fifteen years later

On 1 November 1865, Adorf received a railway opening of the line from Herlasgrün via Oelsnitz and Adorf to Eger (now Cheb) by the Voigtland State Railway (Voigtländische Staatseisenbahn). The newly opened through station most closely resembled Falkenstein station, but as early as 1871, Adorf station had to be extended because of the double-tracking of the Plauen–Eger line to Adorf for the first time.[3] The through station became a junction station with the opening of the whole Chemnitz–Adorf railway by the Chemnitz-Aue-Adorf Railway Company (Chemnitz-Aue-Adorfer Eisenbahn-Gesellschaft, CAAE) on 15 November 1875, but the line of the CAAE ended at a separate terminus, which was only connected to the state railways by way of a connection through sets of points. The tracks of the CAAE ended at a turntable in front of the entrance building. After the nationalisation of the CAAE in 1876, Adorf station was again expanded. In 1880, Adorf then received its own Heizhaus (a roundhouse where locomotives were heated). Due to the position of the turntable at the end of the railway line from Aue, there were occasional accidents; a locomotive even ran through the gable wall of the entrance building on 6 January 1900. Little was changed by the extension of the Asch–Roßbach railway by the Imperial Royal Austrian State Railways to Adorf in 1905. Previously, a contract had been concluded with the railway company under which the State Railways were given two former freight tracks and were allowed to use the remaining tracks of the Royal Saxon State Railways (Königlich Sächsische Staatseisenbahnen) for payment and to build a water crane and a waiting room. The extension from Roßbach was opened in 1906. Extensive reconstruction of the station began as part of the double-tracking of the Adorf–Siebenbrunn section, since the Siebenbrunn–Markneukirchen railway was planned to run from there. For this reason, a railway construction office (Eisenbahn-Neubauamt) was established in Adorf from 1905 to 1912. Important parts of the reconstruction were:[4] Raising of the southern end of the station by three and a half metres to eliminate a level crossing Demolition of the previous locomotive maintenance facility and construction of a new facility at Kaltenbach (line-kilometre 31.86 of the Plauen–Eger railway) Extension of the freight yard and the establishment of a marshalling yard Construction of two island platforms, making a total of six platforms Construction of a new entrance building Construction of two new signal boxes, both of which could be operated remotely. In 1912, the station area was a 1.6 kilometres long and had 45 sets of points, eight double sets of points and a crossing loop. As early as 1909, a siding branched off from the station; this operated until 1967. The station survived the Second World War largely undamaged, only suffering from low-flying strafing, which caused little damage. After the war, the second track of the railway was dismantled for reparations and many rail connections within the station became superfluous and were dismantled.[5] The traffic to Roßbach, which was interrupted at the end of the Second World War, was not resumed, and the route to Roßbach between 1946 and 1951 was also dismantled. The second track of the Plauen–Cheb line was not rebuilt until 1979.
Island platform (looking towards Plauen)
Signal box in Adorf station In 1990, the station consisted of 54 sets of points, two simple crossovers and a crossing loop. The entrance building, which had been abandoned during the last two decades, was demolished in November 2012. Adorf locomotive depot[edit] The Adorf locomotive depot (Bahnbetriebswerk Adorf) developed from the Adorf locomotive yard (Lokstation Adorf), after the construction of a six-storey Heizhaus from 1877 to 1880. Previously, the Haltestelle Adorf (Adorf halt) of the CAAE had a two-stall Heizhaus.[6] After the nationalisation of the CAAE, there were plans for the construction of a Heizhaus at Adorf station, but these were rejected for cost reasons. Four years later a Heizhaus was erected in the immediate vicinity of the entrance building. Because of the cramped conditions, it had to be long and narrow, with space for only a total of six locomotives on its two tracks; a water crane, a workshop and a coal shed were also built. Since the facilities were close to the town, there were numerous complaints from the population about the smoke pollution. Since the facilities could not be extended due to lack of space, during the rebuilding of the station between 1905 and 1912, new facilities were built from March 1906 outside the station area on the Kaltenbach near line-kilometre 31.86 of the Plauen–Eger railway (located towards Plauen/Roßbach from Adorf station). The works, which were finished in June 1909, included a fifteen-stall half roundhouse with a 20-m turntable and an administrative building.[7] From 1928 to 1933 the depot facilities were again enlarged. Two new sheds were built, the workshop was expanded and maintenance facilities—the construction of an axle lowering facility, improvement of the sanitary facilities, construction of a coal crane—were built for the staff. The locomotive depot was dissolved in 1948/49 because of a plan to extend the scheduled route for the daily circulation of locomotives, but the plan was not realised. Adorf station was abolished on 30 June 1969 as an independent depot and subordinated to Reichenbach locomotive depot as a motive-power depot.[8] The locomotive depot was converted on 30 November 1992 into a depot for passenger vehicles only, but it was finally closed in 1997.[9] Currently, the Vogtländische Eisenbahnverein Adorf uses the facilities and some museum vehicles (including 86 607 and an ELNA 1) are based there. Locomotive use[edit] At first locomotives of classes H VII, H IIIb T, H V T and IV T were stationed in Adorf. Before the First World War, classes V V, I V, XI HV, XI H, XI HV, XII H2 (later class 38.2–3) and XI HT (class 94.19–21) were added to these. After the First World War, class XIII H (class 58.4) locomotives were used for freight operations.[10] Locomotives of the Royal Saxon State Railways were used almost exclusively until the end of the 1920s, but afterwards other locomotives were operated occasionally. However, the Saxon State Railways locomotives remained in use at least until 1965. Class 75.5 locomotives were used at Adolf only for a short time; as a substitute for one received at the end of the 1920s, it received several brand new class 86 locomotives. The class 38.2–3 was supplemented by class 38.10–40 locomotives, which could be used in the same way. Numerous locomotives of class 58.10–21 with the same design as class 58.4 were introduced in the Vogtland.[10] Some class 50 locomotives were stationed in Adorf in the Second World War, but before the end of the war they had been replaced by class 52. Classes 38.2–3, 52, 58, 75.5, 86 and 94.19–21 locomotives were available in the locomotive depot at the end of the war. In addition, there were individual locomotives of classes 53, 54.15–17, 91 and 56.34–35, but they were retired soon after the end of the war or handed over to other departments. The tender locomotives were also retired and were replaced by more tender locomotives of classes 75.5 and 86.[10] With the advent of uranium mining, Adorf once again received class 58.4 locomotives, which from then on also hauled express trains—including the Karlex—as well as heavy freight trains. In addition, class 50 locomotives were introduced in the mid-1950s. The first time diesel locomotives, belonging to class V 200, were stationed in Adorf in 1968 and the change of traction to diesel was completed in 1971. After that only diesel vehicles were used until the closure of the locomotive depot. In addition to class V 60 locomotives, class V 180 and 130/131/132 locomotives were also based in Adorf. Sir John Fenwick, 3rd Baronet (c. 1645 – 28 January 1697) was an English Jacobite conspirator, who succeeded to the Baronetcy of Fenwick on the death of his father in 1676. He was the eldest son of Sir William Fenwick, or Fenwicke, a member of an old Northumberland family. He entered the army, becoming major-general in 1688, but before this date he had been returned in succession to his father as one of the Members of Parliament for Northumberland, which county he represented from 1677 to 1687. He was a strong partisan of King James II, and in 1685 was one of the principal supporters of the act of attainder against the Duke of Monmouth; but he remained in England when William III ascended the throne in the Revolution of 1688. He had financial problems and in 1688 he sold the rump of the family estates and Wallington Hall to Sir William Blackett for £4000 and an annuity of £2000 a year. He began to plot against the new King William, for which he underwent a short imprisonment in 1689. Renewing his plots on his release, he publicly insulted Queen Mary in 1691, and it is practically certain that he was implicated in the schemes for assassinating William which came to light in 1695 and 1696. After the seizure of his fellow-conspirators, Robert Charnock and others, he remained in hiding until the imprudent conduct of his friends in attempting to induce one of the witnesses against him to leave the country led to his arrest in June 1696. To save himself he offered to reveal all he knew about the Jacobite conspiracies; but his confession was a farce, being confined to charges against some of the leading Whig noblemen, which were damaging, but not conclusive. By this time his friends had succeeded in removing one of the two witnesses, and in these circumstances it was thought that the charge of treason must fail. The government, however, overcame this difficulty by introducing a bill of attainder, which after a long and acrimonious discussion passed through both Houses of Parliament (Act 8 & 9 Will. III c. 4). His wife persevered in her attempts to save his life, but her efforts were fruitless, and Fenwick was beheaded in London on 28 January 1697, with the same formalities as were usually observed at the execution of a peer. He was the last person ever executed under an Act of Attainder. By his wife, Mary (d. 1708), daughter of Charles Howard, 1st Earl of Carlisle and his wife Anne Howard, he had three sons and one daughter, all of whom died young, and are buried with Fenwick at St Martin-in-the-Fields. Macaulay says that of all the Jacobites, the most desperate characters not excepted, he (Fenwick) was the only one for whom William felt an intense personal aversion. Fenwick's hatred of the king is said to date from the time when he was serving in Holland, and was reprimanded by William, then Prince of Orange. A horse, White Sorrel, owned by Fenwick was among items of his estate confiscated by the Crown on his attainder and a fall from that horse was partly responsible for William's death. The horse purportedly stumbled when it stepped on a mole hill. In recognition of this, the Jacobites' secret toast was to 'The little Gentleman in Black Velvet.' He is also commemorated in the folk tune Sir John Fenwick's The Flower Among Them All. Domestic drama expresses and focuses on the realistic everyday lives of middle or lower classes in a certain society, generally referring to the post-Renaissance eras. According to the English Communications Syllabus, domestic drama refers to a dramatic story containing an emphasis on its “characters' intimate relationships and their responses to [the] unfolding events in their lives.” The characters, their lives, and the events that occur within the show are usually classified as 'ordinary' events, lives, and characters, but this does not limit the extent of what domestic drama can represent. Domestic drama does, however, take the approach in which it “concerns people much like ourselves, taken from the lower and middle classes of society, who struggle with everyday problems such as poverty, sickness, crime, and family strife.”

Roots[edit] Domestic is derived from the Latin domus, or home. The word domestic is defined as “of or relating to the household.” Drama receives the definition of “A prose or verse composition, especially one telling a serious story, that is intended for representation by actors impersonating the characters and performing the dialogue and action,” and it is derived from the Greek word drao, to act or to take action. The combination of both domestic and drama provides a literal translation of “a serious story relating to the household,” clearly a synonymous definition to the given definition provided by the English Communications Syllab Development and History[edit] Dramatic works have nearly always contained a sense of domestic drama within its fundamental plot line.[1] Even in the early ages of Greek drama, there has been a sense of ordinary people's struggles with their lives (though this cannot be classified as domestic drama due to the incorporation of the Greek gods interfering with the common people and the enabling of the common people to have “godlike” attributes). Medieval theatre tended to express religious themes within their shows with miracles and the creation of morality plays, in which the shows were used as religious allegories. Though not yet emphasizing the ordinary lives, the development of dramatic works is slowly working towards more realistic plot lines, one of the essential elements in domestic drama. Renaissance theatre marks the arrival of pastoral drama, drama referring to the relationships of the rustics. Though this describes the events of 'ordinary people', the shows tended to stretch realism, focussed mainly on the romantic relationships of the rustics, and were decorated with an emphasis on the comedic aspect of theater. Pastoral drama was considered to be more successful than the traditional comedies and tragedies, enforcing the further development into domestic drama. Drama in the late seventeenth century consisted of neoclassical comedies focusing on the comedic relationships within the upper classes. This era also consisted of the Restoration drama and placed an emphasis on the usage of poetic language, “sensational incidents, and epic personages” within the show. These styles of shows are not considered domestic dramas because they focus on the relationships of the higher classes, as opposed to the middle or lower classes. This further develops into domestic drama as the plot lines become more realistic and centered around characters' relationships and their actions towards each other. The eighteenth century marks the arrival of domestic drama as the shows start focusing on the problems of the ordinary people. The early eighteenth century playwrights used domestic drama to express the “trend toward sentimental bourgeois realism.” These new domestic dramas also incorporated realistic comedies of fairly sophisticated characterizations [with] middle-class morality. These early domestic dramas are classified as part of the Romantic era of all types of arts.
Portrait of a younger Henrik Ibsen, one of the first playwrights to adapt domestic drama into his works. Nineteenth century drama took the complete step in incorporating realism into drama, thus resulting in more serious and philosophical drama. Characters and settings gradually developed into the realistic truths of the current society. Along with realism was naturalism: “selective realism emphasizing the more sordid and pessimistic aspects of life.” This movement of combined realism and naturalism gave way to the “slice-of-life” shows commonly synonymous with domestic drama. One outstanding playwright of this era was Henrik Ibsen of Norway. His frequent usage of realism within his shows “brought to a climax the realistic movement of the nineteenth century and also served as a bridge to twentieth century symbolism.”[2] Ibsen used middle-class characters dealing with his complex plots and “surpassed other such works” of his time. Playwrights such as Ibsen have drawn much attention to domestic drama and have brought this method to its high significant stature in modern theatrical works. The twentieth century introduced symbolism into the makings of domestic dramas, ultimately causing variations within domestic drama. Early twentieth century shows incorporated such psychological devices as “minimal scenery, telegraphic dialogue, talking machines, and characters portrayed as types rather than individuals.”[3] Domestic drama suddenly became a combination of naturalism, expressionism, symbolism, and commonly used psychological affairs. The classification of domestic dramas became unclear as shows challenged new ideas and created a difficulty in determining the illusions and realism of a show. Modern dramas usually revolve around psychological, social, and political affairs, all of which seem to have their roots in domestic drama. Modern works also use interpretive ideas, such as “distinctive voice and vision, stark settings, austere language in spare dialog, meaningful silences, the projection of a powerful streak of menace, and outbursts of real or implied violence.”[4] The utensils of dramatic works have greatly expanded, but all still carry the roots of domestic drama. Domestic drama also carries the implications of current affairs with society: such as civil rights, feminism, and current political and sociological disputes. Current domestic drama itself tends to express the “war-at-home” style of theater, whereas twentieth century domestic drama could be classified as experimental theater or symbolic theater. Audience Appeal[edit] Domestic drama tends to appeal to the audience because most of the audience can relate to the events within a domestic drama. The audience is appealed to this style of drama in four ways: empathy, humor, suspense, and resolution of the issues. This group of spectators can empathize with the domestic drama at hand because the domestic drama touches incidents that are common to the 'ordinary' people. Many playwright use the audience's empathy to manipulate the proposed expression of the show. David Williamson's “Brilliant Lies” uses “domestic unit battling” to create sympathy from the audience as they are confronted with the issue. Humor provides the entertainment value within a domestic drama as these usually touch base with serious matters. The entertainment value of a show keeps the people engaged without having to continually use serious turns of events in order to maintain an audience's interest. Suspense provides “dramatic irony” as the audience indulges itself within the characters' situation and privacy of their backgrounds. Suspense is used in a domestic drama in order for the audience to react with the characters of the show. This “[positions] the audience to feel privileged and therefore involved with the unfolding drama.” As in all shows, an audience expects a resolution to the conflict within a show. Domestic dramas drive the show to its resolution to keep the audience desiring to reach the climax. Domestic dramas use such a technique that is very similar to the style of modern soap operas. Text[edit] The text of a domestic drama follows a specific guideline in order to stay within this genre: subject, structure, and language. By deviating from this guideline too excessively, the classification as a domestic drama becomes problematic. The subject of a domestic drama must be that of the 'ordinary' people. The audience (generally 'ordinary') needs to connect with the characters of the domestic drama, and the plot must the following the “domestic sphere” of “traditional families, urban family units, or domestic households.” The subject of the domestic drama could also apply to relationships at a workplace as this does relate to the 'ordinary' events of 'ordinary' people. The subjects of concern could vastly range from poverty to family strife, from civil rights to economic injustices. Due to the audience relationship with the material of the domestic drama, most domestic dramas are most successful in the society in which the plot is direct towards because the audience is most familiar with the culture of the show. Domestic dramas follow a fairly linear structure and generally have a sort of patriarchal figure as a representative of the family. This patriarchal figure provides the guidelines of the everyday nature of the subjects of the show. Confrontations with the patriarchal figure are also a common structure within domestic dramas. The language used in a domestic drama generally relates with the 'ordinary' subjects of a show to reinforce the “realistic impression” of the show onto and audience. The usage of a specific language enables a specific audience to further connect with the subjects of the domestic drama as language is an “intimate personal way of communicating.” Social expression[edit] Theater has been commonly used as a public expression of the humanitarian affairs of a certain era. From the seventeenth to the nineteenth era, drama expressed the ideals of the caste and court system, with nobility on high and rustics down low. This expression gave way to the public in order to see and understand how this system was to work within their society. Some might say that theater has played a very important role in the shaping of societies when used in this way. Nineteenth century induced the importance of the middle-class within drama and introduced the role of the bourgeois and the usage of aristocratic entertainment. The political aspects of a certain era were inevitably present within these shows, especially shows leading towards domestic drama. Theater was considered to have “good [socially] position” characters against the immoral acts of society, usually a sort of infringement against a certain code of behavior. Theater was the way to explain the rights and wrongs of a certain lifestyle in a society, especially if the characters were of the 'ordinary' people so that the audience could relate with the characters. Modern drama changed this aspect of theater as it was not directed towards any one class in society, but rather the collaboration of the artistic aspects within these classes. Such a combination created much difficulty in domestic drama as domestic drama appeals to a specific class. Roger William Corman (born April 5, 1926)[2] is an American director, producer, and actor.[3][4] He has been called "The Pope of Pop Cinema" and is known as a trailblazer in the world of independent film. Much of Corman's work has an established critical reputation, such as his cycle of low-budget cult films adapted from the tales of Edgar Allan Poe.[5] Admired by members of the French New Wave and Cahiers du cinéma, in 1964 Corman was the youngest filmmaker to have a retrospective at the Cinémathèque Française,[6] as well as in the British Film Institute and the Museum of Modern Art. He was the co-founder of New World Pictures, a prolific multimedia company that helped to cement Fox as a major American television network, and is a longtime member of the Academy of Motion Picture Arts and Sciences.[7] In 2009, he was awarded an Honorary Academy Award[8] "for his rich engendering of films and filmmakers."[9] Corman mentored and gave a start to many young film directors such as Francis Ford Coppola,[10] Ron Howard,[11] Martin Scorsese,[12] Jonathan Demme,[13] John Sayles,[14] and James Cameron,[15][16] and was highly influential in the New Hollywood filmmaking movement of the 1960s and 1970s.[17][18] He also helped to launch the careers of actors like Peter Fonda,[19] Jack Nicholson,[15] Dennis Hopper,[14] Bruce Dern,[20] Sylvester Stallone,[21] Diane Ladd,[22] and William Shatner.[23] Corman has occasionally taken minor acting roles in the films of directors who started with him, including The Silence of the Lambs,[24] The Godfather Part II,[25] Apollo 13,[26] The Manchurian Candidate[27] and Philadelphia.[28] A documentary about Corman's life and career entitled Corman's World: Exploits of a Hollywood Rebel, directed by Alex Stapleton, premiered at the Sundance and Cannes Film Festivals in 2011. The film's TV rights were picked up by A&E IndieFilms after a well-received screening at Sundance.[29] Contents 1 Early life
2 Early film career 2.1 Highway Dragnet
2.2 Producer
2.3 Director
2.4 American International Pictures and Allied Artists
2.5 Machine Gun Kelly and producing
2.6 The Filmgroup
3 House of Usher 3.1 The Intruder
3.2 End of the Poe cycle and filming in Europe
4 Working for major studios 4.1 The Wild Angels
5 Return to independence 5.1 Final films as director
6 New World Pictures 6.1 Distributing foreign films
6.2 20th Century Fox
6.3 Peak of New World
7 Millennium Films
8 New Horizons 8.1 Concorde Pictures
8.2 Frankenstein Unbound
8.3 Concorde and New Horizon in the 90s
8.4 Roger Corman Presents
8.5 Ireland
9 Later career: Syfy Channel
10 Personal life
11 Remembrances and awards
12 "The Corman Film School"
13 Filmography 13.1 Cult Classics
14 Controversy
15 See also
16 References
17 Further reading
18 External links
Early life[edit] Corman was born in Detroit, Michigan, the son of Anne (née High) and William Corman, an engineer.[30][31] His younger brother, Eugene Harold "Gene" Corman, has also produced numerous films, sometimes in collaboration with Roger.[31] Corman and his brother were baptized in the Catholic faith.[32] Corman went to Beverly Hills High School and then to Stanford University to study Industrial Engineering. While at Stanford, Corman realised he did not want to be an engineer. He enlisted in the V-12 Navy College Training Program with six months of study to complete. He served in the navy from 1944 to 1946. He returned to Stanford to finish his degree, receiving a Bachelor of Science in Industrial Engineering in 1947.[1] While at Stanford University, Corman was initiated in the fraternity Sigma Alpha Epsilon. In 1948, he worked briefly at U.S. Electrical Motors on Slauson Avenue in Los Angeles, but his career in engineering lasted only four days; he began work on Monday and quit on Thursday, telling his boss "I've made a terrible mistake."[33] His brother Gene was already working in the film industry as an agent and Roger decided to go into filmmaking instead. Early film career[edit] Corman found work at 20th Century Fox initially in the mail room. He worked his way up to a story reader. The one property that he liked the most and provided ideas for was filmed as The Gunfighter with Gregory Peck. When Corman received no credit at all he left Fox and decided he would work in film by himself. Under the GI Bill, Corman studied English Literature at Oxford University and lived in Paris for a time.
Corman in 2006 He then returned to Los Angeles and tried to re-establish himself in the film industry. He took various jobs, including television stage hand at KLAC and a messenger at Fox. He worked as an assistant to agent Dick Hyland, a literary agent.[34] Highway Dragnet[edit] Corman wrote a script in his spare time and sold it to William F. Broidy at Allied Artists for $2,000. "Dick thought it was funny and let me pay myself a commission," said Corman.[35] Originally called House in the Sea, it was retitled as Highway Dragnet (1953), and starred Richard Conte and Joan Bennett. Corman also worked as associate producer on the film for nothing, just for the experience. Producer[edit] Corman used his script fee and personal contacts to raise $12,000 to produce his first feature, a science fiction film, The Monster From the Ocean Floor (1954). It was produced by Corman's own company, Palo Alto, and released by Robert L. Lippert. The film did well enough to encourage Corman to produce another film, the racing car thriller The Fast and the Furious (1955), directed by its star, John Ireland, and co-starring Dorothy Malone. Corman sold the movie to a new independent company, the American Releasing Company, run by James H. Nicholson and Samuel Z. Arkoff. Although Corman had a number of offers for the film from Republic and Columbia, he elected to go with ARC because they undertook to advance money to enable him to make two more movies. Director[edit] Corman's second film for ARC was one he decided to direct, Five Guns West (1955), a Western, made in colour for around $60,000, with Malone and John Lund.[36] The script was written by Robert Wright Campbell, who would work with Corman on several more occasions. Corman announced he would make four more projects for ARC: High Steel, Cobra, Fortress Beneath the Sea, and an untitled film from Campbell.[37] Instead Corman did some uncredited directing on The Beast with a Million Eyes (1955), then made another Western, Apache Woman (1955), starring Lloyd Bridges, written by Lou Rusoff. Rusoff and Corman reunited on Day the World Ended (1955), a post-apocalyptic science fiction film, which was popular. Corman was to make The Devil on Horseback by Charles B. Griffith about the Brownsville Raid[38] but it was too expensive. The Woolner Brothers, Louisiana drive-in owners, financed Corman's, Swamp Women (1956), a girls-on-the-lam saga. He returned to ARC for two Westerns, The Oklahoma Woman (1956) and Gunslinger (1956) (with Ireland Gunslinger was co-written by Griffith, who would become a crucial collaborator for Corman over the next five years. He bought a script from Curtis Harrington, The Girl from Beneath the Sea.[39] Harrington would make it for Corman years later as Night Tide (1961). American International Pictures and Allied Artists[edit] ARC changed their name to "American International Pictures". Corman was established as their leading filmmaker. They financed Corman's next film as director, the science fiction story, It Conquered the World (1956). Co-written by Griffith, it was a follow up to The Day the World Ended. It was a big hit. He optioned a TV play The Stake and hoped to get Dana Andrews to star.[40] It was never made. Instead Walter Mirisch of Allied Artists hired Corman to make The Undead (1957), inspired by The Search for Bridey Murphy. Griffith wrote the script. in June Corman made a science fiction film for Allied Artists, Not of this Earth (1957), written by Griffith. In August, AIP financed a Corman heist movie shot in Hawaii, Naked Paradise (1957), co-written by Griffith.