

 * It's been changed to read "income tax was raised from 4s 6d to 5s in the pound" Rojomoke (talk) 11:23, 13 March 2008 (UTC)

Draconian seems needless
"which immediately instituted a round of draconian cuts in public spending and wages"

Do we need adjectives like draconian in a encyclopedia article? Also, why is draconian linked? While almost every word in an article could be linked to something, the draconian constitution has very little to do with this article. —Preceding unsigned comment added by Snookumz (talk • contribs) 14:42, 8 September 2009 (UTC)

No caption for image
Can someone fix please? Cheers. 93.144.72.129 (talk) 12:47, 24 December 2008 (UTC)

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U.S. Route 371

U.S. Route 371 is a north–south United States highway in the U.S. states of Arkansas and Louisiana. The highway's northern terminus is in De Queen, Arkansas at an intersection with U.S. Highway 70. It is co-signed for its last 13 mi between Lockesburg, Arkansas and DeQueen with U.S. Highway 59 and U.S. Highway 71. Its southern terminus is 5 mi west of Coushatta, Louisiana at an intersection with Interstate 49.

Louisiana
U.S. 371 is an afterthought in the federal highway system. Within Louisiana it was merely the 1990s renumbering and re-signing of the post-1955 Louisiana Highway 7 north of US 71, which after the 1990s change ceased to exist as a number for a state highway in Louisiana. The section south of US 71 was the post-1955 Louisiana Highway 179, which after the 1990s change ceased to exist as a number for a state highway in Louisiana. It also replaced a section of Louisiana Highway 177. Although signage is on I-49, US 371 begins just north of Coushatta, Louisiana at an intersection with US 71. Intersecting I-20 and US 80 at Minden, it then crosses the Arkansas Line at Springhill, Louisiana. Louisiana Highway 371, on the other hand, was renumbered to Louisiana Highway 3277 because of the creation of US 371.

Arkansas
US 371 contains about 134 mi in South Arkansas.

US 371 enters Arkansas in Columbia County. The route runs north to intersect AR 160 in Taylor and winds east to Magnolia. A concurrency with US 82 begins in Magnolia, and continues north to the city limits. US 371 continues west to meet AR 98 in Waldo, before heading north to enter Nevada County. The route next meets AR 32 and AR 76 before entering Rosston, where a short concurrency with US 278 forms. US 371 meets AR 372 before entering Prescott, where the route runs with AR 24 and is intersected by Interstate 30 before entering Hempstead County.

US 371 winds through Hempstead County west and north, concurring briefly with AR 195 and eventually entering Howard County. The route passes through Nashville, again meeting US 278, and runs west through rural land and into Sevier County. In Sevier County, US 371 meets US 59/US 71, which form a northern concurrency, eventually adding US 70 as well. These four routes run together west to De Queen, at which US 371 terminates.

History
Initially referenced as the Bi-State Corridor, the Arkansas State Highway Commission designated several state highways as a proposed corridor to seek AASHTO approval as a US highway in January 1994. Upon receiving approval, the route was officially commissioned in Arkansas as Highway 371 on 24 August 1994.

Minnesota
A prior, unrelated US 371 was decommissioned in Minnesota in 1971. The route still bears the designation of MN 371.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: U.S. Route 371


text:
William Markowitz

William Markowitz (February 8, 1907 in Melč, Austrian Silesia – October 10, 1998 in Pompano Beach, Florida) was an American astronomer, principally known for his work on the standardization of time.

His mother was visiting Melč near Vítkov in Austrian Silesia (now Czech Republic) when William was born. The Polish family emigrated to the U.S. in 1910 and settled in Chicago.

William earned his doctorate from the University of Chicago in 1931, under W.D. MacMillan. He taught at Pennsylvania State College before joining the United States Naval Observatory in 1936, working under Paul Sollenberger and Gerald Clemence in the time service department.

After having married Rosalyn Shulemson in 1943, Markowitz eventually became director of the department. He developed the ephemeris time scale, which had been adopted by the IAU in 1952 on a proposal formulated by Clemence in 1948, as an international time standard. He subsequently worked with Louis Essen in England to calibrate the newly developed atomic clocks in terms of the ephemeris second. The fundamental frequency of caesium atomic clocks, which they determined as 9,192,631,770 ± 20 Hz, was used to define the second internationally since 1967. At the International Astronomical Union (IAU) meeting in Dublin in 1955, he had proposed the system of distinguishing between variants of Universal Time, as UT0 (UT as directly observed), UT1 (reduced to invariable meridian by correcting to remove effect of polar motion) and UT2 (further corrected to remove (extrapolated) seasonal variation in Earth rotation rate), a system which remains in some use today.

He served as President of the IAU commission on time from 1955 to 1961, and was active in the International Union of Geodesy and Geophysics, the American Geophysical Union, and the International Consultative Committee for the Definition of the Second.

After retiring from USNO in 1966, Markowitz served as professor of physics at Marquette University until 1972, and also held a post at Nova Southeastern University.

title: William Markowitz


text:
Talk:List of African writers by country

Planning
Please help to fill in at least stubs for the authors on this page. If you would like to concentrate on a particular country or set of authors, please indicate them here. Shorne 22:25, 6 Nov 2004 (UTC)

 * I am going to work on the Lusophone countries: Angola, Cape Verde, Guinea-Bissau, Mozambique, and São Tomé e Príncipe. Others are welcome to help. Shorne 22:25, 6 Nov 2004 (UTC)
 * Benin and Togo are mine comrade. - Xed 22:47, 6 Nov 2004 (UTC)

 * After the holidays I'm planning on working on the Congos and Ethiopia. I intend to be off after this message though.--T. Anthony 08:11, 18 December 2005 (UTC)

 * Started on that with some Congolese writers. I'm going to focus on Ethiopians ones for a time as I seem to be running into a bit of snag on the Congo, well for now.--T. Anthony 22:21, 29 December 2005 (UTC)

 * Im really confused here. Im new to the Wiki thing and wondered how in the world South Africa has no entry in African Literature. Could someone please explain. I dont think Im up to creating the whole category so whats an easy fix? —The preceding unsigned comment was added by Walkzuluwar (talk • contribs) 14:03, 20 March 2007 (UTC).

List of countries completed
I've completed the list of countries. Please add authors for the following, which are still unrepresented. Shorne 00:03, 7 Nov 2004 (UTC)

 * Cameroon Done. Shorne 00:13, 7 Nov 2004 (UTC)
 * Comoros
 * The Gambia Done. Shorne 00:56, 7 Nov 2004 (UTC)
 * Liberia Done. Shorne 00:56, 7 Nov 2004 (UTC)
 * Libya
 * Malaŵi Done. Shorne 01:13, 7 Nov 2004 (UTC)
 * Mauritania
 * Namibia
 * Réunion
 * Seychelles
 * Swaziland
 * Western Sahara
 * Zambia

By the way, be sure to check the spelling of names. I just found an article that existed but was not linked here because the name was misspelt. Shorne 00:56, 7 Nov 2004 (UTC)

Missing writers will have to be added to List of African writers too. - Xed 01:12, 7 Nov 2004 (UTC)

Why somebody wrote Naguib Mahfouz died in 1994? God be praised, he's still alive, long live the classic! I've corrected that User:Kjcm2

There is a misspelling: It's not "Mary Karoro Okurut" but "Mary Karooro Okurut" - I corrected that. Fmaj —Preceding unsigned comment added by Fmaj7 (talk • contribs) 23:29, 27 May 2008 (UTC)

Breaking off longer lists into their own article?
There's a partial overlap between this article's list of South African writers, and the list at List_of_South_African_writers. I'd like to merge the two, but first would like consensus on where the list belongs. My feeling is that this list will get too long and unwieldy to be on one page. Those countries that currently only have a few writers listed should have them listed here, but as these lists get longer they can get broken off into their own lists (with only a link here). The South African list can be substantially longer, as there's a bit of a boom happening now, with lots of new authors being published. Greenman 12:13, 4 August 2005 (UTC)
 * If no one has any objections, then I'll shortly start removing the SA writers from here, and the SA list will become the definitive one. Greenman 10:09, 11 August 2005 (UTC)
 * I have broken off the long list of Nigerians writers and moved them to List of Nigerian writers.--Ezeu 22:34, 3 January 2006 (UTC)

Note. List of Senegalese writers which was broken away from here some time back is on AFD for deletion at Articles for deletion/List of Senegalese writers. --Ezeu 00:01, 20 June 2006 (UTC)

Merge with List of African writers
I have suggested that List of African writers be merged into this list. They are duplicates, and certainly there is no gain in having both. / --Ezeu 00:04, 21 November 2005 (UTC)

 * Strongly agree, although the Talk page could perhaps keep a list of unassigned authors, rather than letting these be deleted. JackyR 03:34, 29 November 2005 (UTC)

 * Probably a bit bold, but I have redirected that page to this one, and added a todo list on top of this page. Hopefully I am not stepping on too many toes. --Ezeu 00:57, 30 November 2005 (UTC)

Category: African writers
OK, I'm now well confused. I started a stub for Musaemura Zimunya, virtously adding categories so he appears under And now I find I have to manually add him to the List of African writers and the List of African writers (by country). Is this me mucking things up or just the Way of the Wiki? JackyR 03:42, 29 November 2005 (UTC)
 * People: By occupation: Writers: By nationality: Zimbabwean
 * Zimbabwe: People: By occupation: Writers
 * Writers by nationality

Congolese names
I changed Léone to Léonie as that seems like the right person. I'm wondering though about something else. I found a Congolese writer named Lima-Baleka Bosek' Ilolo do you think that's who is meant by Lila-Baleka Bosek?Ilolo? I don't want to start that until I know for sure.--T. Anthony 21:36, 29 December 2005 (UTC)

I just kind of hit a wall or something on Congo(Brazzaville) writers so I think I'll let others take it. In fact I think I did most of the work I wanted to on this list. It's difficult in a way, but rewarding as Africa is so undercovered.--T. Anthony 02:58, 6 January 2006 (UTC)

Deletion
I've deleted Adam O'Hirsi from the list. The article Adam O'Hirsi was reposted after it was deleted for lack of notability.

DELETE all non wiki article names
I feel that we really have to clean up these lists to make them more credible, therefore my suggestion is to remove all names that are “red”, as they have no wiki page and are therefore pointless to the user of the encyclopaedia as they cannot be verified. Let us remember that the wiki is an encyclopaedia on the internet and if someone is searching for something or some one, then there must be clear links that lead them to useful information, at the very least a stub.

I will give it a few days to see if others agree or disagree. If agree or no reply, I shall start removing all “red” names and check all current names and links. If you disagree, please provide a valid reason. The Wiki is a team effort, where we all work together. My aim is to clean up and help to improve the Wiki.--BSTemple (talk) 10:44, 15 January 2009 (UTC)
 * Dealing with existing red links

 * In general, red links should not be removed from articles if they link to something that could plausibly sustain an article. An existing red link can indicate that a new article is needed. At any time, a Wikipedian may independently write an article on the linked-to subject, and when this happens, there's already a link ready and waiting for it. The red link also gives readers the opportunity to click on it to create the needed article on the spot.
 * In topic/author lists, it is useful to include every topic/author you can possibly find or think of that could plausibly sustain an article. When they are turned into links, the list immediately shows where the gaps in Wikipedia's coverage for that subject are, since all of the topics missing articles will show up in red. Such lists are useful tools in developing subject areas on Wikipedia, as they show where work is needed most.
 * The red link may identify a need to create a redirect to another author.
 * Some WikiProjects have bots that determine how many times a certain red link appears in Wikipedia. This is used to determine what articles are the most needed. Editors can also, after clicking on a red link, use the "what links here" function to determine how many times the subject has been red linked.S711 (talk) 12:59, 23 February 2009 (UTC)
 * We have the same arguement on other talk pages, again I say, I remove red linked names from lists because they are unverifiable, and a Wiki Article thus verifies them. Please remember this is an encyclopaedia that not everyone is just using to edit, but will be used for study, research and knowledge. If there are red link names, they are not useful. What if there is a red link name dkhdhd jhfmhfd or how about Mickey Mooouse in a list, do we leave these names? This makes a mockery of the Wikipedia and makes it a dream for vandals. Who vets red link names in lists? Only a Wiki article, backed by References makes for a solid encyclopaedia. My aim is not to make a mass of pointless edits, but to help, along with others, in making for a sound useful Wikipedia. I do not claim I am right and others are wrong, but I have explained my actions. --BSTemple (talk) 16:53, 24 February 2009 (UTC)

 * Note. In topic/author lists, it is NOT useful to include every topic/author you can possibly find or think of. Please read Verifiability, Stand-alone lists esp. 5 Appropriate topics for lists - 5.1 Lists of people, which clearly states "Selected lists of people should be selected for importance/notability in that category and should have Wikipedia articles (or the reasonable expectation of an article in the future)." Many of these names do not have a reasonable chance of a Wikipedia article, indeed many are not even verified to be even in the list in the first place let alone an article done. Also look at WP:NOT. I feel that S711 is wrong in this case. An exception is a list of people by nationality/ethnicity, NOT their profession. When you get to professions etc, then these must be verifiable and not just put up on someone whim.--BSTemple (talk) 09:27, 8 March 2009 (UTC)

Photo
I added a photo for one of the redlinked authors from Lesotho - when she has her own article it can be moved there. Dcoetzee 00:01, 10 April 2009 (UTC)

Manu Herbstein
I have dual South African and Ghanaian citizenship. My name appears in the South African list but not in the Ghanaian list. Would someone with more Wiki skill than I have please add my name to the Ghanaian list? Thanks. Manuherb (talk) 10:07, 11 September 2009 (UTC)

Nigerian writer addition
Err...I do believe you forgot to mention Chinua Achebe, author of Things Fall Apart among others. I added him! :) Thanks!

Niger OCR
I fixed some spacing and spelling errors in the Niger section. It appears that this text may have been generated using an OCR. If that is the case it may likely be a copyright violation.--Rock soup 23:47, 14 July 2011 (UTC) — Preceding unsigned comment added by Rock soup (talk • contribs)
 * not the right place for that material anyway, so I've removed it.Dsp13 (talk) 09:13, 15 July 2011 (UTC)

Why this list?
I have a few problems with the idea of this list. First, why? what is the purpose? As a continental 'list' of writers, what purpose does it serve? For starters, what is an "African"? The article at African people struggles to arrive at a definition and has a number of subsidiary articles. Without a clear concept of what is an African, this list is meaningless. The list contains names of authors who more correctly should be described as "Arab(ic) authors/ writers"; it contains many Europeans who live in Africa, either having 'stayed behind' after decolonisation or having arrived after that; there are the Afrikaners and Indians in Eastern and Southern Africa, etc. Just as a teaser, why are there no articles on "Asian writers", "European writers", "North American writers", "South American writers"? Exactly because it is near impossible to define what is an Asian, an European, etc etc. At best, this article could be called "List of writers in Africa by country". Rui ''Gabriel'' Correia (talk) 19:09, 8 April 2013 (UTC)
 * It is a convention, apparently. Since you are discussing this generally as a question, and not as a deletion suggestion, I'll point out that other stuff exists.  Though of course it would be reasonable to break these up into individual per country lists.--Epeefleche (talk) 20:07, 8 April 2013 (UTC)
 * Examples always make the best arguments - Tolkien is here listed as an African writer .... enough said ;-) Does that not make for a convncing argument why the page must/ should at least be renamed? Rui ''Gabriel'' Correia (talk) 21:42, 8 April 2013 (UTC)
 * It's an issue that bedevils all list articles of places, religions, and the like. Individuals may arguable belong to more than one place, religion, etc.  It's a much far-ranging issue than just this list.  The way we have generally handled the issue is to recognize that it does have this issue as to inclusion, and talk through particular instances on talk pages.

 * As far as Tolkien is concerned, he is listed in many cats on his page, including one that categorizes him as (partly) from South Africa. If you have an issue with that, his talk page would be a good place to start.--Epeefleche (talk) 21:52, 8 April 2013 (UTC)

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Should we list countries no longer on the map, e.g. Rhodesia?
For instance, Doris Lessing? — Preceding unsigned comment added by 69.74.14.178 (talk) 18:35, 11 June 2017 (UTC)
 * Doris Lessing is already listed in the Zimbabwean list. Greenman (talk) 20:57, 11 June 2017 (UTC)

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title: Talk:List of African writers by country


text: Template:Oradeadistricts

title: Template:Oradeadistricts


text:
User talk:Wikisux

Consult page history for earlier chatter.

Constantia Jones and Fumoto no iro
What exactly are your sources for Constantia Jones and Fumoto no iro? They're orphans, and they bring up nothing on Google. -- Andre 03:35, 11 Jul 2004 (UTC)

For the former, Peter Linebaugh's excellent The London Hanged: Crime and Civil Society in the Eighteenth Century (2nd ed.), page 147. For the latter, Timon Screech's Sex and the Floating World: Erotic Images in Japan, 1700-1820. I added these articles partly because I found the subject matter interesting and partly because I feel Wikipedia leans too much towards regurgitating trivia that's already available elsewhere on the Internet. Wikisux 08:06, 11 Jul 2004 (UTC)

I'll take your word for it until I can get both of those books from the library. - Andre 19:03, 12 Jul 2004 (UTC)

comment
Thanks for taking a stab at Media coverage of the Israeli-Palestinian conflict; perhaps something can be salvaged after all.

I agree with you 100% with regard to typography, but many people here consider lacing texts with HTML codes editor-unfriendly and will revert you. There has been sporadic talk of have the Mediawiki software automatically convert double hyphens to emdashes and the like, but nothing has come of this. If you feel strongly about this issue, you might pursue that possiblilty further.

Forgive me for saying this, but you have a hideous handle, but if that is how you want to be known... All the best. -- Viajero 15:48, 10 Jun 2004 (UTC)

the wall
Hi and thank you for helping the article. Not that I agree with all the changes, but hope it will only win from extra caring hands. Few results from google:
 * the Feb. 11 edition of The Australian ran the headline: Israel to cut 100km off 'apartheid wall'.
 * Media Monitors Network, courtesy of the Media Review Network
 * Let's not exclude al-Jazeera

Sometimes, media bias is hard to distinguish from political one. I need to find where I read that in the ME, everyone has a mission.

If you strongly feel about removing this expression, fine. I really think the article should have a paragraph on Jenin, as I believe that the damage that has been done by unverified irresponsible broadcasts is almost impossible to undo. I hope you don't lose your sleep over it, though. ←Humus sapiens←Talk 03:20, 11 Jun 2004 (UTC)

subjectivism
Sorry, subjectivism probably wasnt the best term for that, of course one can never remove all subjectivism from an article, especially statements that are not easily quantifiable (ie Columbia is one of the leading universities in the world). However, I attempted to remove some of the personal opinions that do not seem to fit well with an article in an encyclopedia that purports to adhere to at least some semblance of professionalism - the comment about gentrification for instance. Opinions, such as the prestige of the university, which is rooted in a long history and certain facts, tend to be more widely accepted.

~S

Re: NYU Table
I don't think this one is uglier, personally, I prefer the new one but I'm not vested in it enough to feel like stepping on toes.

Privacy policy
Good evening. You recently weighed in with an opinion on the discussion at Wikipedia:Votes for deletion/User:Tim Starling/Password matches. On the basis of that discussion, I have proposed some changes to our privacy policy at Draft privacy policy. I would appreciate your thoughts if you have time. Rossami 22:20, 13 Jul 2004 (UTC)

Constantia Jones (again)
Ok mate I concede: I found a reference that not only shows that she existed but that gives an execution date for her as well. That said, I'm still not convinced that this woman's execution can be used to prove anything outside the harsh laws of the time: all it says on the records found is that a pick pocket was hanged at Tyburn on December 22nd 1738: nothing about her being a prostitute and I feel that's going to be very hard to prove one way or the other. -- Graham ☺ | Talk 16:49, 19 Jul 2004 (UTC)

Image:Gifford Miller midbite.jpg
Could you please provide an image copyright tag for this image? Thanks! --Diberri | Talk 23:03, Aug 26, 2004 (UTC)

Deleted page "FreshDirect"
A page you created, or image you uploaded, FreshDirect, has been [ deleted] in accordance with our deletion policy. In particular, it meets the one or more criteria for speedy deletion; the relevant criterion is:

 * Blatant advertising. Pages which exclusively promote a company, product, group or service and which would need to be fundamentally rewritten in order to become encyclopedic.

Wikipedia has certain standards for inclusion that all articles must meet. Certain types of article must establish the notability of their subject by asserting its importance or significance. Additionally, since Wikipedia is an encyclopedia, content inappropriate for an encyclopedia, or content that would be more suited to somewhere else (such as a directory or social networking website) is not acceptable. See What Wikipedia is not for the relevant policy.

You are welcome to contribute content which complies with our content policies and any applicable notability guidelines. However, please do not simply re-create the page with the same content; it will be deleted again and may be protected from re-creation. You may also wish to read our introduction to editing and guide to writing your first article. If you have any questions, please contact an administrator for assistance. Thank you – Gurch 08:37, 24 November 2006 (UTC)

AfD nomination of Democrat In Name Only
Democrat In Name Only, an article you created, has been nominated for deletion. We appreciate your contributions. However, an editor does not feel that Democrat In Name Only satisfies Wikipedia's criteria for inclusion and has explained why in the nomination space (see also "What Wikipedia is not" and the Wikipedia deletion policy). Your opinions on the matter are welcome; please participate in the discussion by adding your comments at Articles for deletion/Democrat In Name Only (3rd nomination) and please be sure to sign your comments with four tildes ( ~ ). You are free to edit the content of Democrat In Name Only during the discussion but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion discussion. Thank you. --  Jreferee  (Talk) 20:31, 10 September 2007 (UTC)

AfD nomination of Republican In Name Only
An article that you have been involved in editing, Republican In Name Only, has been listed for deletion. If you are interested in the deletion discussion, please participate by adding your comments at Articles for deletion/Republican In Name Only (second nomination). Thank you. --BJBot (talk) 20:58, 24 December 2007 (UTC)

Nomination of Democrat In Name Only for deletion
A discussion is taking place as to whether the article Democrat In Name Only is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Democrat In Name Only & until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. edg ☺ ☭ 22:17, 7 November 2014 (UTC)

Nomination of Democrat In Name Only for deletion
A discussion is taking place as to whether the article Democrat In Name Only is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Democrat In Name Only& until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Brianga (talk) 14:51, 23 February 2017 (UTC)

title: User talk:Wikisux


text:
Cecil Sharp

Cecil James Sharp (22 November 1859 – 23 June 1924) was an English collector of folk songs, folk dances and instrumental music, as well as a lecturer, teacher, composer and musician. He was a key figure in the folk-song revival in England during the Edwardian period. According to Roud's Folk Song in England, Sharp was the country's "single most important figure in the study of folk song and music."

Sharp collected over four thousand folk songs, both in South-West England and the Southern Appalachian region of the United States. He published an extensive series of songbooks based on his fieldwork, often with piano arrangements, and wrote an influential theoretical work, English Folk Song: Some Conclusions. He notated examples of English Morris dancing, and played an important role in the revival both of the Morris and English country dance. In 1911, he co-founded the English Folk Dance Society, which was later merged with the Folk-Song Society to form the English Folk Dance and Song Society.

Cecil Sharp's musical legacy extends into English orchestral music, and the classroom singing experienced by generations of schoolchildren. Many of the most popular musicians of the British Folk Revival from the 1960s to the present day have used songs collected by Sharp in their work. Scores of Morris dance teams throughout England, and also abroad, demonstrate the resilience of the revival he played a large part in sustaining. In the US, the Country Dance and Song Society was founded with Sharp's support, and dancers there continue to participate in styles he developed.

Over the last four decades, Sharp's work has attracted heated debate, with claims and counter-claims regarding selectivity, nationalism, appropriation, bowdlerisation and racism.

Early life
Sharp was born in Camberwell, Surrey, the eldest son of James Sharp (a slate merchant who was interested in archaeology, architecture, old furniture and music) and his wife, Jane née Bloyd, who was also a music lover. They named him after the patron saint of music, on whose feast he was born. Sharp was educated at Uppingham, but left at 15 and was privately coached for the University of Cambridge, where he rowed in the Clare College boat and graduated B.A. in 1882.

In Australia
Sharp decided to emigrate to Australia on his father's suggestion. He arrived in Adelaide in November 1882 and early in 1883 obtained a position as a clerk in the Commercial Bank of South Australia. He read some law, and in April 1884 became associate to the Chief Justice, Sir Samuel James Way. He held this position until 1889 when he resigned and gave his whole time to music. He had become assistant organist at St Peter's Cathedral soon after he arrived, and had been conductor of the Government House Choral Society and the Cathedral Choral Society. Later he became conductor of the Adelaide Philharmonic, and in 1889 entered into partnership with I. G. Reimann as joint director of the Adelaide College of Music.

He was very successful as a lecturer but around the middle of 1891 the partnership was dissolved. The school continued under Reimann and in 1898 developed into the Elder Conservatorium of Music in connexion with the university. Sharp had made many friends and an address with over 300 signatures asked him to continue his work at Adelaide, but he decided to return to England and arrived there in January 1892. During his stay in Adelaide he composed the music for an operetta Dimple's Lovers performed by the Adelaide Garrick Club at the Albert Hall on 9 September 1890, and two light operas, Sylvia, which was produced at the Theatre Royal on 4 December 1890, and The Jonquil. The libretto in each case was written by Guy Boothby. Sharp also wrote the music for some nursery rhymes which were sung by the Cathedral Choral Society.

Return to England
In 1892 Sharp returned to England and on 22 August 1893 at East Clevedon, Somerset, he married Constance Dorothea Birch, also a music lover. They had three daughters and a son. Also in 1893 he was taken on as a music teacher by Ludgrove School, a preparatory school then in North London. During his seventeen years in the post, he took on a number of other musical jobs. After his marriage in 1893, Sharp became a vegetarian for health reasons and took interest in spiritualism and theosophy.

From 1896 Sharp was Principal of the Hampstead Conservatoire of Music, a half-time post which provided a house. In July 1905 he resigned from this post after a prolonged dispute about payment and his right to take on students for extra tuition. He had to leave the Principal's house, and apart from his position at Ludgrove his income was henceforth derived largely from lecturing and publishing on folk music.

English folk song and dance
Sharp was not the first to research folk songs in England, which had already been studied by late-19th century collectors like Lucy Broadwood, Frank Kidson and Sabine Baring-Gould. He became aware of English folk music in 1899, when he witnessed a display by the Headington Quarry Morris dancers just outside Oxford. He approached their musician William Kimber, an expert player of the Anglo-concertina and a skilled dancer, and asked permission to notate some of the dances. Kimber went on to become Sharp's main source for the notation of Cotswold Morris Dancing, gave demonstrations his lectures, and became a lifelong friend.

In August 1903, Sharp visited the home of his friend Charles Marson, a Christian Socialist he had met in Adelaide, and by then a vicar in Hambridge, Somerset. There he heard the gardener John England sing the traditional song The Seeds of Love. Although Sharp had already joined the Folk-Song Society in 1901, this was his first experience of folk song in the field, and it set him on a new career path. Between 1904 and 1914 he collected more than 1,600 songs in rural Somerset and over 700 songs from elsewhere in England. He published five volumes of Folk Songs from Somerset and numerous other books, including collections of sea shanties and folk carols, and became a passionate advocate for folk song, giving numerous lectures, and setting out his manifesto in English Folk Song: Some Conclusions in 1907.

In the years between 1907 and the First World War, Sharp became more focussed on traditional dance. In 1905 he met Mary Neal, the organiser of the Espérance Girls' Club, a philanthropic organisation for working-class young women in London, who was seeking suitable dances for them to perform. This initiated a partnership which, though initially cordial and successful, soured over an ideological disagreement, Sharp's insistence on correct traditional practice coming up against Neal's preference for flamboyance and energy. This developed into a power struggle over control of the Morris dance movement, and finally into a public feud. Sharp pursued his interest in dance through a teaching post at the new School of Morris Dancing under the auspices of the South West Polytechnic in Chelsea, set up by the Principal, Dorette Wilkie, and stepped up his field collecting efforts, resulting in the publication of his notations over five volumes of The Morris Book (1907–1913). It has been argued that Sharp emphasised the Cotswold tradition of Morris dancing at the expense of other regional styles, although he did collect dances in Derbyshire.

Sharp also developed an interest in sword dancing, and between 1911 and 1913 published three volumes of The Sword Dances of Northern England, which described the obscure and near-extinct Rapper sword dances of Northumbria and Long Sword dances of North Yorkshire. This led to the revival of both traditions in their home areas, and later elsewhere.

Sharp as fieldworker
Sharp, assisted initially by Marson, worked by asking around in rural Somerset communities for people who might sing old songs and located many informants, the sisters Louisa Hooper and Lucy White of Langport amongst the most prolific. Sharp was able to relate well to people of a different social class, and established friendships with several singers; after his death Louisa Hooper wrote of his generosity in terms of payments, gifts and outings. He also collected a significant number of songs from Gypsies. In the Appalachians Sharp and Maud Karpeles similarly used local knowledge and their own initiative to find singers, and again made lasting friendships. Sharp notated songs mostly by ear. He experimented with the new technology of the phonograph, but rejected it on account of a lack of portability and potential intimidatory effect. He had assistance in taking down lyrics from Marson in Somerset, and Karpeles in the Appalachians, while making the musical notations himself. His transcriptions, which included melodic variations, were generally accurate, although some nuances were missed. Sharp was meticulous in noting singers’ names, locations and dates, enabling subsequent biographical research. He made many photographic portraits of singers at their homes or workplaces, providing a valuable record of life amongst rural working people in both South-West England and the Appalachian Mountains.

Folk song in schools
In 1902, at a time when state-sponsored mass public schooling was in its infancy, Sharp, then a music teacher, compiled a song book for use in schools. This contained a mixture of patriotic ‘National Songs’ (The British Grenadiers, Rule Britannia, etc.) and folk material. As his knowledge of folk song grew, he rejected the ‘National Songs’, which were absent from the 1906 collection English Folk Songs for Schools, co-written with Baring-Gould and using Sharp's piano arrangements. Sharp was determined that folk song should be at the heart of the curriculum, and fought the Board of Education in 1905 over their list of songs recommended for schools, which included many ‘National Songs’. His colleagues Frank Kidson and Lucy Broadwood, did not share his view, however, and the committee of the Folk-Song Society voted to approve the Board's list, causing a rift with Sharp.

Sharp's theories
After his struggle with the Board of Education, Sharp published English Folk Song: Some Conclusions, in which he pursued his ideas about folk songs in schools. His main aim was to expound a theory for the development of folk song, based on Darwinian evolution and oral transmission - the passage of songs down the generations by word of mouth. Sharp put forward three principles: Continuity – individual songs had survived recognisably over centuries; Variation – songs existed in multiple versions as singers altered them; and Selection – a community would choose the most pleasing version. This implied that songs had no individual composer, since they had evolved to their present form "as the pebble on the sea shore is rounded and polished by the action of the waves." However, some in the folk song movement, such as Kidson, were sceptical of this theory.

Sharp argued that folk songs expressed Englishness, and it was vital that they should be taught in schools to inculcate a sense of national identity. He also suggested that their melodies should form the basis of a new English movement in art music, in competition with the musical hegemony of Germany, a belief shared by Vaughan Williams and other composers.

Bowdlerisation
Sharp and Marson bowdlerised some of their song texts, especially those containing references to sexual intercourse. Given the prudery of the Edwardian era, these could never have been published in full (especially in a school textbook), but Sharp did note such lyrics accurately in his field notebooks, thus preserving them for posterity. A good example of the transformation of a formerly erotic song into one suitable for all audiences is Gently Johnny My Jingalo. The immediate goal of Sharp's project – disseminating the distinctive, and hitherto little known melodies of these songs through music education – might also explain why he considered the song texts less important.

English Folk Dance Society, afterwards English Folk Dance and Song Society
In 1911 Sharp co-founded the English Folk Dance Society, which promoted the traditional dances through workshops held nationwide, and which later merged with the Folk-Song Society in 1932 to form the English Folk Dance and Song Society (EFDSS). The current London headquarters of the EFDSS is named Cecil Sharp House in his honour.

Influence on English classical music
Sharp's work coincided with a period of nationalism in classical music, the idea being to reinvigorate and give distinctiveness to English classical composition by grounding it in the characteristic melodic patterns and recognisable tone intervals and ornaments of its national folk music. Among the composers who took up this goal was Ralph Vaughan Williams, who incorporated many melodies from Sharp's collections into his compositions, as well as a number from his own fieldwork in England.

In America
During the years of the First World War, Sharp found it difficult to support himself through his customary work in England, and decided to try to earn his living in the United States. He was invited to act as dance consultant for a 1915 New York production of A Midsummer Night’s Dream and went on to give successful lectures and classes across the country on English folk song and especially folk dance. He met the wealthy philanthropist Helen Storrow in Boston, and with her and other colleagues was instrumental in setting up the Country Dance and Song Society. He also met Olive Dame Campbell, who brought with her a portfolio of British-origin ballads she had collected in the Southern Appalachian mountains. The quality of her collection convinced Sharp to make several song collecting expeditions into the remote mountain backcountry with his collaborator Maud Karpeles during the years 1916–1918, following in the footsteps of Olive Campbell and other collectors such as Lorraine Wyman and Katherine Jackson French. Travelling through the Appalachian Mountains in Virginia, North Carolina, Kentucky and Tennessee, often covering many miles on foot over rough terrain, Sharp and Karpeles recorded a treasure trove of folk songs, many of British origin, though in versions quite different from those Sharp had collected in rural England, and some altogether extinct in the old country. In remote log cabins Sharp would notate the tunes by ear, while Karpeles took down the words, and they collected songs from singers including Jane Hicks Gentry, Mary Sands and young members of the Ritchie family of Kentucky. Sharp was particularly interested in the tunes, which he found very beautiful and often set in ‘gapped scales’.

Sharp wrote the following words a few weeks after his arrival in Appalachia:

"The people are just English of the late eighteenth or early nineteenth century.  They speak English, look English, and their manners are old-fashioned English.  Heaps of words and expressions they use habitually in ordinary conversation are obsolete, and have been in England a long time.  I find them very easy to get on with, and have no difficulty in making them sing and show their enthusiasm for their songs.  I have taken down very nearly one hundred already, and many of these are quite unknown to me and aesthetically of the very highest value.  Indeed, it is the greatest discovery I have made since the original one I made in England sixteen years ago."

This strong focus on 'Englishness' is evident in Sharp's work, and he has been criticised for failing to recognise that many of the songs he collected were derived from the Scottish rather than the English ballad tradition.

Olive Dame Campbell and her husband John had led Sharp and Karpeles to areas with a high concentration of white people of English or Scots-Irish ancestry, so the collectors had little sense of the cultural mosaic of White, Black, Indigenous and multiracial Americans that existed across Appalachia, or of the interactions between these groups that had resulted in a dynamic, hybridised folk tradition. For instance, having witnessed in white communities a form of square dancing that he christened the “Kentucky Running Set”, Sharp interpreted it inaccurately as the survival of a 17th-century English style, whereas in fact it contained significant African-American and European elements.

In their search for communities rich in British-origin songs, Sharp and Karpeles avoided German-American communities, and on one occasion turned back from a village when they realised it was an African-American settlement. Using an offensive term then in common usage, Sharp wrote: "We tramped – mainly uphill. When we reached the cove we found it peopled by ns ... All our troubles and spent energy for nought." However, unlike other mountain collectors of the time he did take down ballads from two Black singers, one of whom he described in his field notes thus: “Aunt Maria [Tomes] is an old coloured woman who was a slave belonging to Mrs Coleman... she sang very beautifully in a wonderfully musical way and with clear and perfect intonation... rather a nice old lady".

Sharp and Karpeles noted down a huge number of songs, many of which would otherwise have been lost, and contributed to the continuing tradition of balladry in the Appalachian Mountains. Their collection was described by ballad expert Bertrand Bronson as “without question the foremost contribution to the study of British-American folk-song”, and by Archie Green as a “monumental contribution… an unending scroll in cultural understanding”. However, it can be argued that a fascination with Child Ballads and other old British material led him and the other fieldworkers of his era to misrepresent Appalachian folk music as an overwhelmingly Anglo-Saxon or Celtic tradition, and overlook its cultural diversity.

Elizabeth DiSavino, in her 2020 biography of Katherine Jackson French, has claimed that Sharp had neglected to give proper acknowledgement to female and Scottish-diaspora sources, although in fact he mentioned both in his Introduction to English Folk Songs from the Southern Appalachians.

Political views
Sharp identified with the political left of his day. He joined the Fabian Society, a Socialist organisation, in 1900, and in later years became a supporter of the Labour Party. In his younger days he was considered a radical and, according to a teaching colleague, liked to “pull the legs off the Tories”. While at Cambridge, Sharp heard the lectures of William Morris, which probably influenced his later self-description as a ‘conservative socialist’, since his opposition to capitalism went alongside a suspicion of the Industrial Revolution and modernity in general, and a belief in the virtues of rural over urban life. He wrote of his anger about the ‘injustice of class distinctions’, believed in collectivism over private enterprise, and in later life wrote of his sympathy with striking coal miners. He also believed in democracy over totalitarianism, holding that “any form of collectivist government must also be democratic if it is to function properly”, and expressing scepticism about the Bolshevik revolution in Russia.

Sharp was an opponent of capital punishment. He was not, however, a supporter of the Suffragette movement, although according to his colleague and biographer Maud Karpeles this probably reflected a disapproval of their methods rather than the principle. Despite this, he maintained a friendly relationship with his sister Evelyn, an avid suffragist who was imprisoned for her activities; after her release from Holloway she wrote to Sharp stating that she had no wish to quarrel over the matter, and that she did not believe he was a “confirmed ‘anti’”. Sharp was a nationalist, and believed that exposure to English folk song would engender a spirit of patriotism.

Death
Sharp died of cancer of the upper respiratory system at Hampstead on 23 June 1924.

Criticism
Sharp’s ideas held sway for half a century after his death, thanks in part to an uncritical and rose-tinted biography co-authored by his disciple Maud Karpeles, who also enshrined his thinking in the 1954 definition of folk song drawn up by the International Folk Music Council. A. L. Lloyd, a Marxist and the chief theoretician of the second folk song revival during the 1960s, affected to repudiate Sharp’s ideas but in fact followed much of his thinking. He rejected Sharp’s claim that folk song could be found only in isolated rural communities as “primitive romanticism”, and described his piano arrangements as “false and unrepresentative”, but praised his ability as a collector, admired his analysis of modal tunes, and used numerous examples from his manuscripts as illustrations.

A more radical Marxist analysis was offered in the 1970s by David Harker, questioning the motivations and methods of folk revivalists, and accusing Sharp of having manipulated his research for ideological reasons. According to Harker: "''[F]olk song' as mediated by Cecil Sharp, [is] to be used as 'raw material' or 'instrument', being extracted from a tiny fraction of the rural proletariat and... imposed upon town and country alike for the people's own good, not in its original form, but, suitably integrated into the Conservatoire curriculum, made the basis of nationalistic sentiments and bourgeois values.'" Harker expanded this thesis in the influential Fakesong in 1985, dismissing the concept of folk song as "intellectual rubble which needs to be shifted so that building can begin again", and attacking scholars from Francis James Child to A. L. Lloyd. Folk song collecting, scholarship, and revival were viewed as forms of appropriation and exploitation by the bourgeoisie of the working class, and Sharp in particular was strongly criticised. An expert on printed broadsides, Harker argued against the oral tradition and maintained that most of what Sharp had termed "folk song" in fact originated from commercially produced print copies. He also claimed that Sharp and Marson had bowdlerised or otherwise tampered with the songs, making "hundreds of alterations, additions and omissions" in their published material.

Fakesong led to a widespread reappraisal of the work of Sharp and his colleagues. Michael Pickering concluded that: "Harker has provided a firm foundation for future work", while Vic Gammon commented that Fakesong had taken on "the status of an orthodoxy in some quarters of the British left", and represented "the beginning of critical work" on the early folk music movement - although he stated later that, "this does not mean that Harker got it all right."

A more critical analysis was offered by C. J. Bearman, who noted numerous statistical discrepancies in Harker's claims that Sharp and Marson's choices of songs for publication were unrepresentative: "It is an interesting variety of mistake which so consistently produces errors in favour of the argument being presented.” Bearman also disputed Harker's claims of mass bowdlerisation, on grounds firstly of factual misrepresentation and exaggeration, secondly for ignoring constraints on publishing erotic material in the Edwardian era, and thirdly for omitting the fact that Sharp had been open about his edits and preserved the original texts. In another paper, Bearman disputed statistics from Somerset communities that had been employed by Harker to challenge the notion of a rural peasantry.

Harker's contention that much of the material collected by Sharp and others had its origins in commercial print is now widely accepted, however, and Sharp's narrow definition of what constituted "folk song" has been broadened considerably in more recent scholarship.

In 1993 Georgina Boyes produced her book The Imagined Village – Culture, ideology and the English Folk Revival, which critiqued the Victorian and Edwardian folk song revival for having invented a culturally anachronistic rural community – "The Folk" - and making unrepresentative collections of songs to support the idea. The book was also critical of Sharp's controlling tendencies, which some of his contemporaries complained about, and interpreted the power struggle with Mary Neal over control of the Morris dance movement in terms of a patriarchal refusal to share power with a woman. Roy Judge's accounts, however, apportion blame more even-handedly and stress their ideological disagreement. There has also been criticism of Sharp's attitude towards the social dance activist Elizabeth Burchenal in the USA.

Sharp's song collecting in the USA has also been the subject of controversy amongst American scholars of cultural politics. Henry Shapiro held him responsible in part for the perception of Appalachian mountain culture as "Anglo-Saxon", while Benjamin Filene and Daniel Walkowitz claimed that Sharp had neglected to collect fiddle tunes, hymns, recent compositions, and songs of African-American origin. David Whisnant made similar claims about his selectivity, but praised him for being "serious, industrious and uniformly gracious to and respectful of local people". More recently, Phil Jamison has stated that Sharp "was interested only in English music and dances. He ignored the rest". However, Brian Peters’ detailed analysis of Sharp's collection identified a large number of American-made songs, plus hymns, fiddle tunes, and songs which Sharp himself described as having "negro" origins.

Selected works

 * Cecil Sharp's Collection of English Folk Songs, Oxford University Press, 1974; ISBN 0-19-313125-0.
 * English folk songs from the southern Appalachians, collected by Cecil J. Sharp; comprising two hundred and seventy-four songs and ballads with nine hundred and sixty-eight tunes, including thirty-nine tunes contributed by Olive Dame Campbell, edited by Maud Karpeles. Oxford:  Oxford University Press, 1932.
 * English folk songs, collected and arranged with pianoforte accompaniment by Cecil J. Sharp, London: Novello (1916).  This volume has been reprinted by Dover Publications under ISBN 0-486-23192-5 and is in print.
 * English Folk Song: Some Conclusions (originally published 1907. London:  Simpkin; Novello).  This work has been reprinted a number of times. For the most recent (Charles River Books), see ISBN 0-85409-929-8.
 * The Morris Book a History of Morris Dancing, With a Description of Eleven Dances as Performed by the Morris-Men of England by Cecil J. Sharp and Herbert C MacIlwaine, London: Novello (1907). Reprinted 2010, General Books; ISBN 1-153-71417-5.

title: Cecil Sharp


text:
Film recorder

A film recorder is a graphical output device for transferring images to photographic film from a digital source. In a typical film recorder, an image is passed from a host computer to a mechanism to expose film through a variety of methods, historically by direct photography of a high-resolution cathode ray tube (CRT) display. The exposed film can then be developed using conventional developing techniques, and displayed with a slide or motion picture projector. The use of film recorders predates the current use of digital projectors, which eliminate the time and cost involved in the intermediate step of transferring computer images to film stock, instead directly displaying the image signal from a computer. Motion picture film scanners are the opposite of film recorders, copying content from film stock to a computer system. Film recorders can be thought of as modern versions of Kinescopes.

Operation
All film recorders typically work in the same manner. The image is fed from a host computer as a raster stream over a digital interface. A film recorder exposes film through various mechanisms; flying spot (early recorders); photographing a high resolution video monitor; electron beam recorder (Sony HDVS); a CRT scanning dot (Celco); focused beam of light from a light valve technology (LVT) recorder; a scanning laser beam (Arrilaser); or recently, full-frame LCD array chips.

For color image recording on a CRT film recorder, the red, green, and blue channels are sequentially displayed on a single gray scale CRT, and exposed to the same piece of film as a multiple exposure through a filter of the appropriate color. This approach yields better resolution and color quality than possible with a tri-phosphor color CRT. The three filters are usually mounted on a motor-driven wheel. The filter wheel, as well as the camera's shutter, aperture, and film motion mechanism are usually controlled by the recorder's electronics and/or the driving software. CRT film recorders are further divided into analog and digital types. The analog film recorder uses the native video signal from the computer, while the digital type uses a separate display board in the computer to produce a digital signal for a display in the recorder. Digital CRT recorders provide a higher resolution at a higher cost compared to analog recorders due to the additional specialized hardware. Typical resolutions for digital recorders were quoted as 2K and 4K, referring to 2048×1366 and 4096×2732 pixels, respectively, while analog recorders provided a resolution of 640×428 pixels in comparison.

Higher-quality LVT film recorders use a focused beam of light to write the image directly onto a film loaded spinning drum, one pixel at a time. In one example, the light valve was a liquid-crystal shutter, the light beam was steered with a lens, and text was printed using a pre-cut optical mask. The LVT will record pixel beyond grain. Some machines can burn 120-res or 120 lines per millimeter. The LVT is basically a reverse drum scanner. The exposed film is developed and printed by regular photographic chemical processing.

Formats
Film recorders are available for a variety of film types and formats. The 35mm negative film and transparencies are popular because they can be processed by any photo shop. Single-image 4×5 film and 8×10 are often used for high-quality, large format printing.

Some models have detachable film holders to handle multiple formats with the same camera or with Polaroid backs to provide on-site review of output before exposing film.

Uses
Film recorders are used in digital printing to generate master negatives for offset and other bulk printing processes. For preview, archiving, and small-volume reproduction, film recorders have been rendered obsolete by modern printers that produce photographic-quality hardcopies directly on plain paper.

They are also used to produce the master copies of movies that use computer animation or other special effects based on digital image processing. However, most cinemas nowadays use Digital Cinema Packages on hard drives instead of film stock.

Computer graphics
Film recorders were among the earliest computer graphics output devices; for example, the IBM 740 CRT Recorder was announced in 1954.

Film recorders were also commonly used to produce slides for slide projectors; but this need is now largely met by video projectors that project images directly from a computer to a screen. The terms "slide" and "slide deck" are still commonly used in presentation programs.

Current uses
Currently, film recorders are primarily used in the motion picture film-out process for the ever increasing amount of digital intermediate work being done. Although significant advances in large venue video projection alleviates the need to output to film, there remains a deadlock between the motion picture studios and theater owners over who should pay for the cost of these very costly projection systems. This, combined with the increase in international and independent film production, will keep the demand for film recording steady for at least a decade.

Key manufacturers
Traditional film recorder manufacturers have all but vanished from the scene or have evolved their product lines to cater to the motion picture industry. Dicomed was one such early provider of digital color film recorders. Polaroid, Management Graphics, Inc, MacDonald-Detwiler, Information International, Inc., and Agfa were other producers of film recorders. Arri is the only current major manufacturer of film recorders.

 * Kodak Lightning I film recorder. One of the first laser recorders. Needed an engineering staff to set up.
 * Kodak Lightning II film recorder used both gas and diode laser to record on to film.
 * The last LVT machines produced by Kodak / Durst-Dice stopped production in 2002. There are no LVT film recorders currently being produced. LVT Saturn 1010 uses a LED exposure (RGB) to 8"x10" film at 1000-3000ppi.
 * LUX Laser Cinema Recorder from Autologic/Information International in Thousand Oaks, California. Sales end in March 2000. Used on the 1997 film “Titanic”.
 * Arri produces the Arrilaser line of laser-based motion picture film recorders.
 * MGI produced the Solitaire line of CRT-based motion picture film recorders.
 * Matrix, originally ImaPRO, a branch of Agfa Division, produced the QCR line of CRT-based motion picture film recorders.
 * CCG, formerly Agfa film recorders, has been a steady manufacturer of film recorders based in Germany.
 * In 2004 CCG introduced Definity, a motion picture film recorder utilizing LCD technology. In 2010 CCG introduced the first full LED LCD film recorder as a new step in film recording.
 * Cinevator was made by Cinevation AS, in Drammen, Norway. The Cinevator was a real-time digital film recorder. It could record IN, IP and prints with and without sound
 * Oxberry produced the Model 3100 film recorder camera system, with interchangeable pin-registered movements (shuttles) for 35mm (full frame/Silent, 1.33:1) and 16mm (regular 16, "2R"), and others have adapted the Oxberry movements for CinemaScope, 1.85:1, 1.75:1, 1.66:1, as well as Academy/Sound (1.37:1) in 35mm and Super-16 in 16mm ("1R"). For instance, the "Solitaire" and numerous others employed the Oxberry 3100 camera system.

History
Before video tape recorders or VTRs were invented, TV shows were either broadcast live or recorded to film for later showing, using the Kinescope process. In 1967, CBS Laboratories introduced the Electronic Video Recording format, which used video and telecined-to-video film sources, which were then recorded with an electron-beam recorder at CBS' EVR mastering plant at the time to 35mm film stock in a rank of 4 strips on the film, which was then slit down to 4 8.75 mm film copies, for playback in an EVR player.

All types of CRT recorders were (and still are) used for film recording. Some early examples used for computer-output recording were the 1954 IBM 740 CRT Recorder, and the 1962 Stromberg-Carlson SC-4020, the latter using a Charactron CRT for text and vector graphic output to either 16mm motion picture film, 16mm microfilm, or hard-copy paper output.

Later 1970 and 80s-era recording to B&W (and color, with 3 separate exposures for red, green, and blue)) 16mm film was done with an EBR (Electron Beam Recorder), the most prominent examples made by 3M), for both video and COM (Computer Output Microfilm) applications. Image Transform in Universal City, California used specially modified 3M EBR film recorders that could perform color film-out recording on 16mm by exposing three 16mm frames in a row (one red, one green and one blue). The film was then printed to color 16mm or 35mm film. The video fed to the recorder could either be NTSC, PAL or SECAM. Later, Image Transform used specially modified VTRs to record 24 frame for their "Image Vision" system. The modified 1 inch type B videotape VTRs would record and play back 24frame video at 10 MHz bandwidth, at about twice the normal NTSC resolution. Modified 24fps 10 MHz Bosch Fernseh KCK-40 cameras were used on the set. This was a custom pre-HDTV video system. Image Transform had modified other gear for this process. At its peak, this system was used in the production of the film "Monty Python Live at the Hollywood Bowl" in 1982. This was the first major pre-digital intermediate post production using a film recorder for film-out production.

In 1980 film recorder was made in LIKI in USSR.

In 1988, companies in the United States collectively produced 715 million slides at a cost of $8.3 billion.

Awards
The Academy of Motion Picture Arts and Sciences awarded an Oscar to the makers of the Arrilaser film recorder. The Award of Merit Oscar from the Academy Scientific and Technical Award ceremony was given on 11 February 2012 to Franz Kraus, Johannes Steurer and Wolfgang Riedel. Steurer was awarded the Oskar Messter Memorial Medal two years later in 2014 for his role in the development of the Arrilaser.

title: Film recorder