François Lemasson (born 15 November 1963 in Limoges) is a French former professional footballer who played as a goalkeeper.

He was the goaltender for the Olympique de Marseille team that reached the 1999 UEFA Cup Final. However, he remained on the bench as they lost 3–0 to Parma.

External links

1963 births
Living people
French men's footballers
Men's association football goalkeepers
Paris Saint-Germain F.C. players
Red Star F.C. players
AS Saint-Étienne players
Olympique Lyonnais players
Stade Malherbe Caen players
Montpellier HSC players
AS Cannes players
Olympique de Marseille players
Ligue 1 players
Ligue 2 players


Chalan Piao is a village on the southwestern area of Saipan. Commonwealth of the Northern Mariana Islands. It is bordered on the north by Chalan Kanoa, on the east by As Perdido village and on the south by San Antonio village. To the west is the Pacific Ocean.

"Chalan Piao" translated from the Chamorro language means bamboo road. Chalan means road and piao means bamboo. The Chamorro language is spoken by the indigenous inhabitants of Saipan and the rest of the Mariana Islands, mainly Rota/Luta, Tinian and Guahan/Guam.

History
Chalan Piao likely started as a marine embayment and then became a sandy beach with a brackish marsh. It is one of the earliest human settlements in the Marianas, being occupied c. 1731–1226 BC. Archaeological evidence from this period include redware pottery with lime-filled decorations.

Education
Commonwealth of the Northern Mariana Islands Public School System operates local public schools. Hopwood Junior High School is located in Chalan Piao.

References

Towns and villages in the Northern Mariana Islands
Saipan


Broglio is a village and former municipality in the district of Vallemaggia in the canton of Ticino, Switzerland.

In 2004 the municipality was merged with the other, neighboring municipalities Brontallo, Fusio, Menzonio, Peccia and Prato-Sornico to form a new and larger municipality Lavizzara.

History
Broglio is first mentioned in 1361 as Brono.

The existing village area has developed in several stages.  It was created in 1374, when the valley (comunità) Lavizzara broke up and divided its lands.  At the end of the 16th century it grew again through a series of agreements between the neighboring communities.

The Church of S. Maria Lauretana was dedicated in 1487.  In the following centuries, it was repeatedly rebuilt and restored.  It belonged to the Sornico parish until 1616, when it became an independent parish.  The historically significant building, Casa Pometta, is from the 17th century.

The highest population in the village was during the 17th century.  The slow population decline intensified in the late 19th century with emigration to the cities and to other countries.  In 1990, agriculture and livestock, which for centuries were the main sources of income, employed about a third of the workforce.  In recent decades, the number of vacation homes has increased markedly.

Geography
Broglio has an area, , of .  Of this area,  or 2.0% is used for agricultural purposes, while  or 53.2% is forested.  Of the rest of the land,  or 1.2% is settled (buildings or roads),  or 1.9% is either rivers or lakes and  or 41.2% is unproductive land.

Of the built up area, housing and buildings made up 0.7% and transportation infrastructure made up 0.5%.  Out of the forested land, 41.4% of the total land area is heavily forested and 8.0% is covered with orchards or small clusters of trees.  Of the agricultural land, 1.3% is used for growing crops.  Of the water in the village, 0.5% is in lakes and 1.5% is in rivers and streams.  Of the unproductive areas, 18.9% is unproductive vegetation and 22.3% is too rocky for vegetation.

The village is located in the Vallemaggia district, about  from Locarno on the road to Fusio.

Coat of arms
The blazon of the municipal coat of arms is Argent a pot between two lions rampant reguardant and in chief a mullet of five and in base a fleur de lis all gules.  The pot is taken from the old seal of the Lavizzara valley.  The other symbols are for the four oldest families of the village: the lions the Coraggioni and Pometta, the star the Pescatore and the fleur de lis the Demaria families.

Demographics
Broglio has a population () of 88. Most of the population () speaks Italian language (86 or 97.7%) with the rest speaking German

Of the population in the village 52 or about 59.1% were born in Broglio and lived there in 2000.  There were 26 or 29.5% who were born in the same canton, while 6 or 6.8% were born somewhere else in Switzerland, and 3 or 3.4% were born outside of Switzerland.

, there were 38 people who were single and never married in the village.  There were 42 married individuals, 7 widows or widowers and 1 individuals who are divorced.

 the average number of residents per living room was which is fewer people per room than the cantonal average of 0.6 per room.  In this case, a room is defined as space of a housing unit of at least  as normal bedrooms, dining rooms, living rooms, kitchens and habitable cellars and attics. About % of the total households were owner-occupied, or in other words did not pay rent (though they may have a mortgage or a rent-to-own agreement).

 there were 11 households that consist of only one person and 4 households with five or more people.  Out of a total of 34 households that answered this question, 32.4% were households made up of just one person and 2 were adults who lived with their parents.  Of the rest of the households, there are 7 married couples without children, 13 married couples with children There were 1 single parents with a child or children.

 there were 103 single-family homes (or 92.8% of the total) out of a total of 111 inhabited buildings.  There were 6 multi-family buildings (5.4%), along with multi-purpose buildings that were mostly used for housing (0.0%) and 2 other use buildings (commercial or industrial) that also had some housing (1.8%).  Of the single-family homes 17 were built before 1919, while 1 were built between 1990 and 2000.  The greatest number of single-family homes (66) were built between 1919 and 1945.

 there were 117 apartments in the village.  The most common apartment size was 4 rooms of which there were 33.  There were 15 single room apartments and 24 apartments with five or more rooms.  Of these apartments, a total of 34 apartments (29.1% of the total) were permanently occupied, while 82 apartments (70.1%) were seasonally occupied and 1 apartments (0.9%) were empty.

The historical population is given in the following chart:

Economy
There were 39 residents of the village who were employed in some capacity, of which females made up 38.5% of the workforce.  , there were 32 workers who commuted away from the village.

Religion
From the , 86 or 97.7% were Roman Catholic, while 1 or 1.1% belonged to the Swiss Reformed Church.  There was 1 person who belonged to no church, was agnostic or atheist.

Education
In Broglio about 34 or (38.6%) of the population have completed non-mandatory upper secondary education, and 4 or (4.5%) have completed additional higher education (either University or a Fachhochschule).  Of the 4 who completed tertiary schooling, 50.0% were Swiss men, 50.0% were Swiss women.

, there were 17 students from Broglio who attended schools outside the village.

References

Former municipalities of Ticino
Villages in Ticino


Brontallo is a village and former municipality in the district of Vallemaggia in the canton of Ticino, Switzerland.

In 2004 the municipality was merged with the other, neighboring municipalities Broglio, Fusio, Menzonio, Peccia and Prato-Sornico to form a new and larger municipality Lavizzara.

History
Brontallo is first mentioned in 1574 as Bruntalo.

Until the beginning of the 15th century it formed a community with Menzonio and together with Bignasco and Cavergno it formed a Vicinanza.

The church of S. Maria e S. Giorgio was first mentioned in the 15th century.  In the 16th century it was rebuilt, and then renovated several times thereafter.  Until 1513 it, along with Menzonio, was part of the parish of Cevio.  In 1513 Menzonio broke away from Cevio, but Brontallo remained part of the parish until 1655.

The greatest population was during the 17th century.  The population decline began in the 18th century, but accelerated into the 20th century.  The road running from the village into the Val Lavizzara was completed in 1955.  In 1990 less than a third of the workforce was employed in agriculture.  Many of the homes in the village are now vacation homes.

Geography

Brontallo has an area, , of .  Of this area,  or 1.2% is used for agricultural purposes, while  or 57.4% is forested.   Of the rest of the land,  or 0.5% is settled (buildings or roads),  or 1.1% is either rivers or lakes and  or 36.4% is unproductive land.

Of the built up area, housing and buildings made up 0.2% and transportation infrastructure made up 0.3%.  Out of the forested land, 41.7% of the total land area is heavily forested and 6.1% is covered with orchards or small clusters of trees.  Of the agricultural land, 1.1% is used for growing crops.  All the water in the municipality is flowing water.  Of the unproductive areas, 16.5% is unproductive vegetation and 19.9% is too rocky for vegetation.

The village is located in the Vallemaggia district, on a terrace at an elevation of  on the right side of the valley.

Coat of arms
The blazon of the municipal coat of arms is Azure St. George armoured argent haloed and with a lace or stanging on a dragon vert langued gules piercing it.  St. George is the patron saint of the village church.

Demographics
Brontallo has a population () of 50.

Most of the population () speaks Italian language (46 or 92.0%), with German being second most common (2 or 4.0%) and French being third (1 or 2.0%).

Of the population in the village 32 or about 64.0% were born in Brontallo and lived there in 2000.  There were 10 or 20.0% who were born in the same canton, while 4 or 8.0% were born somewhere else in Switzerland, and 4 or 8.0% were born outside of Switzerland.  , there were 23 people who were single and never married in the village.  There were 21 married individuals, 6 widows or widowers and 0 individuals who are divorced.

There were 6 households that consist of only one person and 3 households with five or more people.  Out of a total of 19 households that answered this question, 31.6% were households made up of just one person and 2 were adults who lived with their parents.  Of the rest of the households,  there are 2 married couples without children, 8 married couples with children  There were 1 single parents with a child or children.

 there were 92 single-family homes (or 96.8% of the total) out of a total of 95 inhabited buildings.  There were 3 multi-family buildings (3.2%).  Of the single-family homes 4 were built before 1919, while 0 were built between 1990 and 2000.  The greatest number of single-family homes (56) were built between 1919 and 1945.

 there were 98 apartments in the village.  The most common apartment size was 2 rooms of which there were 27.  There were 15 single room apartments and 15 apartments with five or more rooms.  Of these apartments, a total of 19 apartments (19.4% of the total) were permanently occupied, while 79 apartments (80.6%) were seasonally occupied.

The historical population is given in the following chart:

Economy
There were 13 residents of the village who were employed in some capacity, of which females made up 15.4% of the workforce.  , there were 10 workers who commuted into the village and 8 workers who commuted away.  The village is a net importer of workers, with about 1.3 workers entering the village for every one leaving.

Religion
From the , 45 or 90.0% were Roman Catholic, while 2 or 4.0% belonged to the Swiss Reformed Church.  There was 1 person who belonged to no church, was agnostic or atheist, and 2 individuals (or about 4.00% of the population) did not answer the question.

Education
In Brontallo about 18 or (36.0%) of the population have completed non-mandatory upper secondary education, and 5 or (10.0%) have completed additional higher education (either University or a Fachhochschule).  Of the 5 who completed tertiary schooling, 80.0% were Swiss men, 20.0% were Swiss women.

, there were 10 students from Brontallo who attended schools outside the village.

References

Former municipalities of Ticino
Villages in Ticino


Associated Screen News of Canada (ASN) was a Montreal-based film production company which, from the mid-1920s to the 1950s, was the largest private film production company in Canada.

Background
The first-ever sponsored film, the precursor of both the documentary and the television commercial, was created in 1898 by the Canadian farm equipment manufacturer Massey Harris, which wanted to show its reaper-binder at work on Ontario farms. By 1900, Massey Harris founder Hart Massey was running clips of the Second Boer War at his theatre, Toronto's Massey Hall, to raise funds for the Canadian Patriotic Fund.

These films came from the English producer Charles Urban, whose company, the Warwick Trading Company, produced and/or distributed three-quarters of the films exhibited in Britain at that time. In 1900, to encourage tourism and immigration, the Canadian Pacific Railway (CPR) hired Urban to shoot films in Canada and distribute them in Britain. In 1903, Urban left Warwick to found the Charles Urban Trading Company which, beginning in 1903, was a major distributor of Canadian films in Britain, including those made by the CPR. As early as 1891, the CPR had been producing films to attract British and American tourists and encourage rail travel in western Canada. These films were so successful that, to this day, when many non-Canadians think of Canada, they think of the Rocky Mountains, Banff and Lake Louise; in 2019, Banff National Park attracted 4.2 million international visitors.

Also in 1903, Urban began making his own propaganda films in Canada. He sent three British cinematographers to Canada, and formed the Bioscope Company of Canada specifically to produce films for the CPR. (Nova Scotia's Canadian Bioscope Company was not related to Urban's firm.) In 1903 and 1904, Bioscope made the 35-film series Living Canada, re-released in 1906 as Wonders of Canada. He would continue to make CPR films until 1917, all while remaining based in London.

In 1910, Urban resigned from his distribution company to focus on marketing Kinemacolor, a two-colour (red-green) additive filmmaking process which he tried, unsuccessfully, to patent. With two partners, he founded the London-based Kinemacolor Company of America, and began making Canadian films (Revues des Boy Scouts a Montreal, A Romance of the Canadian Wilds etc.). In 1917, when the US entered World War I, he joined William Kissam Vanderbilt's company, Official Government Pictures (OGP), which had the contract to distribute propaganda films in America. In 1919, Urban agreed to buy William Randolph Hearst's film studio in Irvington, New York and suggested to CPR president Edward Wentworth Beatty that they partner to establish Associated Screen News, New York, which would produce and sell newsreel stories. Also that year, Urban and OGP's president George McLeod Baynes bought The Selznick News and established a newsreel service called Kinograms.

Formation of Associated Screen News
Meanwhile, in 1918, the Canadian Government established a film production division whose purpose was to promote international interest in Canada's growing industrial strength and abundance of natural resources; the main goal was to attract investment and immigration.

In 1916, the United States Bureau for Commercial Economics asked the Canadian government for films detailing natural resources and hydro development possibilities in Canada—it wished to circulate these films to potential American investors. The Canadian government asked the Water Powers Branch of the Department of the Interior to produce these films. This was because its head draftsman, Bernard Norrish, was working on developing new techniques in photographic analysis. In this capacity, Norrish had visited the Essanay Film Company in Chicago. Norrish contracted Essanay to make these new films and, in 1916 and 1917, six films were produced—five on hydro-electric power, one on wheat harvesting. Initially, Norrish was meant to oversee production, but he was an aggressive perfectionist and ended up writing, directing and editing them. His superiors were so impressed, they transferred him to the Department of Trade and Commerce which, in 1918, established the Exhibits and Publicity Bureau (to be re-named the Canadian Government Motion Picture Bureau). It was the world's first government film production operation and Norrish was its director.

In June 1920, Charles Urban announced the formation of Associated Screen News, New York Ltd. and of its wholly owned subsidiary, Associated Screen News of Canada. The formation of the new company was financed by a private share offering in both the United States and Canada.

In July 1920, Associated Screen News (ASN) was incorporated by the Canadian Pacific Railway, which invested $250,000.00 in the company. However, while it is widely assumed that CPR owned the company, in his 1961 paper Motion Pictures in Canada : A Brief History of the Development of Canadian Film, Guy L. Coté notes that this investment bought the CPR only a 50% interest in ASN, and refers to "American interests" as its founders. Given Urban's announcement and the fact that its formation was his idea, that Norrish's first act at ASN was to produce the Kinograms Series, that Urban was based in the U.S. with an American company, and was in business with the likes of Vanderbilt and Hearst, it is reasonable to assume that the "private share offering" was closely held, and that the "American interests" referred to by Coté were Urban and his associates.

Regardless of who its investors were, the CPR was the majority shareholder of Associated Screen News Canada. Its president was the CPR's chief engineer, Colonel John Stoughton Dennis; Beatty persuaded Bernard Norrish to leave the government bureau and become its General Manager. Norrish brought one person with him from Ottawa to Montreal, the cinematographer John M. Alexander who, usually uncredited, handled production and directed most of ASN's early films.

Urban had over-stepped; much of his expected cash flow disappeared when Beatty insisted that all CPR films be made in Canada. In 1924, Associated Screen News, New York Ltd. failed. All of its shares were transferred to the CPR. Beatty closed the New York operation and named Bernard Norrish President of Associated Screen News of Canada.

1920s
In the short time that he was head of the government bureau in Ottawa, Norrish created an efficient laboratory, production studio and distribution system. He and Alexander did the same thing with ASN. By 1923, Norrish had secured a contract to supply a Canadian section to Pathé News, and had distribution deals with Universal Pictures, Gaumont-British News, Gaumont-British Weekly, Pictorial Life, the Canadian Travel Film Library, Empire-Universal Films, Educational Films Corp. of America, and Urban's two distribution companies, Kinogram News and The Selznick News. These newsreels were projected in 4,000+ theatres in the U.S., Canada, Great Britain, Australia and South America.

In 1926, Associated Screen News, which had been operating out of an old decommissioned Baptist church, built new facilities in Montreal's Notre-Dame-de-Grâce neighbourhood; over the front door, oddly, was a frieze of an Indian chief in headdress. This facility included the $150,000.00 Associated Screen News Laboratory. That was an enormous sum at the time, but it quickly paid for itself. Previously, foreign distributors had to print their own films and ship them to Canada. In 1925, the Canadian government slapped a tariff on the importation of films–six cents a foot. ASN could now print their films, meaning that distributors only had to pay the tax once. By 1929, the lab was processing 22 million feet of film a year, for most American and British distributors, and film printing soon accounted for one third of the company's profits. Even more lucrative was the provision of intertitles, explanatory texts added to silent films to explain passages of time or important dialogue. Norrish and Alexander were able to create bi-lingual inter-titles and splice these into American features. Associated Screen News became the first firm in North America to provide this service which, for many years, was a large source of its revenue.

Demand for films was soaring, but not for American films. America's late entry into the First World War, and its subsequent claims of glory, were seen as offensive and Canadians were openly resentful of films depicting American heroism in the war. There were riots in theatres that showed such films; in some places, images of the American flag were banned. Canadians wanted Canadian and British films. ASN's newsreel and film production increased rapidly and the company employed cinematographers from coast to coast, including Banff-based Byron Harmon, who shot most of the Rocky Mountain footage, and Roy Tash in Vancouver. Tash, who was known as "Mr. Newspictures of Canada" and became famous when he was the first to film the Dionne Quintuplets, went to work for ASN in 1925 and stayed for 25 years; it was Tash who filmed most of the Canadian news stories. By 1927, ASN had 60 employees; by 1930, 100+ employees.

In addition to immediately beginning with the production of newsreels, Norrish and Alexander created the Kinograms series, silent travelogues about routes served by the CPR's trains, ferries or ships. They added sponsored films, documentaries and general-interest films, and Norrish was careful to support the CPR; if a politician or celebrity was in a film, that film was shot in a CPR hotel, or the person was seen on a CPR train, or wharf, or ship. ASN's art department produced post cards and booklets for sale in CPR's numerous hotels, and ASN operated the hotel kiosks. In 1925, Alexander was sent, with a full staff, on Canadian Pacific cruises to the West Indies and South America where, for a fee, they filmed passengers in exotic locations and processed the films in on-board darkrooms.

ASN's main mandate was to produce CPR films. But there was more to these films than making the CPR look good. In the late 1890s, hand in hand with the Canadian government, the CPR had created its own Colonization and Immigration Department, which sold land, through loans it provided, to immigrants who bought farms in western Canada. In the 1890s, it began producing films to show to potential British immigrants; the 1898 film Ten Years in Manitoba, by James Freer shows rich prairie soil and a happy family in an attractive house. One purpose of the films produced by ASN through the 1920s was to show the opportunity provided by Canada’s wilderness, and to absolutely not show the hardships suffered by those who settled the Canadian prairies.

While central European immigrants easily adjusted to difficult life in the west, British immigrants were mainly city dwellers who had been drawn in by the CPR films. In 1923, settlers revolted against the CPR because life in Canada had been misrepresented—they had not been told about the Canadian winters (for many years, the CPR would not allow images of snow in its films). The business of farming had overwhelmed them. They were unable to repay their debt; in 1922, 316 farms were abandoned. The CPR responded by writing off interest and dropped the price of land to as little as $10 an acre; when the Great Depression hit, land was offered for as little as $5 an acre.

But, from 1903 to 1917, Charles Urban was busy making films about the glories of life on the prairie, and ASN continued this through the 1920s, making dozens of films to encourage immigration. For the Scots, there was the 1926 film Clan Donald : A British Farm Colony. In 1929, Roy Tash made From British Home to Canadian Farm, a two-reel film extolling the virtues of farming the Canadian prairie; in 1928, he made British Success in Canadian Farming, in 1930, Canada, The New Homeland. All other CPR films benefited the CPR  in some way, and not just by encouraging tourists and immigrants; as industry could not function without rail, industrial films were just as important.

1930s
By the 1930s, hundreds of small production studios had cropped up across Canada, particularly in Ontario. Beatty suggested that ASN move to Toronto, but Norrish refused—it was unnecessary. Few companies could compete with ASN. Not only did it have endless amounts of cash from the CPR, but the CPR transported film crews, provided their accommodation, and handled the shipping of ASN's raw stock and completed films, which was a considerable expense at the time. Even the government bureau had difficulty competing with ASN; Norrish maintained his contacts in the federal government, and was making films for the Parks Branch. Ray Peck, who had taken over from Norrish as head of the Exhibits and Publicity Bureau (now called the Canadian Government Motion Picture Bureau) complained that ASN was undermining the bureau. But Peck wasn't keeping up; in 1931, ASN became able to produce films with sound, while the federal bureau produced only silent films well into the 1930s.

One filmmaker who had been frustrated at the federal film bureau was Gordon Sparling, who joined ASN in 1930. He had left the Exhibits Bureau to work for Paramount Pictures in New York. In 1929, he was hired to make the film Forward Canada! for General Motors; it was to be shot in Montreal but his equipment supplier reneged and he went to ASN. When Norrish saw the completed film, he was impressed and offered Sparling a job. Sparling wanted to make theatrical shorts, for which he said he needed a fixed budget of $3,000.00 each. Norrish agreed, with two conditions: that production costs would be covered by theatrical revenue, and that Sparling would also produce ASN's sponsored and industrial films.

One reason for Norrish's ready acceptance of Sparling's budget was another tariff enacted by the Canadian government in 1931, on the importation of motion picture cameras and sound recorders. Each time a foreign cameraman entered Canada, he would be taxed on his equipment. This tax greatly reduced the number of American cameramen shooting in Canada and, with the boom in Canadian filmmaking, and an increase in the number of production companies, there was no longer a pool of cinematographers looking for work. Norrish wanted stability in personnel, he wanted to expand his production, and Sparling was willing to make the commitment.

Norrish also wanted films exactly like Forward Canada!. It was only four minutes long, but it had a persuasive power. General Motors wanted people to spend their way out of the Great Depression, and this film told people that, if they worked hard, they could have what they wanted and improve their lives. It dovetailed with Norrish's belief that every person possessed what he called "eye-mindedness" and that, if you gave someone an instruction through suggestion, it would leave an indelible impression–as long as they didn't realize that they were being instructed. Sparling achieved this in Forward Canada!, and Norrish intended to sell the concept to his clients.

Canadian Cameos Series
Sparling proposed a monthly series called Canadian Cameos, vignettes about Canadian life, covering everything from music and sports, to history, art and First Nations culture. He described the cameos as "designed for general theatre audiences—no axes to grind, no 'messages' to hammer home, just good entertainment with a Canadian flavour". Between 1930 and 1954, Sparling made 84 episodes (it went on hiatus during the war). Of this series, Guy L. Coté wrote: "Few of Sparling's films betray much pre-occupation with the aesthetics of film expression, and he remains basically an unsophisticated showman with an engaging naivete of style, and a love for entertaining his audience with the fads and fashions of the day." Cote noted, however, that some of the films were interesting, particularly Grey Owl's Little Brother (1932), Rhapsody in Two Languages (1934), Acadian Spring Song (1935), Ballet of the Mermaids (1938), The Thousand Days (1942), Sitzmarks the Spot (1949) and The Roaring Game (1952).

While it may have had its detractors, not only did Canadian Cameos constitute the only continuous creative filmmaking effort in Canada in the 1930s, it introduced the first Canadian theatrical films with sound, and the 1939 vignette Royal Banners Over Ottawa introduced colour to Canadian filmmaking. It was also extensively distributed, throughout Canada, the U.S. Britain, Europe, Australia and the Far East and, through the '30s, was the only representation of Canada that anyone saw. The series was also lucrative; it worked with newsreel sales, and, until 1935, all of its sports-related films were cross-marketed under a separate series called Sports Chats.

One reason for its success was that it portrayed Canadian society as most Canadians believed it was. Audiences were now more sophisticated; they did not want propaganda. Theatre owners wanted films to entertain audiences, not alienate them. Sparling had a talent for making the most mundane topic seem interesting, even comforting. They did not challenge or confront viewers, or contain anything controversial. Sexual content was not a factor; in the 1930s, "controversial" meant anything to do with communism, labour strife and trade unionism. In 1931, Famous Players, Canada's largest theatre chain, announced that "no newsreels of a controversial nature" would be shown in its theatres. And, even though the episodes were released during the Great Depression, no evidence of the Depression is seen in any of the cameos. Censorship was widespread, theatre owners did not take risks, and Sparling made films that theatre owners would buy.

When Sparling was hired, Norrish reorganized ASN, dividing it into four divisions: newsreel, CPR productions, laboratory and Sparling’s production department, which was responsible for dramatic and sponsored films. It was called Associated Screen Studios and initially consisted of Sparling and the cinematographer Alfred Jacquemin. Where cameramen had shot newsreel footage for newsreels only, and others shot for CPR films only, their film was now used wherever it was needed, although they retained a great deal of autonomy and were not necessarily  working at Sparling's direction. Due to cost constraints, few films were released in French; any French films were dubbed for sale, in packages, to French-speaking markets.

Through the 1930s, ASN supplied Canadian news footage to all American newsreels except Fox Movietone News, which had its own Canadian team of cameramen. By the late 1930s, ASN was able to add pre-recorded music, and dub films for release to French, German, Danish and Spanish audiences. In 1935 the company purchased the collection of Montreal photographer William Notman, adding Notman's 400,000 negatives to its inventory. Also in 1935, Sparling convinced Norrish to build a sound studio. This studio would be the first in Canada and, for some time, the most sophisticated sound studio in the world.

Sponsored Films
The sound stage was necessary to produce the only feature-length film ASN would make in the 1930s, House in Order, a 55-minute black-and-white film produced for Shell Oil. Made to promote Shell's products and services, and featuring 11 actors (ASN employees), it was a film about the romantic adventures of a service station attendant and his wife.

This was a real departure for ASN which, by now, had produced hundreds of sponsored films, most under 10 minutes in length. By the 1920s, all marketers knew that short films were the best form of advertising; newsprint ads and signage were the only other options. In addition to theatrical distribution, these films were provided, free of charge, to service clubs, church groups, women’s institutes and schools, often with a speaker to present the film and answer questions. In some cases, corporations would rent theatres and host Hollywood-style premieres. In theatres, an evening's program would include a cartoon, a newsreel, a sponsored film, and then the feature. Sponsored films were the bread and butter of all production companies of the day–there would have been no Canadian film industry without them.

ASN's CPR films were sponsored films, but its client list also included the major Canadian corporations of the day, including Eaton's, General Motors, Massey-Harris, the Canadian Wheat Board, Ford Motor Company, Bell Canada, all provincial governments and most Crown corporations. Many of these films were industrial and simply recorded the operation of a piece of machinery; a cameraman would be dispatched to shoot the product in action. But as audiences became more sophisticated, they found these films off-putting and producers were forced to make them more interesting.

Sparling began to turn commercial films into short dramas. He had a talent for manipulating information in such a way that the viewer received several different messages at once. He described these films as "simple, workman-like productions", but ASN's clients gave him a free hand, allowing him to experiment with new techniques. One example of this is Beautyrest, a 1931 film he made for the Simmons Bedding Company, in which he used heavy tinting and toning to turn the process of mattress manufacturing into a sort of fairy tale.

In 1932, for Weston Bread & Cakes, Sparling made The Breadwinner. It was meant to be a silent film, but Sparling added a music score and talking sequence. It is a dramatized commercial about a young man, his family, and healthy Weston bread. Sparling knew that family drama worked best, and this film was well-received. It was its positive reception that convinced Norrish to go with more dramatization in sponsored films. Shell then commissioned the 1934 film That's Shell Service.  Sparling turned what was intended to be a simple training film into a 30-minute family drama, in which a young man is forced to leave university and a football career to turn home and run the family service station. Thanks to Shell, the station becomes successful, and the young man returns to university where his pretty girlfriend is waiting. The success of this film is what led to the production of House in Order.

In the post-Depression era, Canadian film production faltered. ASN continued to grow, remaining the largest private film production company in Canada.  In 1938, the federal government hired Scottish filmmaker John Grierson to analyze the Canadian situation; Grierson's report led to the 1939 creation of the National Film Board of Canada (NFB) which, Grierson would say, was modeled on Norrish's example. With Grierson as commissioner of the NFB and Norrish as president of Associated Screen News, the Canadian industry had two very smart, very efficient men leading two extremely well-funded production companies.

When World War II broke out in 1939, sponsors wanted to show their contributions to the war effort. The focus of filmmaking shifted to propaganda films, military training films, and newsreels. Many ASN employees enlisted; some joined the Canadian Army Film and Photo Unit, as did Sparling, who took a leave of absence to become, as Major Sparling, the unit's director. While he was away, ASN continued to produce films, some as co-productions with the NFB.

1940s
In 1943, CPR head Edward Beatty died at the age of 66. Beatty was the last in a line of railroad tycoons who single-handedly controlled his empire and he relished his position as chairman of his film company's board. His successor, D'Alton Corry Coleman, was 64 and planning his retirement; overseeing a film studio was not one of his priorities. Former Famous Players president N.L. Nathanson who, as part of a distribution deal involving the 1924 share transfer of Associated Screen News, New York, became one of ASN's larger shareholders, offered to buy ASN—he had been expelled from Famous Players and, with heavy investment from The Rank Organisation, had founded Odeon Cinemas. Coleman declined the offer; he may not have been that interested in filmmaking, but ASN was making a lot of money.

In 1941, Norrish, who went by the name 'Ben', formed ASN's own distribution division, the Benograph Company, to distribute equipment and films. ASN had expanded its production of educational films; the Benograph Company distributed these, along with many of its industrial films, to schools throughout the country. When land next to the ASN lab became available, Norrish bought it so The Benograph Company could manufacture Bell & Howell filmmaking equipment. There was method to this; Norrish knew that The Rank Organisation saw Canada as a key point for competing in the American market, and that The Rank Organisation was already making Bell & Howell filmmaking equipment in the UK. Norrish was now 60 years old and Beatty was gone; he may have been setting up ASN, not to compete with The Rank Organisation, but to make it more attractive for Rank to purchase. N.L. Nathanson died in 1943 and Odeon had been taken over by his son Paul; before The Benograph Company could begin manufacturing for Bell & Howell, Paul Nathanson arranged a deal to import its equipment from the UK.

In 1944, Norrish opened a sales office in Toronto, and purchased the Vancouver photographic services company Dunne and Rundle. Then there was film printing; in 1945, the ASN lab work for The Rank Organisation was valued at $50,000.00; processing for American companies was $300,000.00. At the time, ASN was one of the few light industries which generated foreign currency.

In 1945, Norrish invested in 16 mm films. ASN was already using the format's smaller, lighter cameras for CPR productions and he assumed, correctly, that their sales would grow. By 1946, 16 mm projectors were common in every school and library in Canada, and Canadians were buying them for home use. Norrish started releasing ASN's films in both 35 mm and 16 mm; the latter were released in segments which people could watch in their living rooms, and the home market became a new and steady source of revenue.

In 1947, Paul Nathanson submitted an offer to buy ASN; the offer was too low, ASN was still highly profitable and his offer was declined.

When Sparling returned to ASN in 1946, he went back to producing Canadian Cameos. In 1934, he had made what is now his best-known short film, Rhapsody in Two Languages. This employed what he would call his "rhapsodic technique" which, through clever editing, was the juxtaposition of images and sounds to evoke activity and the passage of time. There was great demand for this technique, and Sparling used it as often as possible, notably in the 1942 film about Winston Churchill, The Thousand Days.

Canadian Cameos was officially revived with Canadian Headlines of 1948, a behind-the-scenes look at the moving production using the rhapsodic technique. With that film, Headlines of... became its own series, and ran until 1952. Theatre owners wanted more newsreels and Norrish noted that year-end compilations were popular in the U.S. Headlines of... went further, with Sparling stringing together the year's best footage with a plot, e.g. Canadian Headlines of 1950 centered around experimentation with the new invention of television.

But the popularity of Canadian Cameos was in decline. One reason for this is that both Norrish and Sparling were adamantly resistant to change of any kind; both believed that their tried-and-true methods would remain adequate and profitable, and Sparling continued with his formula. It is telling that, when the Canadian Film Awards were created in 1949, Canadian Cameos was awarded an Honourable Mention, while most of the other awards went to the NFB, and Crawley Films. Special attention was paid to the experimental films of Norman McLaren, and the Film of the Year was Budge Crawley's highly creative and technically masterful international hit The Loon's Necklace.

By 1946, Canada boasted a huge theatre-going public. There were thousands of amateur film clubs in every corner of the country, and young filmmakers were making films about every aspect of Canadian life for international distribution. Through the 1940s, film production in Canada doubled, but sponsored films were on the decline–through the post-war era, corporations did not have the funds to continuously commission advertising.

The Mapleville Story (1947) was the last dramatized commercial produced by ASN. This was a 23-minute film that stuck with Norrish's favourite message: that adversity could be overcome by hard work and thrift. It was commissioned by the Canadian Bankers Association to assure Canadians that the banking system was stable and their money was safe. But the client knew what Norrish and Sparling did not see; Canadian society had changed. The bankers knew that the public would not accept the film if they knew it was sponsored. So the client's name does not appear anywhere in the film; instead, ASN invented a name. The head credit reads "Produced by Canadian Film Features".

1950s
In 1949, Sparling began producing comedy. This was risky, as Canadians were not then known for producing humour; music hall shows almost always starred American or British comedians. He produced the comedic equestrian film All Joking Astride, and Borderline Cases, an amusing film about the quirks of communities on the US-Canada border; it won a Special Citation at the 2nd Canadian Film Awards. In 1950, Sitzmarks the Spot, featuring the Montreal comedian John Pratt, won a Special Award at the 3rd Canadian Film Awards for "an outstanding job in handling a comedy theme, a field in which few Canadians have excelled".

By now, Canadian producers were well into feature film production. Sparling wanted to produce features but, for all of its profitability, ASN could not follow, because it was still under the oversight of Canada's largest corporation; everything ASN did had to fall in line with the vision of the CPR. Also, with heavy competition from the Americans, Sparling and Norrish were not convinced that the types of films they could produce would be profitable.

In 1952, Alex McKie, an ASN employee, wrote a report detailing the viability of producing films for television. Norrish refused to consider the option of television until it was more developed. McKie quit and went to work for the CBC. Norrish dipped his toe into television by producing television commercials, but he and Sparling were resistant because television meant live productions and they didn't have the facilities or expertise for live productions.

In 1948, William Mather became head of the CPR; he was a 63 year-old business-minded engineer who could see that ASN was stagnating. In 1953, at the age of 68, Norrish retired; he died in 1961.

Mather, who knew little about the film industry and how to run a production company, named William Singleton ASN's new president. Singleton had been with ASN since 1926. He had worked in all of the company's departments, but his main role was as the driving force behind sales. He was replaced as VP Sales by Norman Hull, a cinematographer and director who had been with the firm since 1921; he was now the only person in the sales department. Sponsored films were gone. There was still some demand for newsreels, but sales of Canadian Cameos plummeted; its last episode, Spotlight No. 6, was released in November 1953.

The CPR was now heavily in debt, which it had been accumulating since the war. In 1955, Mather was replaced by Buck Crump, who had started with the CPR has a teen-age track labourer. He was now focused on making the CPR solely a transportation company; he did not want a film studio and did not allot any funds to ASN. Production facilities were not maintained, necessary equipment was not replaced and there was no investment in new technology. People started to leave, including Roy Tash. ASN employees went to either the NFB or the CBC; Tash freelanced for both before retiring in 1967. Sparling stayed with ASN.

In late 1953, when Paul Nathanson made another offer to buy ASN, Crump accepted it. In April 1954, the new ASN president was named:  Nathanson's business partner, Maxwell Cummings, a real estate investor who owned apartment buildings and shopping malls in Montreal. His first act was to sell Benograph and its land holdings. The profits from the sale were not returned to ASN, but were paid as dividends to ASN's shareholders; ASN's largest shareholders were Paul Nathanson and Maxwell Cummings.

Next, Cummings hired Murray Briskin. Briskin was officially Cummings' executive assistant, but he was a New York producer who had just been with Music Corporation of America, or was possibly still in the employ of MCA. Briskin was hired to produce a television series which would then be sold to MCA. MCA assigned one of its New York writers, who developed a story based on the only Canadian company, it was felt, Americans would recognize, the Hudson's Bay Company. The new series would be about a young man who was an apprentice store manager for "The Bay". It would be called McLean of Hudson’s Bay and would ostensibly take place in Vancouver.

The Hudson's Bay thought this was a great idea and attached a special advisor to ASN. But Sparling was excluded; MCA sent an American director (name unknown) who angered everyone by his insistence on stereotypes. Sparling instructed Vancouver cinematographer Ross Beasley to shoot background footage; when it arrived, the director said it didn't look like Vancouver and commissioned painted backdrops. He said that Canadians couldn't act. He hired an American actor named Frank Mathias for the lead role, and black Montrealers to play Indians. Sparling and the Hudson's Bay were outraged when they saw that the reason for the "Indians" was that the plot of the pilot was about young McLean having to rescue a young white girl who had been kidnapped by Indians. The director persisted but the series went no further. ASN had wasted $40,000.00; it was the last production undertaken at Associated Screen Studios.

It did not have to be this way: CBC Television, which was formed in 1952, was desperate for programming. But Nathanson and Cummings wanted the bigger, faster profits of the American market. They were not interested in ASN's long-term potential, or in incurring any debt; it is unclear to what extent they may have been beholden to MCA.

In July 1957, Cummings shut down ASN's production and art departments. Sparling left and went to work for the NFB. Briskin told Canadian Film Weekly that ASN would continue to produce films by hiring freelancers but, by November, the company's sale was under way. In January 1958, ASN was sold to Du-Art Laboratories of New York, which wanted it for its laboratory and Quebec location. It re-named it Associated Screen Industries and used it to dub American features into French for European sales.

In 1967, Du-Art sold ASI to Bellevue-Humphries, a Canadian consortium which intended to establish film labs across Canada. When those plans were scrapped, ASI was sold to Pathé which, as Bellevue Pathé, operated the lab and grew the distribution side, acting for clients such as Walt Disney Studios. In 1973, Bellevue Pathé was purchased by Montreal's Astral Media which, in 2013, was purchased by Bell Media.

In 1954, at the 6th Canadian Film Awards, Gordon Sparling was presented with a Special Award "for distinguished service to the art of the film in Canada and to the Canadian film industry".

Filmography (partial)
Below is a sampling of the films made by Associated Screen News. Over the course of its existence, the company created thousands of films. Records of many can be found at CESIF, Concordia University's Canadian Educational, Sponsored and Industrial Film Project. Records of another 2,000 are in the collection of the Canadian Government.

Kinograms Series
(Silent, black and white, 35 mm)

Canadian Cameo Series(Black and white, with sound, 35 mm)All produced by Bernard Norrish and directed by Gordon Sparling

Canadian Pacific Railway Films

Sponsored Films

References

External links
Associated Screen News at the Canadian Educational, Sponsored, and Industrial Film (CESIF) Project, Concordia University

1920 establishments in Quebec
Canadian Pacific Railway subsidiaries
Newsreels
Mass media companies of Canada


Fusio is a village and former municipality in the district of Vallemaggia in the canton of Ticino, Switzerland.

In 2004 the municipality was merged with the other, neighboring municipalities Broglio, Brontallo, Menzonio, Peccia and Prato-Sornico to form a new and larger municipality Lavizzara.

History

Fusio is first mentioned in 1258 as Fuxio.

The population reached its peak in the 16th–17th century (400–500 inhabitants), but towards the end of the 18th century began a slow decline. This slow decline accelerated dramatically after 1950 because of emigration to the cities. Most of the remaining population is elderly.

The church, consecrated in 1455 to the Beata Vergine Assunta, was a Chapel of ease of Sornico until the 16th century. It was later rebuilt several times, mainly in the 17th century.

The local economy relied on livestock, pastures and forestry. The village possessed vast pastures and alpine pastures, which explains the relatively small number of emigrants overseas. Until the second half of the 19th century there were two mines in the village that produced steatite (soapstone). Through the construction of the dam in the Sambuco valley (1950–56) the amount of agricultural land has been reduced. From the 1980s a number of houses and an inn were built.

The hamlet of Mogno was also part of the village. In the 17th century it possessed 50 taxable fireplaces. By 1801, the population had dropped to just 40 inhabitants. Today it is no longer inhabited all year round and serves only as a holiday village. Before Mogno was incorporated in 1936 into Fusio it was part of Peccia, and the land around the settlement was shared between Fusio, Peccia and Prato-Sornico.

The church of San Giovanni Battista Decollato was built in 1626 and was initially a chapel of ease of the parish of Peccia. Towards the end of the 17th century it became an independent parish church. In 1940 it became part of the parish of Fusio. The church was destroyed in 1986 by an avalanche. The new building, by Mario Botta, was built in 1997 after 10 years of planning and construction work. The unique construction of the building has already become a point of interest and a source of critical debate.

Geography

Fusio has an area, , of . Of this area,  or 1.0% is used for agricultural purposes, while  or 19.7% is forested.  Of the rest of the land,  or 0.7% is settled (buildings or roads),  or 4.2% is either rivers or lakes and  or 56.3% is unproductive land.

Of the built up area, housing and buildings made up 0.1% and transportation infrastructure made up 0.4%. Out of the forested land, 13.8% of the total land area is heavily forested and 2.7% is covered with orchards or small clusters of trees. Of the agricultural land, 0.8% is used for growing crops. Of the water in the village, 3.6% is in lakes and 0.6% is in rivers and streams. Of the unproductive areas, 26.4% is unproductive vegetation and 29.9% is too rocky for vegetation.

The village is located in the Vallemaggia district. It is the upper most village in the Val Lavizzara at an elevation of . It is  from Locarno. Lago di Mognola is located above the village.

The former municipality also contained the village of Mogno.

Coat of arms
The blazon of the municipal coat of arms is Tierced argent a pot sable gules two nails or in saltire and or a tobacco plant issuant vert. The pot is the symbol of the Lavizzara valley. The nails and tobacco are canting on the names of two families in the village. The Chiodi ( or nail) and the Tabacchi ( or tobacco).

Demographics

Fusio has a population () of 45. Over the last 10 years (1997–2007) the population has changed at a rate of 0%.

Most of the population () speaks Italian language (40 or 88.9%), with German being second most common (4 or 8.9%) and Portuguese being third (1 or 2.2%).

Of the population in the village 30 or about 66.7% were born in Fusio and lived there in 2000. There were 3 or 6.7% who were born in the same canton, while 5 or 11.1% were born somewhere else in Switzerland, and 5 or 11.1% were born outside of Switzerland. , there were 16 people who were single and never married in the village. There were 23 married individuals, 5 widows or widowers and 1 individuals who was divorced.

There were 8 households that consist of only one person and households with five or more people. Out of a total of 22 households that answered this question, 36.4% were households made up of just one person and 2 were adults who lived with their parents. Of the rest of the households, there are 4 married couples without children, 6 married couples with children There was 1 single parent with a child or children.

 there were 103 single-family homes (or 92.0% of the total) out of a total of 112 inhabited buildings. There were 4 multi-family buildings (3.6%) and 5 other use buildings (commercial or industrial) that also had some housing (4.5%). Of the single-family homes 1 were built before 1919, while 1 were built between 1990 and 2000. The greatest number of single-family homes (60) were built between 1919 and 1945.

 there were 113 apartments in the village. The most common apartment size was 3 rooms of which there were 32. There were 11 single room apartments and 17 apartments with five or more rooms. Of these apartments, a total of 20 apartments (17.7% of the total) were permanently occupied, while 93 apartments (82.3%) were seasonally occupied.

The historical population is given in the following chart:

Economy
There were 16 residents of the village who were employed in some capacity, of which females made up 37.5% of the workforce. , there were 4 workers who commuted away from the village.

Religion

From the , 41 or 91.1% were Roman Catholic, while or 0.0% belonged to the Swiss Reformed Church. Of the rest of the population, and there was 1 individual who belongs to another Christian church. There were 3 (or about 6.67% of the population) who belonged to no church, are agnostic or atheist.

Education
In Fusio about 12 or (26.7%) of the population have completed non-mandatory upper secondary education, and 3 or (6.7%) have completed additional higher education (either University or a Fachhochschule). Of the 3 who completed tertiary schooling, all were Swiss men.

, there was 1 student from Fusio who attended school outside the village.

References

Former municipalities of Ticino
Villages in Ticino


Llewellyn Atkinson (18 December 1867 – 1 November 1945) was an Australian politician. He was a member of the Australian House of Representatives from 1906 to 1929 and a member of the Tasmanian House of Assembly from 1931 to 1934, representing successive conservative parties.

Atkinson was born in Launceston, Tasmania and was educated at Launceston Church Grammar School. He enrolled at the University of Melbourne to study law in 1885, where he was resident at Trinity College. He was called to the bar in 1894 and became a solicitor, returning to Tasmania to practise at Latrobe and later forming a partnership with T. A. Scott. He was a member of the Latrobe Town Board and the board of management of the Devon Hospital and a prominent local Freemason, serving as master of the Concord Masonic Lodge and a longstanding member of the Latrobe Mistletoe Lodge. Atkinson was also a keen sportsman and a talented cricketer and footballer in his youth.

He was elected to the Australian House of Representatives of Wilmot at the 1906 election and held it until his defeat by Joseph Lyons at the 1929 election, representing successively the Free Trade Party, the Anti-Socialist Party, the Commonwealth Liberal Party, the Nationalist Party and the Country Party, an independent and then Nationalist again. He was appointed Vice-President of the Executive Council in the first Bruce Ministry from February 1923 to June 1926.

In 1931, he was elected as a Nationalist to the Tasmanian Legislative Council seat of Wilmot, but was defeated for re-election in 1934.  He died at Latrobe in 1945 and was buried at the Latrobe General Cemetery. He never married, and resided with his sister at their family country home, "Frogmore".

Notes

People educated at Trinity College (University of Melbourne)
Free Trade Party members of the Parliament of Australia
Commonwealth Liberal Party members of the Parliament of Australia
Nationalist Party of Australia members of the Parliament of Australia
National Party of Australia members of the Parliament of Australia
Members of the Australian House of Representatives for Wilmot
Members of the Australian House of Representatives
Members of the Cabinet of Australia
Members of the Tasmanian Legislative Council
1867 births
1945 deaths
Politicians from Launceston, Tasmania
20th-century Australian politicians
Colony of Tasmania people


Menzonio is a village and former municipality in the district of Vallemaggia in the canton of Ticino, Switzerland.

In 2004 the municipality was merged with the other, neighboring municipalities Broglio, Brontallo, Fusio, Peccia and Prato-Sornico to form a new and larger municipality Lavizzara.

History
Menzonio is first mentioned in 1364 as Menzone. Until the beginning of the 15th century, Menzonio and Brontallo formed a single municipality, and together with Bignasco and Cavergno it formed a Vicinanza which was under the jurisdiction of the Lavizzara valley.  At the time of the Swiss Confederation rule over Ticino, Menzonio was one of seven villages in the valley. The village church was part of the parish of Cevio until 1513 when it split away to form a parish with Brontallo.  In 1655, this parish was dissolved and Menzonio formed its own parish.  The Church of SS Giacomo e Filippo was first mentioned in the 15th century.  The current building was built in 1585 and was rebuilt in 1644 and finally in 1905.

In the 17th century, the population reached its peak and then decreased gradually, initially because of emigration to Italy.  Later the residents emigrated to California and finally they moved away from the villages to the cities of Ticino and the rest of Switzerland. For centuries the local economy was dominated by grazing and agriculture.  In the 19th century there was a soapstone quarry and four mills.  The road that connects Menzonio with the valley floor, was built in 1949. In 2000, three-quarters of the workforce were commuters.

Geography
Menzonio has an area, , of .  Of this area,  or 2.2% is used for agricultural purposes, while  or 54.7% is forested.   Of the rest of the land,  or 0.8% is settled (buildings or roads),  or 1.4% is either rivers or lakes and  or 38.6% is unproductive land.

Of the built up area, housing and buildings made up 0.6% and transportation infrastructure made up 0.2%.  Out of the forested land, 38.6% of the total land area is heavily forested and 7.6% is covered with orchards or small clusters of trees.  Of the agricultural land, 1.6% is used for growing crops.  All the water in the municipality is flowing water.  Of the unproductive areas, 18.4% is unproductive vegetation and 20.2% is too rocky for vegetation.

The village is located in the Vallemaggia district, on a terrace along the right side of the Val Lavizzara at an elevation of .

Coat of arms
The blazon of the municipal coat of arms is Azure St. Mary praying and crowned all argent haloed or issuant from a stump snagged and eradicated vert sprouting a branch with three leaves.  The coat of arms refers to a local story.  According to the story, due to the lack of arable land, many of the young men of Menzonio emigrated to Rome in search of work.  One day, a group of emigrants came back carrying an image of the Blessed Virgin in a casket.  They stopped outside the village to rest and set the casket on the stump of a cherry tree.  When they arose and tried to pick up the casket, they discovered that the tree had grown up into the casket and it could not be moved.

Demographics
Menzonio has a population () of 73.

Most of the population () speaks Italian language (69 or 94.5%), with German being second most common (3 or 4.1%) and French being third (1 or 1.4%).

Of the population in the village 45 or about 61.6% were born in Menzonio and lived there in 2000.  There were 17 or 23.3% who were born in the same canton, while 4 or 5.5% were born somewhere else in Switzerland, and 4 or 5.5% were born outside of Switzerland.  , there were 27 people who were single and never married in the village.  There were 36 married individuals, 8 widows or widowers and 2 individuals who are divorced.

There were 14 households that consist of only one person and 1 households with five or more people.  Out of a total of 34 households that answered this question, 41.2% were households made up of just one person.  Of the rest of the households,  there are 7 married couples without children, 10 married couples with children  There were 3 single parents with a child or children.   there were 89 single-family homes (or 92.7% of the total) out of a total of 96 inhabited buildings.  There were 6 multi-family buildings (6.3%), along with 1 multi-purpose building that were mostly used for housing.  Of the single-family homes 7 were built before 1919, and none were built between 1990 and 2000.  The greatest number of single-family homes (65) were built between 1919 and 1945.

 there were 103 apartments in the village.  The most common apartment size was 3 rooms of which there were 27.  There were 9 single room apartments and 30 apartments with five or more rooms.  Of these apartments, a total of 34 apartments (33.0% of the total) were permanently occupied, while 68 apartments (66.0%) were seasonally occupied and 1 apartments (1.0%) were empty.

The historical population is given in the following chart:

Economy
There were 32 residents of the village who were employed in some capacity, of which females made up 37.5% of the workforce.  , there were 26 workers who commuted away from the village.

Religion
From the , 64 or 87.7% were Roman Catholic, while  or 0.0% belonged to the Swiss Reformed Church.  There were 3 (or about 4.11% of the population) belonged to no church, are agnostic or atheist, and 6 individuals (or about 8.22% of the population) did not answer the question.

Education
In Menzonio about 25 or (34.2%) of the population have completed non-mandatory upper secondary education, and 9 or (12.3%) have completed additional higher education (either University or a Fachhochschule).  Of the 9 who completed tertiary schooling, 33.3% were Swiss men, 55.6% were Swiss women.

, there were 4 students from Menzonio who attended schools outside the village.

References

Former municipalities of Ticino
Villages in Switzerland


The Vancouver Playhouse Theatre Company was a regional Canadian theatre company, producing plays from 1962 to 2012. The following is a list of the productions that have been staged since its inception to its final season of 2011–2012.

2011–2012

Mainstage
Tosca Cafe (formerly The Tosca Project) – Created and staged by Carey Perloff and Val Caniparoli. An American Conservatory Theater (San Francisco) production.
La Cage aux Folles – Music & Lyrics by Jerry Herman. Book by Harvey Fierstein. Based on the play La Cage aux Folles by Jean Poiret.
Red – By John Logan. Directed by Kim Collier.
Catalyst Theatre’s Hunchback – Conceived by Jonathan Christenson and Bretta Gerecke. Adapted from Victor Hugo's novel. Originally commissioned by the Citadel Theatre (Edmonton).
God of Carnage – By Yasmina Reza. Translated by Christopher Hampton.

Recital Hall
Gunmetal Blues – Book by Scott Wentworth. Music & Lyrics by Craig Bohmler and Marion Adler.
The Exquisite Hour – By Stewart Lemoine - Not Presented. Presented instead at the Arts Club Theatre, Revue Stage.

Theatre for Young Audiences
The Cat Came Back – Co-Created by Fred Penner, Jay Brazeau and Kim Selody - Not Presented. Replacement concerts instead performed by Fred Penner and Friends at the Vancouver Playhouse and SFU Woodwards.

2010–2011
The Fantasticks – Book and Lyrics by Tom Jones; Music by Harvey Schmidt, Directed and Choreographed by Max Reimer
Noël Coward's Brief Encounter – Adapted for the stage by Emma Rice, Directed by Max Reimer
This – Written by Melissa James Gibson, Directed by Amiel Gladstone
Death of a Salesman – Written by Arthur Miller, Directed by John Cooper
The Trespassers – Written by Morris Panych Directed by Ron Jenkins
MacHomer – Created and Performed by Rick Miller

2009–2010
The Miracle Worker – by William Gibson (playwright)
Dirty Rotten Scoundrels – music and lyrics by David Yazbek and a book by Jeffrey Lane
Beyond Eden – by Bruce Ruddell
Delusion – by Laurie Anderson
The Love List – by Norm Foster
Dangerous Corner – by J. B. Priestley

2008–2009
Frost/Nixon – by Peter Morgan
The Drowsy Chaperone – book by Bob Martin and Don McKellar and music and lyrics by Lisa Lambert and Greg Morrison
Miss Julie: Freedom Summer – by August Strindberg, adapted by Stephen Sachs
Toronto, Mississippi – by Joan MacLeod
Top Girls – by Caryl Churchill
Studies in Motion – by Kevin Kerr

2007–2008
The Wars – by Timothy Findley
Oliver! – by Lionel Bart
The Blonde, the Brunette and the Vengeful Redhead – by Robert Hewett
The Amorous Adventures of Anatol – by Arthur Schnitzler
True West – by Sam Shepard

2005–2006
The Syringa Tree – by Pamela Gien
A Little Night Music – lyrics by Stephen Sondheim, book by Hugh Wheeler
Vincent in Brixton – by Nicholas Wright
I Am My Own Wife – by Doug Wright
No Great Mischief – by David S. Young

2004–2005
Joni Mitchell: River – by Allan McInnis
Noises Off – by Michael Frayn
Humble Boy – by Charlotte Jones
Copenhagen – by Michael Frayn
Trying – by Joanna Glass

2003–2004
Stones in His Pockets – by Marie Jones
Hello, Dolly! – book by Michael Stewart, music & lyrics by Jerry Herman
Arms and the Man – by George Bernard Shaw
One Last Kiss – by Aaron Bushkowsky
Equus – by Peter Shaffer
Cloud Tectonics – by Jose Rivera

2002–2003
Proof – by David Auburn
Fiddler on the Roof – book by Joseph Stein, music by Jerry Bock, lyrics by Sheldon Harnick
Mary's Wedding – by Stephen Massicotte
Romeo and Juliet – by William Shakespeare
The Caretaker – by Harold Pinter
Earshot – by Morris Panych
Asylum of the Universe – by Camyar Chai

2001–2002
The Edible Woman – by Dave Carley, based on the novel by Margaret Atwood
The Music Man – by Meredith Willson and Franklin Lacey
The School for Wives – by Molière
The Drawer Boy – by Michael Healey
The Rainmaker – by N. Richard Nash
The Dead Reckoning – by Aaron Bushkowsky

2000–2001
The Coronation Voyage – by Michel Marc Bouchard, translated by Linda Gaboriau
Guys and Dolls – music & lyrics by Frank Loesser, book by Jo Swerling
Wit – by Margaret Edson
Candida – by George Bernard Shaw
The Beauty Queen of Leenane – by Martin McDonagh
Game Misconduct – by Lesley Uyeda and Tom Cone
Kilt – by Jonathan Wilson
Dona Flora – by Electric Company

1999–2000
Of Mice and Men – by John Steinbeck
The Rise and Fall of Little Voice – by Jim Cartwright
She Stoops to Conquer – by Oliver Goldsmith
Patience – by Jason Sherman
The Bachelor Brothers on Tour – by Bill Dow and Martin Kinch
2 Pianos, 4 Hands – by Ted Dykstra and Richard Greenblatt
The Overcoat – by Morris Panych and Wendy Gorling

1998–1999
An Ideal Husband – by Oscar Wilde
The Attic, The Pearls and 3 Fine Girls – by Ann-Marie MacDonald, Alisa Palmer, Martha Ross
Billy Bishop Goes to War – by John Gray and Eric Peterson
Skylight – by David Hare
Tartuffe – by Molière
The History of Things to Come – by Morris Panych, Gary Jones and Shawn Macdonald
Suburban Motel – by George F. Walker

1997–1998
2 Pianos, 4 Hands – by Ted Dykstra and Richard Greenblatt
The Overcoat – by Morris Panych and Wendy Gorling
A Perfect Ganesh – by Terrence McNally
Atlantis – by Maureen Hunter
Mrs. Warren's Profession – by George Bernard Shaw
Picasso at the Lapin Agile – by Steve Martin

1996–1997
Ghosts – by Henrik Ibsen
Tons of Money – by Alan Ayckbourn
2000 – by Joan MacLeod
Who's Afraid of Virginia Woolf? – by Edward Albee
The Heiress – by Ruth Goetz and Augustus Goetz
Money and Friends – by David Williamson

1995–1996
Three Tall Women – by Edward Albee
The Importance of Being Earnest – by Oscar Wilde
The Crucible – by Arthur Miller
Later Life – by A. R. Gurney
Betrayal – by Harold Pinter
Dr. Jekyll & Mr. Hyde, A Love Story – adapted by James Nichol
True Mummy – by Tom Cone

1994–1995
Oleanna – by David Mamet
Charley's Aunt – by Brandon Thomas
Fronteras Americanas – by Guillermo Verdecchia
The Cherry Orchard – by Anton Chekhov
Waiting for the Parade – by John Murrell
Homeward Bound – by Elliott Hayes

1993–1994
Born Yesterday – by Garson Kanin
A Little of Wot You Fancy – by Susan Cox
If We Are Women – by Joanna McClelland Glass
The Relapse – by Sir John Vanbrugh
A Doll's House – by Henrik Ibsen
Struggle of the Dogs & the Black – by Bernard-Marie Koltès

1992–1993
The Millionairess – by George Bernard Shaw
The Wingfield Trilogy – by Dan Needles
Shirley Valentine – by Willy Russell
Lips Together, Teeth Apart – by Terrence McNally
Much Ado About Nothing – by William Shakespeare
Death and the Maiden – by Ariel Dorfman
Private Lives – by Noël Coward

1991–1992
A Moon for the Misbegotten – by Eugene O'Neill
The Miser Molière – adapted by Tom Cone
Love and Anger – by George F. Walker
Macbeth – by William Shakespeare
Fallen Angels – by Noël Coward
My Children! My Africa! – by Athol Fugard

1990–1991
A Streetcar Named Desire – by Tennessee Williams
The Heidi Chronicles – by Wendy Wasserstein
Hosanna – by Michel Tremblay
Pygmalion – by George Bernard Shaw
Other People's Money – by Jerry Sterner
Herringbone, The Musical – by Tom Cone, Skip Kennon and Ellen Fitzhugh

1989–1990
Hedda Gabler – by Henrik Ibsen
Blithe Spirit – by Noël Coward
We Won't Pay! We Won't Pay! – by Dario Fo
Shirley Valentine – by Willy Russell
Doc – by Sharon Pollock
Rock and Roll – by John Gray

1988–1989
A Lie of the Mind – by Sam Shepard
Nothing Sacred – by George F. Walker
The Glass Menagerie – by Tennessee Williams
Health, The Musical – by John Gray
Frankie and Johnny in the Clair de Lune – by Terrence McNally
Les Liaisons Dangereuses – by Christopher Hampton

1987–1988
A Midsummer Night's Dream – by William Shakespeare
Fire – by Paul LeDoux and David Young
B-Movie, The Play – by Tom Wood
Back to Beulah – by W. O. Mitchell
We, the Undersigned – by Aleksandr Gelman
The Dining Room – by A.R. Gurney Jr.

1986–1987
Noises Off – by Michael Frayn
Paracelsus – by George Ryga
Diary of Anne Frank – by Frances Goodrich and Albert Hackett
Private Lives – by Noël Coward
Master Class – by David Pownall
Foxfire – by Susan Cooper and Hume Cronyn
I'm Not Rappaport – by Herb Gardner
A Chorus Line.

1984–1985
A Man for All Seasons – by Robert Bolt
Terra Nova – by Ted Tally
Better Watch Out, You Better Not Die – by John Gray
Clarence Darrow – by David W. Rintels
The School for Scandal – by Richard Brinsley Sheridan
Cloud 9 – by Caryl Churchill
I'll Be Back Before Midnight – by Peter Colley

1983–1984
Death of a Salesman – by Arthur Miller
The Murder of Auguste Dupin – by J. Ben Tarver
Godspell – by Michael Tebelak
K-2 – by Patrick Meyers
The Tomorrow Box – by Anne Chislett
Amadeus – by Peter Shaffer
Terrace Tanzi: The Venus Flytrap – by Claire Luckham
North Shore Live – by Tom Wood, Nicola Cavendish and Bob Baker
The Guys – Jean Barbeau, translated by Linda Gaboriau
Win, Lose, Draw – by Mary Gallagher and Ava Watson

1982–1983
The Black Bonspiel of Wullie MacCrimmon – by W. O. Mitchell
The Dresser – by Ronald Harwood
A Gift to Last – by Gordon Pinsent, adapted by Alden Nowlan and Walter Learning
Mass Appeal – by Bill C. Davis
The Tempest – by William Shakespeare
A Funny Thing Happened on the Way to the Forum – by Stephen Sondheim, Larry Gelbart and Burt Shevelove
Dry Rot – by John Chapman
White Boys – by Tom Walmsey
Clarence Darrow – by David W. Rintels
As Loved Our Fathers – by Tom Kahill
Dylan Thomas Bach – by Leon Pownall

1981–1982
The Notebook of Trigorin – by Tennessee Williams
The Curse of the Werewolf – by Ken Hill and Ian Armit
Wings – by Arthur Kopit
Hunchback of Notre Dame – by Dennis Foon
Romeo and Juliet – by William Shakespeare
See How They Run – by Philip King
Billy Bishop Goes to War – by John MacLachlan Gray and Eric Peterson

1980–1981
The Servant of Two Masters – by Carlo Goldoni
The Red Devil Battery Sign – by Tennessee Williams
The Man Who Came to Dinner – by Moss Hart and George S. Kaufman
The Lady from the Sea – by Henrik Ibsen
Macbeth – by William Shakespeare
Dreaming and Duelling – by John Lazarus
The Tempest – by William Shakespeare
Much Ado About Nothing – by William Shakespeare

1979–1980
Jitters – by David French
Blithe Spirit – by Noël Coward
The Innocents – by William Archibald
Love for Love – by William Congreve
A Streetcar Named Desire – by Tennessee Williams
Henry VI, Part 1 – by William Shakespeare
As You Like It – by William Shakespeare
Gunga Heath – by Heath Lamberts

1978–1979
Hamlet – by William Shakespeare
A Flea in Her Ear – by Georges Feydeau
The Crucible – by Arthur Miller
Tales from the Vienna Woods – by Ödön von Horváth
Ghosts – by Henrik Ibsen
The Elocution of Benjamin Franklin – by Steve J. Spears
Midtown Aces – by Jesse Boydan
The Promise – by Aleksei Arbuzov
Endgame – by Samuel Beckett

1977–1978
Pygmalion – by George Bernard Shaw
Arsenic and Old Lace – by Joseph Kesselring
Oedipus (Swollen Foot) – by Seneca, adapted by Ted Hughes
The Contractor – by David Storey
Twelfth Night – by William Shakespeare
Ashes – by David Rudkin
A Respectable Wedding – by Bertolt Brecht
Jack Sprat – by Joe Wiesenfeld
Loot – by Joe Orton

1976–1977
Tartuffe – by Molière
Count of Monte Cristo – by Ken Hill
King Lear – by William Shakespeare
Travesties – by Tom Stoppard
Camino Real – by Tennessee Williams
Dirty Linen and New-Found-Land – by Tom Stoppard
The Blues – by Hrant Alianak
The Sound of Distant Thunder – by Christopher Newton
7 Under the 0 – by Allan Stratton

1975–1976
Equus – by Peter Shaffer
The Speckled Band – by Arthur Conan Doyle
Macbeth – by William Shakespeare
Leonce and Lena – by George Büchner
Camille – by Robert David MacDonald
Kennedy's Children – by Robert Patrick
Komagata Maru incident – by Sharon Pollock
Back to Beulah – by W. O. Mitchell
Dear Janet, Dear Mr. Kooning – by Stanley Eveling
Why Hanna's Skirt Won't Stay Down – by Tom Eyen

1974–1975
The Taming of the Shrew – by William Shakespeare
Harvey – by Mary Coyle Chase
The Adventures of Pinocchio – adapted by John Wood
Of the Fields, Lately – by David French
The Caucasian Chalk Circle – by Bertolt Brecht
And Out Goes You? – by Sharon Pollock
Frankenstein – adapted by Alden Knowlan and Walter Learning

1973–1974
Julius Caesar – by William Shakespeare
Leaving Home – by David French
Mr. Scrooge – music by Doroles Claman, book by Richard Morris and Ted Wood
Mandragola – by Niccolò Machiavelli
A Doll's House – by Henrik Ibsen
Dutch Uncle – by Simon Gray
Queer Sights, A Mouldy Tale – by Frank McEnaney
Travesties - by Tom Stoppard

1972–1973
Forty Years On – by Alan Bennett
How the Other Half Loves – by Alan Ayckbourn
Treasure Island – by Robert Louis Stevenson
Lulu Street – by Ann Henry
Old Times – by Harold Pinter
Pillar of Sand – by Eric Nicol
Arms and the Man – by George Bernard Shaw

1971–1972
The Chemmy Circle – by Georges Feydeau
The Sorrows of Frederick – by Romulus Linney
Treasure Island – adapted by Bernard Miles
Crabdance – by Beverley Simons
Relatively Speaking – by Alan Ayckbourn
The Native – by Merv Campone
Hadrian VII – by Peter Luke

1970–1971
The Secretary Bird – by William Douglas-Home
Rosencrantz and Guildenstern Are Dead – by Tom Stoppard
Othello – by William Shakespeare
A Day in the Death of Joe Egg – by Peter Nichols
Plaza Suite – by Neil Simon
Hobson's Choice – by Harold Brighouse

1969–1970
The Royal Hunt of the Sun – by Peter Shaffer
The Show-Off – by George Kelly
Colours in the Dark – by James Reaney
Events While Guarding the Bofors Gun – by John McGrath
Village Wooing – and Dear Liar by George Bernard Shaw and Jerome Kitty
Tango – by Sławomir Mrożek
Staircase – by Charles Dyer
Che Guevara – by Mario Fratti
Foreplay – by Barry Friesen
The Candidate – by James Schevill
Space-Fan – by James Schevill
The Criminals – by Jose Triana

1968–1969
The Fourth Monkey – by Eric Nicol
Summer of the 17th Doll – by Ray Lawler
A Thurber Carnival – by James Thurber
Moby Dick-Rehearsed – adapted by Orson Welles
Mrs. Mouse Are You Within? – by Frank Marcus
The Filthy Piranesi – by William D. Roberts
Black Comedy – by Peter Shaffer
Grass & Wild Strawberries – by George Ryga
Fortune and Men's Eyes – by John Herbert
Tiny Alice – by Edward Albee
The Partition – by Jacques Languirand
Land Before Time – by M. Charles Cohen
The Visitor – by Betty Lambert

1967–1968
Androcles and the Lion – by George Bernard Shaw
The Ecstasy of Rita Joe – by George Ryga
The Beaux' Stratagem – by George Farquhar
Philadelphia, Here I Come – by Brian Friel
A Streetcar Named Desire – by Tennessee Williams
The Firebugs – by Max Frisch
Walking Happy – by Harold Brighouse
Listen to the Wind – by James Reaney
Three Rituals – by Ryūnosuke Akutagawa, Brian Shein and Sheldon Feldner
Requiem for a Dinosaur – by James Cruikshank

1966–1967
Candida – by George Bernard Shaw
Count Down to Armageddon – by James Clavell
Peer Gynt – by Henrik Ibsen
She Stoops to Conquer – by Oliver Goldsmith
How to Run the Country – by Paul St. Pierre
Anything Goes – by Cole Porter

1965–1966
Oh, What a Lovely War! – by Joan Littlewood
A Month in the Country – by Ivan Turgenev
The Knack – by Ann Jellicoe
Major Barbara – by George Bernard Shaw
The Typists & The Tiger – by Murray Schisgal
Romeo and Juliet – by William Shakespeare
Like Father, Like Fun – by Eric Nicol
Lock Up Your Daughters – adapted from Henry Fielding by Bernard Miles

1964–1965
Ring Round the Moon – by Jean Anouilh
Desire Under the Elms – by Eugene O'Neill
The Taming of the Shrew – by William Shakespeare
Christmas in the Market Place – by Henry Gheon
The Seagull – by Anton Chekhov
Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad – by Arthur Kopit
Stop the World – I Want to Get Off – by Leslie Bricusse and Anthony Newley

1963–1964
The Hostage – by Brendan Behan
Private Lives – by Noël Coward
The Boy Friend – by Sandy Wilson
Julius Caesar – by William Shakespeare
The Caretaker – by Harold Pinter
Charley's Aunt – by Brandon Thomas

References

External links
Vancouver Playhouse website

Canadian theatre company production histories
Theatre in Vancouver


Prato-Sornico is a former municipality in the district of Vallemaggia in the canton of Ticino, Switzerland.

The municipality contained the villages Prato and Sornico. These entities were former municipalities of their own, having been merged to form Prato-Sornico in 1864.

In 2004 Prato-Sornico municipality was merged with the other, neighboring municipalities Broglio, Brontallo, Fusio, Menzonio and Peccia to form a new and larger municipality Lavizzara.

History
Prato and Sornico were first mentioned in 1374.

Prato and Sornico, along with Broglio, Fusio and Peccia, formed the valley community of Lavizzara.  In 1374, the community dissolved and the villages of Prato and Sornico became independent.   The common, shared land of the four communities of Fusio, Peccia, Prato and Sornico (known as the comunella dei quattro comuni) remained shared until 1929.  In the 15th century, the hamlet was the seat of the General Council of the valley, then the seat of the Swiss Confederation governor between 1513 and 1798.  After 1803 it was the capital of the sub-district of Lavizzara.  Even today stately houses in the village testify of its political and religious importance of the village.  One of the houses in the village, which was built in the 15th century, extended in the 16th century and renovated in 1975–77, served as the seat of the bailiff and a prison.  Another house, in Prato, is Casa Berna which is from the 18th century.  It contains the rich library of Giulio Giovanni Gerolamo Berna, the archpriest of Locarno.

The church of San Martino in Sornico is first mentioned in the 14th century, but probably dates back to the 11th century.  It was the mother church in the 16th century of the Val Lavizzara and in 1747 was made a provost's church.  The parish church of SS Fabiano e Sebastiano in Prato was built in 1487, rebuilt in 1730 and re-consecrated in 1761 by the Bishop of Como.

In the 19th and 20th century, the emigration overseas and into the cities led to a sharp population decline.  In this alpine village at the beginning of the 21st century, one-third of the workforce still works in agriculture.  In the last decades of the 20th century, many vacation homes and tourist infrastructure were built in the village.

Geography
Prato-Sornico has an area, , of .  Of this area,  or 0.5% is used for agricultural purposes, while  or 29.9% is forested.   Of the rest of the land,  or 0.3% is settled (buildings or roads),  or 0.9% is either rivers or lakes and  or 54.0% is unproductive land.

Of the built up area, housing and buildings made up 0.1% and transportation infrastructure made up 0.1%.  Out of the forested land, 18.6% of the total land area is heavily forested and 5.5% is covered with orchards or small clusters of trees.  Of the agricultural land, 0.4% is used for growing crops.  All the water in the municipality is flowing water.  Of the unproductive areas, 23.2% is unproductive vegetation and 30.9% is too rocky for vegetation.

The village is located in the Vallemaggia district.  It is located about  from Locarno.  It was created in 1864 when the hamlets of Prato and Sornico merged.  The village boundaries include the peak of Pizzo Campo Tencia which is  high.

Coat of arms
The blazon of the municipal coat of arms is Argent in chief a cloth gules hanging from a sword azure fesswise point to dexter and in base a pot sable. The pot is a traditional symbol of the Lavizzara valley.

Demographics
Prato-Sornico has a population () of 104.

Most of the population () speaks Italian language (96 or 92.3%), with German being second most common (4 or 3.8%) and Spanish being third (2 or 1.9%).  There is 1 person who speaksFrench and  people who speak Romansh.

Of the population in the village 63 or about 60.6% were born in Prato-Sornico and lived there in 2000.  There were 24 or 23.1% who were born in the same canton, while 8 or 7.7% were born somewhere else in Switzerland, and 9 or 8.7% were born outside of Switzerland.  , there were 43 people who were single and never married in the village.  There were 52 married individuals, 7 widows or widowers and 2 individuals who are divorced.

There were 8 households that consist of only one person and 2 households with five or more people.  Out of a total of 41 households that answered this question, 19.5% were households made up of just one person and 2 were adults who lived with their parents.  Of the rest of the households,  there are 10 married couples without children, 15 married couples with children  There were 1 single parents with a child or children.  There were 4 households that were made up unrelated people and 1 household that was made some sort of institution or another collective housing.

 there were 73 single-family homes (or 93.6% of the total) out of a total of 78 inhabited buildings.  There were 2 multi-family buildings (2.6%), along with  multi-purpose buildings that were mostly used for housing (0.0%) and 3 other use buildings (commercial or industrial) that also had some housing (3.8%).  Of the single-family homes 9 were built before 1919, while 0 were built between 1990 and 2000.  The greatest number of single-family homes (38) were built between 1919 and 1945.

 there were 80 apartments in the village.  The most common apartment size was 4 rooms of which there were 21.  There were 3 single room apartments and 24 apartments with five or more rooms.  Of these apartments, a total of 39 apartments (48.8% of the total) were permanently occupied, while 41 apartments (51.3%) were seasonally occupied.

The historical population is given in the following chart:

Economy
There were 50 residents of the village who were employed in some capacity, of which females made up 28.0% of the workforce.  , there were 15 workers who commuted into the village and 24 workers who commuted away.  The village is a net exporter of workers, with about 1.6 workers leaving the village for every one entering.

Religion
From the , 95 or 91.3% were Roman Catholic, while 3 or 2.9% belonged to the Swiss Reformed Church.  Of the rest of the population, and there was 1 individual who belongs to another Christian church.  There were 4 (or about 3.85% of the population) who belonged to no church, are agnostic or atheist, and 1 individuals (or about 0.96% of the population) did not answer the question.

Education
In Prato-Sornico about 36 or (34.6%) of the population have completed non-mandatory upper secondary education, and 4 or (3.8%) have completed additional higher education (either University or a Fachhochschule).  Of the 4 who completed tertiary schooling, all were Swiss men.  , there were 1 students in Prato-Sornico who came from another village, while 6 residents attended schools outside the village.

References

External links

Former municipalities of Ticino


Events from the year 1653 in Ireland.

Incumbent
Lord Protector: Oliver Cromwell (from 16 December)

Events
January 6 – a law declares any Roman Catholic priest in Ireland to be guilty of treason.
April 27 – the last Irish forces (the remnants of the Confederate's Ulster Army, led by Philip O'Reilly) formally surrender at Cloughoughter in County Cavan to the Cromwellian army ending the Confederate Wars
September 26 – an act provides for transplanting all native Irish people into Connacht.
December 16 – Cromwell proclaimed Lord Protector of England, Scotland and Ireland.

Births
William Stewart, 1st Viscount Mountjoy, soldier (k. 1692)

Deaths
August
Phelim O'Neill, hanged in Dublin by the English Parliamentarians for his role in the Irish Rebellion of 1641
Piaras Feiritéar, poet, hanged in Killarney by the English Parliamentarians for his role in the Rebellion of 1641.
Niall Ó Glacáin, physician (b. c.1563)
Hugh O'Reilly, Roman Catholic Archbishop of Armagh (b. c.1581)

References

1650s in Ireland
Ireland
Years of the 17th century in Ireland


Prior to its uniform adoption of proportional representation in 1999, the United Kingdom used first-past-the-post for the European elections in England, Scotland and Wales. The European Parliament constituencies used under that system were smaller than the later regional constituencies and only had one Member of the European Parliament each.

The constituency of Cheshire East was one of them.

From 1979 to 1984, it consisted of the Westminster Parliament constituencies of Crewe, Hazel Grove, Knutsford, Macclesfield, Newton, Runcorn, and Warrington.

From 1984 to 1994, it consisted of Congleton, Crewe and Nantwich, Macclesfield, Staffordshire Moorlands, Tatton,  Warrington North, and Warrington South.

From 1994 to 1999, it consisted of Altrincham and Sale, Halton, Macclesfield, Manchester Wythenshawe, Tatton, Warrington North, and Warrington South.

MEPs

Election results

References

External links
 David Boothroyd's United Kingdom Election Results

European Parliament constituencies in England (1979–1999)
Politics of Cheshire
1979 establishments in England
1999 disestablishments in England
Constituencies established in 1979
Constituencies disestablished in 1999


Prior to its uniform adoption of proportional representation in 1999, the United Kingdom used first-past-the-post for the European elections in England, Scotland and Wales. The European Parliament constituencies used under that system were smaller than the later regional constituencies and only had one Member of the European Parliament each.

The constituency of Cheshire West was one of them.

From 1979 to 1984, it consisted of the Westminster Parliament constituencies of Bebington and Ellesmere Port, Birkenhead, City of Chester, Nantwich, Northwich, Wallasey, and Wirral.  From 1984 to 1994, it consisted of Birkenhead, City of Chester, Eddisbury, Ellesmere Port and Neston, Halton, Wallasey, Wirral South, and Wirral West.

MEPs

Election results

References

External links
 David Boothroyd's United Kingdom Election Results

European Parliament constituencies in England (1979–1999)
Politics of Cheshire
1979 establishments in England
1994 disestablishments in England
Constituencies established in 1979
Constituencies disestablished in 1994


Prato is a village and former municipality in the district of Vallemaggia in the canton of Ticino, Switzerland.

Prato was a municipality of its own until 1864, when it merged with its neighbor Sornico to form the new municipality Prato-Sornico.

In turn, Prato-Sornico municipality merged with its neighbors in 2004 to form a new and larger municipality Lavizzara.

Former municipalities of Ticino
Villages in Switzerland


Charles Louis Gabriel (25 June 1857 – 10 February 1927) was an Australian photographer and medical practitioner. He was born in Kempsey, a remote New South Wales settlement, to Dr. Charles Gabriel and Emma Rudder. Despite his upbringing in this remote colonial and coastal fringe, like his father and grandfather before him, Louis became a physician. At Scotland's prestigious Edinburgh University he won additional medical qualification in surgery and maternity, with distinction. On his return voyage, he probably practiced his new skills as a ship's doctor. After practicing briefly in Sydney, he left for Gundagai, an inland pastoral town halfway between Sydney and Melbourne, in 1887.

The new doctor dedicated himself to medical work, only taking up the hobby of photography twelve years later, around 1899. Over the following decade or so he produced over eight hundred glass plate negatives, many of the images astonishing and accomplished. Now in the National Library of Australia (NLA), they are a valued record of Australia—and Gundagai, its most iconic town.
Contemporary documentaries and articles present his photographs as acutely observed documentary images. However, he has been quaintly portrayed as a typical, country medico, a gentleman and talented amateur. But his imagery and his story belie it.

Family heritage

The Gabriel family heritage is French, English, West Indian and Welsh. However, the doctor's negroid features made him something of an 'odd man out' in colonial Australia, then in the process of creating its White Australia policy. He was commonly described as 'the black doctor'. His African forebears, in four successive generations were dispersed around four continents. As a dark skinned doctor in Nineteenth and early Twentieth century Gundagai, most commentators have underplayed or ignored this aspect. Yet race and colour was always going to be important in a colonial Australia engaged in debate on nation and identity.

Generations of the Gabriels, and millions of Africans, had already felt the effects of slavery and dislocation. Ironically the French revolution's cry for 'Liberty, Equality and Fraternity' meant that a few thousand talented Africans became unwitting participants in the Napoleonic wars and Napoleonic France. Over time, these outcasts of France developed strategies for coping with the racial suspicions and hostilities faced in everyday life. Accomplished black professionals like the Gabriel family, sought acceptance through their strength, work, good deeds, local familiarity and importantly, longevity of residence in a single location.

Historical backdrop

Louis Gabriel's life also coincided with a crucial period when Gundagai was cemented into the Australian mythology through stories, poetry, events and reportage. He lived there when the town asserted itself, perhaps vaguely at first, to be typically Australian: democratic, equal, rugged and practical.

Career

He practiced in Gundagai from 1887 to his death in 1927. He became Gundagai Hospital's chief (and sole) medico in 1889. The 1890s depression hit the subscription-based funding of the hospital, and several disputes with the Management Committee led to his sacking. It was another five years before he regained the position, after an extended period of bitter conflict with fellow doctor and rival to the hospital position, Dr O'Dwyer. Louis Gabriel held this position until his death in 1927.

Curiously his position as Government Medical Officer from 1893 had a profound influence on him. He championed the causes of Modern Medicine, not through surgery - his specialty - but through community and public health. He keenly, and to his cost, persistently advocated improved hygiene standards in food and water, in the maintenance of private and public spaces, and actions in the prevention of major diseases. He particularly campaigned for the introduction of reticulated water supplies, and greatest of all, construction of a new Gundagai Hospital based on modern medical principles. Noteworthy too was his demand that people of all races be equally treated in Gundagai Hospital, this at a time when Aboriginal people
were largely forbidden town access.

Louis Gabriel was Catholic. His marriage to Jessie Walton in 1892 appears to have been short-lived.

Death

On his death Louis Gabriel's photographs were stored away and largely forgotten until the 1950s. As an important town in the Australian mythology, Gabriel's photographs were reproduced in local booklets on Gundagai's history from the 1950s. In the 1970s the images, then held by Cliff Butcher and Oscar Bell, were donated to the National Library of Australia.  The town also has a small museum dedicated to him.

With the National Library's publication of The Gundagai Album in 1978, there was a new focus on his photographs. Many reviewers noted their certain style, a way of seeing and organizing people time and place. They were personalized, sometimes reflective, often with a strong sense of the documentary observation informed by his medical training. They also made distinctive use of the photographer's shadow and the camera's wide-angle lens, often giving them a sense of paradoxical separation from the subjects and  secretive involvement.

Several television programs followed, an entry in the Bicentennial Biography, and other publications. In 2007, a novel, Belonging, was written by G. McDougall on the doctors life and times. The novel integrated Gabriel's photographs into the body of the story.

References

 The Gundagai Album, National Library of Australia, 1976.
 Tales of Old Gundagai, Books 1 and 2, Oscar Bell. Gundagai Historical Society, c.1980.

 Belonging, A Photo Novel, G. McDougall. Hightor Press, 2007. Ebook available at https://www.facebook.com/Belonging4

1857 births
1927 deaths
Australian photographers
Gundagai
People from Kempsey, New South Wales
Artists from the Colony of New South Wales