Fighting Mad

The young Ruth Travers, left an orphan after the death of her father financially ruined by Mortimer Reynolds, is welcomed at home by Jimmy Carter, a young millionaire who becomes her guardian. Ruth's winsome qualities gradually win Jimmy's heart. Meanwhile at a Charity Ball, Ruth meets Mr. Reynolds, who is contriving to ruin her virtue.

Chad Pennington, a movie-cowboy from Hollywood, gets into trouble when he poses as a two-gun outlaw from Texas named Tommy Hawk.

In the Land of the Head Hunters is a 1914 silent film fictionalizing the world of the Kwakwaka'wakw (Kwakiutl) peoples of the Queen Charlotte Strait region of the Central Coast of British Columbia, Canada, written and directed by Edward S. Curtis and acted entirely by Kwakwaka'wakw natives. It was the first feature-length film whose cast was composed entirely of Native North Americans; the second, eight years later, was Robert Flaherty's Nanook of the North.

In an attempt to brand himself as a serious actor, the smiling swashbuckler Douglas Fairbanks starred in THE HALF-BREED (1916), a Western melodrama written by Anita Loos and directed with flair by Allan Dwan. Fairbanks stars as Lo Dorman, who has been ostracized from society because of this mixed ethnicity - his Native American mother was abandoned by his white father. When Lo catches the eye of the rich white debutante Nellie (Jewel Carmen), he becomes a target for the racist Sheriff Dunn (Sam De Grasse), who wants to break them up and take Nelli for his own. This love triangle becomes a quadrangle with the arrival of Teresa (Alma Rubens), who is on the run from the law. Through fire and fury Lo must decide who and what he truly loves.

James Collins leaves his dear old mother and goes West, where he becomes connected with the Bar Diamond Outfit. He finds the life of a cowboy arduous and the pay meager. The possibilities of owning a herd of his own by blotting brands or branding calves, occurs to him, as it has to many others, who desire quick results from very little effort. Six months later, he is a full-fledged cattle thief, branding cattle, under his own registered brand, while ostensibly an honest cowboy in the employ of the Bar Diamond Ranch. He writes his mother of his success and she, never dreaming of the hazardous occupation her son is following, plans to join him in the West.

A white child is adopted and raised by a Chinese citizen and brought to San Francisco, where no one surmises that she is actually not Chinese.

It is a world without language. A world where one is raised to respect the rules. Only one Boy questions the verity of what he has been taught, and he must decide whether to continue living in a society of fear or choose his own destiny.

The Curse of Quon Gwon is the oldest known Chinese-American film and one of the earliest American silent features made by a woman. Only two reels of the film survive, and no intertitles are known to exist, making it difficult to parse out the exact plot. An article in the July 17, 1917 issue of The Moving Picture World states that the film "deals with the curse of a Chinese god that follows his people because of the influence of western civilization." The film also touches on themes of Chinese assimilation into American society. Formally premiering in 1917, no distributor was willing to purchase a Chinese-American film without racial stereotypes. Considered a devastating financial failure, the film was only screened two more times until its rediscovery in 2004. Preserved by the Academy Film Archive in 2005.

This is the story of three characters (brothers Tomek and Jacek and their neighbor Magda), each of them is in their own way lonely and alienated. The title character makes herself secluded. Tomek's alienation results from his neurological disease, and Jacek contacts the world mainly via the Internet. This is also a film about love. Love of one brother to the other and of one alienated human being to the other. All together it creates a very universal picture with a Polish entourage.

To realize its story of the little man up against the bureaucracy of the world, The Overcoat draws its asthetic inspiration from silent film era classics such as Chaplin's Modern Times and Fritz Lang's Metropolis. The Overcoat was inspired by a concept developed by co-creators Morris Panych and Wendy Gorling to create a play that could be told without spoken dialogue.

A wolfdog is wrongly accused of sheep killing. Based on the novel by Hal G. Evarts.