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622
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dbpedia
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https://www.fossilcrates.com/blogs/news/sinankylosaurus-zhuchengensis-the-new-addition-to-the-armored-dinosaur-family
|
en
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Sinankylosaurus zhuchengensis, the newest addition to the arm
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[] |
[] |
[
""
] | null |
[
"Dr. Brian Curtice"
] |
2020-08-15T20:46:44-07:00
|
Sinankylosaurus zhuchengensis "Zhucheng's Chinese Fused Lizard" A new member of the Ankylosauria from China, Sinankylosaurus zhuchengensis, was named in July 2020. It means "Zhucheng's Chinese Fused Lizard" and was excavated in the Zhucheng area, northeast China, in rocks approximately 75 million years old. It was n
|
en
|
//www.fossilcrates.com/cdn/shop/files/FClogo.jpg?crop=center&height=32&v=1660926226&width=32
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Fossil Crates
|
https://www.fossilcrates.com/blogs/news/sinankylosaurus-zhuchengensis-the-new-addition-to-the-armored-dinosaur-family
|
Sinankylosaurus zhuchengensis
"Zhucheng's Chinese Fused Lizard"
A new member of the Ankylosauria from China, Sinankylosaurus zhuchengensis, was named in July 2020. It means "Zhucheng's Chinese Fused Lizard" and was excavated in the Zhucheng area, northeast China, in rocks approximately 75 million years old. It was named by Wang et al. 2020 based off of a single hip bone, the right ilium. Ankylosaurids are walking tanks: heavily armored, low to the ground, and adorned with spikes, scutes, and tail clubs. They would have been a difficult meal for any predator unless they could flip them onto their soft underbelly.
The Zhucheng locale in the northeast of China has produced tyrannosaurs (Zhuchengtyrannus, a close relative of Tyrannosaurus and a dream match-up in Fossil Crates' Chew-ly Chompionship), hadrosaurs (Shantungosaurus, compares favorably to Edmontosaurus, both regions have produced numerous named hadrosaurs), ceratopsians (Sinoceratops, Udanoceratops, Ischioceratops, and Zhuchengceratops in China and over a dozen named ceratopsians from the United States), sauropods (Zhuchengtitan from China, though no northern North America sauropods are yet known, Alamosaurus was present in North America), pachycephalosaurs (Micropachycephalosaurus from China, Pachycephalosaurus from North America), oviraptorosaurs (Anomalipesfrom China, Caenagnathus and Anzu from North America), ornithopods, small theropods, and now... more ankylosaurs! This find continues to demonstrate the startling similarity between the Late Cretaceous faunas of North America's Campanian and Maastrichtian rocks compared to those of China's Wangshi Group. Sinankylosaurus was found in the Wang's Group of the Upper Cretaceous in Zhucheng City, Shandong Province, and is 73.5 - 77.3 Ma (Campanian age).
The holotype, or name-bearing bone used to compare Sinankylosaurus to all other dinosaurs, is ZJZ-183, a right ilium housed at the Zhucheng Dinosaur Culture Research Center (image below).
Figure 1. Image of ZJZ-183, right ilium holotype of Sinankylosaurus, ~65cm long, 40 cm wide. (a) is the ventral view, (b) is the "back" view
What follows is my interpretation of a Google translation of their paper (all translation errors are mine). It gets heavy in the details but I hope you find it interesting to see how paleontologists go about making comparisons to other animals when they are trying to determine if their discovery is new or can be assigned to an existing animal.
Wang et al. 2020 list the following characters as a combination unique to Sinankylosaurus:
BC's Figure 2. Comparative ilia images from Wang et al. 2020.
The authors compare ZJZ-183 to a number of Ankylosauria (the group ankylosaurids, nodosaurids, and polacanthids belong to). I address each of their comparisons in the order they do in the paper.
Comparison to other Chinese Ankylosauria
Pinacosaurus cf. grangeri
R 264 is the specimen number assigned to "A nearly complete sacrum and the articulated right ilium..." that was collected by T'an at Tianqiaotun in April of 1923, making it the earliest recorded ankylosaur fossil collected in China. Buffetaut called it Pinacosaurus cf. grangeri. Wang et al. 2020 state, "R264 has broad 'wings', that is, very broad ilium bones. In appearance, shape, curvature, and appearance and direction of ridges on the mid-abdominal surface."
Their comparison to a specimen they labeled Zpal MgD-II/1, a left ilium, calling it "Gu's painted dragon in Warsaw" and stating it is "very similar to Buffetaut (1995)", meaning Pinacosaurus cf. grangeri. I interpreted this section as Wang et al. 2020 are agreeing with the synonymy of P. ningshiensis with P. grangeri, and thus ZPAL MgD-II/1 and R 264 belong to the same type of animal. The presence of ridges on these specimens means they are not the same animal as ZJZ-183.
Jinyunpelta Sinensis
Jinyunpelta is the most primitive and oldest known true ankylosaurid and possesses a cool tail club. Wang et al. 2020 compared ZJZ-183 with Jinyunpelta. Jinyunpelta's left ilium "is wider, and the contraction of the front protrusion is weaker than Sinankylosaurus", the "...acetabular protrusion is relatively degree weaker than that of Sinankylosaurus", and "...the acetabulum width of the protrusion from the distal end to the proximal end varies more". Thus they conclude ZJZ-183 cannot be referred to Jinyunpelta which I agree with.
Crichtonsaurus bohlini
Crichtonsaurus is a Late Cretaceous ankylosaurid that may not be a valid taxon because of some issues with the material referred to it by previous paleontologists. However, a nearly complete left ilium (LPM 101-3) has been referred to Crichtonsaurus and, though it may belong to a different genus than Crichtonsaurus, Wang et al. 2020 rightly compared ZJZ-183 to LPM 101-3 and observed ZJZ-183 "is significantly wider than LPM 101-3, and the width shrinks when extending forward. The degree is also significantly stronger." Additionally, the "Wide distal end, raised back, narrowed forward..." make it at once different from ZJZ-183. Whatever LPM 101-3 ultimately comes to be called it clearly belongs to a different genus than ZJZ-183.
Zhejiangosaurus lishuiensis
Zhejiangosaurus is a Late Cretaceous nodosaurid with both left and right ilia preserved, their "...acetabular protruding middle back. The surface is convex, there are obvious ridges, and a deep longitudinal direction is formed on the ventral surface.". Wang et al. 2020 note, "The extension direction of the dorsal ridge of the acetabular protrusion is different from that of Zhejiangosaurus. Similarly, there is no longitudinal depression on the ventral surface, and the acetabular anterior of Zhejiangosaurus, the protrusion is significantly narrower and slender than the acetabular protrusion in ZJZ-183." Their conclusion means ZJZ-183 does not belong to Zhejiangosaurus, which I agree with. However, it doesn't automatically mean ZJZ-183 is not a nodosaurid.
Taohelong jinchengensis
Taohelong is the first polacanthid discovered in China. Wang et al. 2020 compared ZJZ-183 to Taohelong and write, "Most of the surface [of Taohelong] is a long oval shallow depression, and its outer edge is backward. The ridges continue to the top of the acetabular fossa." They further compare ZJZ-183, noting a "Protrusion of the acetabulum There is a nearly circular depression on the ventral surface, which does not continue to the acetabular fossa. The square ridge, the acetabular protrusion of both contracted forward and narrowed, the latter. The degree of forward extension and contraction is more intense, and the former [Taohelong] has two acetabular protrusions. The width of the end has relatively little change.", concluding ZJZ-183 does not belong to Taohelong but does have some polacanthid similarity. Polacanthids are "halfway" between nodosaurids and ankylosaurids so it isn't surprising to me there is some resemblance in the bones with these specimens.
Wang et al. 2020 Conclusion
Their initial analysis wasn't able to determine if Sinankylosaurus belongs to the Ankylosauridae, Nodosauridae, or Polacanthidae. Ankylosaurs have wide skulls, short acetabular processes, and large tail clubs, nodosaurs have pear-shaped skulls, long acetabular processes, and no tail clubs, while polacanthids have a blend of characters between them.
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622
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dbpedia
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1
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https://dinotoyblog.com/polacanthus-collecta/
|
en
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Polacanthus (CollectA) – Dinosaur Toy Blog
|
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2020-01-20T21:08:55+00:00
|
en
|
https://dinotoyblog.com/polacanthus-collecta/
|
I’m really starting to dig this dinosaur review thing. I’ve always enjoyed writing and learning about, and doing anything that involved dinosaurs, so naturally I would have to give this a try and as you can tell I’ve gotten fond of it. Hopefully my reviews are meeting the standards of the blog, feel free to let me know. Thinking it was time to do another review I gazed over my collection looking for a figure that hasn’t already been reviewed, not an easy task. I came across my recently acquired CollectA…ummm…what is this thing? I looked under the belly but there was no name. It looked like a generic ankylosaur and a nodosaur more specifically, but beyond that I had no clue what it was supposed to represent. I almost put it back on the shelf; I am not particularly knowledgeable regarding ankylosaurs and without even knowing the species how could I review it? In the interest of educating myself I decided to give it a try anyway. I was quite shocked to find out what my figure was supposed to represent a Polacanthus. What? Seriously?
Polacanthus is a genus of Early Cretaceous nodosaurid from western Europe. The first species discovered was P. foxii in 1865 by Reverend William Fox. The other species P. rudgwickensis was named by William Blows in 1996 and named for the village in which it was found in West Sussex, England. Enough on the details though, any one of you can read the Wikipedia page as good as I can. For what it is worth, the Wiki entry on the genus cites this animal in two pieces of pop culture; Walking with Dinosaurs and The Land Before Time.
So where to begin with this guy, well lets start on the most well known feature of Polacanthus, the large sacral shield that can be seen in just about every reconstruction of this animal. Its not there! Evidently CollectA made a Polacanthus without the one thing that might distinguish it as a Polacanthus. I realize CollectA has produced some really questionable figures but this one was made in 2008, years after WWD popularized the beast. It just goes to show you that they did absolutely no research on this animal and just tacked a name on a generic nodosaur, I’m surprised they even had the sense to omit the tail club.
Along with not having the sacral shield there are a long list of other glaring errors. The head is beak-less, narrow, and horse-like…a generic head for a generic dinosaur. The spikes are excessively long and I’m certain there are more of them than should be. The feet also have one toe too many, I guess if you’re going to do it wrong you might as well do it on all fronts.
So…what’s good about this figure? Not much. The figure is a flat brown color and covered in small pebbly scales which I guess is something to be thankful for. The pose is fairly static but at least more dynamic than the Toyway Polacanthus. The actual Polacanthus was about 16’ long and this figure at a little over 5” puts it at about 1/30 scale.
I hate to give it such a bad review because it is a cute little figure but it is what it is. I really cannot recommend this figure to those who want accuracy. If you are a die hard Polacanthus fan (and who isn’t?) then you’ll probably have to settle for locating the Toyway version, good luck with that. Hopefully this genus will someday get its due. One last note: I apologize for pushing the Sideshow Apatosaurus down the list with this thing. I’ll wait for the hate mail to start coming in. (Sideshow Apatosaurus forgives you. –Ed.)
|
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622
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dbpedia
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| 18
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https://dinotoyblog.com/nanotyrranus-pnso/
|
en
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Nanotyrannus (PNSO) – Dinosaur Toy Blog
|
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2022-11-27T20:29:25+00:00
|
en
|
https://dinotoyblog.com/nanotyrranus-pnso/
|
A violent fight is underway. Deafening growls, screams, and grunts pierce the air shattering this once tranquil part of the forest and bringing chaos for those animals who live within its periphery. A sudden rustling from behind the bushes followed by the sound of an animal hurt accompanied by loud thud indicates something is thrown on the ground.
There, at the base of a tree, a small dinosaur sits, he looks like he is disoriented or perhaps in shock from being tossed in the air. Before he could regain his composure, the thick vegetation and the ground beneath him starts to shake as a small herd of Triceratops burst into view in a stampede as they run towards the open savannah.Soon, thick dust kicked by the stampeding herd engulfs the scene and the little dinosaur is caught in the chaos. As the dust finally settles, we once again see the small dinosaur. He is in the opposite side of where he was earlier, still looking disoriented by the experience, it is only when a loud growl coming closer to his location that he snaps out of his dazed and he quickly runs in the opposite direction of the forest, he runs towards the open plains. The dinosaur is a small theropod, a Nanotyrannus named Logan.
Nanotyrranus lancensis or “pygmy or dwarf tyrant” is a small tyrannosaurus (yes, I see eye rolling and eyebrows being raised) that lived in what we know today as the state of Montana, USA in the in late Cretaceous. It lived alongside the king itself, Tyrannosaurus rex, perhaps lurking in its shadows avoiding detection.I have to admit that I’m not a big fan of Tyrannosaurus, so I never really followed the whole story behind this enigmatic dinosaur… until now. so, imagine my surprise when I found out that it’s been around for more than seventy years!
The original fossil, consisting of a complete skull, was found back in 1942 by an American paleontologist working in Montana that year. It was clear it was a carnivore but a small one, nothing like the famous Tyrannosaurus rex the only other large carnivore at that time and seem to have dominated the landscape. At first it was thought to be that of a young Gorgosaurus.Further study would show that it wasn’t a Gorgosaurus, but looks more like the bigger Tyrannosaurus rex, just smaller and slenderer.
It would be almost forty years later, in 1988, that it would be reclassified. The intriguing question was is it a new and different species of Tyrannosaur? There are striking similarities but also differences between the skulls as well as the teeth. Based on some of these differences, some felt it warrant designation as a new species and was given the name Nanotyrannus. It would seem that there was after all a medium sized carnivore very much like the huge Tyrannosaurus rex that made a living in the shadows of the giant tyrant… or so it seems.
In another 10 years, after more examination of the skull was conducted, it would be discovered that the skull bones were not fused, something typical of animals (including humans) that haven’t reached full maturity yet. And so, the it turned out that this animal wasn’t an adult but a juvenile, but of what animal? So, the mystery, confusion, and controversy that would follow this enigmatic animal for years to come begins.
So, did the small skull found in 1942 comes from a different and unknown species, or could it really be that of a juvenile T. rex? The first thought was that it was a juvenile Tyrannosaurus rex, the only other large carnivore in the area. But there are those who believe it was not a young Tyrannosaurus rex, but something else entirely different; the argument was that there are many differences between this animal and Tyrannosaurus rex especially the shape of the skull and the number of teeth. But with no additional fossil, especially those from a confirmed “adult”, the true identity of Nanotyrannus would elude scientist and would solidify two opposing views of what it really was.
Nanotyrannus no doubt has polarized scientist and dinosaur fans alike for decades, and it would only be engulfed in further controversy in the succeeding years with additional skeleton finds that would add more questions than answering this long-standing debate.More complete fossil finds in the early 2000’s shed more light to this enigmatic animal that could settle the debate. Unlike the original skull, these new finds included not just skulls but also limb bones which would prove helpful in getting closer to answering the riddle.
Like the holotype, all of these new finds were also believed to be those of young animals not yet mature. With not just the skulls to go with, we get a better idea of the body structure of Nanotyrannus; it had longer arm as well as legs and the body is slender, nothing like the bulky built of the much larger T. rex.Now, the race to prove that these animals are Juveniles have both sides of the debate back in the arena.
Dinosaur like all animals go through physical changes, some considerably, as they mature. The challenge is proving and mapping these physical changes and tracing it all the way to the adult form. With more advanced technology as well as understanding of Tyrannosaurus rex itself, it seems like the debate is leaning more in favor of this animal being that of the young T.rex.
So, with so much controversy and doubt about the validity of Nanotyrannus as a valid new species of Tyrannosaurus, why would PNSO choose to produce a figure of it? Good question, and we can only come up with speculations and some logical possibilities since we have no direct info from PNSO regarding this choice. For me, it looks like the choice of Nanotyrannus could have been influenced by the desire to make yet another Tyrannosaurs (sp.) that is not rex and also, by creating a family portrait with Wilson and Andrea.In a way, trying to have it both ways so to speak.
Logan (PNSO name all of their figures to match their story book characters), despite its small size only measuring 7” inches long and 2.25” inches tall, by far the smallest of all of PNSO’s non-mini theropods, is pretty amazing figure. I would go so far as to say that it is even more impressive than all of the larger figures mainly due to how much details they were able to put into its small size. The details are every bit as exquisite as those seen on the larger models and they did not skimp at all even down to the small feet. The scales on the majority of the body are subtle and small in size that are not easily seen from a distance (as they should be) but easily appreciated up close.
The head matches the fossil faithfully and the details show hints of what we would see if it were a juvenile rex by comparing it to Andrea and Wilson. But it also shows the distinct and unique features that prompted it to be considered as a different species like the longer and narrower south and the slender teeth. It also captures the look of an animal that is not yet fully grown as can be seen on these delicate features as well as the larger eyes. The eyes are given a golden color and are painted precisely an impressive feat considering the small size.
Like all of PNSO’s theropod, it come with an articulated jaw that is pretty impressive for such a small mouth. The jaw open/close smoothly and stays in whatever position you put it on. The teeth are small, individually sculpted and maintained the sharp shape and on mine at least, cleanly painted.
The body follows the typical theropod shape and here we see a very different shape than what we see on an adult Tyrannosaurus. The musculature is very well defined and the skin folds are beautifully done that really shows tension as well as flexibility in the areas where you would expect them. The arms and legs are much longer proportioned that seen on adult T.rex , features that has convinced some that it’s a different species and not a T. rex. The small body is nicely proportioned with lots of well defined muscles and good striding pose with sense of fluid movement.The tail is long and muscular; it’s nice to see the base thick and there is even some very prominent bulging on the top that shows where these strong muscles are.
Logan is perhaps the most stable and balanced of all of PNSO’s theropod despite the small and very well-proportioned feet. The way it’s posed, slightly curved to one side with the thrust forward in an upward fashion and its long and muscular tail all worked together to concentrate the weight on the hips that really helped balance the figure and stabilized it perfectly even without the aid of the clear plastic rod (now a standard for all of PNSO’s bipeds) it came with.
The color follows the same earth-tones that we have come to expect from PNSO figures. The overall body color is an Olive green/brown that, despite the initial impression, has many subtle shades and other colors mixed in. There is yellow, white orange, black, and dark browns all mixed in and blended seamlessly to create a very realistic and pleasing color scheme.The result is unique to be able to stand out as a different species, but there is no mistaking that it also has the unmistakable similarities, especially the dark brown stripes on the back, to what we see in the adult Andrea and Wilson to be convincing as that of a young rex that is beginning to transition for those on this side.
For many extinct prehistoric animals, family life, structure, and parental care are still a mystery that only offer small clues. For Tyrannosaurus rex, there are two popular possible theory as to how they may have lived. The first one suggests living in packs and that since the sub-adult animals has longer legs making them faster and more agile than the adults, that they acted as the decoy or those that would separate, chase, and direct the prey animal into a trap where the adults lay waiting in ambush. We see this re-enacted in documentaries and is an intriguing possibility.
The second theory is that the sub-adult Tyrannosaurus rex separated from the adults and hunted different prey. The lack of medium size predator in the environment has always been puzzling given that in every environment, there is a clear niche partitioning between predators, each occupying and going after a different prey animal. With more and more Nanotyrannus/young tyrannosaurus rex fossils being found, it’s been suggested that these animals, be it the former or latter, has taken over this medium size niche.If this is indeed the case, then Tyrannosaurus rex truly have the monopoly of being the apex predator in its environment occupying two different niches at various stages of its growth!
Five days after being lost, Logan finally makes it back to his home territory. Weakened and hungry, he searches for his pack, but they are nowhere to be found and seems to have abandoned this area. In one, he noticed a young triceratops down with multiple wounds. This animal was the casualty of the hunt that ended in chaos. Surprisingly, the Triceratops is still alive but barely. Hungry and desperate, Logan made the fateful decision to try and tackle it alone.As he approaches the dying animal, it suddenly tried to get up on its feet, mustering all the energy left in its body to make one last effort to defend itself.Logan makes his move and the two collided with such force causing horrible pain that they both let out cries that echoes loudly across the forest.
As they fall back, the Triceratops pins Logan with its heavy body as it gasps and finally succumbs to its injuries. Logan is in serious trouble. The weight of the dead Triceratops on top of him is too heavy for him get out under, worse, the impact of the collision and exertion of trying to get up has caused serious and fatal internal injuries.
In 2006 a spectacular fossil was discovered in Montana; it was named the “Dueling Dinosaur”. It consists of a fossilized skeletons of a Tyrannosaurus and a Triceratops entangled with one another in what appears to be a fight scene frozen in stone. It appears that the animals died together after the fight and then entombed. Either way, the fossil find will surely go down as one of the most important find that capture a small picture of what these animals were doing before death. After being in limbo for years, this remarkable fossil finally ended up in a museum, allowing scientist to study it for years to come. As expected, Nanotyrannus fans are hoping that this could be the one that would validate the existence of this species. Only time and after hours of research would tell.
Without a doubt, the name Nanotyrannus will remain a polarizing and controversial one. Until the debate is settled beyond any doubt, there will always be those who believe and hold on to hope, that it is a valid new species of tyrannosaurus whose adult form is yet to be discovered. As long as there is hope, no matter how remote that may be, the door may just be left ajar, for who knows, there could very well be someone who discovers a new, adult medium sized Tyrannosaurus that shared the landscape and lurked in the shadows of the Tyrant King.
For me, I personally don’t have any bets whatsoever on the whole debate, either way, I find this model to be a welcome addition to my collection. If in the end it turns out to be valid, then great, now we have a fabulous model of this species. If it turns out to be truly an adolescent Tyrannosaurus rex, even better for now we have yet another awesome young T. rex that goes beautifully with PNSO’s Wilson (Winter) and Andrea if you have both, and makes for one stunning family display.To me, the controversy surrounding the validity of the name does not cause me to treat it as a pariah, instead, I look at it as an opportunity to celebrate the two possibilities.
Exhausted and in pain, Logan gives up and lay still where he fell.Shock quickly sets in and as the sun sets over the horizon Logan watches as the light recedes and darkness falls around him. He blinks his eyes, still unable to move, he watches the light fades before he closes his eyes for the last time.
Well, that concludes our review of this fascinating, controversial, and often polarizing figure from PNSO. I hope that regardless of whichever side of the debate you fall, that you enjoyed it. Thanks for reading and until the next one, stay safe and healthy. Cheers!
|
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622
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dbpedia
|
1
| 2
|
https://pseudoplocephalus.com/2015/07/24/know-your-ankylosaurs-china-edition/
|
en
|
Know Your Ankylosaurs: China Edition
|
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2015-07-24T00:00:00
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I'm in Utah digging up dinosaurs! But also, one of the last big chunks of my PhD thesis has just been published online at the Journal of Systematic Palaeontology. They are generously allowing free access to the paper through the end of August, so head on over and grab a copy while it's free! This…
|
en
|
https://s1.wp.com/i/favicon.ico
|
pseudoplocephalus
|
https://pseudoplocephalus.com/2015/07/24/know-your-ankylosaurs-china-edition/
|
I’m in Utah digging up dinosaurs! But also, one of the last big chunks of my PhD thesis has just been published online at the Journal of Systematic Palaeontology. They are generously allowing free access to the paper through the end of August, so head on over and grab a copy while it’s free! This time, I’m taking all of the knowledge gained from my previous taxonomic revisions, adding in some more taxa, and doing a revised phylogenetic analysis building on previous analyses to see how everyone shakes out and to learn a little bit more about ankylosaurid biogeography. I’ll cover some of the taxonomic stuff over the next few posts, and finish off with the big picture of ankylosaurid evolution.
Pinacosaurus!
I’ve talked previously about the ankylosaurs of Mongolia, but I’ve also had the opportunity to study some of their friends from across the border in China. In particular, I got to see lots of specimens of Pinacosaurus, both from the Alag Teeg bonebed in Mongolia, and from Bayan Mandahu in China. Because Pinacosaurus specimens are relatively abundant and usually well preserved, there has already been lots of descriptive work on this taxon, including on the skull (and here, and here), hands and feet, and general postcrania.
Baby Pinacosaurus are so teeny tiny! This one is from Bayan Mandahu and was collected during the Canada-China Dinosaur Project back in the 1980s.
I’ve discussed just a few new points about Pinacosaurus, especially about how we tell the two species of Pinacosaurus apart. Pinacosaurus grangeri is known from lots of specimens, almost all of which are juveniles; it has relatively short horns at the back of its skull, a constriction in the snout between its nose and its eyes, and a notch in the rough ornamentation above each nostril. Pinacosaurus mephistocephalus is known from just one specimen (also a juvenile), and it has long squamosal horns, no constriction in its snout, and no notch in the ornamentation above each nostril (it looks like it does on one side, but I think this is just damage given that it is not present on the other side). Both species are known from Bayan Mandahu, and so it is reasonable to ask whether or not these could represent the same taxon – given the differences in skull morphology, I suspect we’re not looking at intraspecific variation here, although more specimens of P. mephistocephalus would be very helpful in this regard!
Crichtonsaurus becomes Crichtonpelta
|
||||
622
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dbpedia
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2
| 54
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https://handwiki.org/wiki/Biology:Nodosauridae
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en
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Biology:Nodosauridae
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Nodosauridae is a family of ankylosaurian dinosaurs, from the Late Jurassic to the Late Cretaceous period in what is now North America, South America, Europe, and Asia.[1]
|
en
|
/wiki/data_local/favicon/apple-touch-icon.png
| null |
Short description: Extinct family of dinosaurs
Nodosaurids
Gargoyleosaurus skeleton cast Scientific classification Domain: Eukaryota Kingdom: Animalia Phylum: Chordata Clade: Dinosauria Clade: †Ornithischia Clade: †Thyreophora Suborder: †Ankylosauria Clade: †Euankylosauria Family: †Nodosauridae
Marsh, 1890 Subgroups
Acanthopholis
Anoplosaurus
Dongyangopelta
Gastonia
Gargoyleosaurus
Glyptodontopelta
Horshamosaurus
Hylaeosaurus?
Invictarx
Mymoorapelta?
Priconodon?
Propanoplosaurus
Rhadinosaurus
Sauroplites
Polacanthinae
Nodosaurinae
Synonyms
Acanthopholididae Nopcsa, 1902
Acanthopholidae Nopcsa, 1917
?Hylaeosauridae Nopcsa, 1902
Palaeoscincidae Nopcsa, 1918
Panoplosauridae Nopcsa, 1929
Struthiosauridae Kuhn, 1966
Nodosauridae is a family of ankylosaurian dinosaurs, from the Late Jurassic to the Late Cretaceous period in what is now North America, South America, Europe, and Asia.[1]
Description
Nodosaurids, like their close relatives the ankylosaurids, were heavily armored dinosaurs adorned with rows of bony armor nodules and spines (osteoderms), which were covered in keratin sheaths. All nodosaurids, like other ankylosaurians, were medium-sized to large, heavily built, quadrupedal, herbivorous dinosaurs, possessing small, leaf-shaped teeth. Unlike ankylosaurids, nodosaurids lacked mace-like tail clubs, instead having flexible tail tips. Many nodosaurids had spikes projecting outward from their shoulders. One particularly well-preserved nodosaurid "mummy", the holotype of Borealopelta markmitchelli, preserved a nearly complete set of armor in life position, as well as the keratin covering and mineralized remains of the underlying skin, which indicate reddish dorsal pigments in a countershading pattern.[2][3]
Classification
The family Nodosauridae was erected by Othniel Charles Marsh in 1890, and anchored on the genus Nodosaurus.[4][5]
The clade Nodosauridae was first informally defined by Paul Sereno in 1998 as "all ankylosaurs closer to Panoplosaurus than to Ankylosaurus," a definition followed by Vickaryous, Teresa Maryańska, and Weishampel in 2004. Vickaryous et al. considered two genera of nodosaurids to be of uncertain placement (incertae sedis): Struthiosaurus and Animantarx, and considered the most primitive member of the Nodosauridae to be Cedarpelta.[6] Following the publication of the PhyloCode, Nodosauridae needed to be formally defined following certain parameters, including that the type genus Nodosaurus was required as an internal specifier. In formally naming Nodosauridae, Madzia and colleagues followed the previously established use for the clade, defining it as the largest clade including Nodosaurus textilis but not Ankylosaurus magniventris. As all phylogenies referenced included both Panoplosaurus and Nodosaurus within the same group relative to Ankylosaurus, the addition of another internal specifier was deemed unnecessary. The 2018 phylogenetic analysis of Rivera-Sylva and colleagues was used as the primary reference for Panoplosaurini by Madzia et al., in addition to the supplemental analyses of Thompson et al. (2012), Arbour and Currie (2016), Arbour et al. (2016), and Brown et al. (2017).[7][8][9][10][11][12]
Nodosauridae
Sauroplites
Mymoorapelta
Dongyangopelta
Gastonia
Gargoyleosaurus
Polacanthinae
Hoplitosaurus
Polacanthus
Nodosaurinae
Peloroplites
Taohelong
Sauropelta
Acantholipan
Nodosaurus
Niobrarasaurus
Ahshislepelta
Tatankacephalus
Silvisaurus
CPC 273
Panoplosaurini
Animantarx
Panoplosaurus
Argentinian ankylosaur (Patagopelta)
Texasetes
Denversaurus
Edmontonia longiceps
Edmontonia rugosidens
Struthiosaurini
Hungarosaurus
Europelta
Pawpawsaurus
Borealopelta markmitchelli
Stegopelta
Struthiosaurus languedocensis
Struthiosaurus transylvanicus
Struthiosaurus austriacus
The highly isolated Antarctopelta, from the late Cretaceous of Antarctica, was previously thought to be the most basal nodosaurid, but a 2021 study found it to belong to the Parankylosauria, a separate basal lineage of ankylosaurs restricted to the Southern Hemisphere.[13] However, the 2022 description of Patagopelta, a nodosaurine from South America, suggests that true nodosaurids also inhabited Gondwana, having colonized South America during a biotic interchange from North America during the Campanian.[14]
Biogeography
The near simultaneous appearance of nodosaurids in both North America and Europe is worthy of consideration. Europelta is the oldest nodosaurid from Europe, it is derived from the lower Albian Escucha Formation. The oldest western North American nodosaurid is Sauropelta, from the lower Albian Little Sheep Mudstone Member of the Cloverly Formation, at an age of 108.5±0.2 million years. Eastern North American fossils seem older. Teeth of Priconodon crassus from the Arundel Clay of the Potomac Group of Maryland, which dates near the Aptian–Albian boundary. The Propanoplosaurus hatchling from the base of the underlying Patuxent Formation, dating to the upper Aptian, is the oldest known nodosaurid.[4]
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</timeline>
See also
Timeline of ankylosaur research
References
Further reading
Carpenter, K. (2001). "Phylogenetic analysis of the Ankylosauria." In Carpenter, K., (ed.) 2001: The Armored Dinosaurs. Indiana University Press, Bloomington & Indianapolis, 2001, pp. xv-526
Osi, Attila (2005). Hungarosaurus tormai, a new ankylosaur (Dinosauria) from the Upper Cretaceous of Hungary. Journal of Vertebrate Paleontology 25(2):370-383, June 2003.
Alberta oilsands discovery of 2011
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The most basal ankylosaurine dinosaur from the Albian–Cenomanian of China, with implications for the evolution of the tail club
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2018-02-27T00:00:00
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The tail club knob is a highly specialized structure thought to characterize a subgroup of the ankylosaurine ankylosaurians, and the oldest documented tail club knob in the fossil record occurred in the Campanian ankylosaurine Pinacosaurus. Here we report a new ankylosaurid Jinyunpelta sinensis, gen. et sp. nov., from the Albian–Cenomanian Liangtoutang Formation, Jinyun County, Zhejiang, China. This is the first definitive and the best preserved ankylosaurid dinosaur ever found in southern China. Jinyunpelta possesses unique cranial features differs from other ankylosaurs including two paranasal apertures level with and posterior to the external naris, a triangular fossa on the anterodorsal edge of the maxilla, an antorbital fossa in the junction between the maxilla, lacrimal and jugal, and an anterior process of the prearticular that lies ventral to the splenial. Our phylogenetic analysis suggests Jinyunpelta as the most basal ankylosaurine dinosaur. Jinyunpelta has a tail club with interlocking caudal vertebrae and a well-developed tail club knob, it represents the oldest and the most basal ankylosaurian known to have a well-developed tail club knob. The new discovery thus demonstrates that a large and highly modified tail club evolved at the base of the ankylosaurine ankylosaurs at least about 100 million years ago.
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https://www.nature.com/articles/s41598-018-21924-7
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Systematic palaeontology
Dinosauria Owen 1842
Ornithischia Seeley, 1888
Thyreophora Nopcsa, 1915
Eurypoda Sereno, 1986
Ankylosauria Osborn, 1923
Ankylosauridae Brown, 1908
Ankylosaurinae Brown, 1908
Jinyunpelta sinensis gen. et sp. nov.
Etymology: The generic name derives from ‘Jinyun’ (Mandarin) in reference to Jinyun County in which the type locality is located, and ‘pelta’ (Latin), a small shield, in reference to the osteoderms found on all ankylosaurians. The root of the specific name ‘sin’ (Greek) refers to China, the country of origin.
Holotype: ZMNH M8960, an almost complete skull, and a partial postcranial skeleton including some cervical, dorsal and sacral vertebrae, partial tail club knob, dorsal ribs, right scapula, partial right manus, left ilium, both ischia, left femur, osteoderms and numerous small postcranial ossicles.
Paratype: ZMNH M8963, A partial postcranial skeleton including an almost complete tail club, left tibia and fibula.
Locality: Lijin Industrial Park, Huzhen Town, Jinyun County, Zhejiang Province, China (Fig. 1).
Stratigraphic horizon: Liangtoutang Formation, later Early to early Late Cretaceous (Albian–Cenomanian).
Diagnosis: A derived ankylosaurid dinosaur differing from other ankylosaurid species in having the following combinations of features (autapomorphies indicated by *): two paranasal apertures C1 and C2 located posterior to the external naris and the center of the apertures on the same level with the center of the external naris*; a triangular fossa on anterodorsal edge of the maxilla*; two oval cavities on the dorsal of the nasal; the antorbital fossa present in the junction area of the maxilla, lacrimal and jugal; the prefrontal extending ventrally and contacts the maxilla; the postorbital excluded from the posterior rim of the orbit*; the anterior portion of the prearticular underlying the posterior portion of the splenial*; the dorsal centrum elongated with the ratio of length to the width more than 1.3; the tail club knob roughly hexagonal in dorsal view, with the widest point close to the distal end; and a prominent scar present mediodorsal to the medial condyle of the femur*.
Description and comparison
The ZMNH M8960 and ZMNH M8963 were discovered in the same quarry approximately two to three meters apart.
Skull
The skull and mandible of ZMNH M8960 are preserved together, with the dorsoposterior portion damaged, such that the squamosals and the posterior-most part of the frontals, postorbitals, parietals and occipital region are missing (Figs 2, 3, Table 1). The lateral sides of the snout taper anteriorly towards a squared-off premaxillary beak and there is a constriction anterior to the orbit in dorsal view. The twisted maxillary and dentary tooth row are strongly inset medially. Gular ossicles of the lower jaw obscure the palate.
The skull is longer than wide, unlike the wider skulls in derived ankylosaurids6. Some sutures of the dorsum posterior to the nasals are not fully fused. The sutural contacts of the skull are known from only a few taxa: Pinacosaurus grangeri from China and Mongolia, P. mephistocephalus, Liaoningosaurus and Chuanqilong from China, Kunbarrasaurus from Australia and Cedarpelta from the United States7,8. The dorsal surface of the skull has irregular, roughly textured skull ornamentation with some randomly directed non-vascular grooves, as in basal ankylosaurids such as Gobisaurus, Shamosaurus, Pinacosaurus and ‘Zhongyuansaurus’, rather than discrete caputegulae as in more derived ankylosaurids (Ankylosaurinae) like Ankylosaurus, Euoplocephalus or Saichania6. In lateral view, the skull bears a nearly flat dorsal surface posterior to the nares with only slight arching of the maxillary rostrum, as in ‘Zhongyuansaurus’9, and Kunbarrasaurus8. In contrast, Gobisaurus exhibits a domed dorsal surface10. The flatness of the skull may also partially result from taphonomic crushing.
Antorbital fossa
The junction of the maxilla, lacrimal and jugal possesses a fossa, clearly present on both sides of the skull (Figs 2, 3). This probably represents a reduced antorbital fossa. A small antorbital fossa is similarly present between the maxilla and lacrimal in juvenile Pinacosaurus11, but an antorbital fenestra/fossa is absent in most ankylosaurians7.
External naris
The internarial bar, a medially positioned extension of the premaxilla that arcs posterodorsally, separates the external nares from one another (Fig. 2). The external naris angles anterolaterally to be visible in anterior view, unlike the anteriorly directed external naris in Crichtonpelta12. There are three paranasal apertures posterior to the external naris and are marked as opening B, C1 and C2 according to Hill, et al.13 (Fig. 3). Opening B sits between the premaxilla and maxilla, whereas the opening is fully located within the premaxilla in Pinacosaurus13,14. Opening B remains relatively small compared with that of Pinacosaurus13,14. Apertures C were considered to be the openings into a relatively large sinus system within the premaxilla13,14. The openings C1 and C2 sit posterior to the external naris, the center of the apertures is on the same level with the center of the external naris (Fig. 3). Although apertures C in Pinacosaurus are variable in number, the center is positioned much lower that external naris13,14. The intranasal process, partitioning of the external naris and paranasal aperture, directs dorsoposteriorly. The cranial ornamentation is not partitioned with amorphous texture. Prominent furrow ornamentations occur on the anterior surface of the nasal immediately posterodorsal to the external naris.
Orbit
The subcircular orbits face anterolaterally (Figs 2, 3). Dorsoventral compaction during fossilization has shortened the dorsoventral diameter of the orbit. The orbits are visible in anterior view because of the anterior tapering of the skull as in Ankylosaurus15 and Crichtonpelta12,16. The orbital edge is everted, as in Saichania, Tarchia14, and Crichtonpelta16.
The lacrimal incisure is absent as in Gobisaurus10, and Crichtonpelta16, in contrast, the incisure is present in Pinacosaurus grangeri and Tarchia (INBR21004)15,17.
Rostral region
Premaxilla
The premaxillae form a broad, sub-quadrate, edentulous beak, and bound the paranasal apertures and the external naris ventrally (Fig. 2). The beak is also broad in ankylosaurines such as Ankylosaurus15, Pinacosaurus13,18 and Euoplocephalus19. In contrast, the beak is much narrower in Shamosaurus20, Gobisaurus10, and Crichtonpelta16. The tomial crest formed by premaxillae is variably scalloped, and its outer borders curve downward, forming a sharp cutting edge.
The middle joint of the contralateral premaxillae is unfused and the suture is clearly visible in anterior view. A deep inverted V-shape premaxillary notch incises the interpremaxillary suture at its most anteroventral point, as in other ankylosaurids7. There are fused osteoderms on the dorsal surface of premaxilla. However, osteoderms are absent on the premaxilla in most ankylosaurids, such as Pinacosaurus13,18 and Euoplocephalus19.
In palatal view, the interpremaxillary suture is also clearly visible. The premaxillary palate is deeply concave, sub-quadrate, wider than long, parallel-sided, and only slightly rounded at its anterior edge. A posterodorsally inclined parasagittal incisive foramen sits directly posterior to the premaxillary notch along the palatal surface of each premaxilla. The posterior portion of the premaxilla is obscured by the lower jaws. Dorsolaterally, the sutural contact with adjacent nasals is obscured. The premaxilla-maxilla suture inclines backwards, unlike the vertically oriented ventral portion of premaxilla-maxilla suture in Pinacosaurus14.
Maxilla
In lateral view, the maxilla has a low triangular outline (Fig. 3). Anterodorsally, the maxilla contacts the premaxilla and nasal by a straight suture. The contact with the premaxilla is restricted to anterodorsal edge of the anterior tip of the maxilla, whereas most of the anterodorsal edge is in contact with the nasal. A fossa (Fig. 3b,d: mf) occurs immediately posteroventral to the middle of the anterodorsal edge. The fossa, present on both maxillae, is triangular with the anteroventral edge paralleling the posterodorsal edge of the maxilla. Anteriorly the maxilla contributes to the posterior margin of the paranasal opening B, which is formed by the maxilla, premaxilla and nasal.
The maxilla contacts the prefrontal, lacrimal and jugal posterodorsally. The maxilla has a posterodorsal process meeting the prefrontal. The contact between the maxilla and the lacrimal is long. The most ventral portion of the posterodorsal edge of the maxilla represents the jugal contact.
The roughened lateral surface of the maxilla bears scattered foramina. A co-ossified osteoderm laterally overlays the maxillary portion of the tomial crest, similar to Pinacosaurus11, but unlike adult specimens of Euoplocephalus11,19. The lateral surface is flat, unlike the convex surface in Crichtonpelta16.
The tooth row is inset medially from the lateral side of the maxilla as is typical for ankylosaurs11, but remains invisible in lateral view in this specimen due to the dorsoventral compression.
Nasal
The anterior half of the nasals appear highly sculptured and rugose and sculpturing obscures the median sagittal suture between the nasals. The ornamentation is irregular, similar to Gobisaurus10, Shamosaurus20, and Crichtonpelta16. The nasal extends far backward along the skull roof. Posteriorly, the nasal contacts the frontal in line with the midpoint of the orbit. The serrated suture with the frontal curves anteromedially, unlike the roughly transversely oriented suture in Pinacosaurus14, and Kunbarrasaurus8. The nasal contacts the prefrontal posterolaterally, and the long contact is oriented lateroanteriorly, and passes from the dorsal to the lateral side of the skull. The nasal is widest at the anterolateral end of the suture, and becomes narrower toward both anterior and posterior ends, producing a hexagon shape in dorsal view. Dorsally, the nasal bears two oval cavities, symmetrical with each other sagittally. The nasal contributes to a large portion of the preorbital region forming the lateral wall of the skull. Ventrally, the nasal contacts the anterodorsal edge of the maxilla, similar to Minmi21. The contact between the nasal and the maxilla is relatively shorter in Pinacosaurus14. The nasal lacks a contact with the lacrimal, unlike in Pinacosaurus14.
Prefrontal
The prefrontal sits posterolateral to the nasal, anterolateral to the frontal, anteromedial to the supraorbital, and dorsal to the lacrimal. In dorsal view, the prefrontal is oval-shaped, orienting anterolaterally with respect to the sagittal plane. The relatively large prefrontal contributes to the dorsal and lateral walls of the skull. Posteromedially its contact with the frontal is short and its contribution to the lateral wall of the skull is insignificant, with a small rectangular lateral exposure at the rostral region of the orbit as in Pinacosaurus14. The prefrontal contacts the maxilla anteroventrally. In contrast, the lacrimal separates the prefrontal from the maxilla in Pinacosaurus11,14. The prefrontal of Kunbarrasaurus seems to contact the dorsally strongly expanded maxilla8.
Lacrimal
In lateral view, the lacrimal is triangular and tapers anteriorly and forms the anterior margin of the orbit (Fig. 3). Anteroventrally, the lacrimal contacts the maxilla along a suture that directs obliquely upward. Dorsally the lacrimal contacts the prefrontal and supraorbital; and posteroventrally the lacrimal contacts the jugal below the orbit. The lacrimal is rectangular in juvenile Pinacosaurus22.
Temporal region
Supraorbitals
Two supraorbitals are evidently incorporated into the skull roof, but their contacts with neighboring bones are not fully discernible. They form the upper orbital margin and protrude laterally over the orbit as wedge-like bosses. They form a blunt horn near the lateroposterior end of the skull. The horn is prominent in lateral view but inconspicuous in dorsal view. They are rounded and blunt as in Gobisaurus10, and Shamosaurus6,20. In dorsal view, the two supraorbital caputegulae form a continuous lateral edge as in Ankylosaurus, Anodontosaurus, Euoplocephalus, Dyoplosaurus, and Scolosaurus. In contrast, the supraorbital caputegulae have distinct peaks in Pinacosaurus14, Tarchia, Ziapelta23, and Zuul22. The supraorbital horn is well separated from the squamosal horn as in Crichtonpelta16, Anodontosaurus, Euoplocephalus, and Scolosaurus, however the supraorbital horn is continuous with the squamosal horn in Ankylosaurus24.
The elongate anterior supraorbital seems to contribute more to the lateral margin of the orbit than the posterior supraorbital. The posterior supraorbital is triangular and larger than the anterior supraorbital. The former is located medially to the latter. The anterior supraorbital contacts the lacrimal and the prefrontal. The posterior one contacts the prefrontal, the frontal and the postorbital. Besides the anterior and posterior supraorbitals, a third supraorbital is present in juvenile Pinacosaurus13, and many small pyramidal caputegulae in Zuul22.
Postorbital
The postorbital forms part of the posterolateral corner of the skull, posterior to the posterior supraorbital. The horizontal wing is incorporated into the skull roof and contacts the supraorbital and frontal anteriorly. The vertical wing of the postorbital is excluded from the posterior part of the orbit, but contacts the jugal ventrally. In contrast, the vertical wing of the postorbital forms the posterior part of the orbit in Pinacosaurus14 and Kunbarrasaurus8.
Jugal
The jugal forms the ventral border of the orbit, and the suborbital arch is shallow as other ankylosaurs19,25. Ventrally the jugal displays a short, tapering continuance of the buccal emargination. The jugal articulates with the lacrimal anteriorly, the maxilla anteroventrally, the postorbital posterodorsally, and the quadratojugal posteriorly. The tapering anterior end of the jugal inserts between the posterior ends of the maxilla and lacrimal.
Frontal
Only the anterolateral portion of the right frontal is preserved and an osteoderm partially covers the naso-frontal suture. The frontal contacts the prefrontal anterolaterally, the supraorbital laterally, and the postorbital posterolaterally. The sutures are serrated, except the medial suture with the nasal.
Quadratojugal
Only the base portion of the right quadratojugal horn is preserved. The quadratojugal projection extends lateroventrally and bears shallow, irregular furrows on the external surface of the horn.
Mandible
The associated mandible lacks an external mandibular fenestra. Additionally, there is not a well-developed mandibular caputegulum, but its ventral surface is sculptured as in juvenile Pinacosaurus. This indicates the ornamentation probably represents sculpturing and outgrowth of the bones themselves, rather than being produced by osteoderms, as suggested by Arbour and Evans22.
Predentary
The predentary is transversely wide and crescentic in ventral view. The predentary conjoins the paired dentaries anterior to the mandibular symphysis, forming an edentulous tomium. A short, ventrally projecting sagittal protuberance of the predentary contacts the mandibular symphysis. Externally the anteroventral surface is rugose and perforated by a variety of foramina.
Dentary
Gular ossicles obscure the tooth row. Anteriorly, the dentaries flex medially and articulate with one another at the dorsoventrally abbreviated mandibular symphysis. Dorsal to the symphysis, the dentaries articulate with the predentary. In lateral view, the dentary articulates with the surangular posteriorly, the angular posteroventrally, and the predentary anteriorly. In lingual view, the dentary is mostly overlain by the splenial.
Splenial
The splenial forms the ventromedial surface of the mandible. Posteriorly, the splenial contacts the prearticular, with its posterior end underlain by the prearticular. In contrast, the splenial underlies the anteroventral margin of the prearticular in Euoplocephalus19, Tarchia (Observation based on AMNH 31765, the cast of the ‘Minotaurasaurus ramachandrani’ holotype INBR21004)17,26 and Zuul22.
Angular
The angular forms the ventrolateral margin of the mandible, and as in most ankylosaurs, its lateral surface is invariably embellished with a rugose ornamentation. The angular articulates with the dentary anterodorsally, and the surangular dorsally. The ventral surface of the angular is sculptured but lacks the prominent ornamentation that occurs in subadult Pinacosaurus individuals7,13. The anterior process is short and similar to Pinacosaurus14, in contrast, the angular is elongate in Euoplocephalus19. The angular is not visible in medial view like in Edmontonia, in contrast with Euoplocephalus19.
Surangular
The surangular is situated in the dorsoposterior quarter of the mandible where it articulates with the dentary anteriorly and angular ventrally. There are some small ossicles preserved on the lateral surface of the surangular.
Prearticular
The prearticular articulates with the splenial anterodorsally and the articular dorsally.
Articular
The articular overlies the splenial and the prearticular in the medial view.
Hyobranchium
Two rodlike ceratobranchial bones are preserved within the skull, but are mostly covered by gular ossicles. The hyoid bones display longitudinal striae.
Gular ossicle
Numerous osteoderms from 5 to 15 millimeter in diameter (gular ossicle) are preserved on the ventral side of the skull (Fig. 2). Their preservation is very similar to that in the holotype of Panoplosaurus (CMN 2759)27. Gular ossicles are also known in Edmontonia (AMNH 5381)28 and Zuul22. The ossicles near the mandible are arranged parallel with the mandible, while the remainder of the osteoderms have a random arrangement. The ossicles in the central area are relatively larger and the anterolateral and posterior ossicles are relatively small. This arrangement pattern is similar to Panoplosaurus (CMN 2759)27.
Axial skeleton
Cervical vertebrae
The holotype ZMNH M8960 includes the axis (Fig. 4a–f) and one posterior cervical (Fig. 4g–l) (Table 2).
The laterally compressed axial centrum has a concave posterior articulation surface, and is anteroposteriorly longer than the cervical centra in ZMNH M8960. The axis bears a robust neural arch with a short neural spine and a wide and massive dens. The neural spine slopes dorsoposteriorly and the dorsal edge is convex dorsally. The postzygapophyses are located on the posterolateral ends of neural spine, and exceed the posterior end of the centrum. They are almost parallel with each other in dorsal view and are directed ventroposteriorly in lateral view. The neural canal is deep and laterally compressed with an oval outline.
One postaxial cervical vertebra is well preserved in ZMNH M8960. The cervical centrum is wider than long, with subcircular amphicoelous articular faces. The pre- and postzygapophysis are elongate, extending slightly beyond the articular surfaces of the centrum. There is no epipophysis. The neural canal is wider than high, the dorsal and ventral edges are straight and the lateral edges are round. The transverse process (diapophysis) is located anteroposteriorly centrally and relatively low on the neural arch. The process projects ventrolaterally about 45° from the horizontal. In contrast, the transverse processes are horizontally oriented in Crichtonpelta12, and Ankylosaurus15, and the Mongolian ankylosaurid IGM 100/1305 (cf. Pinacosaurus)29,30. The neural canal is large, wider than high, similar to that in Crichtonpelta12. The parapophysis is a subcircular protuberance, located more anteriorly relatively to the transverse process on the centrum. The centrum is a trapezoid in lateral view with the ventral edge slightly longer than the dorsal edge.
Dorsal vertebra
ZMNH M8960 (Fig. 4m–r) preserves one incomplete dorsal vertebra. The spool-shaped centrum has concave lateral and ventral sides and sub-circular articular faces. The articular faces are also concave in Ankylosaurus15, but almost flat in Crichtonpelta12, and Saichania14. Ventral to the diapophysis the centrum is laterally compressed. The length of the centrum is greater than the transverse width of the articular surfaces as in Struthiosaurus31. The converse is true in other ankylosaurs7, such as Crichtonpelta12. However, the centrum is more elongate than that in Struthiosaurus with a length/width ratio of approximate 1.3, greater than that of any other ankylosaurians. The neural arch is located in the anterior half of the centrum. The neural canal is relatively small compared to that in the cervicals. The canal is ovoid in cross-section, with the long axis directed vertically. The mediolaterally thin and anteroposteriorly elongate base of the neural spine extends to the posterior end of the neural arch. The plate-like transverse process is directed upward in anterior view and anterolaterally in dorsal view, the process is directed relatively lower than that in Crichtonpelta12. The diapophysis is an inverted triangle on the end of the transverse process. The parapophysis is larger than the diapophysis, sits below the transverse process has a triangular-shaped articular surface. The prezygapophyses meet ventrally form a U-shaped trough as other ankylosaurs32. The postzygapophyses are fused together along their lengths to form a peg-like, midline structure.
Sacral vertebrae
Three firmly fused sacral vertebrae are preserved together with the ilium (Fig. 5). The sacral centra are broad and dorsoventrally depressed. The neural canal is well developed. Transverse processes are firmly fused with the horizontally oriented sacral ribs. The compound structure formed by the transverse processes and the sacral rib is dorsoventrally deep with an hourglass-shaped cross-section.
Caudal vertebrae
Although no anterior free caudal vertebrae are preserved, the holotype includes a partial tail club knob. The paratype ZMNH M8963 includes an almost completely preserved tail club (Fig. 6, Table 3). As in other ankylosaurines, the posterior-most ten caudal vertebrae form the handle of the tail club. These vertebrae are highly modified and interlock tightly with each other to form a rigid structure22. These caudal vertebrae have intermediate morphology between V- and U-shaped neural spines in which the prezygapophyses diverge at an angle of approximate 14–25°. Bundles of long and parallel arranged ossified tendons are closely appressed to the lateral sides of the centra of the tail club handle (Fig. 6: ot). The tips of the ossified tendons are tapered and flattened. The chevrons are dorsoventrally short but anteroposteriorly long. They are bifurcated anteriorly, but tapers to a point posteriorly, tightly interlocking with each other along the ventral side of the vertebrae.
As in other ankylosaurines, knob osteoderms completely envelop and obscure the distalmost vertebrae6. The tail club knob is composed of two large lateral osteoderms, and three small medial osteoderms with one centrally located. The knob is dorsoventrally flattened rather than hemispherical. Overall, the knob has a roughly hexagonal outline in dorsal view, with the widest point close to the distal end. The knob is anteroposteriorly longer than transversely wide (45.5 cm in length and 43.1 cm in width, the width/length ratio of the tail club knob is approximately 0.95), unlike the transversely wider knobs in Anodontosaurus. The knob is wider than that in Dyoplosaurus (ROM 784) with width/height ratio 0.6832.
There are six osteoderms present in the ventral surface of the tail club handle (Fig. 6: os). The anterior four are incomplete, whereas the posterior two are almost complete, and wider than long with a sub-rectangular outline. Their surface pattern is similar to that of tail club knob. The ventral osteoderms are also present in Mongolian ankylosaurine and PIN 614 (cf. Pinacosaurus)22.
Dorsal rib
The massive dorsal ribs have well-decurved shafts relative to the rib head. As in most ankylosaurs, the dorsal surface is wide, flattened, and supported below by the deep ventral portion of the ribs, giving the rib a T-shaped cross-section proximally. Distally, this morphology becomes less distinct and eventually diminishes to an ovoid.
Appendicular skeleton
Scapula
The left scapula is preserved with both ends broken (Fig. 7a–d, Table 4). Both anterior and posterior ends are expanded, producing concave dorsal and ventral margins of the scapular blade in lateral view. The posterior expansion is stronger than in Crichtonpelta12. The incomplete acromion curves dorsolaterally. The narrowest region of the scapular blade is immediately posterior to the glenoid fossa. The dorsal margin of the scapular blade is slightly convex as in other ankylosaurs, such as Sauropelta, Euoplocephalus7, and Chuanqilong33. In lateral view, the anteroventral projection is very strong. There is a prominent enthesis on the ventral edge just posterior to the projection, which probably marks the insertion of the M. triceps longus caudalis, as in Crichtonpelta12, Ankylosaurus15 and Euoplocephalus32. On the medial side, the scapulocoracoid buttress is well-developed at the anterior end of the scapula.
Humerus
The right humerus is preserved with its distal end missing (Fig. 7e,f, Table 4). The massively built humerus bears a deltopectoral crest strongly expanded in anterior or posterior view. The surface of the deltopectoral crest has prominent striations, which may represent the attachments for the M. supracoracoideus and M. pectoralis32. The medial (internal) tuberosity is prominent. Anteriorly, the deltopectoral crest and humeral head bound a broad shallow fossa (bicipital fossa) with an inverted triangular outline.
Manus
The manus is pentadactyl as in Pinacosaurus, Sauropelta, and Shamosaurus7. All metacarpals are robust and expanded at the proximal and distal ends. Metacarpals become shorter and less massive moving from I to V (Fig. 7g, Table 5).
Ilium
The left ilium is preserved, with its dorsal portion obscured by the small osteoderms (ossicles) (Fig. 5a–b). The majority of the iliac blade is rotated horizontally. The preacetabular process is long, relatively straight, depressed dorsoventrally, and diverges anterolaterally from the sacrum. The dorsal surface of the preacetabular process directs dorsolaterally, which is almost directs laterally in Crichtonpelta12. A raised anterolaterally oriented ridge lies along the ventral surface of the preacetabular process, which is almost straight, however the ridge is well-curved in Crichtonpelta12. The acetabulum is imperforate, shallow and cuplike as in all ankylosaurians7.
A large number of small osteoderms (ossicles) are preserved together with the ilium. Most are small ossicles range from 0.5 to 2.5 cm in diameter similar to those on the ventral side of the skull. The ossicles may have occupied the space between the larger plates on the dorsal surface15.
Three large triangular plate osteoderms are preserved dorsal and lateral to the ilium (Fig. 6a: os). The large dorsal osteoderm is level with the small ossicles.
Ischium
Both ischia are preserved, but neither is complete (Fig. 8a–h, Table 6). The body of the ischium forms a laterally compressed shaft that abruptly terminates without a distal expansion. The ischium is wide proximally, and a sulcus on the lateral side contributes to the closed acetabulum. The ischial shaft is slightly sigmoidal in both lateral and medial views. The distal portion is curved posteriorly. The wide proximal end tapers abruptly into the ischial shaft, with the narrowest region of the shaft occurring proximally. The ischial shaft widens toward the distal end, prior to tapering again further distally, as in Chuanqilong33.
Femur
The right femur is preserved with both ends broken (Fig. 8i–l, Table 6). The femoral shaft is straight, massive and anteroposteriorly compressed. The proximal and distal ends are transversely expanded relative to the shaft, which has its narrowest width just proximal to the fourth trochanter. The ridge-like fourth trochanter sits on the medial margin of the femur. The trochanter is more prominent than that in Crichtonpelta12. On the distolateral surface of the shaft bears a scar for the M. gastrocnemius, which is less prominent than that in Ankylosaurus15, and Dongyangopelta34. This scar is absent in Crichtonpelta12. Mediodorsal to the medial condyle, there is a prominent scar, which is not seen in other ankylosaurians. Distally, both the medial and lateral condyles are posteriorly expanded, with the medial more prominent.
Tibia
The tibia and fibula are preserved in articulation (Fig. 8m–p, Table 6). The tibia is stout and straight. The proximal and distal ends are broadly expanded anteroposteriorly and mediolaterally, respectively, creating a twisted tibial shaft.
Fibula
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dbpedia
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2
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https://alchetron.com/Zhejiangosaurus
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en
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Alchetron, The Free Social Encyclopedia
|
[
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[] |
[] |
[
""
] | null |
[] |
2017-08-18T08:30:48+00:00
|
Zhejiangosaurus (meaning Zhejiang lizard) is an extinct genus of nodosaurid dinosaur from the Upper Cretaceous (Cenomanian stage) of Zhejiang, eastern China. It was first named by a group of Chinese and Japanese authors Junchang L, Xingsheng Jin, Yiming Sheng and Yihong Li in 2007 and the type sp
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en
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/favicon.ico
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Alchetron.com
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https://alchetron.com/Zhejiangosaurus
|
Zhejiangosaurus (meaning "Zhejiang lizard") is an extinct genus of nodosaurid dinosaur from the Upper Cretaceous (Cenomanian stage) of Zhejiang, eastern China. It was first named by a group of Chinese and Japanese authors Junchang Lü, Xingsheng Jin, Yiming Sheng and Yihong Li in 2007 and the type species is Zhejiangosaurus lishuiensis ("from Lishui", Chinese administrative unit on which the fossil was found). It has no diagnostic features, and thus is a nomen dubium.
Contents
Material
Systematics
References
Material
Material for Zhejiangosaurus consists of the holotype, ZNHM M8718, a partial skeleton which has preserved a sacrum with eight vertebrae, a complete right ilium and partial left ilium, a complete right pubis, the proximal end of the right ischium, two complete hindlimbs, fourteen caudal vertebrae, and some unidentified bones. These remains come from Liancheng, in the Chinese administrative unit of Lishui on the province of Zhejiang and they were collected from the Cenomanian-age Chaochuan Formation.
Systematics
On the species description, Lü et al. (2007) found Zhejiangosaurus to belong to the ankylosaurian family Nodosauridae.
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dbpedia
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2
| 43
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https://www.academia.edu/66199999/Campanian_Maastrichtian_Ankylosaurs_of_West_Texas
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en
|
Campanian-Maastrichtian Ankylosaurs of West Texas
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
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http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
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[
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] | null |
[
"Bryanna West",
"tcu.academia.edu"
] |
2021-12-28T00:00:00
|
Big Bend National Park is known for its unique Late Cretaceous fauna, such as Alamosaurus sanjuanensis and Quetzalcoatlus northropi. Most major groups of dinosaurs are represented in the Late Cretaceous strata, which ranges from the Early Campanian
|
https://www.academia.edu/66199999/Campanian_Maastrichtian_Ankylosaurs_of_West_Texas
|
"A new, small ankylosaurid, Ahshislepelta minor, from the upper Campanian Kirtland Formation (Hunter Wash Member), San Juan Basin, New Mexico, consists of shoulder girdle and forelimb elements, vertebral fragments, and numerous osteoderms. Ahshislepelta minor differs from other ankylosaurids on the basis of a prominent dorsolateral overhang of the acromion and its osteoderm texture. It ranks as one of the most complete ankylosaur specimens known from New Mexico and adds to our understanding of ankylosaurid paleobiogeography, stratigraphy, and taxonomy."
Isolated bones and osteoderms of ankylosaurian dinosaurs recovered from Late Cretaceous sediments of northern Coahuila, northeastern Mexico, have been identified as remains of nodosaurids. Here, we summarize these discoveries and provide a review on Mexican Ankylosauria from a taxonomic perspective. We also present a new taxon, Acantholipan gonzalezi gen. et sp. nov. from the Pen Formation and provide a phylogenetic analysis integrating the new taxon. A. gonzalezi is the first named ankylosaur from Mexico that adds to the currently rare nodosaurid diversity from southern Laramidia.
Nodosaurid ankylosaur remains from the Upper Cretaceous of Mexico are summarized. The specimens are from the El Gallo Formation of Baja California, and the Pen and Aguja Formations of northwestern Coahuila, Mexico. These specimens show significant differences from other known nodosaurids, including ulna with very well developed olecranon and prominent humeral notch, the distal end of the femur not flaring to the extent seen in other nodosaurids, and a horn-like spine with vascular grooves on one side. The specimens are important because they are the southern-most occurrences in North America, and provide an important biogeographical link between nodosaurids of the United States and Canada on the one hand, and Argentina and Antarctica on the other.
Fossil evidences of the presence of ankylosaurian dinosaurs in Gondwana are scarce but consistent, being found in Antarctica, Oceania and South America. In spite that there are no nominated species in South America, the ankylosaur fossil record has increased in the last years. Indeterminate nodosaurid specimens, some isolated osteoderms and many trackways are known from the Upper Cretaceous of South America. The aim of the present contribution is to report new ankylosaurian remains from the Allen Formation (Campanian-Maastrichtian) at the Salitral Moreno locality, Northern Patagonia, Argentina. These osteoderms are small and conical, and includes thoracic, sacral and caudal scutes. The thoracic and sacral pieces are similar to those belonging to nodosaurids. The caudal osteoderm is a new element for the record of South American ankylosaurs. It resembles the caudal plates of Kunbarrasaurus and some ankylosaurids. The scutes show a mixture of characters so it is not possible to assign these pieces to a nodosaurid-like or ankylosaurid ankylosaur. These elements are consistent with the previously known ankylosaur fossil record of the Upper Cretaceous of Argentina, being a new sample of the diversity of the latest Cretaceous from South America.
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| 16
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https://jurassic-park-institute.fandom.com/wiki/Polacanthus
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en
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Polacanthus
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https://static.wikia.nocookie.net/jurassic_park_institute/images/4/46/Dc_card_polac_big.jpg/revision/latest?cb=20230317142123
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[] |
[] |
[
""
] | null |
[
"Contributors to Jurassic Park Institute Wiki"
] |
2024-07-29T22:27:06+00:00
|
Polacanthus, deriving its name from the Ancient Greek polys-/πολύς- "many" and akantha/ἄκανθα "thorn" or "prickle",[1] is possibly dubious genus of early armored, spiked, plant-eating ankylosaurian dinosaur from the early Cretaceous period of England. Polacanthus was a quadrupedal ornithischian...
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en
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https://static.wikia.nocookie.net/jurassic_park_institute/images/4/4a/Site-favicon.ico/revision/latest?cb=20221010141918
|
Jurassic Park Institute Wiki
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https://jurassic-park-institute.fandom.com/wiki/Polacanthus
|
Polacanthus, deriving its name from the Ancient Greek polys-/πολύς- "many" and akantha/ἄκανθα "thorn" or "prickle",[1] is possibly dubious genus of early armored, spiked, plant-eating ankylosaurian dinosaur from the early Cretaceous period of England. Polacanthus was a quadrupedal ornithischian or "bird-hipped" dinosaur. It lived 130 to 125 million years ago in what is now western Europe.[2] Its type species Polacanthus foxii was named after a find on the Isle of Wight in 1865. There are not many fossil remains of this creature, and some important anatomical features, such as its skull, are poorly known. Early depictions often gave it a very generic head as it was only known from the rear half of the creature. It grew to about 5 metres (16 ft) long. Its body was covered with armour plates and spikes. It possibly was a basal member of the Nodosauridae.
Discovery and species[]
The genus Polacanthus comprises two species from Europe: the type species Polcanthus foxii and Polacanthus rudgwickensis.
Polacanthus foxii was discovered by the Reverend William Fox on the Isle of Wight in 1865, at Barnes High at the southwest coast. Fox at first planned to have his friend Alfred Tennyson name the new dinosaur. Tennyson proposed Euacanthus Vectianus but this name was ultimately rejected.[3] In 1865, Fox in a lecture to the British Association reported on the find and let it be named Polacanthus foxii by Richard Owen, hereby circumventing the convention that an author does not name a taxon after himself.[4] The text of the lecture was more or less reproduced by him in an anonymous article in the Illustrated London News. This procedure caused some confusion as no corresponding 1865 publication by Owen exists. Some have therefore contended that Thomas Huxley in 1867 became the author of the name,[5][6] others give Fox, Owen or "Anonymous" as the author. The generic name is derived from Greek πολύς, polys, "many" and ἄκανθα, akantha, "thorn", in reference to the many spikes of the armour. The specific name honours Fox.
The holotype, BMNH R175, was found in a layer of the Upper Wessex Formation dating from the Barremian. It is an incomplete skeleton with the head, neck, anterior armour and forelimbs missing but including dorsal vertebrae, the sacrum, most of the pelvis, most of the left hindleg, the right thighbone, twenty-two tail vertebrae, ribs, chevrons, ossified tendons, a pelvic shield, twenty-two spikes and numerous ossicles. The skeleton was in 1881 studied by John Whitaker Hulke, while it was still in the possession of Fox. Hulke published the first detailed description of the find, noting that the specimen had badly deteriorated over the years, the dermal armour having almost fully fallen apart.[7] The same year Fox died, his collection was acquired by the British Museum of Natural History, including the Polacanthus fossil. This was then reassembled by preparator Caleb Barlow, painstakingly putting all the pieces together with Canada balsam, much to the wonder of Hulke who in 1881 had called this a hopeless undertaking. This allowed Hulke to redescribe the specimen in 1887, with a special attention to the armour arrangement.[8] In 1905, the specimen was again described by Franz Nopcsa who for the first time provided an illustration of the possible spike configuration.[9]
Later it was realised that, at one occasion at least, even before 1865 probable Polacanthus fossils had been found. In 1843 John Edward Lee reported the discovery on Wight of two armour specimens.[10]
Numerous specimens from Wight and Great Britain have since been referred to Polacanthus. These mostly consist of single bones or armour elements. A second partial skeleton, from which parts had been removed since 1876, was identified and fully excavated by Dr William T. Blows in 1979; it is also in the London Natural History Museum as specimen NHMUK R9293. It is the first specimen to show skull elements, neck vertebrae and unequivocal anterior armour.[6]
Polacanthus rudgwickensis was named in 1996 by Dr. William T. Blows,[11] after a review of some fossil material found in 1985 and thought to have been Iguanodon, which was on display at the Horsham Museum in Sussex. The material, holotype HORSM 1988.1546, is fragmentary and includes several incomplete vertebrae, a partial scapulocoracoid, the distal end of a humerus, a nearly complete right tibia, rib fragments, and two osteoderms. P. rudgwickensis seems to have been about 30% longer than type species P. foxii and differs from it in numerous characters of the vertebrae and dermal armor. It is named after the village of Rudgwick in West Sussex and was discovered at a Rudgwick Brickworks Company quarry, at the quarry floor in gray-green marl beds of the Wessex Formation. Barremian age, approximately 124–132 million years ago.
Several ankylosaurian remains from the Early Cretaceous of continental Europe have been referred to Polacanthus but none demonstrably share any unique traits, or autapomorphies, with its holotype.
Further species and genera[]
Apart from the two species today considered valid, several other species and genera have been named in relation to the Polacanthus material.
In 1924, Edwin Hennig named a Polacanthus becklesi, the specific name honouring collector Samuel Beckles, based on specimen BMNH R1926, a piece of an ilium associated with armour plates, found on Wight in the nineteenth century.[12] Today this is considered a junior synonym of P. foxii. It was assumed to be a different species because the armour is smoother on top, but this was likely caused by water erosion of the fossil.[6]
In 1987, Blows claimed that the American Hoplitosaurus was a species of Polacanthus, renaming it into Polacanthus marshi.[6] Though this gained some popularity in the early 1990s,[13] today the identity is generally rejected.
In 1971, Polacanthus foxii was by Walter Coombs renamed into Hylaeosaurus foxi.[14] This has found no acceptance, and the name is an invalid nomen ex dissertatione. Also it has been suggested that Polacanthus would be simply identical to Hylaeosaurus armatus. This was rejected by Blows in 1987, because of differences in age and anatomy.[6] A possible identity is hard to prove or disprove as there are few overlapping elements in their holotypes.[15]
In 1928, Nopcsa named a new genus and species Polacanthoides ponderosus, based on a number of syntypes: BMNH 2584, a left scapula found at Bolney which in 1841 by Gideon Mantell had been referred to Hylaeosaurus;[16] and BMNH R1106 en 1107, a tibia and humerus.[17] The new taxon has proven to be very problematic. Contrary to what Nopcsa assumed the tibia and humerus were not found at Bolney but on Wight.[6] This makes Polacanthoides a possible chimaera, especially since their provenance from Wight makes it likely they belonged to Polacanthus.[6] Furthermore the Wight specimens are not the original bones, which have been lost, but casts[6] which at best could have been used as plastotypes. The scapula belongs to an indeterminate thyreophoran.
In 1982 Justin Delair named a genus Vectensia, without providing a specific name, based on specimen GH 981.45, an armour plate. Like the holotype of Polacanthus it was found at Barnes High, but reportedly in an older layer, of the Lower Wessex Formation.[18] Blows in 1987 tentatively referred it to Polacanthus.[6]
Description[]
Polacanthus was a medium-sized ankylosaur. In 2010, Gregory S. Paul estimated its length at five metres, its weight at two tonnes.[19] Its hindlimbs are relatively long for an ankylosaur, with a right femur length of 555 millimetres with the holotype.
In 2011 Barrett e.a. indicated two possible unique traits, autapomorphies: the floor of the neural canal is deeply cut by a groove with a V-shaped transverse profile; the caudal spikes have triangular bases in side view and narrow points.[15]
The subsequent describers have always dedicated much effort at restoring the armour configuration. Hulke understood that Polacanthus had a large "pelvic shield" or "sacral shield", a single fused sheet of dermal bone over its hips (sacral area) which perhaps was not attached to the underlying bone and decorated with tubercles. This feature is shared with other "polacanthine" (basal nodosaurids) dinosaurs such as Gastonia and Mymoorapelta. With the holotype, this shield is 108 centimetres wide and 90 centimetres long. It features four horizontal rows of larger keeled osteoderms per side, surrounded by smaller ossicles. These latter are sometimes completely fused to form flat armour plates. Hulke thought that on the tail there were two rows of keeled osteoderms per side. Of a set of spikes found with the fossil, he assumed they had adorned the sides of the rump.[8] A different arrangement was hypothesised by Nopcsa. He thought that both the tail and the front of the body including the neck featured two parallel rows of spikes, one per side. On the front body each row would have consisted of five spikes and he claimed that seven of these had been conserved with the fossil, five of the right side and two of the left. The tail rows would have consisted of twenty-two shorter pairs, fifteen spikes being still extant, eight of the left side and seven of the right.[9] As the spikes are asymmetrical their position can more or less be deduced. Blows in 1987 basically agreed with Nopcsa but also distinguished three spike types, a Type A, B and C, allowing him to classify additional fossil finds, which often differed from the holotype spikes in several details.[6]
Phylogeny[]
Fox in 1865 assigned Polacanthus to the Dinosauria, Huxley in 1870[20] and Hulke in 1881 assigned it to the Scelidosauridae. Its exact affinities were not well understood, until Coombs in 1978 placed in the Nodosauridae within a larger Ankylosauria.[21] In 1996 Kenneth Carpenter e.a. refined this to the Polacanthinae.[22] An alternative hypothesis, first suggested by Tracy Lee Ford in 2000,[23] is that there existed a clade Polacanthidae below the Nodosauridae + Ankylosauridae node.
A more conventional analysis from 2012,[24] in which Polacanthos foxii and P. rudgwickensis were not recovered as sister species, is shown by this cladogram:
Nodosauridae
Antarctopelta
Mymoorapelta
Hylaeosaurus
Anoplosaurus
Tatankacephalus
Polacanthus rudgwickensis
Polacanthinae
Gargoyleosaurus
Hoplitosaurus
Gastonia
Peloroplites
Polacanthus
Struthiosaurus
Zhejiangosaurus
Hungarosaurus
Animantarx
Niobrarasaurus
Nodosaurus
Pawpawsaurus
Sauropelta
Silvisaurus
Stegopelta
Texasetes
Edmontonia
Panoplosaurus
JPInstitute.com Description[]
A few fossil remains of Polacanthus, an armored dinosaur, were among the first dinosaurs ever discovered. In fact, it was Sir Richard Owen, the man who coined the word Dinosaur, who described Polacanthus in 1865. This plant-eater had a large solid plate of bone over its hips. When it was first discovered, it was thought to be the shell of some prehistoric turtle.
An early member of the ankylosaur family, Polacanthus is believed to be descended from Hylaeosaurus. Its spikes and dermal plates are not as pronounced as some later ankylosaurs, and it is speculated that it has a somewhat smaller head and no club on its tail. The fossil remains are still sparse and much of what has been written about this dinosaur is speculation.
Appearance in other media[]
Jurassic Park[]
Polacanthus appeared in the video game Jurassic World: Evolution.
The Land Before Time[]
in The Land Before Time: Preschool Adventure, it appeared in the four-legged creature valley of 'Cera's Creature Categories' minigame.
[]
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Nodosauridae Marsh, 1890
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Global Biodiversity Information Facility. Free and Open Access to Biodiversity Data.
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Abstract
Nodosauridae is a family of ankylosaurian dinosaurs, from the Late Jurassic to the Late Cretaceous period of the Northern Hemisphere, in what are now North America, Europe, and Asia.
Biogeography
The near simultaneous appearance of nodosaurids in both North America and Europe is worthy of consideration. Europelta is the oldest nodosaurid from Europe, it is derived from the lower Albian Escucha Formation. The oldest western North American nodosaurid is Sauropelta, from the lower Albian Little Sheep Mudstone Member of the Cloverly Formation, at an age of 108.5±0.2 million years. Eastern North American fossils seem older. Teeth of Priconodon crassus from the Arundel Clay of the Potomac Group of Maryland, which dates near the Aptian–Albian boundary. The Propanoplosaurus hatchling from the base of the underlying Patuxent Formation, dating to the upper Aptian, is the oldest known nodosaurid. Chronostratigraphy of nodosaurid genera ImageSize = width:1250px height:auto barincrement:15px PlotArea = left:10px bottom:50px top:10px right:10px Period = from:-199.6 till:-23.03 TimeAxis = orientation:horizontal ScaleMajor = unit:year increment:10 start:-190 ScaleMinor = unit:year increment:1 start:-199.6 TimeAxis = orientation:hor AlignBars = justify Colors = #legends id:triassic value:rgb(0.51,0.17,0.57) id:jurassic value:rgb(0.2,0.7,0.79) id:earlyjurassic value:rgb(0,0.69,0.89) id:middlejurassic value:rgb(0.52,0.81,0.91) id:latejurassic value:rgb(0.74,0.89,0.97) id:cretaceous value:rgb(0.5,0.78,0.31) id:earlycretaceous value:rgb(0.63,0.78,0.65) id:latecretaceous value:rgb(0.74,0.82,0.37) id:paleogene value:rgb(0.99,0.6,0.32) id:paleocene value:rgb(0.99,0.65,0.37) id:eocene value:rgb(0.99,0.71,0.42) id:oligocene value:rgb(0.99,0.75,0.48)
BarData= bar:eratop bar:space bar:periodtop bar:space bar:NAM1 bar:NAM2 bar:NAM3 bar:NAM4 bar:NAM5 bar:NAM6 bar:NAM7 bar:NAM8 bar:NAM9 bar:NAM10 bar:NAM11 bar:NAM12 bar:NAM13 bar:NAM14 bar:NAM15 bar:NAM16 bar:NAM17 bar:NAM18 bar:NAM19 bar:NAM20 bar:NAM21 bar:NAM22 bar:NAM23 bar:space bar:period bar:space bar:era PlotData= align:center textcolor:black fontsize:M mark:(line,black) width:25 shift:(7,-4) bar:eratop from: -199.6 till: -145.5 color:jurassic text:Jurassic from: -145.5 till: -66.0 color:cretaceous text:Cretaceous from: -66.0 till: -23.03 color:paleogene text:Paleogene bar:periodtop from: -199.6 till: -175.6 color:earlyjurassic text:Early from: -175.6 till: -161.2 color:middlejurassic text:Middle from: -161.2 till: -145.5 color:latejurassic text:Late from: -145.5 till: -99.6 color:earlycretaceous text:Early from: -99.6 till: -66.0 color:latecretaceous text:Late from: -66.0 till: -55.8 color:paleocene text:Paleo. from: -55.8 till: -33.9 color:eocene text:Eo. from: -33.9 till: -23.03 color:oligocene text:Oligo. PlotData= align:left fontsize:M mark:(line,white) width:5 anchor:till align:left color:triassic bar:NAM1 from:-166 till:-164 text:Sarcolestes? color:triassic bar:NAM2 from:-157 till:-153 text:Gargoyleosaurus color:triassic bar:NAM3 from:-157 till:-145 text:Mymoorapelta? color:triassic bar:NAM4 from:-145 till:-100 text:Taohelong color:triassic bar:NAM5 from:-137 till:-134 text:Hylaeosaurus? color:triassic bar:NAM6 from:-131 till:-126 text:Polacanthus color:triassic bar:NAM7 from:-131 till:-113 text:Sauroplites color:triassic bar:NAM1 from:-128 till:-126 text:Gastonia color:triassic bar:NAM2 from:-128 till:-126 text:Horshamosaurus color:triassic bar:NAM3 from:-128 till:-126 text:Hoplitosaurus color:triassic bar:NAM1 from:-113 till:-94 text:Dongyangopelta color:triassic bar:NAM2 from:-105 till:-100 text:Anoplosaurus color:triassic bar:NAM3 from:-97 till:-95 text:Acanthopholis color:jurassic bar:NAM8 from:-118 till:-108 text:Sauropelta color:jurassic bar:NAM9 from:-118 till:-108 text:Tatankacephalus color:jurassic bar:NAM10 from:-116 till:-113 text:Propanoplosaurus color:jurassic bar:NAM11 from:-113 till:-108 text:Priconodon color:jurassic bar:NAM12 from:-113 till:-100 text:Silvisaurus color:jurassic bar:NAM13 from:-112 till:-107 text:Borealopelta color:jurassic bar:NAM14 from:-100 till:-94 text:Zhejiangosaurus? color:jurassic bar:NAM15 from:-100 till:-94 text:Nodosaurus color:jurassic bar:NAM16 from:-99 till:-96 text:Peloroplites color:jurassic bar:NAM8 from:-86 till:-84 text:Acantholipan color:jurassic bar:NAM9 from:-86 till:-84 text:Niobrarasaurus color:jurassic bar:NAM10 from:-84 till:-75 text:Danubiosaurus? color:jurassic bar:NAM11 from:-84 till:-75 text:Rhadinosaurus? color:jurassic bar:NAM12 from:-81 till:-79 text:Invictarx color:jurassic bar:NAM13 from:-75 till:-74 text:Ahshislepelta? color:jurassic bar:NAM14 from:-72 till:-70 text:Glyptodontopelta color:cretaceous bar:NAM17 from:-113 till:-108 text:Europelta color:cretaceous bar:NAM18 from:-103 till:-100 text:Pawpawsaurus color:cretaceous bar:NAM19 from:-97 till:-95 text:Stegopelta color:cretaceous bar:NAM17 from:-86 till:-84 text:Hungarosaurus color:cretaceous bar:NAM18 from:-84 till:-66 text:Struthiosaurus color:paleogene bar:NAM20 from:-103 till:-100 text:Texasetes color:paleogene bar:NAM21 from:-99 till:-96 text:Animantarx color:paleogene bar:NAM20 from:-84 till:-68 text:Argentinian taxon color:paleogene bar:NAM21 from:-77 till:-72 text:Edmontonia color:paleogene bar:NAM22 from:-76 till:-75 text:Panoplosaurus color:paleogene bar:NAM23 from:-68 till:-66 text:Denversaurus PlotData= align:center textcolor:black fontsize:M mark:(line,black) width:25 bar:period from: -199.6 till: -175.6 color:earlyjurassic text:Early from: -175.6 till: -161.2 color:middlejurassic text:Middle from: -161.2 till: -145.5 color:latejurassic text:Late from: -145.5 till: -99.6 color:earlycretaceous text:Early from: -99.6 till: -66.0 color:latecretaceous text:Late from: -66.0 till: -55.8 color:paleocene text:Paleo. from: -55.8 till: -33.9 color:eocene text:Eo. from: -33.9 till: -23.03 color:oligocene text:Oligo. bar:era from: -199.6 till: -145.5 color:jurassic text:Jurassic from: -145.5 till: -66.0 color:cretaceous text:Cretaceous from: -66.0 till: -23.03 color:paleogene text:Paleogene
Classification
The family Nodosauridae was erected by Othniel Charles Marsh in 1890, and anchored on the genus Nodosaurus. The clade Nodosauridae was first informally defined by Paul Sereno in 1998 as "all ankylosaurs closer to Panoplosaurus than to Ankylosaurus," a definition followed by Vickaryous, Teresa Maryańska, and Weishampel in 2004. Vickaryous et al. considered two genera of nodosaurids to be of uncertain placement (incertae sedis): Struthiosaurus and Animantarx, and considered the most primitive member of the Nodosauridae to be Cedarpelta.Vickaryous, M. K., Maryanska, T., and Weishampel, D. B. (2004). Chapter Seventeen: Ankylosauria. in The Dinosauria (2nd edition), Weishampel, D. B., Dodson, P., and Osmólska, H., editors. University of California Press. Following the publication of the PhyloCode, Nodosauridae needed to be formally defined following certain parameters, including that the type genus Nodosaurus was required as an internal specifier. In formally naming Nodosauridae, Madzia and colleagues followed the previously esablished use for the clade, defining it as the largest clade including Nodosaurus textilis but not Ankylosaurus magniventris. As all phylogenies referenced included both Panoplosaurus and Nodosaurus within the same group relative to Ankylosaurus, the addition of another internal specifier was deemed unnecessary. The 2018 phylogenetic analysis of Rivera-Sylva and colleagues was used as the primary reference for Panoplosaurini by Madzia et al., in addition to the supplemental analyses of Thompson et al. (2012), Arbour and Currie (2016), Arbour et al. (2016), and Brown et al. (2017).
The highly isolated Antarctopelta, from the late Cretaceous of Antarctica, was previously thought to be the most basal nodosaurid, but a 2021 study found it to belong to the Parankylosauria, a separate basal lineage of ankylosaurs restricted to the Southern Hemisphere.
Description
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The Princeton Field Guide to Dinosaurs: Second Edition [Second ed.] 9781400883141
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The best-selling Princeton Field Guide to Dinosaurs remains the must-have book for anyone who loves dinosaurs, from amat...
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dokumen.pub
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https://dokumen.pub/the-princeton-field-guide-to-dinosaurs-second-edition-secondnbsped-9781400883141.html
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Table of contents :
CONTENTS
Preface
Acknowledgments
Introduction
History of Discovery and Research
What Is a Dinosaur?
Dating Dinosaurs
The Evolution of Dinosaurs and Their World
Extinction
After the Age of Dinosaurs
Biology
General Anatomy
Skin, Feathers, and Color
Respiration and Circulation
Digestive Tracts
Senses
Vocalization
Disease and Pathologies
Behavior
Brains, Nerves, and Intelligence
Social Activities
Reproduction
Growth
Energetics
Gigantism
Mesozoic Oxygen
The Evolution—and Loss—of Avian Flight
Dinosaur Safari
If Dinosaurs Had Survived
Dinosaur Conservation
Where Dinosaurs Are Found
Using the Group and Species Descriptions
Group and Species Accounts
Dinosaurs
Theropods
Sauropodomorphs
Ornithischians
Additional Reading
Index: Dinosaur Taxa
Formations
Citation preview
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It's #SciArt week on Twitter!
I think we often downplay or take for granted the role that art plays in science. High quality art is obviously a hugely important aspect of public science communication. A paper describing a new species of dinosaur will have much more impact on the public if it's accompanied by an excellent life restoration of that dinosaur. Astronomers and their spacey kin use illustrations to show us satellites, the solar system, and far-off planets we can't photograph. Biologists dealing with the very small need illustrators to show us the cells in our bodies, what's inside those cells, what DNA looks like and how it works – the list is endless.
But the #SciArt tweet storm happening this week got me thinking again about the role that art plays in my own daily scientific activities. While I don't consider myself an artist, I was always drawing while I was growing up (for a while I entertained the idea of becoming an animator!). And I'm still drawing! Every time I go to a museum, I draw pretty much everything I look at. Why draw when I've got easy access to digital photography? Well, I take tons of photos, too, but drawing makes me LOOK at the specimen.
LOOKING AROUND YOU IS VERY IMPORTANT.
Sketching slows me down, in a good way. What's that weird texture in this part of the bone, how far does this groove extend, what's with this unusual hole in this spot? Is there symmetry? Asymmetry? What's missing, and what's been filled in with plaster? What exactly was I measuring when I say 'length' or 'width'? I've filled many notebooks with drawings, stream-of-consciousness-style notes, measurements, and other bits of data. Mostly I use regular ol' pencils, but I also really like coloured pens and usually travel with a set for annotating my pencil drawings. I would love to be the kind of person that could do watercolour sketching, or proper graphite drawings.
These are some of my earliest notes from my MSc research, from a 2007 visit to the Royal Ontario Museum.
I think, as scientists, we do ourselves a disservice by not teaching students more about art skills and visual design. Being able to quickly and confidently sketch something in front of you is a useful skill to have! And understanding some of the principles of visual design – lines, shapes, negative space, colour combinations, and the like – can only make you a better communicator of science, especially in scientific papers. In addition to just being personally rewarding, drawing makes me a better scientist!
If you're a Twitterer, you should really check out the #SciArt hashtag this week (and into the future), to see the variety of techniques and approaches people take to science art.
↧
What's up at Wapiti River?
The world can always use some more Pachyrhinosaurus bonebeds. So hooray to my friends and colleagues Federico Fanti and Mike Burns, and my PhD supervisor Phil Currie, for publishing a description of the Wapiti River Pachyrhinosaurus bonebed (currently in 'early view' accepted manuscript form at the Canadian Journal of Earth Sciences).
A friendly Pachyrhinosaurus lakustai greets students at Grande Prairie Regional College!
Most of the time, dinosaur palaeontologists look for bones in dry, barren landscapes – the badlands of Alberta, the Gobi Desert, etc – places that have lots of rocks and not much covering them up, like inconvenient forests or cities. But sometimes, you don't have vast expanses of outcrop. In Nova Scotia, we dig up dinosaurs on the beach. In the area around Grande Prairie, Alberta, you look for bones in the outcrops along rivers and streams.
The very first summer I went out with the University of Alberta crew (way back in the halcyon days of 2007; the first Transformers movie was 'good', everybody read the last Harry Potter book overnight to avoid spoilers, and...apparently not much was happening in my musical spheres, but my, how time has flown), there wasn't a Wapiti River bonebed. We knew that there were bones coming out of the riverbank somewhere, but it took the better part of a day to trace them up the hill to the bone layer.
See if you can spot Phil for scale way up on the hill there, and remember that Phil is about 3x as tall as most humans. That's where the bone layer is!
It's a pretty steep hill, and so those first few days excavating the bone layer meant hacking out little footholds and gradually making enough of a ledge for us to sit on and walk around each other without plummeting to our death.
The last time I was there, in 2011, the ledge had expanded significantly, although you can see it's still a pretty narrow slice! It's a scenic place to work, with the river and boreal forest stretching away below; bear sightings were not uncommon (and occassionally closer than we'd all prefer), and I remember a hummingbird came down to check on us one day, buzzing around my head for a few moments!
In this bonebed, there's a layer of bones in a crazy, mixed-up layer of folded mudstones, and those are pretty easy to excavate.
Here's a dorsal vertebra. Nice and easy.
But down beneath that, the skulls and larger bones are encased within super hard ironstones. We can't really do much with these in the field, so we need to take them out in huge pieces.
And here's what the skulls look like. The circular depression down towards my left foot is the narial opening. The UALVP has like 15 of these suckers and they each take about 2 years to prepare with a crack hammer and chisel.
But the bonebed is also about halfway down into the river valley on a steep slope that's hard enough to just haul yourself up, let alone a huge boulder. So we've been very lucky to have helicopter support to carry out some of the heaviest pieces at the end of each field season.
Up, up and away!
Sometimes we were even visited by Aluk the Pachyrhinosaurus, mascot of the Arctic Winter Games in 2009!
This was probably the strangest day in the field.
There's still much more work to be done on this bonebed – we still aren't exactly sure what species of Pachyrhinosaurus is present. The age is right for P. canadensis, but only time will tell. And with two Pachyrhinosaurus bonebeds in Grande Prairie – the Pipestone Creek bonebed with P. lakustai, and the slightly younger Wapiti River bonebed – there's bound to be much more to learn about the evolution and biology of this unusual ceratopsian.
Previously in Pachyrhinosaurus:
Wapiti River Fieldwork, Part 1
Wapiti River Fieldwork, Part 2
And don't forget to check out:
Fanti F, Currie PJ, Burns ME. 2015. Taphonomy, age, and paleoecological implication of a new Pachyrhinosaurus (Dinosauria: Ceratopsidae) bonebed from the Upper Cretaceous (Campanian) Wapiti Formation of Alberta, Canada. Canadian Journal of Earth Sciences, early view.
↧
#MuseumWeek Retrospective!
Last week's #MuseumWeek tweetstorm was an awful lot of fun, especially following the #SciArt event just a few weeks earlier. I thought I'd share a couple of photos and thoughts for each day's theme – I didn't manage to post something for each day on Twitter, but I'll fill in some thoughts and photos here!
Day 1: Secrets
One of the nice things about working in the Paleontology & Geology Research Lab at the North Carolina Musuem of Natural Sciences is that "behind the scenes" is part of the scene. You can actually stare at me while I'm working away at my computer each day, if you desire to do such a thing. More interesting, probably, would be to watch our staff, students, and volunteers preparing fossils in the main lab space - secrets waiting to be revealed. But hey, whatever floats your boat!
If you're in Raleigh, stop by and say hi to Carnufex!
Day 2: Souvenirs
I am kind of a Stuff Person and also have a Thing for Museum Gift Shops. As such, I have loads of doodads from my various museum visits. One of the things I like picking up are postcards, especially those that have non-Tyrannosaurus dinosaurs featured on them. For a while, I had these up on my wall at my apartment in Edmonton. Those who have visited my UofA office will also be familiar with my embarassingly large collection of ankylosaur toys, or as I prefer to refer to them, 'scientific models for grown-ups'.
Recognize any museums from your own travels?
Day 3: Architecture
I had a lot of fun with this one on twitter because I LOVE interesting museum architecture. A couple of favourites:
Permian Hall at the Moscow Paleontological Museum:
...which also had custom door hinges, like plesiosaurs!
Dinosaur museum in an old castle in Lerici, Italy:
I wasn't sure about the ROM Crystal at first, but it's grown on me:
And I think the SECU Daily Planet at the NC Museum is pretty swell (on the inside, it's a theatre!):
Day 4: Inspiration
Some non-dinosaur stuff for inspiration day: I really like learning about Canadian art and its history, and one of my very favourite museums on the entire planet is the Museum of Anthropology at the University of British Columbia. If you're in Vancouver, DO NOT MISS THAT MUSEUM. It's an emotional experience to step into the exhibits at this museum and be surrounded by so much creativity and history and skill. Here's a sample to sharpen your brain.
Day 5: Family
I'm lucky to have had great parents that fed my dinosaur obsession as a kid with trips to museums near and far. I'd love to dig out some photos from the before time, but for now, I'll leave this day for my own memories. What are some of your favourite museum memories from your childhood?
Day 6: Favourites
I like busy museums that are crammed full of stuff, especially when that takes the form of a Wall of Stuff or a Hall of Stuff. Here's a few of my favourites.
Hall of Stuff at the Museo de La Plata
Wall of Stuff at the Natural History Museum of LA County
Day 7: Pose
I don't like posting pictures of myself very much, so I'll just include one here to finish off: here's Pinacosaurus (nee "Syrmosaurus") at the museum in Moscow, with me for scale.
That's it for now! What did you share for Museum Week?
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A Brontobyte of Sauropods
Palaeontology emergency alert! This is not a drill! Brontosaurus is back!
YES I FINALLY GOT TO USE THIS ON THE BLOG. Success!
I mean, Brontosaurus never really left. That's the nice thing about taxonomy – once a name is out there, it's there forever, even if we decide later on that it might represent the same kind of animal that another name does. And so every now and then, we get to bring an old name back from the dead. Today, Tschopp and colleagues have published some very good support to indicate that Brontosaurus really is distinct from Apatosaurus after all, and we can all use that name and stop telling people that Brontosaurus isn't real. OMG, WHAT A RELIEF.
To recap: Brontosaurus has not been an accepted name in the palaeontological community for more than 100 years, but because of its use in some museum exhibits, and things like the 1964 World's Fair and the "Rite of Spring" passage in Fantasia, for example, the name has become entrenched in the popular consciousness in a way few other dinosaur names have. It is very disappointing to learn that palaeontologists don't call that big dinosaur Brontosaurus, but the decidedly less evocative name Apatosaurus instead.
Click for sauropod-size. With many thanks to the authors and PeerJ for creating such a useful diagram, which I'm sure will be reproduced often and with much gratitude by palaeontologists, teachers, and other science communicators.
The new paper is staggering in its length (almost 300 pages!) and the amount of work it represents, and I'm not a sauropod specialist, so I'll summarize it here without delving into sauropod anatomy very much:
Two of the Big 3 diplodocids: Apatosaurus (in the back) and Diplodocus (foreground) face-off at the Carnegie Museum.
Tschopp et al. did a specimen-level phylogeny of diplodocids, the sauropods like Apatosaurus and Diplodocus, but not Brachiosaurus or Camarasaurus. This means that individual specimens were coded, rather than species. Often, phylogenetic studies have just looked at the 'classic' diplodocids Apatosaurus, Barosaurus, and Diplodocus (the 'Big 3', shall we say?). And most of those studies elide the many species represented by these three genera. So a specimen-level phylogeny is a much-needed approach to resolve some questions about diplodocid diversity.
They then used some techniques to quantify differences among specimens – pairwise dissimilarity, and apomorphy counts – that would help justify dividing clusters of individuals into different genera. There isn't a rule in palaeontology that individuals need to be a certain amount 'different' from each other in order to be a new genus or species, so the authors looked at how many unique characters separate some sauropods that everyone seems pretty comfortable calling different species and genera. Apatosaurus ajax and Apatosaurus louisae had 12 different features, and Diplodocus carnegii and Diplodocus hallorum had 11 different features. So 13 different characters was set as the baseline for separating out genera in the specimen phylogeny. Using the same approach, they also set 6 differences as the baseline for separating species within a given genus. These numbers only apply to this particular analysis, but it's an interesting approach that I think would be worth considering for other dinosaur phylogenies.
Using this, they wind up doing some taxonomic reshuffling:
a.Diplodocus longus lacks any diagnostic features at the species level and is a nomen dubium, which is bad because it's also the type species for Diplodocus. A petition to the ICZN to switch the type species to D. carnegii is in the works. Diplodocus includes the species D. carnegii and D. hallorum (née Seismosaurus)
b.Dinheirosaurus (from Portugal) is a junior synonym of Supersaurus, and so Supersaurus is a cross-continental genus represented by two species.
c.Diplodocus hayi passes the threshold for generic distinctiveness from Diplodocus and gets a new name, Galeamopus hayi. Specimens of Galeamopus are actually more complete than Diplodocus, which means that Diplodocidae is best represented by Galeamopus at present if you need a diplodocid for whatever you're working on.
d. And finally, and arguably most significantly, Brontosaurus passes the threshold for generic distinctiveness from Apatosaurus. There are three species within Brontosaurus: B. exelsus ('classic'Brontosaurus), B. parvus(née Elosaurus), and B. yahnahpin (née 'Eobrontosaurus').
The third of the Big 3 diplodocids, the iconic rearing Barosaurus at the American Museum of Natural History.
I really hope this taxonomic shuffling gains wide acceptance, because 1) I think their approach and reasoning are pretty sound, and 2) it's going to be SO MUCH EASIER not to have to constantly 'debunk'Brontosaurus with non-palaeontologists.The oft-repeated story that "Brontosaurus" wasn't real because it had the head of one animal and the body of another is wrong, but the real story, about the rules of taxonomy and how we define species, is much more difficult to explain. (It's interesting, but it's not as easily parsed to a lay audience.) And let's face it, Brontosaurus was a really good name and it was sad that it had to be synonymized. The story of Brontosaurus now has a new and interesting chapter – our ideas about the biology of Brontosaurus have changed, but now we can talk about changes to how we think Brontosaurus looked and lived, rather than just focusing on a quirk of taxonomy. So let your Brontosaurus flag fly high, dinosaur fans, because Brontosaurus is back and that's awesome.
Old-timey sauropod in the little diorama at the Smithsonian, back in 2011.
Big taxonomic revisions are hard and important but often don't feel as 'sexy' as some of the other research that gets publicized. I like thinking about alpha taxonomy (uh, perhaps obviously) and I like doing this kind of research, and I think it's really important that we recognize how important this kind of work is – alpha taxonomy is really foundational to a lot of other studies. If you don't know how many species you have, or where they lived, or what anatomy belongs with each species, how can you do projects that look at the evolution of certain features through time, or understand changing ecosystems?
For example, given that there's at least 14 species of diplodocid in only 11 million years of Morrison Formation, it's unlikely that there's a slice of time in there in which there's only one diplodocid species. (And remember, diplodocids weren't the only sauropods in the Morrison – this is also the home of Brachiosaurus and Camarasaurus and Suuwassea and who knows what else.) This is a pretty good reason to reject what I like to call the "Highlander hypothesis", i.e. There Can Only Be One ___(ankylosaur, tyrannosaur, whatever)___ in a given formation, something that I've encountered in conversations on occasion. It's understandable that we would feel unease at the idea of high species/generic diversity in such massive dinosaurs, because how are they dividing up ecosystem space? But over and over again it seems like lots of similarly-shaped dinosaurs were occupying similar times and spaces in terms of what we see in the rock record, which I find very interesting indeed. (Now what we need is a really good stratigraphic framework for putting all of these diplodocids into chronological and geographical context.) We can only do a good job of addressing these kinds of questions by having good data to put into those studies, and that data comes from taxonomic revisions like this one.
And revising taxonomy is probably a never-ending job, because we need to keep reassessing our definitions of genera and species as we get more information through new specimens. Let's make sure we all support this kind of research as palaeontology continues to evolve with new techniques, questions, and approaches. Bully for Brontosaurus, and bully for alpha taxonomy.
Stray observations:
The concept of a 'relatively small' animal that is 12-15 metres long amuses me. (re: Kaatedocus, page 2)
The 'brontobyte' image at the top of this post is an old joke from my Currie lab days; a brontobyte is actually 10^27 bytes. But I think it would be a good collective noun for sauropods, and it also feels appropriate given the large number of sauropod species recovered by Tschopp et al. In fact, we need more collective nouns for dinosaurs, and so I'd like to propose brontobyte for sauropods and armada for ankylosaurs, to join terror of tyrannosaurs.
Go read the paper! It's open access!: Tschopp E, Mateus O, Benson RBJ. 2015. A specimen-level phylogenetic analysis and taxonomic revision of Diplodocidae (Dinosauria, Sauropoda). PeerJ 3:857.
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May your mountains dark and dreary be.
Just wanted to give a quick shout out to some old fossil friends of mine. Horton Bluff/Blue Beach is a pretty cool place and I have fond memories of field trips out there during my Dalhousie days. Between this new paper and the recent paper describing the Permian to Jurassic assemblage of tetrapods, it's been a good time for Nova Scotia palaeontology.
Your friendly neighbourhood ankylosaur palaeontologist, in the before time (i.e. 2003), at Horton Bluff, following in her tetrapod ancestor's footprints. It's goopy there.
Which of course makes me miss it all terribly.
Anderson JS, Smithson T, Mansky CF, Meyer T, Clack J. 2015. A diverse tetrapod fauna at the base of 'Romer's Gap'. PLOS ONE 10:e0125446.
Sues H-D, Olsen PE. 2015. Stratigraphic and temporal context and faunal diversity of Permian-Jurassic continental tetrapod assemblages from the Fundy rift basin, eastern Canada. Atlantic Geology 51:139-205.
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On Surprises
I love surprises. Which is unfortunate for me, because I am extremely bad at being surprised. And it's hard to be surprised by things as you get older, and as easier access to more and more information becomes available to us every day.
But boy, when a surprise comes along that actually takes me by surprise, what a thing to be able to savour.
An extraordinary painting of Yi qi by Emily Willoughby, CC-BY.
So, enter Yi qi. In many ways, it's hardly a surprise at all – numerous artists produced wonderful speculative art about scansoriopterygids predicting membranous wings and/or gliding abilities, and there was even this neat hypothetical Archaeopteryx ancestor that I found in a paper a few years ago. At the time, I wrote on Facebook: "I had not realized that a bat-winged proto-bird was an idea that was on the table!"
(I also wrote, "I like his smirk, lack of neck, and skinny skinny tail", and I agree with Past Victoria about all of those things.)
While Yi qimight not really be a proto-bird, it's still an amazing discovery that shows there was a lot of experimenting with flying and gliding going on back in the Mesozoic, which is perhaps unsurprising, given that lots of disparate groups of animals use gliding to their advantage today – fish, frogs, rodents, marsupials, dermopterans, you name it. And yet, even though there's lots of precedent for gliding vertebrates, and others had predicted something kind of like Yi qibefore, I was still genuinely shocked when I saw the paper and press images. What a great feeling.
What I love best about Yi qi, apart from it's extremely meme-able name, is that it's a great example of maybe what I'll call an 'expected surprise'. A surprise that, as soon as you see it, it seems so obvious and like it should have been there all along. It's like the opposite of a failure of imagination. Surely there is a long German word that captures this specific emotion? What other expected surprises are lurking out there in our futures? What things have we speculated on today, dismissed as being way too out there to take seriously, and yet will pop up as really-for-real things later on?
I guess I need to get to work on some ankylosaur speculative biology! Maybe we'll find the real Yee?
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On Failures of Imagination
Yesterday I talked about 'expected surprises' with regards to Yi qi. Yi qi is a surprise because its anatomy is so unlike other theropods, and it suggests that dinosaurs were experimenting with flight and/or gliding in some ways that were quite different from our current understanding of feather and bird wing evolution. But it was also not entirely unexpected, because scansoriopterygids had super weird anatomy to begin with that gave us enough information to speculate about possible gliding adaptations in those dinosaurs, even though the general consensus was that it was pretty far-fetched.
But today I wanted to talk about a related feeling, which I like to call the Failure of Imagination. Last summer I was working my way through a DVD set of classic sci-fi, fantasy, and adventure movies that I had picked up at some point. I wound up watching a lot of these with friends and basically Mystery Science Theatre 3000-ing the films, and in particular the old space adventure movies from the 40s-60s provided much entertainment. It's really fun to take a look back and see what sorts of things people envisioned the future holding for us – space travel, exoplanet exploration, robots. But what also struck me was the things that the filmmakers and storywriters couldn't even imagine.
They could imagine spaceships and robots, but they couldn't imagine wireless technology. Or storing information in digital form rather than on spools of tape.
They couldn't imagine non-button-and-dial-based instrumentation.
And they definitely couldn't imagine women in roles other than administrative assistants (or as the bad guys). SO MANY SPACE SECRETARIES.
I kept thinking to myself – what sorts of failures of imagination are we having in palaeontology today? We can imagine so many things. But I wonder what kinds of things we won't even know we don't know. When we try our hand at speculative biology, what will scientists 80 or 100 years from now think was charming, or quaint, or ahead of its time. Failures of imagination are one of those things that make me nervous as a scientist, because I don't like the idea that I won't even know what I'm not imagining.
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Crystal Geyser Quarry Quest
I just got back from my first stint of fieldwork for the year, and my first time doing fieldwork in the States. This was just a brief jaunt out to Utah and Colorado for two weeks, but it was a nice sampling of some interesting and different field localities compared to my previous experiences. Today's post: Crystal Geyser quarry in Utah!
So scenic, so majestic. Such altitude.
Crystal Geyser is a non-geothermal, carbon dioxide geyser near Green River, Utah; although we didn't visit the geyser itself, it lends its name to a series of quarries of a massive bonebed in the Yellow Cat Member of the Cedar Mountain Formation (about 125 million years ago). The bonebed is mostly composed of the early therizinosaur Falcarius. The bones in this quarry are incredibly delicate - sometimes even using just a brush through the sediment felt like it was too aggressive! Definitely a challenging site to work at.
Ominous clouds brewed up frequently and then dumped rain and hail on us.
But then sometimes there were rainbows, so I guess it was ok.
We camped in the Morrison Formation and walked up to the Cedar Mountain Formation each day, which was kind of fun.
I'm not accustomed to walking through such a dramatic shift in time and faunas: the Morrison is characterized by lots of classic dinosaurs like Allosaurus and Apatosaurus and Stegosaurus from about 156 to 146 million years ago, but the dinosaurs of the Cedar Mountain Formation have only recently begun to receive much attention and are still poorly known. There's a gap of about 20 million years between the two formations, and in the Yellow Cat Member we find dinosaurs like Falcarius, the ankylosaur Gastonia, the iguanodontians Hippodraco and Iguanacolossus, and dromaeosaurs like Utahraptor and Geminiraptor. The world was changing.
We'll be returning to Utah later in July to work in the Mussentuchit Member. Up next: jackhammering in the Mesaverde Formation of Colorado!
Epilogue: I made a friend at lunchtime one day. D-:
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Mad Max: Fury Quarry
There's a hadrosaur underneath this cliff. (Probably.)
For the second week of our field expedition, we drove from Utah to a site near Rangely, Colorado, to help the Colorado Northwestern Community College with a specimen poking out of a cliff. We've shifted into the Upper Cretaceous here, and are working in the Mesaverde Formation. There's not very much known about the dinosaurs from this formation, so hopefully this will shed some more light on the dinosaurs in this region!
In between Utah and Rangely, we spent a night in Grand Junction and went to see Mad Max: Fury Road, which was way more awesome than any of us had really anticipated and which was basically all we could talk about all week. And so I must also share this great photo that Lindsay took! According to buzzfeed, my Mad Max name is Roop Duststorm, which seems appropriate given the dustiness of working around a rock saw all day.
I did a lot of jackhammering last week, which was great fun if terrible for my lower back, but my favourite thing to do is to pop off the blocks made using the rock saw. You cut a grid into the rock, position your chisel at just the right point, give a couple of hearty whacks with a crack hammer, and off pop these incredibly satisfying 'brownies' of sandstone. It's still slow going, but you can move a lot of rock a lot more quickly this way. (Thanks to Lindsay again for snapping this fun photo!)
Early in the week we were plagued with constant large thunderstorms that rolled in every few hours and made things kind of cold and miserable. Thankfully, this was the last one and it missed us! Instead, it just looked dramatic, which is fine by me.
By last Saturday we had made a lot of progress, although there is still a long way to go to get down to the bone level and (hopefully) find a good dinosaur down there. Best of luck to the crew as they keep working furiously away!
*'Fury Quarry' is also shamelessly stolen from Lindsay.
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Cornelius says hello
Say hello to Cornelius! I got to meet him during a brief visit to the ROM last week, and he seems like a pretty nice guy.
This cool new ceratopsian is on display in the Age of Dinosaurs gallery in an exhibit called "New Dino Discovered", and was also featured in Dino Hunt Canada, which aired earlier this year. It should have a new name soon, but for now Canada voted to nickname it Cornelius. The really nice skeletal mount was put together by Research Casting International based on about a 50% complete disarticulated skeleton.
Here's a close-up of that winning smile. This new dude is a centrosaurine ceratopsid with some pretty neat ornamentation going on at the back of the frill.
I really liked the inclusion of a quarry map on the floor, which highlights some of the bones that are on display. The skeleton was found in southern Alberta in the Milk River area, and comes from the Oldman Formation.
The mounted skeleton is a cast, but there are some original bones on display, like the radius and ulna shown here.
In particular, I liked this set of panels on the wall showing differences in frill ornamentation between centrosaurines, and how we identify different species. On the right is the original frill material for Cornelius, the bottom left is Centrosaurus, and the top left is Styracosaurus.
And look, there was even an ankylosaur osteoderm on display! These are some of the fossils found in the Milk River area, which tell us a bit about the ecosystem that the new centrosaurine lived in.
It's a cool new dinosaur and a nice exhibit, so definitely don't miss it if you're visiting the ROM anytime soon!
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Why does Jurassic World hate dinosaurs?
I have some Thoughts and Feelings about Jurassic World! Spoiler alert, I'm going to talk about details and plot points and this post is really for people who have seen the film. Also, while I'm going to talk about the dinosaurs a bit, this isn't really a review of the science of the film, because that's already been done to death. Ok, onwards and upwards into something that wound up being way too long!
Does Jurassic World hate dinosaurs?
I think the answer to that question is yes. Jurassic World keeps making these little homages and throwbacks to the earlier films (there are lots of shots that echo iconic moments in the earlier films, and some of the plot points mirror the original film almost exactly), and yet I feel like we could consider the theme of Jurassic World to be about rejecting nostalgia and childhood. It's buried under an interesting discussion of the role of the military in funding scientific research, and why some kinds of research are prioritized over others, and it may actually be unintentional, but it's the theme I took away most immediately from this film.
There are two characters that I think are supposed to represent the audience, and neither are treated particularly well by the other characters. And by 'the audience', I'm going to be really self-centered and say that I mean the 30-somethings like myself who saw the original film when we were in that 8-12 year old bracket, or 'peak Jurassic Park' age, and who this film is clearly pandering to. Firstly, we have Gray Mitchell, a 10-ish year old who represents us when we first saw Jurassic Park: he's a dinosaur geek and is one of the only characters to show unrelenting enthusiasm for dinosaurs while visiting Jurassic World. Secondly, we have Lowery, the 30-something computer room dude, who wears an original Jurassic Park shirt and has dinosaur toys on his desk and is obviously super into the dinosaurs in the dinosaur theme park. He is us, now, grown up and nostalgic for the original film. Multiple times throughout the film, Gray's older brother tells him he needs to grow up, and points out that many of the things are for little kids. Claire makes fun of Lowery's shirt, and I think in general we're supposed to think he's kind of a weird man-child who hasn't really grown up.
There's a moment in the film where Gray and his brother Zach stumble upon the old Jurassic Park visitor center building. The T. rex cast skeleton lies on the ground covered in vegetation, and a little piece of the "When Dinosaurs Ruled the Earth" banner is visible. Zach uses it to make a torch so they can investigate the rest of the suspiciously-well-lit ruins. Visiting the old building felt like some gratuitous fan-service to me, but then burning the banner felt like a purposeful statement about rejecting the nostalgia of the original film.
Jurassic World is constantly setting up little nostalgic moments and then seemingly stomping all over them. It's like the filmmakers wanted to pay tribute to Jurassic Park but then were embarassed to show that they liked it – or maybe they didn't really like that movie at all, but wanted to make lots of money (success!). I don't know, but I find it thematically problematic and a bit sad, since the excitement over DINOSAURS! in the first movie is one of the defining aspects of that film, and that sense of wonder and grandeur has rarely been replicated. Jurassic World feels jaded, and like it's too cool for dinosaurs.
Can we talk about ladies in this movie for a moment?
Did we really need to introduce our main female character with the camera sweeping up her legs to her face? Was that absolutely necessary? Also, could we just not use the 'frigid, uptight workaholic woman needs to learn to loosen up and become sexually free with a man, and also needs to remember that all women will have children eventually' stereotype? COULD WE JUST NOT?
It's an intriguing throwback to the original Jurassic Park movie, which I feel successfully used the kids as a character development point for Alan Grant. But Sam Neill managed to portray Grant's discomfort with kids in a more organic way, and the movie gave that plotline a bit of breathing room to develop during some of its quieter moments AND its action sequences (see: sitting in the tree feeding Brachiosaurus; escaping the falling car in the tree; the fence). It's less believable with Claire Dearing, because she doesn't even spend any time with the kids in peril until almost the very end of the movie, at which point she basically worried herself into liking kids? Or something?
Look, not every movie is going to have (or should have) a Strong Female Character(TM), because there are lots of ways to be a lady just like there are lots of ways to be a dude. But the first two Jurassic Park movies had some cool female characters: Ellie Sattler, a palaeobotanist, who was brave and curious and smart! Lex Murphy, who knew those UNIX systems! Sarah Harding, who was a bit foolish but was also brave and curious! Kelly Curtis Malcolm, who gymnastic-ed a Velociraptor to death! In Jurassic World, we get a woman who has great power and authority (she runs a theme park full of dinosaurs!) being told she should be different at almost every opportunity, and we get a distracted babysitter who is killed in the most gratuitous, drawn-out sequence of all. Thanks, movie.
Ok, now let's actually talk about dinosaurs (and other prehistoric creatures) in Jurassic World.
Other palaeontologists have already beaten me to much of this, but I still had a few thoughts I wanted to share. Ultimately I don't have a big problem with the 'retro' dinosaurs of 1993 appearing in this film, because I'm willing to go with the flow in terms of continuity. But there were some pretty dumb things in this film:
· The pterosaur sequence was pretty godawful and brought the action to a screeching halt. I can't suspend disbelief that the pterosaurs would immediately rampage and murder a bunch of people, and I can't suspend disbelief over the physics of that sequence. Refrigerating that babysitter lady was also pretty awful. Sweet jeepers, Jurassic World, you're going to make me say something horrible: this sequence was better in Jurassic Park III. THERE. I hope you're happy.
·I never really bought Indominus rex as anything more than a really big Allosaurus or Saurophaganax. (Sorry, theropod people! Allosaurus is cool, but not, like, THAT cool.) I did, however, like the incorporation of the camouflage idea from the Carnotaurus in the Lost World book, something that I had missed from the film adaptation. Overall, I'm frustrated that Indominus exists mostly so they had a dinosaur they could trademark. Because that's totally what that is, and everything else is secondary to that, including its incorporation into the plot.
·That mosasaur is just so gigantic. I'm on board, but that was starting to stretch credulity as well.
·Why doesn't Rexy eat Blue after the fight? The mind boggles.
Ok, things I liked!
·The Ankylosaurus gives Indominus the old what-for and doesn't immediately die like everything else! Indominus needs to really work at murdering that poor fellow. The design of the Ankylosaurus themselves is pretty terrible (wrong osteoderms, tail too curly, nostrils in the wrong spot, head generally a bit off), although I think it's meant to be consistent with Jurassic Park III.
Here's what Ankylosaurus REALLY looks like!
·Dinosaur petting zoo! It should be for all ages!
·The big kaiju battle between Indominus and Tyrannosaurus was pretty well matched. I liked the little kick to JPIII when the Tyrannosaurus busts through the Spinosaurus skeleton on the way to the fight.
·"Are they safe?""Oh no, under no circumstances, not even a little."
Some final Thoughts and Feelings
I haven't decided yet if I liked Jurassic World. I can't help but think back to the original Jurassic Park with its iconic visual moments and charming, if hokey, dialogue. While it was fun to see an operational Jurassic Park with rides and attractions, I don't feel like Jurassic World had much visual flair. It's really hard to beat dramatic, symbolic visuals like this:
Interesting camera angles like this:
Or quiet moments of terror like this:
And I miss the yellow and green and red colour palette of the original park, replaced here with chrome and blue and silver like every other washed out movie in theatres lately. It is also interesting that all of the big sweeping themes from the original soundtrack are used not for the dinosaurs, but for the manmade structures of the park itself. It really does feel like Jurassic World doesn't care about dinosaurs.
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Dinosaurs Unearthed!
Growing up in Nova Scotia, despite its many excellent and significant palaeontological treasures, meant that there weren't many dinosaur fossils for me to gawp at regularly. The Nova Scotia Museum of Natural History (which I loved) had only a few small fossils on display, and besides an exciting appearance by the Dinosauroid when I was small, did not have any big traveling dinosaur exhibits come through. But when I was in Grade 1 or so, DINAMATION came to town and seared its robotic dinosaurs all over my brain forever. And so I think I will forever have a soft spot in my heart for animatronic dinosaur displays.
Mike Burns and I ran into some of the old Dinamation robots puffing away at the New Mexico Museum back in 2012!
Like Jurassic Forest and Dino Dino Dreampark, the traveling exhibit Dinosaurs Unearthed (at Telus World of Science in Edmonton for the summer) mostly features large animatronic dinosaurs, as well as some casts and interactive displays.
One of the main focuses of the exhibit is showcasing Chinese dinosaurs and fossils, and talking about recent research on the evolution of birds from dinosaurs. Probably one of the best parts of the exhibit is the large number of casts of feathered dinosaurs from China, including Sinosauropteryx, Caudipteryx, Microraptor, and Confuciusornis. These are still not particularly household names, so it's nice to see these on display, especially given the lack of feathers in Jurassic World's dinosaurs!
Just past the casts we have a diorama of Jehol Biota feathered dinosaurs, including (from left to right) the dromaeosaur Microraptor, the compsognathid Sinosauropteryx, the tyrannosaur Dilong, and the bird Confuciusornis. Some of the animatronics are better than others, and all are kind of weirdly oversized, but I think if there was a sign that said this was a diorama at 4x life size or something like that, that it would work pretty well.
My favourite cluster of dinosaurs was the set of Mongolian dinosaurs, including the first time I've ever seen Gigantoraptor anywhere! There's also a pretty dapper Alxasaurus in the front there.
I would have liked to see more cast fossils rather than sculpted reconstructions, and perhaps more fossils overall and a couple fewer animatronics. But generally the information presented in the exhibit was pretty good and had been recently updated, with references to the new research on Brontosaurus, and lots of recent behavioural, biomechanics, and ecology facts as well. Here's a nice display showcasing some of the cool imaging work done by the WitmerLab!
Until next time...watch out for that Shantungosaurus as you leave!
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Woe betide those who summon the Galactic Coelacanth
A couple of years ago I had an existential crisis when I realized that, in the time one of my papers had been in review (almost 8 months!), I could nearly have physically created an entirely new human being in my body, if I had so chosen. Thus began the saddest game in the universe that I like to play when I submit a paper: "What kind of animal could have been gestated in the time this paper has been in review?". And this became an even better running joke when one of my colleagues had a highly unusual review experience that lasted for several years, which completely exhausted the gestation times of real animals.
My amazing and lovely sister saw us talking about this on Facebook and went ahead and wrote an R script that tells you exactly what kind of animal you could have birthed while waiting for reviewer comments. And because I am always forgetting to save this amazing piece of code, I've gotten permission from Jessica to post it here for posterity. My sincere apologies to anyone who gets the Space Whale, and my deepest condolences to anyone who is graced by the presence of the Galactic Coelacanth.
Click here for the R script!
Updated 30 June 2015: If you don't have R, you can also download a text file to see the code!
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Know Your Ankylosaurs: China Edition
I'm in Utah digging up dinosaurs! But also, one of the last big chunks of my PhD thesis has just been published online at the Journal of Systematic Palaeontology. They are generously allowing free access to the paper through the end of August, so head on over and grab a copy while it's free! This time, I'm taking all of the knowledge gained from my previous taxonomic revisions, adding in some more taxa, and doing a revised phylogenetic analysis building on previous analyses to see how everyone shakes out and to learn a little bit more about ankylosaurid biogeography. I'll cover some of the taxonomic stuff over the next few posts, and finish off with the big picture of ankylosaurid evolution.
Pinacosaurus!
I've talked previously about the ankylosaurs of Mongolia, but I've also had the opportunity to study some of their friends from across the border in China. In particular, I got to see lots of specimens of Pinacosaurus, both from the Alag Teeg bonebed in Mongolia, and from Bayan Mandahu in China. Because Pinacosaurus specimens are relatively abundant and usually well preserved, there has already been lots of descriptive work on this taxon, including on the skull (and here, and here), hands and feet, and general postcrania.
Baby Pinacosaurus are so teeny tiny! This one is from Bayan Mandahu and was collected during the Canada-China Dinosaur Project back in the 1980s.
I've discussed just a few new points about Pinacosaurus, especially about how we tell the two species of Pinacosaurus apart. Pinacosaurus grangeri is known from lots of specimens, almost all of which are juveniles; it has relatively short horns at the back of its skull, a constriction in the snout between its nose and its eyes, and a notch in the rough ornamentation above each nostril. Pinacosaurus mephistocephalus is known from just one specimen (also a juvenile), and it has long squamosal horns, no constriction in its snout, and no notch in the ornamentation above each nostril (it looks like it does on one side, but I think this is just damage given that it is not present on the other side). Both species are known from Bayan Mandahu, and so it is reasonable to ask whether or not these could represent the same taxon – given the differences in skull morphology, I suspect we're not looking at intraspecific variation here, although more specimens of P. mephistocephalus would be very helpful in this regard!
Crichtonsaurus becomes Crichtonpelta
Crichtonsaurus is another cool ankylosaur that has received surprisingly little attention given its Jurassic Park affinities. Two species have been named: Crichtonsaurus bohlini (the type species), and Crichtonsaurusbenxiensis. Crichtonsaurus bohlini is, unfortunately, a very incomplete jaw that does not bear any diagnostic features, and so we argue that Crichtonsaurusshould be considered a nomen dubium. Crichtonsaurus benxiensis, on the other hand, is a great specimen with a really good skull and a fair bit of the postcrania, and the skull has some unique features that make it easy to distinguish from other taxa, most specifically the upturned quadratojugal horns. We've proposed the new name Crichtonpelta benxiensis for this material – Crichtonsaurus was a good name and we wanted to keep the replacement name similar, so now we have Crichton's shield instead of Crichton's lizard.
During the Flugsaurier symposium in 2010, while I was visiting Beijing and the IVPP, we took a field trip out to Liaoning and visited the Sihetun Fossil Site. It has a cool museum, including a mounted Crichtonpelta skeleton! I don't think this specimen has been described, but it does corroborate certain aspects of the holotype skull. Crichtonpelta seems to lack discrete caputegulae (tile-like ornamentation) on its skull, which gives it a similar appearance to Pinacosaurus. I don't think the osteoderms have been placed quite correctly on this skeletal mount – I think they've been tipped on their sides so that the keel forms part of the 'base', giving it a somewhat stegosaur-like appearance.
Liaoningosaurus and Chuanqilong
I'm going to talk more about Liaoningosaurus in a few months, but it is one cool little ankylosaur! At only about 30 cm long, the holotype is one of the smallest known ankylosaur specimens and probably represents a very young individual. There may be a few osteoderms in the cervical/scapular region, but that's about it. I've previously argued that the putative plastron in this specimen is more likely skin impressions, which is still pretty cool because we don't have a lot of belly skin for ankylosaurs.
Liaoningosaurus! YAY!
I also wanted to give a shout out to here to Chuanqilong, a larger ankylosaur from Liaoning that was described last summer and which didn't make it into my thesis but which I did include in the revised phylogenetic analysis in the final paper.
Here's Chuanqilong, from Han et al. (2014).
Dongyangopelta, Taohelong, and Sauroplites
Let's finish off this post today with a triad of interesting but enigmatic ankylosaurs. Dongyangopelta and Taohelong are relatively new entries to the world of ankylosaurs, with both taxa appearing in 2013. Neither are particularly complete, but they are interesting because both species possess chunks of fused osteoderms, which would have been found over the pelvis and which are most commonly encountered in nodosaurids and 'polacanthids/polacanthines', and are presently unknown in ankylosaurids – and indeed, Yang et al. described Taohelong as the first example of a polacanthine from Asia. Nodosaurids (including 'polacanthines' as basal taxa within this clade) have been tentatively identified from Asia previously (an interesting but fragmentary specimen from Japan may be a nodosaurid), but to find a Polacanthus-like animal in Asia is unexpected and very interesting. The two species can be differentiated based on the morphology of these pelvic shield pieces. Dongyangopelta comes from the Chaochuan Formation, and another ankylosaur, Zhejiangosaurus, had been named from that formation in 2007; it may eventually shake out that Dongyangopelta is a junior synonym of Zhejiangosaurus, but in the absence of overlapping diagnostic material we opted to keep these taxa separate for now.
Pelvic shield fragments - Dongyangopelta redrawn from Chen et al. (2013), Taohelong redrawn from Yang et al. (2013), and Sauroplites redrawn from Bohlin (1953).
Sauroplites, on the other hand, is a very old name that has been largely overlooked in recent assessments of ankylosaurs. The material was originally described by Bohlin in 1953, but sadly the whereabouts of the original material is unknown today (although there are casts at the American Museum of Natural History). I think Sauroplites was overlooked for a while because it's based off of osteoderms alone, and it's hard to assess diagnostic characters in osteoderms sometimes because they vary so much along the body. This is partly why I like cervical half rings and pelvic shields – in these structures, you can understand the positions of the osteoderms on the body and directly compare patterns and morphologies across different taxa. Supposedly, the osteoderms for Sauroplites were preserved in their original positions when the specimen was excavated, and if so, it's a bit surprising that more of the skeleton was not preserved. Bohlin correctly identified some of these pieces as elements of the sacral armour, and the morphology of these pieces can be used to differentiate Sauroplites from Taohelong and Dongyangopelta, and we consider Sauroplites to be a valid, but poorly known, taxon. It's good to revisit poorly figured and fragmentary taxa from time to time, because new discoveries might help put those pieces in context.
Next time: we head south! See you then!
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Know Your Ankylosaurs: Gondwana Edition
Last time, I talked about the ankylosaurids of China, and today we're talking about Gondwanan ankylosaurs. Gondwana basically refers to the continents of today's southern hemisphere; when the supercontinent Pangaea broke apart, it split into two large continents – Laurasia in the north, and Gondwana in the south. Gondwana includes South America, Africa, Australia, and Antarctica, and, somewhat nonintuitively, India (India kind of beelined into Asia from Australia and that's why we have the Himalayas). Almost all of the ankylosaurs we know about are from the Laurasian continents, which means that the few found in Gondwana are phylogenetically and biogeographically interesting: do they represent southern branches of the ankylosaur family tree, or new migrations into Gondwana from Laurasia? Let's take a closer look:
Minmi paravertebra and Minmi sp.
Minmi is the iconic Australian ankylosaur. Most people, when they think of such things, think of the spectacular referred skeleton with agood skull and in situ armour.
The Smithsonian has a cast of the specimen - here's a section of the ribcage, showing some of the osteoderms in their original arrangement.
Sadly, the holotype is extremely fragmentary and has few elements to make a diagnosis with. Originally, one of the most striking features of Minmi paravertebra was the presence of paravertebral elements, thin rod-shaped bones along the dorsal vertebrae. These were originally interpreted as ossified tendons of the dorsal muscles, and although these are cool to see in Minmi, they are not really unique to Minmi or even to ankylosaurs, since ossified tendons are ubiquitous throughout Ornithischia. One unusual aspect of these ossified tendons is that one set has a flattened, expanded front end. These were interpreted as possible ossified aponeuroses (aponeuroses are sheets of connective tissue in between muscles and tendons). This particular aspect of the ossified tendons IS very unusual, because ossified aponeuroses are extremely rare in animals. While I was hunting around for information about ossified aponeuroses, I came across a very odd case study about mouse deer (Tragulus)– the males completely ossify the aponeuroses above their pelvis and back, creating a carapace-like structure! This is super weird and I would love to investigate this further at some point.
Ossified aponeuroses have since been identified in the European nodosaur Hungarosaurus, which poses a bit of a problem for Minmi: since this feature was one of the only diagnostic characters for Minmi, and since it is now found in an animal that is very unlikely to be Minmi given the spatial and temporal distance between the two, Minmi paravertebra is left without diagnostic characters. A sticky situation that will hopefully be resolved in the future by people who have spent time with the original fossil material!
Antarctopelta
Did you know that the first dinosaur discovered in Antarctica was an ankylosaur? Cryolophosaurus might get all the buzz, but Antarctopelta was first to the press. Antarctopelta is a very interesting little ankylosaur, which I had the chance to study during my visit to Argentina back in 2011. The material is fragmentary but tantalizing, with some pieces of the pelvic armour that are reminiscent of ankylosaurs like Stegopelta and Glyptodontopelta from North America. Unfortunately, in the course of my research I noticed that some of the bones attributed to Antarctopelta and used to help diagnose the taxon didn't quite seem like they came from an ankylosaur. The material was found on an ancient beach strandline with some marine fossils mixed in, and it looks like some of the material originally interpreted as ankylosaurian might be better interpreted as belonging to a mosasaur and a plesiosaur. In the end, we weren't left with any diagnostic characters for Antarctopelta and we should consider that a nomen dubium for now, but there's definitely an Antarctic ankylosaur and I hope at some point some better material is recovered so we can determine the best name for this guy.
The Argentinian ankylosaur
Finally, I also had the chance to study the only described ankylosaur from Argentina. This is also a fairly fragmentary specimen, and it came from a channel lag deposit so it's possible that more than one individual is represented. There are osteoderms, some vertebrae, and a femur, and all are very small – about the same size as the juvenile Anodontosaurus (originally described by Coombs as Euoplocephalus) from Alberta. The femur is interesting because it has some very prominent ridges running lengthwise on it, which seem to be intermuscular lines; these are present but very faint on some other ankylosaurs, and I haven't encountered anything like that in other ankylosaurs. There also may be fragments of the cervical half rings preserved as part of this specimen, since there are some unusual curved osteoderms with multiple peaks and keels. These don't bear any resemblance to other half rings I've looked at, and cervical half ring morphology seems to be taxonomically informative for ankylosaurs. Together, the weird intermuscular lines and unusual cervical half ring fragments might be enough to diagnose the Argentinian specimen as a new taxon, although we withheld from doing so at present.
Here's the specimen on display at the Museo Carlos Ameghino in Cipoletti!
There have been reports of some possible ankylosaur material from India and Madagascar, although much of this material is either very fragmentary (a single tooth from Madagascar), or has not been described (material from India). Stay tuned to find out more about how these rare ankylosaurs fit into the big picture of ankylosaur evolution!
Next up: a grab bag of everybody else!
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Know Your Ankylosaurs: North American Odds and Ends Edition
I've covered many of the North American ankylosaurs in my previous papers and blog posts. In 2013, I argued that what we thought was Euoplocephalus was more likely 4 taxa– Anodontosaurus, Dyoplosaurus, Scolosaurus, and Euoplocephalus proper. Then in 2014 we described a newankylosaurid, Ziapelta, from New Mexico. There are a few other taxa that had previously been proposed to be ankylosaurids, so let's take a look at them here.
Aletopelta, Stegopelta and Glyptodontopelta
Aletopelta is one of the more tantalizingly enigmatic ankylosaurs from North America. It's from a weird place – California – which may have been much further south 75 million years ago compared to its current position. It was also found in marine sediments, and the decaying carcass had formed a little reef, with oysters encrusting the ribs. The only known specimen of Aletopelta is relatively complete, all things considered, with the osteoderms in situ over part of the pelvis, the legs partially articulated, and with various odds and ends like osteoderms and vertebrae. Unfortunately, the ends of the bones are often chewed apart, and some of the material is a bit hard to interpret.
Here's the articulated pelvis and hindlimbs, and some other armour pieces, on display at the San Diego Museum of Natural History.
Regardless, Aletopelta is a very interesting ankylosaur. It has an unusual osteoderm morphology over the pelvis, with small hexagonal osteoderms closely appressed to each other. Ankylosaur pelvic armour seems to come in two major flavours: fused rosettes, like we saw in Dongyangopelta and Taohelong (and perhaps most famously in Polacanthus), and interlocking hexagons, like in Stegopelta, Glyptodontopelta, and Aletopelta. Tracy Ford suggested that ankylosaurs with these hexagonal pelvic shields might represent a clade (dubbed Stegopeltinae) of ankylosaurids. Glyptodontopelta has since typically been interpreted as a nodosaurid, as has Stegopelta, but the most recent interpretation of Aletopelta was that it was an ankylosaurid. In the revised phylogeny in my new paper, we found Stegopelta and Glyptodontopelta as nodosaurids, but Aletopelta as a very basal ankylosaurid. However, although Ford and Kirkland reconstructed Aletopelta with the typical ankylosaurid tail club, I don't think that it possessed one: the preserved distal caudal vertebrae don't show any of the lengthening or other modifications that are characteristic of ankylosaurid handle vertebrae.
An updated restoration of the known elements in Aletopelta - the main differences between this and Ford and Kirkland's reconstruction are the absence of a tail club, and uncertainty over what the head should look like.
Cedarpelta
Cedarpelta is an important taxon for understanding the biogeography and evolution of ankylosaurids, and I wish we had more specimens! I don't have many new comments to add about this taxon, since Ken Carpenter published a great description of the disarticulated skull back in 2001. Cedarpelta has been interpreted as a shamosaurine ankylosaur, as a relative of taxa like Gobisaurus and Shamosaurus (which I'll talk about in the next post) from Asia, and thus may point towards a mid Cretaceous faunal interchange between these two continents. In our revised phylogenetic analysis, we didn't find Cedarpelta as the sister taxon to either Gobisaurus or Shamosaurus, but it does come out as a basal ankylosaurid in their general neighbourhood, and I honestly wouldn't be surprised if future analyses or new taxa show support for it as a shamosaurine ankylosaur after all.
Nodocephalosaurus
Nodocephalosaurus! What a fun ankylosaur. It's really quite unlike the other ankylosaurids from North America, which typically have flat, hexagonal cranial ornamentation. Instead, Nodocephalosaurus has bulbous, conical cranial ornamentation. Bulbous cranial ornamentation is typical of Campanian-Maastrichtian Mongolian ankylosaurs like Saichania and Tarchia, but in those taxa the ornamentation is pyramidal rather than conical. The front end of the snout in Nodocephalosaurus is also unusual, because there's no obvious narial opening and instead the ornamentation has a stepped appearance. Hopefully better specimens with more complete snouts will resolve this weird morphology. I've also reinterpreted the position of the quadratojugal horn compared to Sullivan's original figures – the horn should be rotated forward so that the bottom margin of the orbit is complete.
Nodocephalosaurus holotype skull in dorsal and left lateral views.
Tatankacephalus
I don't have much to say about Tatankacephalus because I didn't look at the original material myself, but the previous phylogenetic analysis by Thompson et al. recovered it as a nodosaurid rather than an ankylosaurid as originally suggested by Parsons and Parsons, and we found the same result. Overall, Tatankacephalus is VERY similar to Sauropelta, so this is perhaps not surprising.
Up next: More odds and ends, but after I return from Utah!
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Know Your Ankylosaurs: Mongolian Odds and Ends Edition
I'm back in civilization, so let's get back to ankylosaurs! Ready Set Go!
Gobisaurus, Zhongyuansaurus, and Shamosaurus
Shamosaurus is a really interesting ankylosaurid from the Zuunbayan Formation of Mongolia. Unlike later ankylosaurids, it still has a relatively long snout like you see in basal ankylosaurs and nodosaurids, and it lacks the distinctive tile-like skull ornamentation of ankylosaurs like Euoplocephalus or Saichania, instead just having a granular, pebbly texture on the skull surface. Gobisaurus, from the Ulansuhai Formation of China, is nearly identical in appearance, and only a few features distinguish these two taxa, namely the length of the tooth row relative to skull length and the orientation of the pterygoids. (Indeed, I think you could make an argument for subsuming Gobisaurus into Shamosaurus as Shamosaurus domoculus, but I'm generally reluctant to start making new combinations given that generic separation is pretty arbitrary anyway.)
Shamosaurus and its too-cool-for-school cervical half rings, on display in Moscow.
Gobisaurus and Shamosaurus are sister taxa; the name Shamosaurinae was proposed at one point and there's no reason to discard it at present even though it only contains two taxa. Shamosaurinae is the sister taxon to Ankylosaurinae. I also identified one new character that links Gobisaurus and Shamosaurus together which isn't present in other ankylosaurids: both taxa have a distinctive groove on each premaxilla, the purpose of which is unknown but there you go. There have been some suggestions that Cedarpelta (from North America) is also a shamosaurine ankylosaurid, and while I find the overall morphology of Cedarpelta to be pretty compelling for placing it in a clade with Gobisaurus and Shamosaurus, I didn't recover it with those taxa in my analysis (it came out more basally-positioned). However, I wouldn't be surprised if Cedarpelta winds up in Shamosaurinae at some point in the future as we find more specimens of both it and Gobisaurus and Shamosaurus.
Zhongyuansaurus was originally described as a nodosaurid ankylosaur partly because of its long snout, but it's indistinguishable from Gobisaurus (except for being smashed and flattened). The holotype is also a subadult (or at least not fully skeletally mature), since some of the cranial sutures are still visible towards the back of the skull. There are some interesting things going on with the postcrania of Zhongyuansaurus, but that's a story for a few weeks from now so STAY TUNED NO SPOILERS IF YOU'VE READ MY THESIS.
Tsagantegia
Of all of the more obscure ankylosaurs I looked at during my PhD, Tsagantegia might be my favourite for being the most surprising in person compared to what I had read about it. Tumanova included a line drawing of the specimen in her original description, which has been oft reproduced, but interestingly it doesn't really do justice to the original specimen (despite being a pretty nice drawing). The line drawing shows a long-snouted ankylosaur with amorphous cranial ornamentation, not dissimilar to Shamosaurus, but with a wider premaxillary beak more typical of later ankylosaurs. In person, however, the skull has distinct cranial caputegulae like we see in Euoplocephalus and Ankylosaurus! It's a pretty cool ankylosaur and I think it's probably really important to understanding the dispersal of ankylosaurs from Asia into North America and the diversification of ankylosaurids in the Campanian-Maastrichtian of Asia, but it's really hard to pin down the age of the Bayan Shiree Formation, and we don't have any postcrania for this taxon. I'm sure I'll be revisiting this guy in the future.
Heck yeah Tsagantegia!
Here it is again but in a more different view!
Talarurus
Way back when I originally started this blog in 2010, I had travelled to Korea to spend some time working in the Hwaseong paleo lab preparing Talarurus material and generally studying the ankylosaur material they had collected from the Gobi. Talarurus, like Tsagantegia, is also from the Bayan Shiree Formation but is clearly distinct. The holotype skull has very subtle cranial ornamentation that takes the form of small cones, rather than flat hexagonal tiles like Euoplocephalus, or bulbous pyramids like Saichania. Weirdly, this configuration is also present in the North American taxon Nodocephalosaurus – either this ornamentation style has convergently evolved, or, as I recovered in my analysis, these two taxa are closely related despite being fairly widely separated geographically and temporally. This is another ankylosaur that I'm sure we'll talk about again.
Talarurus butt in Moscow. The skeleton on display is a composite of several individuals from the same locality, and the skull is totally sculpted and a bit out of date.
Here's the holotype skull, with its weird, weird ornamentation.
Saichania
I've talked about Saichania fairly extensively here last year, but there were a few new things added in this most recent paper: Tianzhenosaurus and Shanxia (both from China) are, most likely, junior synonyms of Saichania, making this the most geographically widespread of the Asian ankylosaurids. Tianzhenosaurus has a nearly identical cranial ornamentation pattern when compared to Saichania, and I couldn't identify any differences that were outside of the usual ornamentation pattern variation we see in something like Euoplocephalus. Shanxia is known from the same formation but from a less well preserved skull, but the morphology of the squamosal horn is consistent with that of both Tianzhenosaurus and Saichania and therefore it probably represents the same taxon.
Next up: what's the big picture here, anyway?
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Know Your Ankylosaurs: Everybody's in this Together Edition
So with all of those posts about ankylosaur taxonomy over the last few weeks, what have we learned about the evolution of this group? Over the course of my PhD research, I was able to identify a bunch of new characters that seemed useful for understanding ankylosaur phylogenetic relationships, including characters related to the cranial ornamentation, pelvis, and osteoderms. Although ornamentation and osteoderms can be tricky, they can still yield useful information if you're careful about how you construct the characters.
Here's a sampling of some of the new characters from the supplementary file that goes along with the paper. Long live rainbow ankylosaur skulls.
With all the new information, here's what the results of the analyses gave us (click to embiggen):
From this, we can take away some interesting points:
1.Gondwanan ankylosaurs are probably not ankylosaurids, but they also don't form a single evolutionary group. Whatever "Minmi" is, it's a very basal kind of ankylosaur, possibly outside the split between Ankylosauridae and Nodosauridae. It's a little bit harder to say what's going on with "Antarctopelta" (previously considered an ankylosaurid), and the Argentinian ankylosaur: both came out as relatively derived nodosaurids, but my dataset isn't designed to test the interrelationships of nodosaurids. I wouldn't be surprised if future analyses incorporating more nodosaurids and more nodosaurid-based characters found that these two species were closely related. It would also be interesting to know which lineage of nodosaurids (probably a lineage from North America) dispersed into South America in the Late Cretaceous in order to give us these two ankylosaurs.
2.There are nodosaurids in the early-mid Cretaceous of Asia, but not necessarily the ones that have been proposed previously. Zhongyuansaurus, for example, was first described as a nodosaurid but is instead a junior synonym of the shamosaurine ankylosaurid Gobisaurus. However, a couple of taxa, like Taohelong, Sauroplites, and Dongyangopelta, are recovered as basal nodosaurids. At present, there doesn't seem to be much overlap between Asian nodosaurids and ankylosaurids, which is interesting! Why didn't nodosaurids hang on in Asia once ankylosaurids evolved, when the two groups seem to have coexisted pretty happily in North America later on?
3.The ankylosaurids from the Late Cretaceous of North America represent a dispersal of Asian ankylosaurines sometime during the early-mid Late Cretaceous. The earliest ankylosaurine is probably Crichtonpelta, from China, and North American ankylosaurines are a deeply nested clade within Ankylosaurinae. We propose the new name Ankylosaurini for the North American ankylosaurines (plus Talarurus, for now).
Here, have some frowny-faced rainbow ankylosaurs. Ankylosaurs are very serious dinosaurs.
4.Where do ankylosaurids first evolve? Unfortunately, that question isn't easy to answer right now: down at the base of Ankylosauridae, there's a mix of taxa from North America and Asia. The position of Gastonia as an ankylosaurid tips the scales slightly in favour of a North American origin for the clade, but some analyses recover this taxon as a nodosaurid, so I think we should be a little cautious about this result. One step up the tree, we've got a polytomy of Aletopelta and Cedarpelta (both from North America) and Liaoningosaurus and Chuanqilong (both from China). Does Ankylosauridae originate in North America with something like Cedarpelta, with a subsequent migration and diversification into Asia? Or does this group originate in Asia with something like Liaoningosaurus and Chuanqilong, and Cedarpelta represents an immigration into North America?
5.And finally, what's going on with ankylosaurids in the mid-Cretaceous of North America? Why don't we find any ankylosaurids between Cedarpelta and the later ankylosaurins? Did 'endemic' North American ankylosaurids go extinct during that time? And why does Aletopelta have such a weird basal phylogenetic position despite being from the Campanian? I don't really have answers for some of these questions, although if you come to the Society of Vertebrate Paleontology meeting in Dallas this October I'm going to try addressing some of them. For now, Aletopelta remains the biggest ankylosaurid enigma to me – it really shares very few things in common with the other Campanian ankylosaurids and I doubt it is an ankylosaurin from the Asian immigration into North America – could it represent a distinctive lineage of North American ankylosaurids stemming from things like Gastonia or Cedarpelta, for which we just don't have other representatives at the moment? Or, is it a nodosaurid masquerading as an ankylosaurid because I haven't sampled the right taxa or characters?
Darn you Aletopelta, why must you vex me so?
As usual, I wind up with more questions than answers every time I try to figure something out.
That wraps up the summaries for this paper, but stay tuned for some more cool research coming out in the next few weeks, and some summer fieldwork recaps!
Arbour VM, Currie PJ. In press. Systematics, phylogeny and palaeobiogeography of the ankylosaurid dinosaurs. Journal of Systematic Palaeontology.
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How the ankylosaur got its tail club
Ankylosaur tail clubs are odd structures, odder than they are usually given credit for. They represent substantial modifications to two different skeletal systems – the endoskeleton, in the form of the caudal vertebrae, and the dermal skeleton, in the form of the caudal osteoderms. The centra of the caudal vertebrae lengthen but stay robust, and the neural arches undergo huge changes, such that the prezygapophyses, postzygapophyses, and neural spine become a robust, V-shaped structure on the top of the centrum, and which creates a tightly interlocking vertebral series with almost no flexibility. We call this the handle of the tail club. The osteoderms at the tip of the tail smush together and two of them become huge: although the tail club knob is small in some species, there are colossal knobs exceeding 60 cm in width. The ankylosaur tail club represents one of the most extreme modifications to the tail in terrestrial tetrapods.
Look at that thing. That is a weird thing.
(This is UALVP 47273, a really nice club that I studied for my MSc work on tail club biomechanics.)
One of the questions I became interested in during my MSc research on ankylosaur tail club biomechanics was how the tail club evolved in the first place. Most ankylosaurs with tail clubs are known from a relatively narrow slice of time right at the end of the Cretaceous, but when and where did the tail club first evolve? Did the stiffening of the tail occur before the enlargement of the tail osteoderms, or vice versa? Or did both changes happen at about the same time? This was a fun question to address during my PhD research, once I had a fairly well resolved phylogeny of ankylosaurids, and once I had looked at tons of ankylosaurid fossils.
So, how did the ankylosaur get its tail club? Well, based on what we see in the fossil record, it looks like the changes to the vertebrae predate the changes to the osteoderms – in other words, the handle comes first and the knob comes later. There is at least one ankylosaur out there that seems to have a tail club handle but not a knob: Gobisaurus!
Hello Gobisaurus! Many many thanks to my friend and colleague Sydney Mohr for preparing this awesome illustration of Gobisaurus for me.
Gobisaurus, a shamosaurine ankylosaurid, has a really nice complete tail club handle that is indistinguishable from other ankylosaurid tail club handles, but does not have a knob. And it's not just because the knob is broken off – it seems as though the last vertebrae in the tail are preserved, because they look very similar to the terminal vertebrae in a CT scan of a tail club from the University of Alberta collections. It's likely that Gobisaurus had osteoderms along the sides of the tail like we see in most other ankylosaurs, but it doesn't appear that there were osteoderms tightly enveloping the tip of the tail.
An even earlier ankylosaur seems to show some changes towards acquiring a tail club handle, as well. Liaoningosaurus, a basal ankylosaurid known only from a very small juvenile, has distal caudal vertebrae where the prezyapophyses extend about 50% the length of the adjacent vertebra. This is what we see in ankylosaurid tail clubs, but not in more basal taxa like Mymoorapelta where the prezygapophyses are much shorter. Liaoningosaurus is missing the tip of the tail and also lacks osteoderms on most of its body because it's a juvenile, so it's harder to say whether or not it had a tail club knob based just on the fossil alone.
I also did a cool and relatively simple thing with my phylogenetic tree to see if I could better understand the likelihood that some ankylosaurs without preserved tail material had a tail club handle or full tail club with a knob. Unsurprisingly, all shamosaurine and ankylosaurine ankylosaurids probably had a tail club handle. Liaoningosaurus is part of a basal polytomy of ankylosaurids, and it was a bit more equivocal whether or not any of these taxa was likely to have a tail club handle or not, partly because another basal ankylosaurid in this region of the tree, Chuanqilong, does not have modified distal caudal vertebrae.
All ankylosaurine ankylosaurids more derived than Pinacosaurus (so including things like Tsagantegia, Saichania, Euoplocephalus, etc.) almost certainly had a tail club knob, and shamosaurine ankylosaurids probably did not. Crichtonpelta, the most basal ankylosaurine, may or may not have had a tail club – we'll need more data to know for sure. There is amounted skeleton of Crichtonpelta at the Sihetun visitor center in Liaoning, and it is shown with a tail club, but it isn't clear whether or not this is sculpted or original material belonging to this specimen, and a full description of this material is necessary.
Gobisaurus and Liaoningosaurus both lived much earlier than the more familiar tail-clubbed ankylosaurs: Gobisaurus is no younger than 92 million years old, and Liaoningosaurus is about 122 million years old. The earliest ankylosaurid with a tail club in the fossil record is Pinacosaurus(from the Campanian), although there is a caveat to this: Talarurus, which is a bit older than Pinacosaurus, should have a full tail club based on its position in the phylogenetic tree, and while a tail club handle is known for this taxon, we haven't found a tail club knob for Talarurus. Talarurus is in kind of a weird spot phylogenetically, since it's from Mongolia but comes out as closely related to North American ankylosaurines, so I think it's worth keeping an eye on this taxon in the future – perhaps Talarurus is another taxon with only a handle and not a knob, which would fit a bit better with its chronologic position if not its phylogenetic position.
Regardless, the changes to the vertebrae of ankylosaurs, starting with Liaoningosaurus at least 122 million years ago and continuing on towards Gobisaurus about 92 million years ago, seem to have occurred long before ankylosaurs evolved a huge osteodermal knob at the end of the tail. Was a stiff tail as good a weapon as a full tail club with a knob? What drove the evolution of the knob so long after the evolution of a stiff handle? And why did ankylosaurs even evolve a tail club at all? Now that I've had fun investigating how ankylosaurs might have used their tails, and how the tail club evolved, the next question feels like it should be 'why'....so stay tuned for more tail club fun over the next year or so as I make an attempt at that question!
Read it for yourself! Arbour VM, Currie PJ. In press. Ankylosaurid dinosaur tail clubs evolved through stepwise acquisition of key features. Journal of Anatomy.
↧
Snapshots from the Field Museum
Last week I got a chance to visit the Field Museum in Chicago for the first time! It's a great big museum with lots of cool stuff, so I figured I'd share a few impressions from my lunchtime jaunts through the exhibits. Let's get started with all the fossil exhibits outside of the main fossil hall (there are several, but some of them are kind of hidden away!).
SUE
Sue the Tyrannosaurusis most definitely not hidden away, and occupies a place of pride in the museum's main entrance hall. Sue is undeniably a great fossil, although I (and I suspect probably some other palaeontologists as well) have mixed feelings about this fossil: it's incredibly well preserved, but the intense backstory to Sue's acquisition is filled with several unpleasant twists and turns. I'm glad Sue found a home in a museum, but I wish it hadn't been placed up for auction - Sue's auctioning may not have directly led to the trend of putting dinosaurs up for auction for millions of dollars, but I feel like it set a bad precedent all the same.
One thing that's particularly enjoyable about this specific Tyrannosaurus skeleton are the abundant pathologies to be found. Sue has a busted/infected shin, holes in its jaw, and rough bumpy spots on its vertebrae. These vertebrae near the end of the tail have a big mass of crinkly bone around them. It's obvious Sue got up to some trouble during its life, and it's interesting to speculate on the causes of the various oddities in the skeleton (and indeed, others have!).
Extinct Madagascar
Sadly, this exhibit is tucked so far out of the way that basically nobody had wandered back there besides me (you need to go through the conservation gallery to reach it). It's also a little bit specimen-sparse, a trend I've noticed recently in many museums and which I find somewhat concerning. However, I feel like it makes up for the lack of 3D objects in its cool and unusual subject matter - the extinct fauna of Madagascar. The main point to the gallery was showcasing the social media response to new images of Madagascar's prehistory, and the scientific process that went into those images. It was an interesting way to approach the topic, but might have been more compelling with video, audio, or more fossils.
It was pretty cool to see an Aepyornis (elephant bird) egg and life-size silhouette. They really were terrifyingly large and strange birds.
A highlight for me was this Palaeopropithecus skeleton - a lemur that lived and looked like a sloth.
Tracking the Reptiles of Pangea
Tucked away in the African mammals area was a room devoted to palaeontological fieldwork in Tanzania, featuring the newly described silesaurid Asilisaurus! This isn't a skeleton you're going to see in most museums - I only wish more people had been stepping into this little exhibit room to check it out.
A nice touch was showing the original fossil material in its cabinet-ready storage foam. Those are some nice fossils.
And one last fossil....
Seriously, how were these machines not in constant use? They're in the hallway leading towards the bottom-floor cafeteria, and you can get yourself a freshly-made retro Triceratops, Brontosaurus, Tyrannosaurus, or Stegosaurus. I made a Brontosaurus and consider it $2 extremely well spent, especially since it meant I got rid of a bunch of dimes and nickels I didn't know what to do with:
Next time: Evolving Planet!
↧
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https://www.academia.edu/7402314/JUVENILE_SAUROLOPHINE_SPECIMENS_DINOSAURIA_HADROSAURIDAE_FROM_THE_LATE_CAMPANIAN_OF_NORTHEASTERN_MEXICO
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JUVENILE SAUROLOPHINE SPECIMENS (DINOSAURIA: HADROSAURIDAE) FROM THE LATE CAMPANIAN OF NORTHEASTERN MEXICO
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JUVENILE SAUROLOPHINE SPECIMENS (DINOSAURIA: HADROSAURIDAE) FROM THE LATE CAMPANIAN OF NORTHEASTERN MEXICO
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https://www.academia.edu/7402314/JUVENILE_SAUROLOPHINE_SPECIMENS_DINOSAURIA_HADROSAURIDAE_FROM_THE_LATE_CAMPANIAN_OF_NORTHEASTERN_MEXICO
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The scientific publications of the Natural History Museum of Los Angeles County have been issued at irregular intervals in three major series; the articles in each series are numbered individually, and the numbers run consecutively, regardless of the subject matter. • Contributions in Science, a miscellaneous series of technical papers describing original research in the life and earth sciences. • Science Bulletin, a miscellaneous series of monographs describing original research in the life and earth sciences. This series was discontinued in 1978 with the issue of Numbers 29 and 30; monographs are now published by the museum in Contributions in Science. • Science Series, long articles and collections of papers on natural history topics. Copies of the publications in these series are sold through the Museum Book Shop. A catalog is available on request. The museum also publishes Technical Reports, a miscellaneous series containing information relative to scholarly inquiry and collect...
Abstract The entire catalogued paleontological collection of the New Mexico Museum of Natural History and Science (NMMNH), including 35,902+ fossils from New Mexico, is now online and searchable by the general public, avocational paleontologist, researcher, and geoscience educator. The Web site does not include sensitive geographic localities, but all aspects of the taxonomy, stratigraphy, and chronology of the specimens are viewable at http://164.64. 119.14/nmmnh/web/default. html.
Terrestrial vertebrate remains were recovered from sediments that lie on remnants of the lowest marine wave-cut platform between Point Buchon and Point San Luis. Uranium series ages of these samples, which range from 83 to about 49 ka suggest a correlation to late Pleistocene climatic and eustatic events associated with marine oxygen isotope substage Sa, and establish a maximum age of "'" 80 ka for the occurrence of terrestrial mammal fossils. The Point San Luis area assemblage appears typical of the late Pleistocene regional vertebrate paleo fauna from west-central California. Five mammalian taxa are added to the Pleis tocene record from San Luis Obispo County. Equus sp. cf. E. occidentalis, Ca mclops sp. cf. C. hesternus, and Bison antiquus were recovered from the Point San Luis area, and A1ammut americanum and B. latiffons from near Morro Bay and the Carrizo Plains in eastern San Luis Obispo County.
Paleontologic localities of significant scientific value occur on public lands in California. Some localities private land on are administered by the Bureau of Land Management (BLM) and the United States Forest Service (USFS) for their mineral resources. There is now an-opportunity to protect non-renewable palaeontologic resources through establishment of Areas of Critical Environmental Concern or through cooperative agreements with private institutions and other public agencies prior to these resources being lost, vandalized or developed for on-paleontological purposes. As a positive example, cooperation between governmental agencies and private institutions has resulted in the preservation and appropriate curation of palaeontologic resources from public land' These localities are important not only because they contain significant palaeontologic resources, but because they are field repositories offering insight to past community dynamics and structural activities of the crust, and offer data regarding rates and amounts of fault offset which directly effects the health and safety of California residents. The key to management of paleontological resources are (1) inventory, 2) cyclic prospecting for protection, and (3) curation of specimens into retrievable institutional storage to allow research and reporting.
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Paleolibrary
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paleolibrary - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free.
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Buy Vitae ZHEJIANGOSAURUS Dinosaur Model Toy Collectable Art Figure Online at desertcart Seychelles
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UPDATE FOR 1 January 2015: Apologies to all fans and readers of Dinosaurs: The Most Complete, Up-to-Date Encyclopedia for Dinosaur Lovers of All Ages for the three year delay (YIKES) in updates. I hope the new additions are worth the wait.
1 January 2015 Genus List available soon: includes all Mesozoic dinosaurs named up through the end of 2014! Next revision expected in late December 2015
Greetings,
This website is provided especially for readers of my recent book Dinosaurs: The Most Complete, Up-to-Date Encyclopedia for Dinosaur Lovers of All Ages (illustrations by Luis Rey; Random House, published 2007). In the Introduction I begin by saying "The world of dinosaurs is changing", and indeed it has been! In fact, to quote from p. 5:
"I've tried to make this book as up-to-date as I can while I've been writing it. But new dinosaur discoveries are being made all the time. Some of these will just add a species or two to the list of known dinosaurs, but some may be as amazing as finding the first dinosaur fossil with feathers, or the first dinosaur nest, or the first-ever fossilized dinosaur bone!."
The purpose of this website is provide you with an update of information on dinosaurs. I'll try to hit the highlights of recent discoveries in the field, chapter by chapter. And I will update these periodically (with dates of new additions listed before the appropriate section). (The initial list of updates date to October 2007, when the book was released).
Additionally, I will provide a link at the bottom to an updated version of the Appendix: Dinosaur Genus List, containing newly named dinosaurs and revised classifications. Furthermore, I will provide the complete introduction to that Appendix, explaining what I meant by the various size and weight classes.
By the way, the book was featured in an advertisement for the American Museum of Natural History, New York City! (However, the author and publisher make no claims that getting and reading a copy of the book will guarantee that you win the American Awesome Association's Awesome Prize!):
Also, illustrations by Luis Rey--including several from this book--are featured in the closing credits for the theatrical movie Walking with Dinosaurs 3D (2013).
SUPPLEMENTARY INFORMATION TABLE OF CONTENTS:
I. Chapter Updates (Current as of 3 January 2011) II. Updated Dinosaur Genus List (Current as of 29 December 2011) III. Reviews of the book IV. Frequently Asked Questions (coming soon!) V. Website Links
CHAPTER UPDATES
So, let's see what's new with the dinosaurs:
Chapter 3: Fossils and Fossilization
Extraordinarily well preserved "dinosaur mummies" have been in the news. These include "Dakota", an Edmontosaurus (or Anatosaurus), and "Leonardo", a Brachylophosaurus. These two hadrosaurines provide a great amount of information about the "soft tissues" (muscles, skin, etc.) that don't normally preserve. But no, these aren't like Egyptian mummies or the freeze-dried mammoths of the polar regions: the muscles and skin are mineralized, not just dried.
NEW December 2010: You know how in the book I write that dinosaur colors do not preserve? Well, color me astonished! It turns out that there are ways that--in rare circumstances--we can figure out some of the colors of dinosaurs. There are many different factors that go into making scales or feathers different colors, one of which are melanosomes: little microscopic structures that hold different color pigments. In turns out that different color melanosomes actually have different sizes and shapes. For example, some are associated with grey or black, others with reddish-brown, and the lack of melanosomes would mean that the feather was white.
Using this information, different teams of paleontologists have shown that the compsognathid Sinosauropteryx had reddish-brown feathers, and a tail with bands of reddish-brown and white, while the primitive troodontid Anchiornis had a reddish-crest and a body that was mostly dark but with white bands. (In fact, Anchiornis' colors and patterns reminds me a lot of Hylatomus (formerly "Dryocopus") pileatus, the modern pileated woodpecker.)
However, it is important to note a few things. For one, it takes a very special fossil to preserve the melanosome shapes and sizes. Only a few locations with exceptional preservation allow for the survival of the kind of details on the feathers or protofeathers which are visible under a scanning electron microscope. In most dinosaur fossils there simply isn't that kind of microscopic detail present. Also, there is more to color than just melanosomes: they are literally just part of the picture. So these new images of Sinosauropteryx and Anchiornis--amazing as they are--are almost certainly still not 100% correct.
NEW January 2015: There is a debate going on in paleontology as to whether the "melanosomes" are really melanosomes (and thus indication of color) or if they are just preserved bacteria. I am not a microbiologist or a histologist, so I am really not qualified to judge the particulars. Additional lines of evidence for dinosaur (and other fossil animal) colors come from preserved trace elements in the body covering, and structural differences in the same that vary the color.
Chapter 4: Geologic Time
NEW January 2008: This doesn't affect the main portion of the book, but the International Commission on Stratigraphy (the organization in charge of the names of geologic time units) has announced that they will be restoring the old "Quaternary Period" (although somewhat longer than the old version: 2.588 million years ago to the present). So the Cenozoic Era will have three periods: Paleogene, Neogene, and Quaternary.
NEW December 2011: New geological dating of the various boundaries of the Triassic Period means that the dates in the book are slightly off. The Permian-Triassic boundary is about 252.3 million years ago; the Early Triassic/Middle Triassic boundary is 247.2 million years ago; the Middle Triassic/Late Triassic boundary is 235.0 million years ago; and the Triassic/Jurassic boundary is 201.5 million years ago.
NEW December 2013: New estimations and calibrations of the precise half-life of the main type of radiometric dating system means that many dates referred to in the text and the appendix were slightly off the present understanding. For example, while I said the the end of the Cretaceous Period was 65.5 million years ago in the text, the new calculation is 66.0 million years ago. I will try to make the changes in the text. The time chart below shows the current (2013) calculations of the age boundaries. ("Ma" is the geological shorthand for "millions of years ago):
Also, refinement of the precise geological ages within some of the better-studied Late Cretaceous geological formations of the North American West has allowed paleontologists to more accurately narrow down the age ranges of many species of dinosaurs from those rock units. I have tried to show those new refined ages in the appendix. These age ranges are MUCH shorter than seen in the earlier versions of the appendix; in fact, in many cases they are just a million year or so. This doesn't mean that these dinosaur genera only lasted for a million years but the ones elsewhere lasted much longer. Instead, it is very likely that most dinosaur genera lasted only a million years or so: the longer age ranges for these other ones are simply an indication that we really haven't narrowed down the times of these rocks as accurately as we have those in the Late Cretaceous of the North American West.
Chapter 11: The Origin of Dinosaurs
A considerable amount of new discoveries have been made concerning the closest relatives of Dinosauria. One of the more primitive relatives of dinosaurs is little Dromomeron from the Late Triassic of New Mexico, close kin to the earlier Lagerpeton of Middle Triassic Argentina. Together these primitive dinosaur relatives form the group Lagerpetonidae.
More significantly, though, are several finds related to the reptile Silesaurus shown in Chapter 11. One of these is Sacisaurus of the Late Triassic of Brazil, about 5 feet (1.5 meters) long. The first description of this near-dinosaur was published in October 2006. These two represent a distinct group of herbivores very closely related to the dinosaurs. Like true Dinosauria their pubis and ischium bones are very long; unlike true dinosaurs, their hands do not seem to have been large and grasping, nor do their hips have an open socket. Sacisaurus seems to have a pair of small bones in front of the dentary, similar to the larger single predentary bone of ornithischian dinosaurs.
Based on comparisons with the more complete skeletons of Silesaurus and Sacisaurus, it turns out that a number of previously-known creatures from the Triassic belong to this group of "silesaur" near-dinosaurs. These include Lewisuchus and Pseudolagosuchus of the Middle Triassic of Argentina (possibly the same species!) and Technosaurus and Eucoelophysis of the American Southwest. Additionally, some species known only isolated teeth of the Late Triassic Southwest (Crosbysaurus, Galtonia, Krzyzanowskisaurus, Lucianosaurus, Pekinosaurus, and Protecovasaurus) might be from silesaurs, or they might be from a newly-recognized group of herbivorous crocodile relatives the revueltosaurs. In fact, the near-dinosaur silesaurs and the near-crocodilian revueltosaurs represent two of the most important groups of herbivorous reptiles of the Middle and Late Triassic, and they weren't even known five years ago!
NEW January 2010: Silesauridae--the group described in the previous two paragraphs--has been formally named. Many analyses now show this group to be the closest known relatives to the first dinosaurs.
NEW December 2010: Yet another silesaurid (little Asilisaurus of the Middle Jurassic of Tanzania) has been discovered, increasing our knowledge of these close kin to the first dinosaurs. However, Dinosauria has "lost" another member: that is to say, a creature once considered an early dinosaur turns out to be something else. The reptile in question is Azendohsaurus
A sequence of trackway sites in Poland have given us a lot of new information on the rise of dinosaurs and their ancestors. The oldest dinosauromorph tracks are only a few million years after the great Permo-Triassic Extinction, and so it turns out that dinosauromorphs had split from their closest relatives (pterosaurs, and somewhat more distantly the crocodile-line archosaurs) extremely early in the Triassic. Furthermore, there are tracks in the Middle Triassic (older than any dinosaur bone fossil) that are almost certainly from herrerasaur theropods. So it looks like there is strong evidence now for Triassic dinosaurs.
NEW December 2013:: Silesaurids continue to show up in rocks around the world from the Middle and Late Triassic. Even closer to dinosaurs, however, is Nyasasaurus, from the same rocks that yielded the fossils of Asilisaurus. Nyasasaurus is known from very few bones, but distinctive features of the upper arm and elsewhere on the body show that it is either the first Middle Triassic dinosaur ever discovered or an animal which was closer to the common ancestor of all dinosaurs than are silesaurids. Let us hope that more specimens of this fascinating little reptile are discovered soon!
Chapter 12: Saurischians (Lizard-Hipped Dinosaurs)
Debate continues on whether Eoraptor and Herrerasauria are actually theropods or simply primitive saurischians. (Also, note that the new proper term for the larger group containing Herrerasaurus and the other herrerasaurids is "Herrerasauria").
NEW January 2010: In December 2009 this debate may have come to an end. Specifically, discovery of a new primitive theropod dinosaur named Tawa from the Late Triassic of New Mexico has helped to answer some of the old questions. Tawa shows features shared by more advanced theropods and those of primitive saurischians like Herrerasauria and Eoraptor. With all this new information, it now appears that Herrerasauria is a group of very primitive theropod; that Eoraptor is a slightly more advanced form; that Tawa is more advanced still, and is in fact the closest known relative to Coelophysis plus later theropods. (This last group--Coelophysis plus later theropods--is technically known as Neotheropoda.)
NEW January 2011: Yet more changes! Brand new discoveries from Argentina by Ricardo Martinez of Instituto y Museo de Ciencias Naturales, Universidad Nacional de San Juan and Paul Sereno of the University of Chicago and their teams reveals Eodromaeus, a very primitive theropod, more closely related to Tawa and the neotheropods than are herrerasaurs. However, as part of the study of this dinosaur it was discovered the Eoraptor--long considered either a primitive saurischian or a primitive theropod--is more likely a guaibasaurid sauropodomorph, and thus closer to Diplodocus and Brachiosaurus than to Allosaurus and Velociraptor. Still, Eoraptor and Eodromaeus are still very similar to each other in terms of their anatomy, and they show that the earliest saurischians (and the earliest dinosaurs in general) were all about 1-2 m (3.3-6.6 ft) long, bipedal, with grasping hands and teeth suited equally to plants and meat. In other words, early dinosaurs were sort of "reptilian raccoons".
NEW December 2011: Another primitive theropod--closer to neotheropods than are herrerasaurs, but not as close as Tawa is little, buck-toothed Daemonosaurus. Unlike most early theropods, it had a relatively short, blunt snout.
NEW December 2013: As additional specimens have been described, the case that Eoraptor is actually a sauropodomorph rather than a theropod continues to improve. On the other hand, whether herrerasaurs are primitive theropods or simply primitive saurischians is still not secure one way or the other.
NEW January 2014: Guaibasaurus continues to sometimes fall out as a primitive theropod, and sometimes as a primitive sauropodomorph. Eoraptor, however, does seem to be very securely a primitive sauropodomorph. For now.
Chapter 13: Coelophysoids and Ceratosaurs (Primitive Meat-Eating Dinosaurs)
Late Triassic Guaibasaurus of Brazil may actually be a true theropod: if so, it is the most primitive of all. For example, it lacks the three-toed foot typical of all more advanced theropods. (NEW December 2010: However, see Chapter 22 update below for an even newer interpretation of Guaibasaurus.)
There is still confusion about the relationships between the primitive theropods. Some studies support the breakdown that I use in the book: the coelophysoids as the first major branch, and a second group of ceratosaurs more closely related to the tetanurines than to the coelophysoids. However, there are some researchers who have evidence that the old 1980s-1990s idea that coelophysoids and ceratosaurs are each other's closest relatives in a a grander Ceratosauria. To make it even more confusing, still other evidence points to a different arrangement. In this third scheme, the slender small coelophysoids such as Coelophysis, Megapnosaurus, Procompsognathus, Segisaurus, and the like represent the first branch separate from group of larger forms. These larger dinosaurs, the Early Jurassic Dilophosauridae, containing newly-discovered Dracovenator of South Africa, Dilophosaurus of western North America, and "Dilophosaurus" sinensis of China. In fact, work first published in September and October 2007 by Nathan Smith (graduate student at the Field Museum of Natural History in Chicago and the University of Chicago) and his colleagues shows that Cryolophosaurus of Early Jurassic of Antarctica is also a member of this group. I think that Smith and his colleagues probably have the closest approximation to the truth so far when it comes to primitive theropods.
In this new hypothesis, these 16.5 to 21 foot (5-7 m) long dilophosaurids were more closely related to the ceratosaurs and tetanurines than they were to the "true" coelophysoids. I find this a really interesting idea, and look forward to future research that might resolve this issue. Whether the Late Triassic Zupaysaurus and Gojirasaurus turn out to be early representatives of the dilophosaurids, or big true coelophysoids, or something in between the two remains to be seen.
The oldest true ceratosaur in the restricted sense, Berberosaurus of northern Africa, was first described by Ronan Allain (Muséum national d'Histoire Naturelle, Paris) and colleagues in September 2007. This dinosaur shows that true ceratosaurs (that is, the group including Ceratosaurus, Elaphrosaurus, noasaurids, abelisaurids, but not coelophysoids of any sort) were already around by the Middle Jurassic.
NEW July 2008: A major restudy of the ceratosaurs has been published by Matt Carrano (Smithsonian Institution) and Scott Sampson (University of Utah). Among other discoveries, they found that Deltadromeus, previously thought to be a giant noasaurid, is more likely a primitive ceratosaur.
NEW January 2010: There has been a lot of work on the dinosaurs covered in this chapter. The newly-discovered Tawa of the Late Triassic of New Mexico shows a mixture of primitive theropod and neotheropod features; when it is added into our studies, it shows that even the reduced version of "Coelophysoidea" mentioned in the paragraphs above is not a natural group either. Instead, "coelophysoids" simply represent "the primitive phase of the Neotheropoda."
And while Herrerasauria and Eoraptor seem to be more clearly moving INTO Theropoda, Guaibasaurus is moving out: see notes for Chapter 22.
Among the primitive ceratosaurs, the most important new discovery is Limusaurus. This dinosaur from the earliest Late Jurassic of Xinjiang, China (the same site as the early tyrannosauroid Guanlong) shares many features in common with Elaphrosaurus, but is known from more complete fossils. Most significantly, it has a toothless beak very similar to the later ornithomimid coelurosaurs and extremely short arms with stubby hands with only two fingers. These two features suggest that it was not a carnivore at all, but instead a herbivore (or at best an omnivore that ate mostly plants and small animals.)
Skorpiovenator from the Late Cretaceous of Argentina was first named in 2008, and represents one of the mostly completely known skeletons of an abelisaurid so far discovered.
NEW December 2011: Continued work on Late Triassic/Early Jurassic theropods has failed to consistently find a "dilophosaurid" group. It might exist, or some of these dinosaurs (such as Cryolophosaurus) may be closer to averostrans (ceratosaurs plus tetanurines) than to Dilophosaurus.
NEW December 2013: Wow, where to begin? Okay: Guaibasaurus may be a primitive theropod, or it may be a primitive sauropodomorph. The "dilophosaurids" have failed to come together as a group. In recent studies (one big one by Matt Carrano, Roger Benson & Scott Sampson, and on-going research by Xing Lida), it was found that Dilophosaurus proper and Zupaysaurus are true coelophysoids, but that Cryolophosaurus and Sinosaurus triassicus (formerly called "Dilophosaurus" sinensis) are primitive tetanurines.
A large new analysis of ceratosaur relationships by Thierry Tortosa and colleagues in France reveals the following groups (and is the basis for the current version of the appendix): an "elaphrosaur" clade comprised of Spinostropheus, Elaphrosaurus, and Limusaurus; various primitive medium-to-large carnivorous ceratosaurs (such as Ceratosauridae, Berberosaurus, and the newly-discovered Eoabelisaurus [which was first thought to be an incredibly ancient abelisaurid]); a diverse Noasauridae (including giant Deltadromeus and recently-named Daholokely of Madagascar; and Abelisauridae. Within the abelisaurids this study found a variety of early branches, a group Majungasaurinae (which includes Manjugasaurus of Madagascar, the Indian abelisaurids, and some European forms) and Brachyrostra (the South American group.)
NEW January 2015: A new discovery from Venezuela: Tachiraptor from the very beginning of the Jurassic. Although known only from fragmentary material, it seems to be very close to the common ancestor of Ceratosauria and Tetanurae.
Chapter 14: Spinosauroids (Megalosaurs and the Fin-Backed Fish-Eating Dinosaurs)
As mentioned in the comments for Chapter 13, new research shows that the Early Jurassic dinosaurs "Dilophosaurus" sinensis (which will eventually get its own genus name!) and Cryolophosaurus are not primitive tetanurines, but rather part of the Dilophosauridae.
On p. 92, the name "Calvadosaurus" is a mistake: the dinosaur in question is properly called Dubreuillosaurus.
NEW January 2008: The prosauropod behind Cryolophosaurus on p. 90 now has a name: Glacialsaurus.
NEW January 2010: WOW!! There have been some major discoveries and re-analyses within this part of the theropod family tree in the last couple years, many of them due to graduate student Roger Benson of Cambridge University in England. Most of this work was a result of Benson's detailed study of Megalosaurus itself. He and his co-authors have argued that the dinosaurs in this chapter should more accurately be called "Megalosauroidea" rather than "Spinosauroidea", and if I do a new edition of this book I will be using that name.
Here are some of Benson and colleagues discoveries:
Monolophosaurus, Marshosaurus, and Piatnitzkysaurus (among others) are primitive megalosauroids.
Megalosauridae itself contains Torvosaurus, Dubreuillosaurus, Afrovenator, Eustreptospondylus, and some more poorly known forms.
Spinosauridae and Megalosauridae are sister groups
NEW December 2011: A new giant spinosaurid, Oxalaia, has been discovered from the mid-Cretaceous of Brazil. Though known only from incomplete remains, it seems to rival the big African spinosaurids in size.
NEW December 2013: REAL big changes here, mostly from the work of Carrano, Benson and Sampson. Their new study forms the major structure of the primitive tetanurine part of the new appendix. As mentioned above, they found that Cryolophosaurus DOES belong in this chapter, as the most primitive-known tetanurine. Sinosaurus (formerly "Dilophosaurus" sinensis), Chuandongcoelurus, and Monolophosaurus are similarly primitive tetnaurines. A careful reader will note that the heads of all of these dinosaurs (where known) have crests: apparently, that was the "in" thing for Early and Middle Jurassic primitive tetanurines.
Carrano, Benson, and Sampson gave a name to the group of Megalosauroidea plus Avetheropoda: Orionides, the hunters. Their work found that there was a group of primitive megalosauroids, which they named "Piatnitzkysauridae" (including Marshosaurus and Piatnitzkysaurus) and the more specialized "Megalosauria". The megalosaurians include the lightly built Streptospondylus and Eustreptospondylus, the long-snouted giant Spinosauridae, and the Megalosauridae. Within Megalosauridae they found two groups: the heavily-built Megalosaurinae and the slightly less bulky Afrovenatorinae.
In spinosaurid news, at present spinosaurid fossils (sometimes just teeth) have been found in the Early and mid-Cretaceous of South America, Europe, Africa, Asia, and Australia, but still no sign of them in North America. Where are they?!? Chemical study of their teeth shows they they ate more fish than typical theropods in their environment (but that doesn't mean that they actually ate ONLY fish! After all, there are partially-digested bones of a baby Iguanodon in the belly of Baryonyx).
NEW January 2014: Whoops! Should have mentioned this in the previous update. The most complete ever megalosauroid skeleton (or at least, probable megalosauroid) was described. There are some unusual aspects to it. For one thing, it is only a baby! For another, it is covered in fuzz!! It was given the name Sciurumimus, "squirrel mimic". But keep in mind this is just a hatchling! We have no idea how big this animal grew! Furthermore, similarities between it and the "compsognathid" Juravenator suggest that the latter may also be a megalosauroid, and not a coelurosaur as previously thought.
NEW January 2015: The BIG news in megalosauroid research for the year is the discovery of a new, more complete specimen of Spinosaurus! Combining this information and other skeletons found over the years, a team of scientists have presented a new skeletal reconstruction of Spinosaurus and new interpretation of its lifestyle. Here are some of their discoveries and conclusions:
The fragmentary dinosaurs previously called "Spinosaurus B" and "Sigilmassasaurus" are really just Spinosaurus itself.
The hips and legs are rather small for a dinosaur of its size.
The arms, in contrast are quite large. (However, it must be noted that the humerus used to figure out the size of the arms is probably from the sauropod Rebbachisaurus and NOT from Spinosaurus at all!)
The limb bones are solid in Spinosaurus, unlike all other theropods except some diving birds.
The authors therefore conclude that Spinosaurus was an aquatic animal, spending almost all of its time swimming (more like a crocodile than a typical dinosaur)
Their ideas have met with some resistance from other paleontologists, it must be added. I am looking forward to the detailed description of the new material, currently being written by the researchers.
Chapter 15: Carnosaurs (Giant Meat-Eating Dinosaurs)
NEW January 2010: As with the previous chapter, a whole heckuva lot of new discoveries in this part of the dinosaur family tree. In this case one of the main contributors has been Stephen Brusatte (currently a graduate student at Columbia University and the American Museum of Natural History in New York City).
As mentioned in the update to Chapter 14, Monolophosaurus has been moved out of Carnosauria into Megalosauroidea. Also, several European dinosaurs that were previously considered megalosaurids or other primitive tetanurines (Poekilopleuron, Lourinhanosaurus, Metriacanthosaurus) are now recognized to be part of Sinraptoridae; because of this, sinraptorids are not strictly Asian dinosaurs anymore.
More significantly, however, has been the recognition of a whole new branch of carnosaur: the Neovenatoridae and its subgroup the Megaraptora. Neovenatoridae is a newly-recognized sister group to Carcharodontosauridae (together they form Carcharodontosauria.) Neovenatorids have rather large thumb claws, among other features. Neovenator and gigantic Chilantaisaurus are primitive neovenatorids, while the rest form a group of slender forms called Megaraptora. Megaraptora includes: Fukuiraptor of the Early Cretaceous of Japan; Megaraptor itself (and thus it belongs in Chapter 15, not Chapter 14!); Aerosteon of the Late Cretaceous of Argentina (this is the "unnamed Argentine carcharodontosaurid" mentioned on p. 104); Australovenator of the Early Cretaceous of Australia; and Orkoraptor of the latest Cretaceous of Argentina. Since Orkoraptor belongs in this group, the carnosaurs actually did make it to the end of the Cretaceous.
In other news, new studies show that Shaochilong (previously called "Chilantaisaurus" maortuensis) is a carcharodontosaurid, and thus this group is now known to have lived in Asia.
NEW December 2010: A new carnosaur (a primitive carcharodontosaurid) from the Early Cretaceous of Europe has been described: Concavenator. It is known from a nearly complete skeleton with scale impressions. Among the more remarkable things about this dinosaur is a short-but-tall sail right in front of the hips. Possibly more remarkable is some evidence that-- perhaps--it had feathers on its arms! There are a series of knobs along its forearm that are interpreted by its discovered as the connections to large arm quills or feathers (such structures are known on some modern birds and on Velociraptor, for instance). However, an alternative explanation is that these may instead be a line of connection for tissue within the arm muscles.
NEW December 2011: The oldest carcharodontosaurid yet described, Veterupristisaurus is known from a few tail vertebrae from the Late Jurassic Tendaguru Formation of Tanzania.
NEW December 2013: Continuing Carrano, Benson & Sampson's overhaul of primitive tetanurine relationships, some of the big changes. The lightly-built Lourinhanosaurus of Late Jurassic Portugal remains uncertain where it belongs: they find (like I did, back in 2004) that it is a primitive coelurosaur. Within Carnosauria they find the most primitive branch to be Metriacanthosauridae (what I called "Sinraptoridae" in the book) and the more specialized Allosauria. Within Allosauria are Allosauridae (just Allosaurus and Saurophaganax for now) and Carcharodontosauria. As mentioned above, within the carcharodontosaurs are the gigantic Carcharodontosauridae and the more slender Neovenatoridae, the latter containing some primitive forms and the very slender Megaraptora.
In megaraptoran news, the first megaraptoran from North America--Siats of Utah--has been discovered. Orkoraptor of Argentina has been reedited: I mention above that it lived near the end of the Cretaceous, but redating of the rocks from which its fossils came show that it was from around 90 million years ago. So the book was correct in saying that Carnosauria was gone before the end of the Cretaceous.
Are megaraptorans really carnosaurs? In the book I point out that they are hard to place: maybe they are megalosauroids ("spinosauroids" at the time), maybe they are carnosaurs, maybe they are primitive coelurosaurs? A new possibility was suggested by Fernando Novas and his colleagues: that they are actually tyrannosauroids! I do see some similarities there, but am not yet convinced that the evidence fits this hypothesis better than the megaraptorans-as-neovenatorid-carcharodontosaurs hypothesis. We'll see what new discoveries are made.
NEW January 2015: The discovery of a juvenile Megaraptor specimen does show they had long slender snouts, similar to some primitive tyrannosauroids.
Chapter 17: Tyrannosauroids (Tyrant Dinosaurs)
NEW January 2008: Last year there were many news reports about the finding that Tyrannosaurus rex "had three fingers". Unfortunately, those reports were not correct. In fact, the real find was a well-preserved third metacarpal (long bone of the palm of the hand) for T. rex: nota surprise as these were already known in other two-fingered tyrannosaurids. In fact, you can see this little bone on the hand skeleton of Tyrannosaurus on the bottom of page 120.
NEW January 2010: 2009 was a spectacular year for tyrant dinosaur discoveries. New examination of the skull of Middle Jurassic Proceratosaurus of England shows that it is a very primitive tyrannosauroid, and possibly a close relative of Guanlong. From the later Early Cretaceous of China comes long-snouted Xiongguanlong and tiny Raptorex which help us fill in the spaces of the tyrant family tree. Among other things, Raptorex shows that the dinky arms and pinched foot (arctometatarsus) of Tyrannosauridae evolved in smaller bodied ancestors.
Among true Tyrannosauridae comes the most-complete skeleton of Alioramus yet discovered. Isn't it pretty? (Maybe just to me...)
NEW December 2010: A new phylogenetic analysis by Stephen Brusatte and Thomas Carr reveals that Proceratosaurus, Guanlong, and a few other newly discovered genera form a clade called "Proceratosauridae", and represent the oldest and most primitive branches of Tyrannosauroidea.
NEW December 2011: New tyrannosauroids continue to show up. Among these are Teratophoneus of Utah and Zhuchengtyrannus of China.
NEW December 2013: Lots of new tyrannosauroid discoveries. Here are three really important ones: "Raptorrex" is probably not as old as originally thought, and may just be a juvenile of Tarbosaurus; Lythronax the "gore king", the oldest true tyrannosaurid and closer to Tyrannosaurus and Tarbosaurus than to other tyrannosaurids, was named; and most astonishing of all, Yutyrannus of the Early Cretaceous of China was discovered. This is the first giant tyrannosauroid known with fuzz, and it has fuzz all over the body! Previously it was argued that giant theropods may have lost their fuzz, but now we know that even 1.4 ton giants could have it.
Oh, and the great old question "which is the biggest theropod?": dinosaur paleontologist and artist Scott Hartman found that the biggest Tyrannosaurus was BARELY larger than the biggest known carnosaur, but that it is still uncertain if Spinosaurus is more massive then either.
NEW January 2015: Among the new tyrannosaur discoveries last year was Qianzhousaurus, nicknamed "Pinnochio rex" because of its long snout. The discoverers consider it to form a group with Alioramus, and they named the group the "Alioramini". I am not altogether convinced that this isn't simply an older individual of Alioramus itself, but if/when new fossils are found, we can sort this out.
And if you have an hour to kill, hear about the Life and Times of Tyrannosaurus rex by yours truly.
Chapter 18: Ornithomimosaurs and Alvarezsaurs (Ostrich and Thumb-Clawed Dinosaurs)
NEW January 2010: New studies by Lindsay Zanno of the Field Museum in Chicago and her colleagues, based on a new species of the therizinosaur Nothronychus, suggest a new relationship among the dinosaurs of this chapter and the next, and a new understanding of their diet and history. In particular, Zanno and colleague's work shows that ornithomimosaurs, therizinosaurs, alvarezsaurs, oviraptorosaurs, deinonychosaurs, and avialians branched off in that order. So if I ever do a new edition of the book, I would probably include therizinosaurs in this chapter (and possibly move alvarezsaurs into the next).
More significantly, though, these paleontologists observe that with the exception of some deinonychosaurs, all of the dinosaurs in this part of the family tree show signs of eating at least some non-meat (mostly plants, but also insects and/or small bodied vertebrates). The simplest explanation would be that their common ancestor (which would have split off from the common ancestor of the meat-eating compsognathids and tyrannosauroids some time before the Middle Jurassic) began to eat things other than dinosaurs. (It also means that meat-eating deinonychosaurs like Deinonychus and Velociraptor evolved from omnivorous ancestors!)
A flock of the ostrich dinosaur Sinornithomimus was found in China by Dave Varricchio and colleagues. These poor dinosaurs got stuck in some very sticky mud and died, which was bad for them but great for paleontologists! None of them were fully grown, but none were babies either. This suggests that perhaps during the brooding season, when parents were nesting with the new generation of babies the "kids" and "teenagers" hung out together without a parent around. For a modern example of this, visit almost any shopping mall...
NEW December 2010: Jonah Choiniere--then a graduate student at George Washington University in Washington, DC--and colleagues have described one of the most important theropod fossils found in recent years: Haplocheirus. Haplocheirus isn't very big, it isn't very scary, it doesn't have massive teeth or huge crests or anything like that. What makes this dinosaur so important is that it is a very, very primitive alvarezsaur! All the other alvarezsaurs are from the Late Cretaceous, and are very much changed from their ancestral condition, making it hard to clarify their evolutionary relationships. Haplocheirus, however, is from the earliest Late Jurassic (in fact, from the same formation and sites as Guanlong, Limusaurus, and Yinlong) and is not much different from other primitive coelurosaurs. Its hand may not have the giant thumb of later alvarezsaurs, but its thumb is already more powerfully developed than the other fingers. Fossils like these, ones that are near the base of the branch of a particular part of the family tree, are really helpful to paleontologists in figuring out the evolutionary origins and early life styles of different groups.
NEW December 2011: It was a good year for alvarezsaurids! Three new genera were named: Albinykus of Mongolia, Linhenykus of China, and Bonapartenykus of Argentina. Also, Bonapartenykus was found with its own eggs, so we finally have definite alvarezsaurid eggs. But keep your eyes peeled: there are big changes ahead for our current understanding of alvarezsaurids (and parvicursorines).
NEW December 2013: In a bit of a surprise (because these rocks had not yet preserved feathers or fuzz), fossils from the Late Cretaceous of Canada showed that adult Ornithomimus had broad feathers on their arms, but juveniles were simply fuzzy. And the BIGGEST thing in ornithomimosaur studies: more of the skeleton of Deinocheirus has been discovered! The paper hasn't been published yet, but at the 2013 meeting of the Society of Vertebrate Paleontology the first relatively complete material of the giant ostrich dinosaur was revealed. Unfortunately no skull was presented with this material, but it must be out there! Expect more than arms of Deinocheirus in future versions of the book!
NEW January 2015: The BIGGEST news (literally) in ornithomimosaur studies is the description of the new Deinocheirus material. And it is a weird dinosaur! It isn't just a Gallimimus-type dinosaur grown huge, but a weird sort of tiny-brained duckbilled ostrich camel dinosaurs. It has a broad bill like a hadrosaur; a sail on its back, something like Spinosaurus; a forward-tilted pelvis like therizinosaurs; and relatively modestly proportioned legs without an arctometatarsus. The describers consider it, Beishanlong, and Garudimimus to form a group (Deinocheridae) which is the sister taxon to Ornithomimidae.
Chapter 19: Oviraptorosaurs and Therizinosauroids (Egg-Thief and Sloth Dinosaurs)
One of the biggest discoveries (literally) among these dinosaurs is the new giant oviraptorosaur Gigantoraptor of the Late Cretaceous of Asia. Xu Xing (Institute of Vertebrate Paleontology and Paleoanthropology, Beijing) and his colleagues first published on this giant in June 2007. As big as tyrannosaurids like Albertosaurus and Gorgosaurus, Gigantoraptor was one of the largest dinosaurs in its environment. And yet it had long slender legs: longer and more slender than those of tyrannosaurids, in fact, so it may have been the swiftest of big dinosaurs.
What did Gigantoraptor eat? Well, other oviraptorosaurs seem to have eaten both plants and small animals, and the same may be true of Gigantoraptor. However, to this big theropod, "small animals" may have included sheep-sized ceratopsians and jackal-sized dromaeosaurids!
With the discovery of Gigantoraptor, we now recognize that practically all the groups of coelurosaurian theropods produced giants bigger than 1 ton: the tyrannosaurids (of course); Deinocheirus for the ornithomimosaurs; Gigantoraptor for the oviraptorosaurs; and Therizinosaurus for the therizinosaurs.
Some taxonomic notes: Following a new scheme, the name "Therizinosauroidea" would be restricted to the more stump-footed sloth dinosaurs, so that the larger category (including slender-footed Falcarius) would be "Therizinosauria". Also, the larger group of Oviraptorosauria plus Therizinosauria (if they do form a group together) would be Oviraptoriformes.
NEW January 2010: As I mentioned in the notes to Chapter 18, new studies suggest that Therizinosauria and Oviraptorosauria are not each others closest relatives. Instead, Oviraptorosauria seems to be more closely related to Deinonychosauria and Avialae.
NEW December 2011: To add to the discussion of WAIR (wing-assisted incline running), Ken Dial and his students and colleagues have identified another behavior of modern birds that may have been present in broad-feathered dinosaurs: Controlled Flapping Descent (CFD). CFD is a behavior used by young birds, who cannot yet fly, to flap when jumping out of trees to slow and control their landing. It turns out that few birds actually parachute as such; instead, they have an active stroke on the way down.
NEW December 2013: The primitive Early Cretaceous theriziosaur Jianchangosaurus shows that it--like ornithopods and ceratopsians--had teeth where the sides rather than the tips came together.
Many new oviraptorosaurs have been named. Too darn many, probably! I will not be surprised if many wind up collapsing down into a smaller number of genera, and that what we are calling separate genera are really just males, females, and/or juveniles.
NEW January 2015: Important new studies of the function of the claws and beaks of therizinosaurs (both studies led by Stephan Lautenschlager of the University of Bristol) were published.
The big latest Cretaceous North American crested oviraptorosaur (the one whose head is the upper left corner picture on p. 144) has been named: Anzu. On a personal note, I am involved with the excavation and description of a specimen of Anzu that has been nicknamed "Pearl".
The grouping of Oviraptorsauria plus Dromaeosauridae plus Troodontidae plus Avialae now has a name: Pennaraptora. A new detailed analysis of the evolution of the wrists of dinosaurs shows that the origin of the half-moon shaped wrist bone (semilunate carpal) is a pennaraptoran trait.
A new big coelurosaurian phylogenetic study by Steve Brusatte (now at the University of Edinburgh) and colleagues found (among other things), that Pedopenna and the Scansoriopterygidae were actually early members of the Oviraptorosauria. If so, this would mean we have Jurassic oviraptorosaurs (predicted by the presence of troodontids and avialians in the Jurassic) and that the oldest oviraptorosaurs were very small tree-dwelling forms (like the oldest troodontids, dromaeosaurids, and avialians). It will be interesting to see if this is confirmed in later studies.
Chapter 20: Deinonychosaurs (Raptor Dinosaurs)
2007 has seen the discovery of several new small Asian dromaeosaurs, including Shanag and Mahakala. The first of these is the oldest known (and first Asian example) of the unenlagiines; the second is a very small primitive dromaeosaurid no bigger than Archaeopteryx.
While no one has found the actual feathers of Velociraptor yet (the rocks in which it is found do not preserve feather impressions), a very recent discovery (September 2007) shows that it probably had very big arm feathers. Like little Rahonavis and Microraptor, Velociraptor had "quill nodes": bumps on its ulna (forearm bone) where big feathers attached. While Velociraptor would not be able to fly, it may have used its arm feathers as a help in turning quickly; while brooding its nests; for display; and (while a young one) for Wing-Assisted Incline Running.
NEW January 2008: Footprints of a large (Achillobator-sized) dromaeosaurid have been found from the Early Cretaceous of China, showing that they did indeed walk with their sickle-claws raised (as Luis Rey illustrated them in the book.)
NEW January 2010: Despite what I said on p. 154, it now appears that Pedopenna and Epidendrosaurus (and newly discovered Epidexipteryx
) are indeed very primitive avialians. But, to be fair, they are very close to the common ancestry of avialians and deinonychosaurs.
The "giant unenlagiine" discovered by Fernando Novas mentioned on pp. 155-156 has been named: it is Austroraptor (seen in the linked image with Novas himself!) At the other size extreme, little Hesperonychus of the Late Cretaceous of Canada is the smallest known theropod (other than birds) from North America, and the first North American microraptorine. Studies included these new dromaeosaurid have caused some shifting among the various subgroups of dromaeosaurids, which will be included in the 2010 genus list update.
On the troodontid side of things, little Anchiornis shows that troodontids a) were present in the Middle Jurassic; b) had long leg feathers like primitive dromaeosaurids and primitive avialians; and c) were cute.
Also, with regards to the discussion of brains on p. 161: new studies show that Troodon's brain was exceptionally big even for a troodontid, so it (rather than Troodontidae as group) may indeed have been the brainiest Mesozoic dinosaur.
NEW December 2010: The weirdest dromaeosaurid to be discovered in a long time is Balaur bondoc, or as I call it, the "double-barreled dromaeosaurid from Transylvania". Pretty much everything about it is bizarre. It has short arms ending in essentially two-fingered hands (trying to be a tyrannosaurid, I guess); its pubis isn't merely backwards-pointing, it is WAAAYYY backwards-pointing; and it has TWO sickle claws on each foot! (We don't know what the skull looks like yet: who knows what surprises are there?)
NEW December 2011: A big year for deinonychosaur studies! In terms of behavior, Denver Fowler (of Montana State University's Museum of the Rockies) and colleagues [including a former student of mine, Robert Kambic!] have presented a study which suggests that larger dromaeosaurids like Deinonychus and Velociraptor may have used their sickle claws more to pin prey down while their claws and jaws did the "dirty work", rather than as a "belly-ripper" itself.
In terms of classification, big news (and big disagreements!). On the one hand, the discovery of a new little theropod from the early Late Jurassic of China named Xiaotingia shows features of its anatomy that unite it, Anchiornis, and (most important of all) Archaeopteryx into a single group: Archaeopterygidae. What is more, the archaeopterygids were found to be primitive deinonychosaurs, and NOT avialians at all! If this is true, it explains why the pointy faces of archaeopterygids are similar to those of troodontids and dromaeosaurids, but different from the more blunt faces of primitive avialians, oviraptorosaurs, and the like: perhaps the pointy-face condition evolved just once, in the ancestors of all deinonychosaurs. If archaeopterygids are primitive deinonychosaurs, it is quite likely that all eumaniraptorans (deinonychosaurs plus avialians) could fly at first, and that non-flying deinonychosaurs like Troodon, Deinonychus, and Velociraptor all had flying ancestors.
However, other analyses find a very different set of relationships. In these, microraptorines and unenlagiines (or rather Microraptoria and Unenlagiidae, using the terminology of these studies), as well as Anchiornis, Archaeopteryx, and Rahonavis, are all primitive members of Avialae and not deinonychosaurs. Unfortunately these studies don't include the information from Xiaotingia, and the "archaeopterygids are primitive deinonychosaurs" study does not include the new unlagiine information. Hopefully a future study will include all this data.
The main point of all this isn't that dinosaur paleontologists don't know what they are doing! Instead, the important conclusion is that we now have many species which are pretty close in form to the divergence between deinonychosaurs and avialians; so many that it is difficult to sort out exactly what features go on which side. But since all these animals (Archaeopteryx, Xiaotingia, Anchiornis, Rahonavis, Microraptor, etc.) are all anatomically very similar, we have a pretty good idea of the general appearance of the common ancestor of both groups.
2011 was a good year for large troodontids. For many years all the new troodontid discoveries have been of tiny early members of the group. Finally we are beginning to get new types of large, advanced troodontids from the Late Cretaceous: in other words, Troodon-like troodontids. These include Linhevenator of China and Talos of Utah. These genera help us better understand the larger troodontid form. (By the way, almost certainly the name "Troodon" is being applied to too many species. When the skeletons (rather than just teeth or a few isolated bones) of the different troodontids of western North America over the last 15 million years of the Cretaceous are discovered, we'll find that there are several different genera among them; some closer to Talos, some to Saurornithoides, etc. There are a few genus names out there which may return: Stenonychosaurus, Pectinodon, Polydontosaurus. Or, if necessary, new names will be coined.)
NEW December 2013: New Archaeopteryx-like dinosaurs from the late Middle/early Late Jurassic of China have been discovered: Aurornis and Eosinopteryx. These are known from good skeletons. However, the new information doesn't actually solve the problem of where they fit! It is still uncertain if these form their own clade Archaeopterygidae or not, and if so if archaeopterygids (or the individual genera) are primitive deinonychosaurs or primitive avialians (or both!). Similarly, the scansoriopterygids continue to fail to stay in any particular place on the family tree for very long!
Work continues on whether, and how well, the primitive deinonychosaurs and primitive avialians could fly. It was suggested by Michael Habib and Justin Hall that the long leg feathers of Microraptor were useful in steering and controlling the direction of flight rather than as wings as such. If so, this suggests that MANY of the early deinonychosaurs and avialians may have used them in a similar fashion, as long leg feathers were really quite common.
NEW January 2015: New complications in the world of deinonychosaurs and avialians. Based on the new analysis by Brusatte and colleagues, several important new conclusions:
It is not certain if troodontids and dromaeosaurids form their own clade, or if troodontids are closer to avialians, or if dromaeosaurids are closer to avialians. A three-way split seems the safest bet for the moment.
In this newest go-round, Archaeopteryx does fall out as the oldest and most primitive avialian, and Anchiornis, Xiaotingia, Eosinopteryx, Aurornis, and the like are a group of primitive troodontids.
On the other hand, Balaur is coming out as a primitive avialian in more and more analyses.
In additional news, Archeroraptor (the dromaeosaurid from the latest Cretaceous of North America) has been named, and Pectinodon is back as the name for the troodontid from the same rocks (presently only known from teeth and a few isolated bones.)
Chapter 21: Avialians (Birds)
New Mesozoic birds continue to be found and described. I have included a more up-to-date classification of early bird groupings in the revised version of the genus list.
One aspect of the new discovery of early birds, and of bird-like primitive deinonychosaurs, is that it is getting less and less certain that Archaeopteryx really WAS a bird: that is, that it was more closely related to today's birds than were deinonychosaurs.
Work by American paleontologist Julia Clarke and her Chinese colleagues Zonghe Zhou and Fucheng Zhang in 2006 has shown that the typical modern bird tail (with a fan of feathers coming off of a pygostyle) actually shows up later in bird evolution than we used to think. Confuciusornis and the enantiornithines seem to lack this adaptation, which modern birds use to help them steer in flight and in landing.
NEW January 2008: The flying ability of early avialians (like Confuciusornis) and possible avialians (like Archaeopteryx) may not have been very good at all. A recent study by Phil Senter (Fayetteville State University) shows that these early feathered dinosaurs could not effectively flap their arms in the right way to generate lift, so that they couldn't have had any sort of sustained powered flight. True powered flight would have shown up later, among the common ancestors of enatiornithines and more specialized birds.
NEW December 2011: As discussed for Chapt. 20, there is now stronger evidence that Archaeopteryx is not an avialian at all, but is instead a primitive deinonychosaur. If the archaeopterygids are removed from Avialae, than most of the primitive members of this group would seem to be omnivores at most, and more often strict herbivores (like oviraptorosaurs, therizinosaurs, and other non-deinonychosaur maniraptorans, in fact).
Jingmai O'Connor (of the Institute of Vertebrate Paleontology and Paleoanthropology, Beijing), her former advisor Luis Chiappe (of the Los Angeles County Museum), and her former classmate Alyssa Bell, have presented the most extensive-ever analysis of Mesozoic birds. In general the groupings they discovered resemble those in my book and previous versions of the appendix (indeed, earlier smaller versions of their study was the source of a lot of that!) Some of their new conclusions:
At present it cannot be established which are more closely related to advanced birds: the omnivoropterygiforms (Sapeornis and Didactylornis) or the confuciusornithids.
There is still a lot of confusion about the interrelationships among the enantiornithines
The hesperornithiforms are more closely related to living birds than is Ichthyornis: the reverse of most recent studies over the last couple of decades.
Then there was the bird that (probably) wasn't. In the middle of the year, a new genus of giant Mesozoic bird (known only from its jaw) was described: Samrukia of the Late Cretaceous of Kazakhstan. However, later the same year French paleontologist Eric Buffetaut challenged the idea that this is a bird, and instead proposed it to be a pterosaur jaw. Curiously, neither paper has actually been printed on paper yet: both represent online "early" versions of papers later to be printed in physical, hardcopy journals. Because of the analysis of Buffetaut, I am leaving Samrukia out of my appendix list until new data shows it is indeed a bird (or other dinosaur).
NEW January 2015: Yes, Samrukia does seem to be a pterosaur. On the other hand, Archaeopteryx does indeed seem to be a primitive bird (and a new specimen was unveiled.) As mentioned above, Balaur of the latest Cretaceous of Romania appears to have been a weird large flightless long-tailed bird rather than a weird dromaeosaurid.
Chapter 22: Prosauropods (Primitive Long-Necked Plant-Eating Dinosaurs)
Many important new studies of these dinosaurs were published in 2006 and 2007. Here are some of the highlights:
Most recent phylogenetic analyses agree that there are three basic types of "prosauropod". There are the early small-bodied primitive forms like Saturnalia, Efraasia, Thecodontosaurus, and Pantydraco (the last one was still considered a species of Thecodontosaurus when the book went to the printers!). There are the "core prosauropods": larger dinosaurs including Plateosaurus, Massospondylus, Riojasaurus, Lufengosaurus, Coloradisaurus, and their closest relatives. And there are the "near-sauropods": Yunnanosaurus, Anchisaurus, Melanorosaurus and other dinosaurs more similar to sauropods than to "core prosauropods". The different analyses disagree mainly on whether the core prosauropods from their own group (with all members more closely related to each other than to other types of dinosaurs), or if some are closer to true sauropods and some are more distantly related.
Great new skeletons of all three types of prosauropod have been found, and have given us a better view of their anatomy. For example, the primitive sauropodomorphs may have lacked a cheek, but the core prosauropods and the near-sauropods seem to have had a smaller version of the skin or muscular cheek that ornithischians independantly evolved. This would help them keep food in their mouths as they ate. Also, analyses of the forelimbs of these dinosaurs by Matt Bonnan (Western Illinois University), Phil Senter (Fayetteville State University), and Adam Yates (University of Witwatersrand) show that the primitive sauropodomorphs and the classic prosauropods were probably strictly bipedal, and not the "sometimes bipedal, sometimes quadrupedal" dinosaurs that I wrote about and Luis Rey illustrated. On the other hand (so to speak), the near-sauropods seem to have been capable of walking on all fours, and so were more like they were shown in the book.
While the vast majority of the prosauropods died out by the end of the Early Jurassic, the first Middle Jurassic prosauropod (a new species of the near-sauropod Yunnanosaurus of China) has been described.
NEW January 2008: A newly-discovered core prosauropod or near-sauropod, Lamplughsaura of the Early Jurassic of India, is one of the most completely-known early sauropodomorphs. Study of it will help us understand the evolution of the long-necked plant eaters.
NEW January 2010: Yet more discoveries in this part of the tree. Panphagia from the Late Triassic of Argentina (in fact, the same rocks that Eoraptor, Herrerasaurus, and Pisanosaurus come from) is now the most completely known primitive sauropodomorph. Ongoing studies by Martín D. Ezcurra (Museo Argentino de Ciencias Naturales "Bernardino Rivadavia", Buenos Aires, Argentina) and his colleagues suggest that Panphagia forms a group of successful very primitive sauropodomorphs with other genera previously considered theropods (like Guaibasaurus) or sauropodomorphs (like Saturnalia) or even non-dinosaurs (like Agnosphitys).
At the other end of the "prosauropod" range is 7 m long Aardonyx of the Early Jurassic of South Africa. This is the most advanced of the bipedal sauropodomorphs: the next branch known were capable of some quadrupedal walking. It had lost the cheeks that seem to have been present on most other primitive sauropodomorphs (including primitive sauropods), and thus could "bulk browse" like more advanced sauropods: that is, open its jaws wide and chomp down on a lot of food quickly.
NEW December 2010: The Ezcurra and colleagues analysis mentioned above has now been published, and this group of early sauropodomorphs are now called "Guaibasauridae".
NEW December 2011: As noted earlier, at least some studies now place Eoraptor (previously either a primitive theropod or a non-theropod, non-sauropodomorph primitive saurischian) as a guaibasaurid prosauropod. Add to that Pampadromaeus, a primitive prosauropod that looks something like a stretched-out Eoraptor.
NEW December 2013: Guaibasauridae, we hardly knew thee… Most recent studies have failed to find a single grouping for "Guaibasauridae", and in fact Guaibasaurus itself may be back to being a primitive theropod! The old "guaibasaurids" turn out to be a series of primitive prosauropod groups, with Eoraptor among them.
Chapter 23: Primitive Sauropods (Early Giant Long-Necked Dinosaurs)
Depending on how you classify them the "near-sauropods" mentioned in the previous section are considered early sauropods by some paleontologists.
While it is true that most sauropods had the tooth-to-tooth bite I wrote about, newly described jaws from the most primitive sauropods show that they had a bite more similar to prosauropods (with a wraparound overbite and a small cheek). The later sauropods (called the Eusauropoda, or "true sauropods") evolved the tooth-to-tooth contact and lost their cheeks in favor of a jaw that could open much wider. This makes sense when one considers that the heads of eusauropods were about the same size as the heads of the more primitive sauropods and near-sauropods, but the bodies of the eusauropods were MUCH bigger than the other two! They had to chomp and gulp down food as quickly as they could, and not worry about chopping it up in their jaws.
A whole new group of primitive sauropod (in fact, of primitive eusauropod) was announced while the book was at the presses! First described in December 2006, this group is the Turiasauria, a Jurassic-to-Early Cretaceous clade of dinosaurs from Europe containing gigantic Turiasaurus (at 48 tons the largest known European dinosaur and one of the largest sauropods) as well as Galveosaurus and Losillasaurus. Also, new phylogenetic analyses suggest that at least some of the Middle-to-Late Jurassic extremely long necked Chinese sauropods that I wrote about (such as Omeisaurus and Mamenchisaurus) belong to a clade that also includes Middle Jurassic English Cetiosaurus, Middle Jurassic Argentine Patagosaurus, and Early Jurassic Indian Barapasaurus. (Long-necked Euhelopus may be related to these, but more analyses still place it as close kin to the titanosaurs within Macronaria).
NEW January 2010: One of the newest discoveries among the primitive sauropods is the nearly-complete skeleton of Spinophorosaurus of the Middle Jurassic of Niger. Interestingly, like Shunosaurus, Spinophorosaurus has a spiked club on its tail.
On-going work has not resolved yet if Turaiasauria represents a natural group or not. Mamenchisauridae (the group containing Omeisaurus and Mamenchisaurus) does appear to be well-supported, but Euhelopus is not part of it: instead, this other long-necked Chinese form is close to the ancestry of the Titanosauria.
Chapter 24: Diplodocoids (Whip-Tailed Giant Long-Necked Dinosaurs
NEW January 2008: On p. 199 I wrote "At the time of this writing, no one has put together a complete rebbachisaurid skull or skeleton, so we aren't sure what they looked like." That has changed, thanks to Paul Sereno (University of Chicago), Jeff Wilson (University of Michigan), and their team. They have finally put together the skeleton and utterly-bizarre skull of Nigersaurus. And it is even stranger than Luis drew and I wrote about in our book! Its teeth were apparently replaced at a rate of about once a month: twice as fast as duckbills, which were previously thought to have the fastest rate of tooth replacement in dinosaurs by far. The snout of Nigersaurus was normally head facing straight downwards. It was little (for a sauropod: only the size of an Indian elephant).
NEW July 2008: David Lovelace (University of Wyoming), Scott Hartman (Wyoming Dinosaur Center), and William Wahl (Bighorn Basin Foundation) have recently described Jimbo the Supersaurus, a specimen that demonstrates that Supersaurus is its own distinct genus and that was an apatosaurine (that is, it was a diplodocid that was more closely related to Apatosaurus than to Diplodocus). Additionally, their study shows that "Seismosaurus" is not a distinct genus or species, but is just a very very old, very very large individual of Diplodocus longus.
NEW January 2015: A newly named diplodocid Leinkupal from the Early Cretaceous of Argentina made the news, but not in a good way. It is the first definite diplodocid from the Early Cretaceous, but this got misreported as being a dinosaur which survived a mass extinction (and some reporters even implied it survived the K/Pg extinction!!). It is a cool discovery, but not THAT incredible!
Forgot to mention this last year: Tatouinea, a new rebbachisaurid that shares its name (kind of) with the home world of Luke Skywalker in Star Wars. (Both the dinosaur and the planet are named after the province of Tataouine in Tunisia, which is where the dinosaur was discovered and where the scenes in Star Wars on the planet Tatooine were filmed.
A new specimen of Apatosaurus has been found. It is still under study, but based on the length of its femur it is in the same size range as Supersaurus, Alamosaurus, and Argentinosaurus! So yes, the old "Brontosaurus" may regain its claim to fame in the late 19th Century as the "largest known dinosaur"!!
Chapter 25: Macronarians (Big-Nosed Giant Long-Necked Dinosaurs)
The biggest new discovery (September 2007) for this chapter is 106 to 112 feet (32-34 m) and 70 or more ton Futalognkosaurus, a rival with fellow titanosaurs Argentinosaurus and Puertasaurus for the "Largest Dinosaur of Them All" title. Unlike its giant cousins, however, a good percentage of the skeleton is actually known. Its 46 to 50 foot (14-15 m) long neck is the longest of any dinosaur currently known.
Many new titanosaurs have been discovered, and the relationships between the various groups is still being worked out. It is likely that the relatively simplistic version I used in the book (with a bunch of primitive titanosaurs and the advanced saltasaurids) will be replaced by a classification with multiple groups of advanced titanosaurs. I have used such a system (based on the phylogenetic analysis of Kristi Curry Rogers (Science Museum of Minnesota) and using names already available from previous classifications) in the revised appendix. In this scheme, Titanosauria includes primitive forms like Phuwiangosaurus, Janenschia, Andesaurus, and the gigantic Argyrosauridae (containing Argyrosaurus and Paralititan); the brachiosaurid-like Antarctosauridae (including Argentinosaurus, Alamosaurus, and Antarctosaurus, as well as some titanosaurs whose names DON'T begin with "A"...); and the Lithostrotia. The latter batch are the forms known to have armored backs (not definitely known in the previously-listed types). Among the lithostrotians are the relatively small Saltasauridae (like Saltasaurus and Neuquensaurus) and the more diverse broad-snouted Nemegtosauridae (including Rapetosaurus, Nemegtosaurus, and spike-backed Augustinia, among many others). However, with all the new titanosaurs showing up around the world, our understanding of the diversity of the titanosaurs is going to change even more!
NEW July 2008: Many new titanosaurs have been found in South America. Among them, Futalognkosaurus and Mendozasaurus form a group that has been named the Lognkosauria, or "chief reptiles."
NEW January 2010: Jobaria does not seem to be a macronarian, but instead a more primitive form. Also, it and the megalosaurid Afrovenator are NOT from the Early Cretaceous as long thought: instead, the rocks they are found in come have been redated to the Middle Jurassic.
Re-examination by Mike Taylor of the true North American Brachiosaurus altithorax and the African species typically called "Brachiosaurus" brancai confirms that the latter is distinct from Brachiosaurus proper, and thus is more properly called Giraffatitan.
A comment on p. 205 of the book led to this discussion on the Sauropod Vertebra Picture of the Week blog.
NEW December 2010: Nearly all sauropods are known from the limbs and vertebrae, but skulls are rare. An exception is newly discovered Early Cretaceous brachiosaurid Abydosaurus of Utah, for which four extremely good skulls are known.
NEW December 2011: One of the most complete-ever titanosaur skulls has been found: that of Tapuiasaurus of Brazil.
Also, new specimens of the Late Cretaceous North American titanosaur Alamosaurus show that it is about the same size as the largest known dinosaurs (such as Argentinosaurus, Puertasaurus, Futalognkosaurus, and Ruyangosaurus). This means that Tyrannosaurus (the largest known North American theropod) likely preyed on the largest North American dinosaur, at least on occasion and at least in the southern part of its range (Alamosaurus is not found in the northern states nor in Canada, yet).
NEW December 2013: Some major revisions of the macronarians have been published: some by Michael D'Emic, others by Phil Mannion and colleagues. Unfortunately, they don't always agree with each other, so I've sort of picked and chosen from both of them for the organization of the current appendix. Most of the new studies do support a Brachiosauridae group, and several a Euhelopodidae group; I use both of these. Sauroposeidon is consistently closer to titanosaurs than to brachiosaurids. And Titanosauria is now a strictly Cretaceous group.
NEW January 2015: The big news in macronarian studies is a new big macronarian: Dreadnoughtus. Despite some news reports it is definitely NOT the largest known dinosaur, but it is the most completely known really large dinosaur. And the specimen was not an adult, so it might have achieved the size of Argentinosaurus, Alamosaurus, and kin. In related news, Futalognkosaurus was probably overestimated in size, and was slightly less heavy than Dreadnoughtus.
Chapter 26: Ornithischians
Everything you know about early ornithischians is wrong! Okay, that's an overstatement... But recent work in 2006 and 2007 by the team of Randall Irmis (University of California, Berkeley), Sterling Nesbitt (American Museum of Natural History), William Parker (Petrified Forest National Park), and various colleagues have revolutionized our identification of Triassic ornithischian dinosaurs. Basically, a re-examination of the evidence shows that most of the previously described Triassic "ornithischians" turn out to be from either the near-crocodilian revueltosaurs or the near-dinosaurian silesaurs, two non-dinosaurian types of herbivorous archosaur they we didn't even know about a few years ago. The only remaining definite Triassic ornithischian is the oldest and most primitive one, Pisanosaurus, and an unnamed Triassic member of the Heterodontosauridae.
Oh, wait: turns out another Triassic ornithischian showed up in June 2007! This is Eocursor, a Late Triassic South African ornithischian. Like heterodontosaurids and saurischians, but unlike all the other ornithischians, Eocursor still had the relatively large grasping hand of the earliest dinosaurs. In their initial description of this new dinosaur, Richard Butler (Cambridge University and the Natural History Museum, London), Roger Smith (Iziko South African Museum), and David Norman (Cambridge University) also reanalysed the relationships between various ornithischians, and found that heterodontosaurids are indeed very primitive ornithischians and not ornithopods at all.
NEW January 2010: A couple of important new discoveries among the heterodontosaurids. One of these is tiny Fruitadens of the Late Jurassic of western North America. This is one of the smallest ornithischian dinosaurs ever found: only 70 cm (not quite 28 inches) long!
More spectacular--or maybe just more surprising--is Tianyulong. It was first thought to come from the Early Cretaceous, but now is known to date to the Middle Jurassic. That's not the surprising thing, though. What is the surprising thing is that it had protofeathers along its back (at least). Now up until this discovery there was no definite evidence of feathers or protofeathers outside of the coelurosaurian theropods. (It is true that Psittacosaurus had its quills, but these were not clearly derived from the same anatomical features as protofeathers.) Now we've got fuzzy ornithischians. This means that the common ancestor of all dinosaurs may have sported some fuzz, and that Luis Rey's fuzzy Leaellynasaura on p. 248 may turn out to be accurate!
NEW December 2011: To go along with tiny Fruitadens among the smallest ornithischians, we now have Manidens of the Middle Jurassic of Argentina.
NEW January 2015: From the very beginning of the Jurassic of Venezuela comes Laquintasaura, a primitive ornithischian. It was found in a group of individuals, which may suggest that herding went very far back in ornithischian history.
Chapter 28: Stegosaurs (Plated Dinosaurs)
NEW January 2010: A bizarre new discovery is Miragaia of the Late Jurassic of Portugal: a stegosaur with a long flexible neck like a sauropod.
Chapter 29: Ankylosaurs (Tank Dinosaurs)
The first definite Asian members of Nodosauridae have been described: Zhejiangosaurus and Zhongyuansaurus.
NEW January 2010: Biomechanical studies led by graduate student Victoria Arbour of the University of Alberta calculated the force that ankylosaurids could generate with their club tails. The short answer: they could indeed break bone, especially the big ones.
NEW December 2011: Zhongyuansaurus has subsequently been found out to have been an ankylosaurid, and not a nodosaurid after all. This was part of a massive phylogenetic study of the Ankylosauria by Richard Thompson, Susannah Maidment, and Paul Barrett (all of the Natural History Museum, London) and Jolyon Parish (of the University of Oxford). This study found that basically all ankylosaurs could be divided into Nodosauridae and Ankylosauridae (the old model), and that "polacanthids" do not form their own distinct group. These changes are reflected in the new appendix.
Also, one of the weirdest fossils of any dinosaur was named this year: what looks like the impression of a body of a baby nodosaurid from Early Cretaceous rocks pretty close to where I work! This has been given the name Propanoplosaurus. I'm still suspicious if this is really the impression of a dinosaur at all, and not some sort of other object that our minds are tricking us into thinking is a dinosaur. But I don't have any actual data to back up that suspicion, so until someone can demonstrate this is not the fossil of a dinosaur, I'll give it the benefit of the doubt.
NEW December 2013: The Ankylosauridae, and in particular the Late Cretaceous North American ankylosaurids, have been re-examined by Victoria Arbour, who has found that we have been "lumping" many different distinct genera into "Euoplocephalus". So old, early 20th Century names like Anoplosaurus, Scolosaurus, and Anodontosaurus are back! A HUGE new study of ankylosaur interrelationships is on its way, but hasn't come out by the time I write this. A few aspects of this (such as the diversity of Struthiosaurinae) are included in this version of the appendix, and when the analysis is out I will revise the entire appendix accordingly.
NEW January 2015: Two new ankylosaurids, and two new dinosaurs for "Z" in your "Dinosaurs A-to-Z"-type encyclopediae: Ziapelta of New Mexico and Zaarapelta of Mongolia.
Chapter 30: Primitive Ornithopods (Primitive Beaked Dinosaurs)
The analysis of ornithischian dinosaurs by Butler, Smith and Norman (see the comments on Chapter 26 above) indicates that "Othnielia" (recently renamed Othnieliosaurus by Peter Galton), Agilisaurus, and Hexinlusaurus are all non-ornithopods, but are simply Jurassic relatives of the Ornithopoda and Marginocephalia. Jeholosaurus, on the other hand, may be a true ornithopod.
Bob Bakker (currently at the Houston Museum of Natural History) once speculated that the primitive ornithopod (or ornithopod-like dinosaur) Drinker was a burrower. More recently, a newly discovered (first described in March 2007) Early Cretaceous ornithopod Oryctodromeus was found actually buried inside its burrow.
NEW December 2011: South Korea finally has some dinosaur genera first names from that nation. One of these is the small Late Cretaceous ornithopod Koreanosaurus, a close relative of the burrowing "zephyrosaurs" of North America.
Another small Asian ornithopod named this year, Haya of the Late Cretaceous of China, seems to form a group with the older Jeholosaurus and Changchunsaurus (also of China).
NEW December 2013: Caleb Brown and colleagues have restudied the material of the small ornithopods, and find that the burrowing Orodrominae (what I called "zephyrosaurs") and the Thescelosaurinae (which includes Thescelosaurus and the Asian "jeholosaurs") form a single major group, Thescelosauridae.
NEW January 2015: New shaking around the primitive ornithopod and primitive neornithischian part of the tree. In the latest studies, Orodrominae turns out to be the most primitive ornithopods, followed by Jeholosauridae (a group known from the Cretaceous of Asia). Thescelosaurus is much more closely related to iguanodonts than these dinosaurs.
The biggest news in primitive neornithischian studies, though, is Kulindadromeus of the Jurassic of Siberia. In terms of its skeleton it is nothing special: it is a lot like Hexinlusaurus or Othnieliosaurus. But because it was found in very fine grained lake sediments, its body covering was preserved. And there is a LOT of stuff going on in body covering: some rounded scales, some plate-like scales; some ring-like scales on its tail (sort of like the ring-like scales the feet of some birds); simple fuzz as in Tianyulong and many theropods; and bizarre plates with fuzz coming out from them. This shows that a) even more ornithischians than we knew were fuzzy and b) the variety of body coverings of dinosaurs (even the very same dinosaur!) could be very complex. It also points to the real possibility that the ancestor of ALL dinosaurs was fuzzy, or at least could grow fuzz on some parts of its body. Different groups of dinosaurs did this to different degrees: at present there is no evidence for fuzz in sauropodomorphs, for instance, and big hadrosaurids and ceratopsids were definitely covered mostly in scales. But fuzz is no longer just a theropod trait. (Okay, Tianyulong already proved that, but this reinforces it!).
Oh, and Kulindadromeus is known from many, many individuals, so we will know lots more about its anatomy and growth in the near future.
Chapter 31: Iguanodontians (Advanced Beaked Dinosaurs)
"Iguanodon" atherfieldensis was slender European iguanodontian once considered a species of Iguanodon. However, recent work by Gregory Paul suggests it is actually more closely related to hadrosaurids than to Iguanodon proper, and so in late 2006 he gave it its own genus name: Mantellisaurus. We will have to see if that name stands, or if instead this species turns out to be the same as the previously-named but poorly-known Vectisaurus.
In the past, when you have seen the skull of the Late Jurassic iguanodontian Camptosaurus, it turns out you've seen the wrong dinosaur! Re-examination of the skull by Kathleen Brill and Kenneth Carpenter (Denver Museum of Nature & Science) published in late 2006 shows that the long, squared off skull that everyone (including I and Luis Rey) thought was Camptosaurus was really from a younger, Early Cretaceous dinosaur. Brill and Carpenter have given this dinosaur the name Theiophytalia. Thankfully, however, the actual Camptosaurus skull is now known from a nearly complete specimen, and it is found to be more triangular (something like the head of Dryosaurus, only larger).
Although it is in the genus list in the book, I think it is worth mentioning one of the strangest iguanodontians here as well. That is Lanzhousaurus of Early Cretaceous China. While most iguanodontians evolved more but smaller teeth over time, Lanzhousaurus decided to "buck the trend" and developed fewer but enormous teeth. In fact, these are the largest teeth known of any herbivorous dinosaur.
NEW January 2008: Greg Paul has additionally recognized two new Early Cretaceous dinosaurs that were once considered species of Iguanodon: slender Dollodon bampingi of Belgium and Dakotadon lakotaensis of the United States.
NEW December 2010: The break-up of Iguanodon continues, as more and more species are assigned to their own genera. Darren Naish has written an series of excellent reviews of this topic. Basically, the name "Iguanodon" was used in the past to cover a wide variety of Early Cretaceous iguanodontians: some were more distantly related to hadrosaurids than true Iguanodon and others closer. Among the more notable is tall-spined Hypselospinus.
Brand new (well, newly discovered) iguanodontians that were never part of the classic "Iguanodon" genus have been unearthed from Early Cretaceous-aged rocks of Utah, and named Hippodraco and Iguanacolossus.
NEW December 2011 After the "Iguanodon Explosion" of the last few years, there has been a bit of an implosion. Dave Norman (Cambridge University) has been re-examining much of the material once considered "Iguanodon", and agrees that there are several dinosaur genera represented here, but perhaps not as many as thought in the last few years. He considered "Dollodon" to belong to Mantellisaurus, and "Kukufeldia" and "Sellicoxa" to belong to Barilium. Furthermore, Andrew McDonald (a graduate student at the University of Pennsylvania) suggests that "Proplanicoxa" is simply a specimen of Mantellisaurus. These changes are reflected in the Winter 2011 version of the appendix.
However, 2011 is the year of the "Camptosaurus" explosion. Andrew McDonald (a student at the University of Pennsylvania) has examined the primitive ornithopods once considered to be species of Camptosaurus, and has found instead that some of these are closer to Iguanodon and the hadrosaurs than they are to true Camptosaurus. Thus, the former "Camptosaurus" aphanoecetes is now Uteodon, and "Camptosaurus" depresses is now Osmakasaurus.
NEW January 2015: What is new in the realm of iguanodonts? Dave Norman's clarification of the "Iguanodon Explosion" continues. In his analyses, Iguanodon bernissartensis contains "Dollodon seelyi"; Mantellisaurus atherfieldensis contains Vectisaurus, Sphenospondylus, Proplanicoxa, Dollodon proper, Mantellodon carpenteri, and some of the specimens once called Darwinsaurus; and Hypselospinus fittoni contains Wadhurstia, Huxleysaurus, and most of the specimens called Darwinsaurus. Barilium dawsoni contains Kukufeldia (possibly), Torilion (unquestionably), and Sellacoxa. One issue that isn't resolved is the position of Iguanodon anglicus (the ORIGINAL Iguanodon species): is it actually closer to I. bernissartensis than to these other forms?
In his reanalysis, Iguanodon, Barilium, and Mantellisaurus are all each other's closest relatives, and together with Jinzhousaurus and Bolong of China and Proa of Spain form a group for which the proper name would be "Iguanodontidae". Hypselospinus is not an iguanodontid, and instead is farther from hadrosaurs than are the iguanodonts.
Norman also has introduced several useful new group names within Ornithpoda: Clypeodonta, for all ornithopods closer to Parasaurolophus than to Thescelosaurus; Neoiguanodontia, for the group uniting Hypselospinus and hadrosaurids (and thus containing the iguanodontids as well); and Hadrosauromorpha, for all dinosaurs closer to Parasaurolophus than to Probactrosaurus.
In small ornithopod news, newly named is Eousdryosaurus, a dryosaurid from Portugal.
Chapter 32: Hadrosauroids (Duckbilled Dinosaurs)
NEW January 2010: Some changes in terminology for future editions of this chapter: I will probably call the whole chapter "Hadrosauria", and where I used "Hadrosaurinae" I will use "Saurolophinae" following work by Albert Prieto-Marquez of the American Museum of Natural History. (Hadrosaurus may actually be more distantly related to other "hadrosaurines" than the lambeosaurines are!) These changes, and some changes among the interrelationships of the duckbills, will be reflected in the revised 2010 genus list.
A new discovery is the primitive Italian hadrosaurian Tethyshadros, one of the most complete skeletons of a large Mesozoic dinosaur from Europe.
NEW December 2011: A new study by Nic Campione (University of Toronto) and David Evans (Royal Ontario Museum) shows that Anatotitan is just the adult stage of Edmontosaurus annectens, and not a distinct genus. (Okay, in the appendix I place this species back in its old genus name Anatosaurus. True Edmontosaurus regalis is an older dinosaur.)
NEW December 2013: The lambeosaurines on the cover the book now have a name! When Luis Rey drew them, we went by the idea that the giant lambeosaurine specimens from Baja California were actually Lambeosaurus. However, new studies show that this dinosaur is its own distinct genus, Magnapaulia. The "unicorn" crested lamebosaurine Tsintaosaurus turns out to have a very different kind of crest.
NEW January 2014: Forgot these in the last update! Even well-known duckbills like Edmontosaurus can have surprises: for instance, at least some of them had a small fleshy comb on the tops of their heads. Also, it turns out that hadrosaurid chewing movements were even more complex than I discussed in the book.
NEW January 2015: "Hadrosaurinae" is back, probably. Some recent analyses do find that Hadrosaurus is closer to Saurolophus, Edmontosaurus, and company than to Lambeosaurus, so the flat-head dinosaurs are back to being "hadrosaurines".
A new Mongolian dinosaur Plesiohadros has been described; it is not quite a hadrosaurid, but very closely related to them. It is also the largest dinosaur found so far among the desert deposits of Mongolia.
A new review of the giant Chinese edmontosaurinin hadrosaurine Shantungosaurus confirms what most people suspected: that "Zhuchengosaurus" and "Huaxiaosaurus" were just specimens of Shantungosaurus.
A new study by Scott Persons and Phil Currie of the University of Alberta suggests that hadrosaurs--although slower than tyrannosaurs--were endurance runners ("marathoners"). This may have helped them survive in a world with faster predators: if they managed to escape for long enough, the tyrant dinosaurs would get winded and give up the chase.
Chapter 33: Pachycephalosaurs (Domeheaded Dinosaurs)
Jack Horner (Montana State University) has recently suggested that Pachycephalosaurus, Stygimoloch, and Dracorex are all different growth stages (basically adult, "teenager", and kid) of the same species. I think that this idea has a lot going for it, and look forward to this study being presented in more detail. (As I mention in the book, dinosaurs had a lot of growing up to do in their life, so they went through a lot of different sizes and shapes between hatchling and adulthood. So many different "species" of dinosaurs will likely turn out to be just different growth stages).
NEW January 2010: Related to the above study, new work suggests that Homalocephale is just the juvenile stage of Prenocephale.
NEW December 2011: Functional studies by Eric Snively (Ohio University) and Jessica Theodor (University of Calgary) strongly support the idea that at least some pachycephalosaurs were in fact headbangers.
NEW January 2015: Forgot to get this in last year: a pair of studies by Joseph Peterson (University of Wisconsin) and colleagues supports the hypothesis that head-banging, not erosion after death caused the damage seen on the domes of pachycephalosaurs.
Chapter 34: Primitive Ceratopsians (Parrot and Frilled Dinosaurs)
Plenty of new primitive ceratopsians have been discovered, including the first European ceratopsian fossils (teeth only, but resembling most closely those of leptoceratopsids, announced in July 2007). As more and more of these are discovered, they highlight the fact that ceratopsians spent most of their history as small dinosaurs under the shadows of sauropods, thyreophorans, and iguanodontians. It is only at the very end of the Age of Dinosaurs, and only in western North America, that they became a major group of large-bodied dinosaur.
NEW December 2010: Additional definite primitive ceratopsians from Europe has been discovered. Ajkaceratops from the Late Cretaceous of Hungary is a cousin to Asian Bagaceratops.
NEW January 2015: You want cute? We've got your cute dinosaurs right here: Aquilops of the Early Cretaceous of western North America. Granted, the only known fossil was not fully grown, but this little dinosaur represents the oldest and most primitive ceratopsian from North America. (Hey! Want your own Aquilops skull? Here are directions to making your own version with a fancy 3D printer or a good old-fashioned paper printer!)
Chapter 35: Ceratopsids (Horned Dinosaurs)
NEW January 2008: Eotriceratops xeriinsularis is a newly described ceratopsine very closely related to Triceratops (heck, possibly even ancestral to that later and more famous dinosaur!).
NEW January 2010: With the discovery that primitive centrosaurines (like Albertaceratops) and advanced non-ceratopsid ceratopsians (like Zuniceratops) had long brow horns suggests that poorly-known Ceratops itself may not be closely related to the other dinosaurs that are called "Ceratopsinae" in the book. Therefore, in future versions I will stick to more common use and call Triceratops, Chasmosaurus, and their kin "Chasmosaurinae".
It has been suggested that Turanoceratops from Uzbekistan is a chasmosaurine ceratopsid: if true, it would be the first true ceratopsid from outside of western North America. However, it might be a Zuniceratops-like near-ceratopsid.
On-going research is suggesting that Torosaurus may not be a distinct type of dinosaur, but rather just a fully-adult Triceratops. This is an interesting idea, and I await the full analysis of this idea.
NEW December 2010: The "Torosaurus is just the adult form of Triceratops" paper mentioned above is finally published. As with most things in Science, you can't say that it is 100% proven. However, my personal opinion is that the scientific ball is in the opposition's court now: it is up to those who reject this claim to give positive evidence showing that this hypothesis is incorrect. One amusing (and at times very frustrating) thing was that the news media and blog-commentators often got the implications of this totally backwards! There were lots of articles saying "Triceratops never existed" and that we have to call this dinosaur Torosaurus now. If only those reporters had read my book!! (Okay, or any other book that explains taxonomy...) It isn't whether the name is associated with an adult or not, or a bigger skeleton or not, or a cooler name or not, which is the deciding factor. It is just the date of publication. Since Triceratops was named in 1889, and Torosaurus in 1891, "Triceratops" is the proper name.
(Also, in that same paper, the authors indicate that "Diceratops" aka "Diceratus" aka "Nedoceratops" belongs in Triceratops, too. I definitely concur on that one!)
While we may have "lost" the name "Torosaurus", we gained a dozen brand new genera of Ceratopsidae this year, by far the most ever added to any of the traditional dinosaur "families" in any year! Some, like Mojoceratops, Vagaceratops, and Rubeosaurus were new names for specimens already known (and referred to Chasmosaurus, Chasmosaurus, and Styracosaurus, respectively). Others, though, were brand new: Mexican Coahuilaceratops with horns even more massive than Triceratops; tall-spiked Diabloceratops of Utah; Kosmoceratops and Utahceratops, also of Utah; little Tatankaceratops (which I suspect will wind up being a juvenile Triceratops); and, in the last days of 2010, Titanoceratops, a giant older New Mexican relative of Triceratops (almost as big as that dinosaur), based on a skeleton previously considered to be a giant "Pentaceratops". And for the first time, confirmation of a definite Asian ceratopsid, the Chinese centrosaurine Sinoceratops.
NEW December 2011: New data for and against Nedoceratops being its own distinct genus (rather than a growth stage of Triceratops) were presented this year. The number of new genera has slowed down a bit, with Spinops of the Late Cretaceous of Alberta being the only new entry. (However, several more are on their way for 2012 and/or 2013!)
NEW December 2013: Even more new centrosaurines and chasmosaurines: see the appendix for details! Also, still no resolution on the whole "Is Torosaurus just a grown-up Triceratops?" thing. Both sides have stated their case, but the evidence doesn't decisively fall in one camp. Yet.
NEW January 2015: Got a spare hour? Watch and hear about the "Triceratops vs. Torosaurus" debate.
Chapter 36: Dinosaur Eggs and Babies
In September 2007, an assemblage of Psittacosaurus fossils found together was described. This collection of skeletons of the little ceratopsian were buried together under volcanic ashes. Examination of the fossils by Zhao Qi (Institute of Vertebrate Paleontology and Paleoanthropology, Beijing), Paul Barrett (The Natural History Museum, London), and Dave Eberth (Royal Tyrrell Museum of Palaeontology) indicates two different age groups of youngsters: some about 1 and a half years old and the others about 3 years old. This shows that they were born at two different times, but the fact that they were buried together may indicate that they lived together as a big family.
NEW December 2010: Yet another peril that baby dinosaurs had to face: early snakes!.
NEW December 2013: A new discovery is nesting colonies of therizinosaurs. And check out this cute baby Chasmosaurus!
NEW January 2015: I should have included this before: watch the changes in Tarbosaurus as it grew up.
Chapter 37: Dinosaur Behavior: How Did Dinosaurs Act, and How Do We Know?
NEW December 2010: New news on the locomotion of tyrannosaurs front. A new study by University of Alberta graduate student Scott Persons and his advisor Phil Currie shows that the tail muscles of Tyrannosaurus and its kin were bigger than previously thought. Although it added more weight to the dinosaurs, it also added power, and suggests that they may have been faster than some previously calculated.
Other work by Casey Holliday of the University of Missouri and colleagues shows that people have been underestimating the amount of cartilage between bones in dinosaurs. This effects things like our calculations of their height and length, as well as of the mechanics of their joints.
Chapter 38: Dinosaur Biology: Living, Breathing Dinosaurs
NEW December 2010: As I discuss in Chapter 38, there is a lot of evidence suggesting that dinosaurs had metabolisms more like modern mammals and birds than like cold-blooded lizards and snakes and turtles. Similar evidence exists for dinosaurs weird-looking flying cousins, the pterosaurs. This year, however, comes evidence in the form of the chemical make-up of the bones of marine reptiles that the advanced tuna-shaped ichthyosaurs and the paddle-finned plesiosaurs may also have been warm-blooded, even though the more eel-shaped primitive ichthyosaurs and the fingered-and-toed relatives of plesiosaurs were not. Additionally the mosasaur sea-lizards of the Late Cretaceous may have also been warm-blooded as well, but the evidence for this is less strong. It is worth noting that modern day tuna and billfish (sailfish, swordfish, etc.) are essentially "warm-blooded fish", and evolved a very similar body shape to the advanced ichthyosaurs.
NEW December 2011: New lines of evidence that dinosaurs had warm-blooded metabolisms come from new studies of the body temperatures of sauropods and the presence of a high number of nutrient foramina (blood vessel openings) in dinosaus compared to cold-blooded animals.
In other aspects of their biology, at least some dinosaurs and pterosaurs may have been nocturnal based on aspects of the relative proportions of their eyes.
NEW January 2015: New analyses of the insides of the noses of pachycephalosaurs show that their nasal turbinates would help cool the blood going to the brain. This was actually probably widespread in all dinosaurs, but it is easier to study in pachycephalosaurs due to the very solid skulls which preserve many details.
Were dinosaurs (including Archaeopteryx and other early avialians) intermediate between fully cold and fully warm-blooded? A new study suggests this. This supposed "mesothermy" in dinosaurs (a term originally coined by Dr. Scott Sampson) is an intriguing possibility, but needs further study. One thing to point out is that the authors agree that dinosaurs generated heat internally (and thus were endothermic by definition), but that their control over the body temperature wasn't as strong as in homeothermic animals.
Chapter 40: Life in the Jurassic Period
NEW December 2010: Chris Noto, currently of Grand Valley State University in Michigan, has published an examination of the differences and similarities of the different communities of dinosaurs in the Late Jurassic, and found that brachiosaurs and their kin preferred more arid (dry) habitats, while stegosaurs and diplodcoids preferred wetter ones.
NEW December 2011: A new study of the chemical composition of sauropod teeth shows that at least some of them seem to have migrated to the mountains and back to the lowlands in the course of a year.
Chapter 41: Life in the Cretaceous Period
NEW December 2011: Tyler Lyson and Nick Longrich at Yale University have presented a study of the paleoecology of dinosaurs from the Hell Creek Formation, the very last dinosaur-dominated community of North America. They found that even a relatively small region they could detect habitat preferences for different types of dinosaurs, with hadrosaurids and the primitive ornithopod Thescelosaurus closer to the rivers, and Triceratops in the drier land. (Carnivores like Tyrannosaurus didn't have a strong preference: after all, meat is meat, no matter where you eat it!)
II. Updated Dinosaur Genus List
The genus update is available here.
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Agnatha
Genus: Nova (1)
Stephaspis GAI & ZHU, 2007
Species: Nova (2)
Gigantaspis minima PERNEGRE & GOUJET, 2007
Stephaspis dipteriga GAI & ZHU, 2007
Synonym: Nova (1)
Gigantaspis laticephala (BLIECK & GOUJET, 1983) PERNEGRE & GOUJET, 2007
= Zascinaspis laticephala BLIECK & GOUJET, 1983
Placoderm
Genus: Nova (2)
Erikaspis DUPRET, GOUJET & MARK-KURIK, 2007
Materpiscis LONG, TRINAJSTIC, YOUNG & SENDEN, 2007
Species: Nova (1)
Materpiscis attenboroughi LONG, TRINAJSTIC, YOUNG & SENDEN, 2007
Synonym: Nova (1)
Erikaspis zychi (STENSIO, 1945) DUPRET, GOUJET & MARK-KURIK, 2007
= Kujdanowiaspis zychi STENSIO, 1945 (nomen nudum)
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Dupret, V., Goujet, D., and Mark-Kurik, E., 2007, A new genus of placoderm (Arthrodira: 'Actinolepida') from the Lower Devonian of Podolia (Ukraine): Journal of Vertebrate Paleontology, v. 27, n. 2, p. 266-284. (Erikaspis zychi = Kujdanowiaspis zychi)
Janvier, P., Desbiens, S., and Willett, J. A., 2007, New evidence for the controversial "Lungs" on the Late Devonian antiarch Bothriolepis canadensis (Whieteaves, 1880) (Placodermi: Antiarcha): Journal of Vertebrate Paleontology, v. 27, n. 3, p. 709-710.
Long, J. A., Trinajstic, K., Young, G. C., and Senden, T., 2007, Live birth in the Devonian Period: Nature, v. 453, p. 650-652. (Materpiscis attenboroughi)
Randon, C., Derycke, C., Blieck, A., Perri, M. C., and Spalletta, C., 2007, Late Devonian-Early Carboniferous vertebrate microremains from the Carnic Alps, northern Italy: Geobios, v. 40, p. 809-826.
Suarez Soruco, R., 2007, Bolivia y su paleobiodiversidad: In: 4th European Meeting on the Paleontology and Stratigraphy of Latin America, edited by Diaz-Martinez, E., and Rabano, I., Cuademos del Museo Geomienro, n. 8, Instituto Geologico y Minero de Espana, Madrid, 2007, p. 375-382.
Trinajstic, K., and Hazelton, M., 2007, Ontogeny, phenotypic variation and phylogenetic implications of arthrodires from the Gogo Formation, Western Australia: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 571-583.
Trinajstic, K., Marshall, C., Long, J., and Bifield, K., 2007, Exceptional preservation of nerve and muscle tissues in Late Devonian placoderm fish and their evolutionary implications: Biology Letters, v. 3, p. 197-200.
Wilson, M. V. H., Hanke, G. F., and Marss, T., 2007, Paired fins of jawless vertebrates and thier homologies across the "Agnathan"- Tnathostome transition: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 122-149.
Fish
Genus: Nova (7)
Australopachycormus KEAR, 2007
Baoqingichtys WANG, JIN, WANG & ZHU, 2007
Paraperleidus ZHAO & LU, 2007
Prosantichthys ARRATIA & HERZOG, 2007
Sangiorgioichthys TINTORI & LOMBARDO, 2007
Tycheroichthys HAY, CUMBAA, MURRAY & PLINT, 2007
Zhejiangichthys WANG, JIN, WANG & ZHU, 2007
Species: Nova (7)
Australopachycormus hurleyi KEAR, 2007
Baoqingichtys microdontus WANG, JIN, WANG & ZHU, 2007
Paraperleidus changxingensis ZHAO & LU, 2007
Prosantichthys buergini ARRATIA & HERZOG, 2007
Sangiorgioichthys aldae TINTORI & LOMBARDO, 2007
Tycheroichthys dunveganensis HAY, CUMBAA, MURRAY & PLINT, 2007
Zhejiangichthys zhaoi WANG, JIN, WANG & ZHU, 2007
Alvarado-Ortega, J., Espinosa-Arrubarrena, L., Blanco, A., Vega, F. J., Benammi, M., and Briggs, D. E. G., 2007, Exceptional preservation of soft tissues in Cretaceous fishes from the Tlayua Quarry, Centarl Mexico: Palaios, v. 22, p. 682-685.
Azevedo, R. P. F. de, Vasconcellos, P. L. de, Canderio, C. R. dos A., and Bergqvist, L. P., 2007, Restos microscopicos de vertebrados fosseis do Grupo Bauru (Neocertaceo), no oest do estado de Sao Paulo, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 533-541.
Arratia, G., and Herzog, A., 2007, A new halecomorph fish from the Middle Triassic of Switzerland and its systematic implications: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 838-849. (Prosantichthys buegini)
Arratia, G,. and Schultz, H.-P., 2007, Eurycormus - Eurypoma, two Jurassic actinopterygia genera with mixed identity: Fossil Record, v. 10, n. 1, p. 17-31.
Blanco-Pinon, A., and Alvarado-Ortega, J., 2007, Review of Vallecillichthys multivertebratum (Teleostei: Ichthyodectiformes), a Late Cretaceous (early Turonian) "Bulldog fish" from northeastern Mexico: Revista Mexicana de Ciencias Geologicas, v. 24, n. 3, p.450-466. Link to pdf
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Brito, P. M., 2007, The Crato Formation fish fauna: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 429-443.
Cavin, L., and Forey, P. L., 2007, Using ghost lineages to identify diversification events in the fossil record: Biology Letters, v. 3, p. 201-204.
Cavin, L., Suteethorn, V., Buffetaut, E., Claude, J., Cuny, G., Le Loeuff, J., and Tong, H., 2007, The first sinamiid fish (Holostei, Halecomorpha) from Southeast Asia (Early Cretaceous of Thailand): Journal of Vertebrate Paleontology, v. 27, n. 4, p. 827-837. (Siamamia naga)
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Dietze, K., 2007, Redescription of Dastilbe crandalli (Chanidae, Euteleostei) from the Early Cretaceous Crato Formation of north-eastern Brazil: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 8-16.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Everhart, M. J., 2007, Remains of a pycnodont fish (Actinopterygii: Pycnodontiformes) in a coporlite; an uppermost record of Micropycnodon kansasensis in the Smoky Hill Chalk, western Kansas: Transcations of the Kansas Academy of Science, v. 110, n. 1/2, p. 35-43.
Forey, P. L., and Cavin, L., 2007, A new speices of Cladocyclus (Teleostei: Ichthyodectiformes) from the Cenomanian of Morocco: Palaeontologia Electronica, n. 10.3.12a, 10 pp. (Cladocyclus pankowskii)
Fürsich, F. T., Mäuser, M., Schneider, S., and Werner, W., 2007, The Wattendorf Plattenkalk (Upper Kimmeridgian) - a new conservation lagerstätte from the northern Franconian Alb, southern Germany: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 45-58.
Gallo, V., 2007, Parsimony analysis of endemicity of enchodontoid fishes from the Cenomanian: Notebooks on Geology, Letter 2007/01 (CG2007_L01), 8pp.
Garrison jr, J. R., Brinkman, D., Nichols, D. J., Layer, P., Burge, D., and Thayn, D., 2007, A multidisiplinary study of the Lower Cretaceous Cedar Mountain Formation, Mussentuchit Wash, Utah: a determination of the paleoenvironment and paleoecology of the Eolambia caroljonesa dinosaur quarry: Cretaceous Research, v. 28, p. 461-494.
Hay, M. J., Cumbaa, S. L., Murray, A. M., and Plint, A. G., 2007, A new paraclupeid fish (Clupeomorpha, Ellimmichthyiformes) from a muddy marine prodelta environment: middle Cenomanian Dunvegan Formation, Alberta, Canada: Canadian Journal of Earth Sciences, v. 44, p. 775-790. (Tycheroichthys dunveganensis)
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper Cretaceous (Cenomanian-Turonian and Turonian-Coniacian) open marine plattenkalk deposits of New Mexico: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 71-81.
Ivanov, A., and Tatyanaklets, 2007, Triassic fishes from Siberia, Russia: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural & Science, Bulletin 41, p. 108-109.
Janvier, P., 2007, Homologies and evolutionary transitions in early vertebrate history: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 56-121.
Jurkovsek, & Kolar-Jurkovsek, T., 2007, Fossil assemblages from the Upper Cretaceous Komen and tomaj Limestones of Kras (Slovenia): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 83-92.
Kear, B. P., 2007, First record of a pachycormid fish (Actinopterygii: Pachycormiformes) from the Lower Cretaceous of Australia: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1033-1038. (Australopachycormus hurleyi)
Lopez-Arbarello, A., and Codorniu, L., 2007, Semionotids (Neopterygi, semionotiformes) from the Lower Cretaceous Lagarcito Formation, San Luis Province, Argentina: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 811-826.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Martill, D. M., 2007, The age of the Cretaceous Santana Formation fossil konservat lagerstätte of north-east Brazil: a historical reivew and an appraisal of the biochronostratigraphic utility of its palaeobiota: Creaceous Research, v. 28, p. 895-920.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Milner, A. R. C., and Kirkland, J. I., 2007, The case for fishing dinosaurs at the St. George dinosaur discovery site at Johnson Farm: Utah Geological Survey, Survey Notes, v. 39, n. 3, p. 1-3.
Newbrey, M. G., Wilson, M. V. H., and Ashworth, A. C., 2007, Centrum growth patterns provide evidence for two small taxa of Hiodontidae in the Cretaceous Dinosaur Park Formation: Canadian Journal of Earth Sciences, v. 44, p. 721-732.
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Parris, D. C., Grandstaff, B. S., and Gallagher, W. B., 2007, Fossil fish from the Pierre Shale Group (Late Cretaceous): clarifying the biostratigraphic record: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 99-109.
Randon, C., Derycke, C., Blieck, A., Perri, M. C., and Spalletta, C., 2007, Late Devonian-Early Carboniferous vertebrate microremains from the Carnic Alps, northern Italy: Geobios, v. 40, p. 809-826.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Schein, J. P., and Lewis, R. D., 2007, Actinopterygian fishes from Upper Cretaceous rocks in Alabama, with emphasis on the Teleostan genus Enchodus: Paludicola, v. 6, n. 2, p. 41-86.
Tintori, A., and Lombardo, C., 2007, A new early Semionotidae (Semionotiformes, Actinopterygii) from the Upper Ladinian of Monte San Giorgio area (Southern Switzerland and northern Italy): Rivista Italiana di Paleontologia e Stratigrafia, v. 113, n. 3, p. 369-381. (Sangiorgioichthys aldae) Link to pdf
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Wang, N.-Z., Jing, F., Wang, W., and Zhu, X.-S., 2007, Actinopterygian fishes from the Permian-Triassic boundary beds in Zhejiang and the Jiangzi Provinces, South China and fish mass extinction, recovery and radiation: Vertebrata PalAsiatica, v. 45, n. 4, p. 307-329. (Baoqingichthys microdontus, Zhejiangichtys zhaoi)
Wilson, M. V. H., Hanke, G. F., and Marss, T., 2007, Paired fins of jawless vertebrates and thier homologies across the "Agnathan"- Tnathostome transition: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 122-149.
Zhao, L.-J., and Lu, L.-W., 2007, A new genus of early Triassic perleidid fish from Changzing, Zhejiang, China: Acta Palaeontologica Sinica, v. 46, n. 2, p. 238-243. (Paraperleidus changzingensis)
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Holland, T., Warren, A., Johanson, Z., Long, J., Parker, K., and Garvey, J., 2007, A new species of Barameda (Rhizodontida) and heterochrony in the Rhizodontid pectoral fin: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 295-315. (Barameda mitchelli)
Janvier, P., Clement, G., and Cloutier, R., 2007, A primitive megalichthyid fish (Sacropterygii, Tetrapodomorpha) from the Upper Devonian of Turkey and its biogeographical implications: Geodiversitas, v. 29, n. 2, p. 249-268. (Sengoerichthys ottoman) Link to pdf
Johanson, Z,. Long, J. A., Talent, J. A., Janvier, P., and Warren, J. W., 2007, New onychodontiform (Osteichthyes; Sacropterygii) from the Lower Devonian of Victoria, Australia: Journal of Paleontology, v. 81, n. 5, p. 1031-1043. (Bukkanodus jesseni)
Laurin, M., Meunier, F. J., Germain, D., and Lemoine, M., 2007, A microanatomical and histological sudy of the paired fin skeleton of the Devonian sacropterygian Eusthenopteron foordi: Journal of Paleontology, v. 81, n. 1, p. 143-153.
Newman, M. J., and den Blaauwen, J. L., 2007, The synonymy of the Scottish Devonian osteolepid fish Thursius macrolepidotus: Scottish Journal of Geology, v. 43, n. 2, p. 101-106. (Thursius macrolepidotus = Thursius moythomasi) Link to pdf
Witzmann, F., and Schoch, R. R., 2007, A megalichthyid sacropterygian fish from the Lower Permian (Autunian) of the Saar-Nahe Basin, Germany: Geobios, v. 45, p. 241-248. (Palatinicnthys laticeps) Link to pdf
Apesteguia, S., Agnolin, F. L., and Claeson, K., 2007, Review of Cretaceous dipnoans from Argentina (Sarcopterygii: Dipnoi) with descriptions of new species: Rev. Mus. Argentno Cienc. Nat. N. S., v. 9, n. 1, p. 27-40. (Chaoceratodus portezuelensis, Ameghinoceratodus iherigi, Ceratodus argentinus, Ceratodus kaopen, Ptychoceratodus cionei, Ptychoceratodus wichmanni)
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Campbell, K. S. W., and Barwick, R. E., 2007, The structure and stratigraphy of Speonesydrion from New South Wales, Australia, and the dentition of primitive dipnoans: Paläontologische Zeitschrift, v. 81, Heft 2, p. 146-159.
Campbell, K. S. W., Barwick, R. E., and Blaauwen, J. L. den, 2007, Structure and function of the shoulder girdle in Dipnoans: new material from Dipterus valenciennesi: Senckenbergiana lethaea, v. 86, n. 1, p. 77-91.
Cavin, L., Suteethorn, V., Buffetaut, E., and Tong, H., 2007, A new Thai Mesozoic lungfish (Sarcopterygii, Dipnoi) with an insight into post-Palaeozoic dipnoan evolution: Zoological Journal of the Linnean Society, v. 149, P. 141-177. (Ferganoceratodus martini)
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Cione, A. L., Gouirie, S., Goin, F., and Poire, D., 2007, Atlantoceratodus, a new genus of lungfish from the Upper Cretaceous of South America and Africa: Revista del Museo de La Plata, v. 10, p. 1-12. (Atlantoceratodus iheringi = Ceratodus iheringi, Atlantoceratodus madagascariensis = Ceratodus madagascariensis)
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Friedman, M., 2007, Cranial structure in the Devonian lungfish Soederberghia groenlandica and its implications for the interrelationships of 'rhynchodipterids': Earth and Environmental Science Transcations of the Royal Society of Edinburgh, v. 98, p. 179-198.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Milner, A. R. C., and Kirkland, J. I., 2007, The case for fishing dinosaurs at the St. George dinosaur discovery site at Johnson Farm: Utah Geological Survey, Survey Notes, v. 39, n. 3, p. 1-3.
Newman, M. J., and Blaauwen, J. L. D., 2007, A new dipnoan fish from the Middle Devonian (Eifelian) of Scotland: Palaeontology, v. 50, part 6, p. 1403-1419. (Pinnalongus saxoni)
Coelocanths
Brito, P. M., 2007, The Crato Formation fish fauna: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 429-443.
Friedman, M., 2007, Styloichthys as the oldest coelacanth: implications for early osteichthyan interrelationships: Journal of Systematic Palaeontology, v. 5, n. 3, p. 289-343.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Martill, D. M., 2007, The age of the Cretaceous Santana Formation fossil konservat lagerstätte of north-east Brazil: a historical reivew and an appraisal of the biochronostratigraphic utility of its palaeobiota: Creaceous Research, v. 28, p. 895-920.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Milner, A. R. C., and Kirkland, J. I., 2007, The case for fishing dinosaurs at the St. George dinosaur discovery site at Johnson Farm: Utah Geological Survey, Survey Notes, v. 39, n. 3, p. 1-3.
Szrek, P., 2007, Coelacanths (Actinistia, Sacropterygii) from the Famennian (Upper Devonian) of the Holy Cross Mountains, Poland: Acta Geologica Polonica, v. 57, p. 403-413. Link to pdf
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Fish Ichnology
Fish Burrows
Fish Coprolites
Everhart, M. J., 2007, Remains of a pycnodont fish (Actinopterygii: Pycnodontiformes) in a coporlite; an uppermost record of Micropycnodon kansasensis in the Smoky Hill Chalk, western Kansas: Transactions of the Kansas Academy of Science, v. 110, n. 1/2, p. 35-43.
Schwanke, C., Souto, P. R. de F., 2007, Coprolitos espiralados da Formacao pedra do fogo, Bacia do Parnaiba: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 111-120.
Anderson, J. S., 2007, Incorporating ontogeny into the matrix: a phylogenetic evaluation of developmental evidence for the origin of modern amphibians: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 182-227.
Barycka, E., 2007, Morphology and ontogeny of the humerus of the Triassic temnospondyl amphibian Metoposaurus diagnosticus: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 243, n. 3, p. 351-361.
Blieck, A., Clement, G., Blom, H., Lelievre, H., Luksevics, E., Streel, M., Thorez, J., and Young, G. C., 2007, The biostratigraphical and palaeogeographical framework of the earliest diversification of tetrapods (Late Devonian): In Devonian Events and Correlations, edited by Becker, R. T., & Kirchgasser, W. T., Geological Society, london, Speical Publications, v. 278, p. 219-235.
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141.
Carroll, R. L., 2007, The Palaeozoic ancestry of Salamanders, Frogs and Caecilians: Zoological Journal of the Linnean Society, v. 150 (suppl. 1), p. 1-140.
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Huttenlacker, A. K., Pardo, J. D., and Small, B. J., 2007, Plemmyradytes shintoni, gen. et sp. nov., an Early Permian Amphibamid (Temnospondyli: Dissorophoidea) from the Eskridge Formation, Nebraska: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 316-328. (Plemmyradytes shintoni)
Konietzko-Meier, D., and Wawro, K., 2007, Mandibular dentition in the Late Triassic temnospondyl amphibian Metoposaurus: Acta Palaeontologica Polonica, v. 52, n. 1, p. 213-215.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural & Science, Bulletin 41, p. 201-218.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., Hunt, A. P., Heckert, A. P., and Spielmann, J. A., 2007, Global Triassic tetrapod biostratigraphy and biochronology: 2007 status: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 229-240.
Lucas, S. G., Spielmann, J. A., and Hunt, A. P., 2007, Biochronological significance of the Late Triassic tetrapods from Krasijow, Poland: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 248-258.
Markey, M. J., and Marshall, C. R., 2007, Terrestrial-style feeding in a very early aquatic tetrapod is supported by evidence from experimental analysis of suture morphology: Proceedings of the National Academy of Science, v. 104, n. 17, p. 7134-7138.
Milner, A. R., Klembara, J., and Dostal, O., 2007, A zatrachydid temnospondyl from the Lower Permian of the Boskovice furrow in Moravia (Czech Republic): Journal of Vertebrate Paleontology, v. 27, n. 3, p. 711-715.
Moser, M., and Schoch, R., 2007, Revision of the type material and nomenclature of Mastodonsaurus giganteus (Jaeger) (Temnospondyli) from the Middle Triassic of Germany: Palaeontology, v. 50, part 5, p. 1245-1266.
Mueller, B. D., 2007, Koskinonodon Branson and Mehl, 1929, a replacement name for the preoccupied temnospondyl Buettneria Case, 1922: Journal of Vertebrate Paleontology, v 27, n. 1, p. 225. (Koskinonodon perfectus = Buettneria perfecta, Koskinonodon priniceps)
Novikov, I. V., 2007, New data on trematosauroid labyrinthodonts of Eastern Europe: 1. Genus Inflectosaurus Shishkin, 1960: Palaeontological Journal, v. 41, n. 2, p. 167-174.
Pawley, K., 2007, The postcranial skeleton of Trimerorhachis insignis Cope, 1878 (Temnospondyli: Trimerorhachidae): a plesiomorphic temnospondyl from the Lower Permian of North America: Journal of Paleontology, V. 81, n. 5, p. 873-894. Link to pdf
Pineiro, G., Mariscano, C. A., and Damiani, R., 2007, Mandibles of mastodonsaurid temnopsondyls from the Upper Permian-Lower Triassic of Uruguay: Acta Palaeontologica Polonica, v. 52, n. 4, p. 695-703. Link to pdf
Pineiro, G., Marsicano, C., and Lorenzo, N., 2007, A new temnospondyl from the Permo-Triassic Buena Vista Formation of Uruguay: Palaeontology, v. 50, part 3, p. 627-640. (Uruyiella liminea)
Pineiro, G., Marsicano, C. A., Goso, C., and Morosi, E., 2007, Temnospondyl diversity of the Permian-Triassic Colonia Orozco local fauna (Buena Vista Formation) of Uruguay: Revista Brasileria de Paleontologia, v. 10, n. 3, p. 169-180. Link to pdf
Ruta, M., and Coates, M. J., 2007, Dates, nodes and character conflect: addressing the lissamphibian origin problem: Journal of Systematic Palaeontology, v. 5, n. 1, p. 69-122.
Ruta, M., Pisani, D., Lloyd, G. T., and Benton, M. J., 2007, A supertree of Temnospondyli: cladogenetic patterns in the most species-rich group of early-tetrapods: Procedings of the Royal Society, Series B, v. 274, p. 2087-2095.
Schoch, R. R., Fichter, F. M., and Keller, T., 2007, Anatomy and relationships of the Triassic temnospondyl Sclerothroax: Acta Palaeontologica Polonica, v. 52, n. 1, p. 117-136.
Schultz, C. L., and Langer, M. C., 2007, Tetrapodes Triassicos do Rio Grande do Sul, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 269-282.
Shishkin, M. A., 2007, Patterns of recovery of amphibian diversity in the Triassic: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 369-370.
Sidor, C. A., Steyer, J., S., and Damiani, R., 2007, Parotosuchus (Temnospondyl: Mastodonsauridae) from the Triassic of Antarctica: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 232-235.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona:In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 371-383.
Sulej, T., 2007, Osteology, variability and evolution of Metoposaurus, a temnospondyl from the Late Triassic of Poland: Palaeontologia Polonica, n, 64, p. 29-143.
Urban, M., and Berman, D. S., 2007, First occurrence of the Late Paleozoic amphibian Zatrachys serratus (Temnospondyli, Zatrachydidae) in the Eastern United States: Annals of Carnegie Museum, v. 76, n. 3, p. 157-164.
Warren, A., 2007, New data on Ossinodus pueri, a stem tetrapod from the Early Carbonifeorus of Australia: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 850-862.
Werneburg, R., 2007, Timeless design: colored pattern on skin in Early Permian brachiosaurids (Temnospondyli: Dissorophoidea): Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1047-1050.
Werneburg, R., Ronchi, A., and Schneider, J. W., 2007, The Early Permian branchiosaurids (Amphibia) of Sardinia (Italy): systematic palaeontology, palaeoecology, biostratigraphy and palaeobiogeographic problems: Palaeogeography, Paleoclimatology, Palaeontology, v. 252, p. 383-404.
Werneburg, R., Steyer, J. S., Sommer, G., Gand, G., Schneider, J. W., and Vianey-Liaud, M., 2007, The earliest tupilakosaurid amphibian with diplospondylous vertebrae from the Late Permian of Southern France: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 26-30.
Witzmann, F., 2007, The evolution of the scalation pattern in temnospondyl amphibians: Zoological Journal of the Linnean Society, v. 150, p. 815-834.
Witzmann, F., 2007, A hemivertebra in a temnospondyl amphibian: the oldest record of scoliosis: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1043-1046.
Witzman, F., and Scholz, H., 2007, Morphometric study of allometric skull growth in the temnospondyl Archegosaurus decheni from the Permian/Carboniferous of Germany: Geobios, v. 40, n. 4, p. 541-554.
Anderson, J. S., 2007, Direct evidence of the rostral anatomy of the Aistopod Phlegethontia, with a new cranial reconstruction: Journal of Paleontology, v. 81, n. 2, p. 408-410.
Carroll, R. L., 2007, The Palaeozoic ancestry of Salamanders, Frogs and Caecilians: Zoological Journal of the Linnean Society, v. 150 (suppl. 1), p. 1-140.
Markey, M. J., and Marshall, C. R., 2007, Terrestrial-style feeding in a very early aquatic tetrapod is supported by evidence from experimental analysis of suture morphology: Proceedings of the National Academy of Science, v. 104, n. 17, p. 7134-7138.
Reisz, R. R., 2007, The cranial anatomy of basal diadectomorphs and the origin of amniotes: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 228-252.
Ruta, M., and Coates, M. J., 2007, Dates, nodes and character conflect: addressing the lissamphibian origin problem: Journal of Systematic Palaeontology, v. 5, n. 1, p. 69-122.
Saber, H., Wartit, M. El., Hmich, D., and Schneider, J. W., 2007, Tectonic evolution from the Hercynian shortening to the Triassic extension in the Paleozoic sediments of the Western High Atlas (Morocco): Journal of Iberian Geology, v. 33, n. 1, p. 31-40.
Lower Reptiles (“Anapsids”)
Botha, J., Modesto, S. P., and Smith, R. M. H., 2007, Extended procolophonoid reptile survivorship after the end-Permian extinction: South African Journal of Science, v. 103, p. 54-56.
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Dias-da-Silva, S., Modesto, S. P., and Schultz, C. L., 2006 (published 2007), New material of Procolophon (Parareptilia: Procolophonoidea) from the Lower Triassic of Brazil, with remarks on the ages of the Sanga do Cabral and Buena Vista Formation of South America: Canadian Journal of Earth Sciences, v. 43,p. 1685-1693.
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Karl, H.-V., Groning, E., and Brauckmann C., 2007, The Mesosauria in the collection of Gottingen and Clausthal: implicatiosn for a modifed classification: Clausthaler Geowissenschaften, v. 6, p. 63-78.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural, p. 201-218.
Larsson, H. C. E., 2007, MODEs of developmental evolution: an example wiht the origin and definition of the Autopodium: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 150-181.
Modesto, S. P., and Damiani, R., 2007, The procolophonid reptile Sauropareion anoplus from the Lowermost Triassic of South Africa: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 337-349.
Modesto, S. P., Scott, D. M., Berman, D. S., Muller, J., and Reisz, R. R., 2007, The skull and the palaeoecological significance of Labidosaurus hamatus, a captorhinid reptile from the Lower Permian of Texas: Zoological Journal of the Linnean Society, v. 149, p. 237-262.
Müller, J., and Tsuji, L. A., 2007, Impendance-matching hearing in Paleozoic reptiles: evidence of advanced senory perception at an early state of amniote evolution: Public Library of Science (PLOS), One, v. 9, 7 pp.
Reisz, R. R., 2007, The cranial anatomy of basal diadectomorphs and the origin of amniotes: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 228-252.
Reisz, R. R., and Modesto, S. P., 2007, Heleosaurus scholtzi from the Permian of South Africa: a varanopid synapsid, not a diapsid reptile: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 734-739.
Reisz, R. R., Muller, J., Tsuji, L., and Scott, D., 2007, The cranial osteology of Belebey vegrandis (Parareptilia: Bolosauridae), from the Middle Permian of Russia, and its bearing on reptilian evolution: Zoological Journal of the Linnean Society, v. 151, p. 191-214.Link to pdf
Saber, H., Wartit, M. El., Hmich, D., and Schneider, J. W., 2007, Tectonic evolution from the Hercynian shortening to the Triassic extension in the Paleozoic sediments of the Western High Atlas (Morocco): Journal of Iberian Geology, v. 33, n. 1, p. 31-40.
Schultz, C. L., and Langer, M. C., 2007, Tetrapodes Triassicos do Rio Grande do Sul, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 269-282.
Voigt, S., Berman, D. S., and Henrici, A. C., 2007, First well-established track-trackmaker association of Paleozoic tetrapods based on Ichniotherium trackways and diadectid skeletons from the Lower Permian of Germany: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 553-570.
Turtles
Genus: Nova (2)
Chubutemys GAFFNEY, RICH, VICKERS-RICH, CONSTANTINE, VACCA, & KOOL, 2007
Linderochelys FUENTE, CALVO & GONZALEZ RIGA, 2007
Species: Nova (3)
Chubutemys copelloi GAFFNEY, RICH, VICKERS-RICH, CONSTANTINE, VACCA, & KOOL, 2007
Linderochelys rinconensis FUENTE, CALVO & GONZALEZ RIGA, 2007
Ordosemys brinkmania DANILOV & PARHAM, 2007
Synonym: Nova (1)
Xinjiangchelys wuerhoensis (YEH, 1977) emend DANILOV & PARHAM, 2007
= Sinemys wuerhoensis YEH, 1977
Batista, D. L., and Carvalho, I. de S., 2007, O genero Araripemys (Chelonii, Pleurodira) no Cretaceo Brasileiro: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 283-289.
Candelro, C. R. dos A., Azevedo, R. P. de, and Silva, P. M. da., 2007, Preliminary approach on depositonal environmental of the Uberaba Formation (Upper Cretaceous, Peiropolis site, Minas Gerais State, Brazil: an introduduction: Caminhos de Geografia, v. 8, n. 2, p. 81-85.
Carrino, M. H., 2007, Taxonomic comparison and stratigraphic distribuion of Toxochelys (Testudines: Cheloniidae) of South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 111-132.
Danilov, I. G., and Parham, J. F., 2007, The type series of 'Sinemys' wuerhoensis, a problematic turtle from the Lower Cretaceous of China, includes at least three taxa: Palaeontology, v. 50, part 2, p. 431-444. (Ordosemys brinkmania)
Difley, R., 2007, Biostratigraphy of the North Horn Formation at North Horn Mountain, Emery County, Utah: UGA Publication n. 36, p. 439-454.
De Laparent de Broin, F,. de la Fuente, M. S., and Frenandez, M. S., 2007, Notoemys laticentralis (Chelonii, Pleurodira), Late Jurassic of Argentina: New examination of the anatomical structures and comparisons: Revue de Paleobiologie, n. 26, n. 1, p. 99-136. Link to pdf
de Fuente, M. S., 2007, Testudines: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 50-86.
de Fuente, M. S., Calvo, J. O., and Gonzalez Riga, B. J., 2007, A new Cretaceous chelid turtle from the northern Neuquen Basin, Agentina: Ameghiana, v. 44, n. 2, p. 485-492. (Linderochelys rinconensis)
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Gaffney, E. S., Rich, T. H., Vickers-Rich, P., Constantine, A, Vacca, R., and Kool, L., 2007, Chubutemys, a new eucryptodiran turtle from the Early Cretaceous of Argentina, and the relationships of the Meiolaniidae: American Museum Novitates, n. 3599, 35pp. (Chubutemys copelloi)
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper Cretaceous (Cenomanian-Turonian and Turonian-Coniacian) open marine plattenkalk deposits of New Mexico: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 71-81.
Joyce, W. G., 2007, Phylogenetic relationships of Mesozoic Turtles: Bulletin of the Peabody Museum of Natural History, v. 48, n. 1, 3-102.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Matze, A. T., 2007, An almost complete juvenile specimen of the cheloniid turtle Ctenochelys stenoporus (Hay, 2905) from the Upper Cretaceous Niobrara Formation of Kansas, USA: Palaeontology, v. 50, part 3, p. 669-691.
Naish, D., 2007, Turtles of the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 452-457.
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Oliveira, G. R. de, 2007, Aspectos tafonomicos de testudines da Formacao Santana (Cretaceo (Inferior), Bacia do Araripe, Nordeste do Brazil: Anuario do Instituto de Geociencias, v. 30, n. 1, p. 77-87.
Oliveria, G. R. de., and Kellner, A. W. A., 2007, Taxonomic status of Araripemys "arturi" fielding, Martill & Naish, 2005 (Testudines, Pleurodira, Araripemyididae): In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 385-391.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Scheyer, T. M., and Sander, P. M., 2007, Shell bone histology indicates terrestrial palaeoecology of basal turtles: Proceedings of the Royal Socity, Series B,. v. 274, p. 1885-1893.
Sterli, J., de la Fuente, M. S., and Rougier, G. W., 2007, Anatomy and relationships of Palaeochersis talampayensis, a Late Triassic Turtle from Argentina: Palaeontographica, Abt. A., v. 281, Lfg. 1-3, p. 1-61. Link to pdf
Sterli, J., and Joyce, W. G., 2007, The cranial anataomy of the Early Jurassic turtle Kayentachelys aprix: Acta Palaontologica Polonica, v. 52, v. 4, p. 675-694.
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Diapsida (Lower Lepidosauromorphs)
Genus: Nova (1)
Miodentosaurus CHENG, WU & SATO, 2007
Species: Nova (1)
Anshusaurus huangnihensis CHENG, CHEN & WANG, 2007
Miodentosaurus brevis CHENG, WU & SATO, 2007
Lizards and Snakes
Genus: Nova (3)
Komensaurus CALDWELL & PALCI, 2007
Tripennaculus NYDAM, & VOCI, 2007
Xianglong LI, GAO, HOU & XU, 2007
Species: Nova (9)
Adriosaurus microbrachis PALCI & CALDWELL, 2007
Dicothodon cifellii NYDAM, EATON & SANKEY, 2007
Globidens schumanni MARTIN, 2007a
Hainosaurus newmilleri MARTIN, 2007b
Komensaurus carrolli CALDWELL & PALCI, 2007
Mensicognathus molybrochoros NYDAM, & VOCI, 2007
Plioplatecarpus nichollsae CUTHBERTSON, MALLON, CAMPIONE, & HOLMES, 2007
Tripennaculus eatoni NYDAM, & VOCI, 2007
Xianglong zhaoi LI, GAO, HOU & XU, 2007
Synonym: Nova (3)
Dicothodon bajaensis (NYDAM, 1999) NYDAM, EATON & SANKEY, 2007
= Polyglyphanodon bajaensis NYDAM, 1999
Peneteius saueri (McCORD, 1998) NYDAM, EATON & SANKEY, 2007
=Manangyasaurus saueri McCORD, 1998
Taniwhasaurus antarcticus (NOVAS, FERENANDEZ, GASPARINI, LIRIO, NUNEZ & PUERTA, 2002) MARTIN, & FERNANDEZ, 2007
= Lakumasaurus antarcticus NOVAS, FERENANDEZ, GASPARINI, LIRIO, NUNEZ & PUERTA, 2002
Albino, A., 2007, Lepidosauromorpha: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 87-115.
Buchy, M.-C., Frey, E., Stinnesbeck, W., and Lopez-Oliva, J. G., 2007, Cranial anatomy of a Maastrichtian (Upper Cretaceous) mosasaur (Squamata, Mosasauridae) from north-east Mexico: Revista Mexicana de Ciencias Geologics, v. 24, n. 1, p. 89-103. Link to pdf
Caldwell, M. W., 2007, Ontogeny, anatomy and attachment of the dentition in mosasaurs (Mosasauridae: Squamata): Zoological Journal of the Linnean Society, v. 149, p. 687-700.
Caldwell, M. W., 2007, Snake phylogeny, origins, and evolution: the role, impact, and importance of fossils, (1869-2006): In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 253-302.
Caldell, M. W., and Konishi, T., 2007, Taxonomic re-assignment of the first-known mosasaur specimen from Japan, and a discussion of circum-Pacific mosasaur paleobiogeography: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 517-520.
Caldwell, M. W., and Palci, A., 2007, A new basal mosasauroid from the Cenomanian (U. Cretaceous) of Slovenia with a review of mosasauroid phylogeny and evolution: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 863-880. (Komensaurus carrolli)
Chatterjee, S., and Scotese, C., 2007, Biogeography of the Mesozoic lepidosaurs on the wandering Indian plate: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 551-579.
Conrad, J. L., and Norell, M. A., 2007, A complete Late Cretaceous Iguanian (Squamata, Reptilia) from the Gobi and identification of new iguaninan clade: American Museum Novitates, n. 3584, p. 47pp. (Saichangurvel davidsonae emend Saichangurvel davidsoni) Link to pdf
Note: The authors incorrectly used the wrong ending. They named it after a female preparator, Amy Davidson, and the ending should actually be -ae not -i.
Cuthbertson, R. S., Mallon, J. C., Campione, N. E., and Holmes, R. B., 2007, A new species of mosasaur (Squamata: Mosasauridae) from the Pierre Shale (Lower Campanian) of Manitoba: Canadian Journal of Earth Sciences, v. 44, n. 5, p. 593-606. (Plioplatecarpus nichollsae)
Diez Diaz, V., and Ortega, F., 2007, Un nuevo ejemplar de mosasaurio halisaurino del Cretacico Superior (Maastrichtiense) de la cuenca de Khourigba (Morocco): In: Cantera Paleontológica: 143-156. Diputación Provincial de Cuenca, Cuenca: 398 pp.
Difley, R., 2007, Biostratigraphy of the North Horn Formation at North Horn Mountain, Emery County, Utah: UGA Publication n. 36, p. 439-454.
Dutchak, A. R., and Caldwell, M. W., 2006 (published in 2007), Redescription of Aigialosaurus dalmaticus Kramberger, 1892, a Cenomanian mosasauroid lizard from Hvar Island, Croatia: Canadian Journal of Earth Sciences, v. 43, p. 1821-1834.
Evans, S. E., and Wang, Y., 2007, A juvenile lizard specimen with well-preserved skin impressions from the Upper Jurassic/Lower Cretaceous of Daohugou, Inner Mongolia, China: Naturwissenschaften, v. 94, p. 431-439. Link to pdf
Evans, S. E., Wang, Y., and Jones, M. E. H., 2007, An aggregation of lizard skeletons from the Lower Cretaceous of China: Senckenbergiana lethaea, v. 87, n. 1, p. 109-118. Link to pdf
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper Cretaceous (Cenomanian-Turonian and Turonian-Coniacian) open marine plattenkalk deposits of New Mexico: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 71-81.
Konishi, T., and Caldwell, M. W., 2007, New specimens of Platecarpus planifrons (Cope, 1874) (Squamata: Mosasauridae) and a revised taxonomy of the genus: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 59-72.
Li, P.-P., Gao, K.-Q., Hou, L.-H., and Xu, X., 2007, A gliding lizard from the Early Cretaceous of China: Proceedings of the National Academy of Science, v. 104, n. 13, p. 5507-5509. (Xianlong zhaoi)
Lindgren, J., 2007, First record of Halisaurus (Squamata: Mosasauridae) from the Pacific coast of North America: PaleoBios, v. 27, n. 2, p. 40-47.
Lindgren, J., Jagt, J. W. M., and Caldwell, M. W., 2007, A fishy mosasaur: the axial skeleton of Plotosaurus (Reptilia, Squamata) reassessed: Lethaia, v. 40, p. 153-160.
Martill, D. M., 2007, Lizards of the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 458-462.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Martin, J. E., 2007a, A new species of the durophagous mosasaur Globidens (Squamata: Mosasauridae) from the Late Cretaceous Pierre Shale Group of Central South Dakota, USA: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 177-198. (Globidens schurmanni)
Martin, J. E., 2007b, A North American Hainosaurus (Squamata: Mosasauridae) from the Late Cretaceous of southern South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 199-207. (Hainosaurus neumilleri)
Martin, J E., and Fernandez, M., 2007, The synonymy of the Late Cretaceous mosasaur (Squamata) genus Lakumasaurus from Antarctica with Taniwhasaurus from New Zealand and its bearing upon faunal similarity within the Weddellian Province: Geological Journal, v. 42, p. 203-311. (Taniwhasaurus antarcticus = Lakumasaurus antarcticus)
Martin, J. E., and Fox, J. E., 2007, Stomach contents of Globidens, a shell-crushing mosasaur (Squamata), from the Late Cretaceous Pierre Shale Group, Big Bend area of the Missouri River, central South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 167-176.
Meredith, R. W., Martin, J. E., and Wegleitner, P. N., 2007, The largest mosasaur (Squamata: Mosasauridae) from the Missouri River area (Late Cretaceous; Pierre Shale Group) of South Dakota and its relationships to Lewis and Clark: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 209-214. Link to pdf
Nydam, R. L., Eaton, J. F., and Sankey, J., 2007, New taxa of transversely-toothed lizards (squamata: Scincomorpha) and new information on the evolutionary history of "Teiids": Journal of Paleontology, v. 81, n. 3, p. 538-549. (Dicothodon cifellii, Dicothodon bajaensis = Polyglyphanodon bajaensis, Peneteius sauri = Manangyasaurus saurei) Link to pdf
Nydam, R. L., and Voci, G. E., 2007, Teiid-like Scincomorphan lizards from the Late Cretaceous (Campanian) of Southern Utah: Journal of Herpetology, v. 41, n. 2, p. 211-219. (Tripennaculus eatoni, Mensicognathus molybrochoros). Link to pdf
Obata, I., Matsukawa, M., and Shibata, K., 2007, Geological age and environments of the plesiosaurs and the mosasaurs from Japan: Jubilee Publ. Commem. Prof. Kamei's 80th birthday, p. 155-177.
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Palci, A., and Caldwell, M. W., 2007 Vestigial forelimbs and axial elongation in a 95 million-year-old non-snake squamate: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 1-7. (Adriosaurus microbrachis)
Patrick, D., Martin, J. E., Parris, D. C., and Grandstaff, D. E., 2007, Rare earth element (REE) analysis of fossil vertebrates from the Upper Cretaceous Pierre Shale Group for the purposes of paleobathymetric interpretations of the Western Interior Seaway: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 71-83.
Patrick, D., Martin, J. E., Parris, D. C., and Grandstaff, D. E., 2007, Rare earth element determination of the stratigraphic position of the holotype of Mosasaurus missouriensis (Harlan), the first named fossil reptile from the American West: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 155-165.
Salgado, L., Ferandez, M., and Talevi, M., 2007, Observaciones histologicas en reptiles marinos (Elasmosauridae y Mosasauridae) del Cretacico Tardio de Patagonia y Antartida: Ameghinana, v. 44, n. 3, p. 513-523.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Scanferla, C. A., and Canale, J. I., 2007, The youngest record of the Cretaceous snake genus Dinilysia (Squamata, Serpentes): South American Journal of Herpetology, v. 2, n. 1, p. 766-81. Link to pdf
Shimada, K., Everhart, M. J., and Ewell, K., 2007, A unique reptilian (large dolichosaurid lizard?) tooth from the Upper Cretaceous Niobrara Chalk of western Kansas: Transactions of the Kansas Academy of Science, v. 110, n. 3/4, p. 213-219.
Shimada, K., and Ystesund, T. K., 2007, A dolichosaurid lizard, Coniasaurus cf. C. crassidens, from the Upper Cretaeous Carlile Shale in Russell County, Kansas: Transacations of the Kansas Academy of Science, v. 110, n. 3/4, p. 236-242.
Silva, M. C. da, Barreto, A. M. F., Carvalho, I. de S., and Carvalho, M. S. S., 2007, Relacao entre a morfologia da denticao e os habitos alimentares dos vertebrados da Bacia da Paraiba, Nordeste do Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 433-440.
Sphenodonts
Genus: Nova (1)
Lamarquesaurus APESTEGUIA & ROUGIER, 2007
Species: Nova (1)
Lamarquesaurus cabazai APESTEGUIA & ROUGIER, 2007
Albino, A., 2007, Lepidosauromorpha: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 87-115.
Apesteguia, S., and Rougier, G. W., 2007, A Late Campanian Sphenodontid maxilla from Northern Patagonia: American Museum Novitates, n. 3581, 11pp. (Lamarquesaurus cabazai) Link to pdf
Chatterjee, S., and Scotese, C., 2007, Biogeography of the Mesozoic lepidosaurs on the wandering Indian plate: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 551-579.
Gasparini, Z., Salgado, L., and Coria, R. A., 2007, Reptilian faunal succession in the Mesozoic and Patagonia, an updated overview: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 335-358.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona:In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 371-383.
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Ichthyosaurs
Species: Nova (1)
Callawayia wolonggangense CHEN, CHENG & SANDER, 2007
Synonym: Nova (1)
Stenopterygius cayi (FERNANDEZ, 1994) FERNANDEZ, 2007
= Chacaicosaurus cayi FERNANDEZ, 1994
Chen, X. H., Cheng, L., and Sander, P. M., 2007, A new species of Callawayia (Reptilia: Ichthyosauria) from the Late Triassic Guanling biota, Guizhou, China: Geological Bulletin of China, v. 22, p. 228-235. (Callawayia wolonggangense)
Fernandez, M., 2007, Redescription and phylogenetic position of Caypullisaurus (Ichthyosauria: Ophthalmosauridae): Journal of Paleontology, v. 81, n. 2, p. 368-375.
Fernandez, M., 2007, Ichthyosauria: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 271-291.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Jiang, D.-Y., Schmitz, L., Motani, R., Hao, W.-C., and Sun, Y.-L., 2007, The mixosaurid ichthyosaur Phalarodon cf. P. fraasi from the Middle Triassic of Guizhou Province, China: Journal of Paleontology, v. 81, n. 3, p. 602-605. Link to pdf
Lingham-Soliar, T., and Plodowski, G., 2007, Taphonomic evidence for high-speed adapted fins in thunniform ichthyosaurs: Naturwissenschaften, v. 94, p. 65-70.
Lucas, S. G., Siberling, N. J., Jenks, J. F., Spielmann, J. A., and Rinehart, L. F., 2007, Third day: Upper Triassic and Lower Jurassic stratigraphy and biostratigrphy in western Nevada: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 23-32.
Reisdorf, A. G., 2007a, Der ichthyosaurier von Hauensteiner Nebelmeer wie eine kopflandung die wissenschaft kopf stehen lässt: Naturforschende Gesellschaft des Kantos Solothurn, heft 40, p. 7-22.
Reisdrof, A. G., 2007b, No Joke Movement mehr über den hauensteiner ichthyosaurier und rezente marine lungenatmer: Naturforschende Gesellschaft des Kantos Solothurn, heft 40, p. 23-49.
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Sauropterygians and Placodontians
Genus: Nova (4)
Eopolycotylus ALBRIGHT, GILLETTE & TITUS, 2007a
Hydrorion GROßMANN, 2007
Pahaspasaurus SCHUMACHER, 2007
Palmulasaurus ALBRIGHT, GILLETTE & TITUS, 2007c
Species: Nova (2)
Eopolycotylus rankini ALBRIGHT, GILLETTE & TITUS, 2007a
Pahaspasaurus haasi SCHUMACHER, 2007
Synonym: Nova (2)
Hydrorion brachypterygius (HUENE, 1923) GROßMANN, 2007
= Plesiosaurus brachypterygius HUENE, 1923
= Microcleidus brachypterygius (HUENE, 1923), BAKKER, 1993
Palmulasaurus quadratus (ALBRIGHT, GILLETTE & TITUS, 2007a) ALBRIGHT, GILLETTE & TITUS, 2007c
= Palmula quadratus ALBRIGHT, GILLETTE & TITUS, 2007a
Albright III, L. B., Gillette, D. D., and Titus, A. L., 2007a, Plesiosaurs from the Upper Cretaceous (Cenomanian-Turonian) Tropic Shale of southern Utah, part 1: new records of the pliosaur Brachauchenius lucasi: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 31-40.
Albright III, L. B., Gillette, D. D., and Titus, A. L., 2007b, Plesiosaurs from the Upper Cretaceous (Cenomanian-Turonian) Tropic Shale of southern Utah, part 2: polycotylidae Journal of Vertebrate Paleontology, v. 27, n. 1, p. 41-58. (Eopolycotylus rankini, Palmula quadratus) Link to pdf
Albright III, L. B., Gillette, D. D., and Titus, A. L., 2007c, Plesiosaurs from the Upper Cretaceous (Cenomanian-Turonian) tropic shale of southern Utah, part 2: Polycotylidae: repalcement names for the preoccupied genus Palmula and the subfamily Palmulainae: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1051. (Palmulasaurus quadratus = Palmula quadratus) Link to pdf
Arkhangelsky, M. S., Averianov, A. O., and Pervushov, E. M., 2007, Short-necked plesiosaurs of the family Polycotylidae from the Campanian of the Saratov Region: Palaeontological Journal, v. 2007, v. 41, n . 6, p. 656-660. Link to pdf
Everhart, M. J., 2007, Use of archival photographs to rediscover the locality of the Holyrood elasmosaur (Ellsworth County, Kansas): Transactions of the Kansas Academy of Science, v. 110, n. 1/2, p. 135-241.
Everhart, M. J., 2007, Historical note on the 1884 discovery of Brachauchenius lucasi (Plesiosauria; Pliosauridae) in Ottawa County, Kansas: Transactions of the Kansas Academy of Science, v. 110, n. 3/4, p. 255-258. Link to pdf
Farke, A. A., 2007, Reexamination of paleopathology in plesiosaurs and implications for behavioral interpretations: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 724-726.
Gasparini, Z., 2007, Plesiosauria: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 292-313.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Großmann, F., 2007, The taxonomic and phylogenetic position of the plesiosauroidea from the Lower Jurassic Posidonia shale of south-west Germany: Palaeontology, v. 50, part 3, p. 545-564. (Hydrorion brachypterygius = Plesiosaurus brachypterygius) Link to pdf
Kear, B. P., 2007, A juvenile pliosauroid plesiosaur (Reptilia: Sauropterygia) from the Lower Creaceous of South Australia: Journal of Paleontology, v. 81, n. 1, p. 154-162.
Kear, B. P., 2007, Taxonomic clarification of the Australian elasmosaurid genus Eromangasaurus, with reference to other Austral elasmosaur taxa: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 241-246.
Martin, J. E., Sawyer, J. F., Reguero, M., and Case, J. A., 2007, Occurrence of a young elasmosaurid plesiosaur skeleton from the Late Cretaceous (Maastrichtian) of Antarctica: U.S. Geological Survey and The National Academics, USGS of -2007-2047, Short Research Papers 066, doi:10.3133/of2007-1047.srp066, 4pp.
Noe, L. F., and Gomez-Perez, M., 2007, Postcript to Everhart, M. J., 2005. "Elasmosaurid remains from the Pierre Shale (Upper Cretaceous) of western Kansas. Possible missing elements of the type specimen of Elasmosaurus platyurus Cope, 1868?" - PalArch's Journal of Vertebrate Paleontology, 4, 3, p. 19-32: PalArch's Journal of Vertebrate Paleontology, 2, 1, p. 1-9.
Obata, I., Matsukawa, M., and Shibata, K., 2007, Geological age and environments of the plesiosaurs and the mosasaurs from Japan: Jubilee Publ. Commem. Prof. Kamei's 80th birthday, p. 155-177.
Salgado, L., Ferandez, M., and Talevi, M., 2007, Observaciones histologicas en reptiles marinos (Elasmosauridae y Mosasauridae) del Cretacico Tardio de Patagonia y Antartida: Ameghinana, v. 44, n. 3, p. 513-523.
Salgado, L., Parras, A., and Gasparini, Z., 2007, Un plesiosaurio de cuello corto (Plesiosauroidea, Polycotylidae) del Cretacico Superior del norte de Patagonia: Ameghiniana, v. 44, n. 2, p. 349-358.
Schumacher, B. A., 2007, A new polycotylid plesiosaur (Reptilia; Sauropterygia) from the Greenhorn Limestone (Upper Cretaceous; lower upper Cenomanian), Black Hills, South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 133-146. (Pahasapasaurus haasi).
Smith, A. S., 2007, The back-to-front plesiosaur Cryptoclidus (Apractocleidus) aldingeri from the Kimmeridgian of Milne Land, Greenland: Bulletin of the Geological Society of Denmark, v. 58, p. 1-7.
Thompson, W. A., Martin, J. E., and Reguero, M., 2007, Comparison of gastroliths within plesiosaurs (Elasmosauridae) from the Late Cretaceous marine deposits of Vega Island, Antarctic Peninsula, and the Missouri River area, South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 147-153.
Vincent, P., Bardet, N., and Morel, N., 2007, An Elasmosaurid plesiosaur from the Aalenian (Middle Jurassic) of Western France: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 243, n. 3, p. 363-370.
Wahl, W. R., Ross, M., and Massare, J. A., 2007, Rediscovery of Wilbur Knight's Megalneusaurus rex site: new material from an old pit: Paludicola, v. 6, n. 2, p. 94-104. Link to pdf
Lower Archosauromorpha
Genus: Nova (1)
Mecistotrachelos FRASER, OLSEN, DOOLEY & RYAN, 2007
Species: Nova (3)
Anshunsaurus huangnihensis CHENG, CHEN & WANG, 2007
Macrocnemus fuyanensis LI, ZHAO, & WANG, 2007
Mecistotrachelos apeoros FRASER, OLSEN, DOOLEY & RYAN, 2007
Buffetaut, E., Li, J., Tong, H., and Zhang, H., 2007, A two-headed reptile from the Cretaceous of China: Biology Letters, v. 3, p. 80-81.
Casey, M. M., Fraser, N. C., and Kowalewski, M., 2007, Quantitative taphonomy of a Triassic reptile Tanytrachelos ahynis from the Cow Branch Formation, Dan River Basin, Solite Quarry, Virginia: Palaios, v. 22, p. 598-611.
Cheng, L., Chen, X., and Wang, C., 2007, A new species of Late Triassic Anshunsaurus (Reptilia: Thalattosauria) from Guizhou PRovince, Acta Geologica Sinica, v. 81, n. 10, p. 1345-1351. (Anshunsaurus huangnihensis) Link to pdf
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Fraser, N. C., Olsen, P. E., Dooley jr, A. C., and Ryan, T. R., 2007, A new gliding tetrapod (Diapsida: ?Archosauromorpha) from the Upper Triassic (Carnian) of Virginia: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 261-265. (Mecistotrachelos apeoros)
Gao, K.-Q., Ksepka, D., Hou, L., Duan, Y., and Hu, D., 2007, Cranial morphology of an Early Cretaceous Monjurosuchid (Reptilia: Diapsida) from the Liaoning Province of China and evolution of the chrostoderan palate: Historical Biology, v. 19, n. 3, p. 215-224.
Gao, K.-Q., and Li, Q., 2007, Osteology of Monjurosuchus splendens (Diapsida: Christodera) based on a new specimen from the Lower Cretaceous of western Liaoning, China: Cretaceous Research, v. 28, p. 261-271.
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Hone, D. W. E., and Benton, M. J., 2007, An evaluation of the phylogenetic relationships of the pterosaurs among archosauromorph reptiles: Journal of Systematic Palaeontology, v. 5, n. 4, p. 465-469.
Irmis, R. B., Parker, W. G., Nesbitt, S. J., and Liu, J., 2007, Early ornithischian dinosaurs: the Triassic record: Historical Biology, v. 19, n. 1, p. 3-22.
Katsura, Y., 2007, Fusion of sacrals and anatomy in Champsosaurus (Diapsida, Choristodera): Historical Biology, v. 19, n. 3, p. 263-271.
Kubo, T., and Benton, M. J., 2007, Evolution of hindlimb posture in archosaurs: limb stresses in extinct vertebrates: Palaeontology, v. 50, part 6, p. 1519-1529.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural, p. 201-218.
Li, C., 2007, A juvenile Tanystropheus sp. (Protosauria, Tanystropheidae) from the Middle Triassic of Guizhou, China: Vertebrata PalAsiatica, v. 45, n. 1, p. 37-42.
Li, C., Zhao, L.-J., and Wang, L.-T., 2007, A new species of Macrocnemus (Reptilia: Protosauria) from the Middle Triassic of southwestern China and its palaeogeographical implications: Science in China Series D-Earth Sciences, v. 50, p. 1601-1605. (Macrocnemus fuyanensis)
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Matsumoto, R., Evans, S. E., and Manabe, M., 2007, The choristoderan reptile Monjurosuchus from the Early Cretaceous of Japan: Acta Palaeontologica Polonica, v. 52, n. 2, p. 339-350. Link to pdf
Nesbitt, S. J., Irmis, R. B., and Parker, W. G., 2007, A critical re-evaluation of the Late Triassic Dinosaur Taxa of North America: Journal of Systematic Palaeontology, v. 5, n. 2, p. 209-243.
Nosotti, S., 2007, Tanystropheus longobardicus (Reptilia, Protorosauria): re-interpretations of the anatomy based on new specimens from the Middle Triassic of Besano (Lombardy, Northern Italy): Memorie della Societa Italiana di Scienze Naturali e del Museo Civico di Storia Naturale di Milano, v. 35, fasc. III, 88pp. Link to pdf
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Renesto, S., and Dalla Vecchia, F. M., 2007, A revision of Longobardisaurus rossii Bizzarini and Muscio, 1995 from the Late Triassic of Friuli (Italy): Rivista Italiana di Paleontologi e Stratigrafia, v. 113, n. 2, p. 191-201.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Scheetz, R. D., and Britt, B. B., 2007, Paleontological discoveries of James A. "Dinosaur Jim" Jensen in Central Utah: UGA Publication 36, p. 455-465.
Schultz, C. L., and Langer, M. C., 2007, Tetrapodes Triassicos do Rio Grande do Sul, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 269-282.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural, p. 371-383.
Spielmann, J. A., Lucas, S. G., Heckert, A. B., Rinehart, L. F., and Hunt, A. P., 2007, Taxonomy and biostratigraphy of the Late Triassic archosauromorph Trilophosaurus: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 231-240.
Vandermark, D., Tarduno, J. A., and Brinkman, D. B., 2007, A fossil champsosaur population from the high Arctic: implications for Late Cretaceous paleotemperatures: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 248, p. 49-59. Link to pdf
Vega-Dias, C., and Schultz, C. L., 2007, Evidence of archosaurifrom feeding on dicynodonts in the Late Triassic of southern Brazil: PaleoBios, v. 27, n. 2, p. 62-67.
“Thecodontia, Pseudosuchia"
Genus: Nova (3)
Adamanasuchus LUCAS, HUNT & SPIELMANN, 2007
Arganasuchus JALIL & PEYER, 2007
Heliocanthus PARKER, 2007
Species: Nova (2)
Adamanasuchus eisenhardtae LUCAS, HUNT & SPIELMANN, 2007
Arganasuchus dutuiti JAILIL & PEYER, 2007
Synonym: Nova (2)
Heliocanthus chamaensis (ZEIGLER, HECKERT & LUCAS, 2002) PARKER, 2007
= Desmatosuchus chamaensis ZEIGLER, HECKERT & LUCAS, 2002
Poposaurus langstoni (LONG & MURRY, 1995) WEINBAUM & HUNGERBUHLER, 2007
= Lythrosuchus langstoni LONG & MURRY, 1995
= Postosuchus kirkpatricki CHATTERJEE, 1985 (partim)
Desojo, J. B, and Baez, A. M., 2007, Cranial morphology of the Late Triassic South American archosaur Neoaetosauroides engaeus: evidence for aetosaurian diversity: Palaeontology, v. 50, part 1, p. 267-276.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Heckert, A. B., Lucas, S. G., Hunt, A. P., and Spielmann, J. A., 2007, Late Triassic aetosaur biochronology revisited: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 49-50.
Heckert, A. B., Spielmann, J. A., Lucas, S. G., and Hunt, A. P., 2007, Biostratigraphy utility of the Upper Triassic aetosaur Tecovasuchus (Archosauria: Stagonolepididae), anindex taxon of St. Johnsian (Adamanian: Late Carnian) time: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 51-57.
Irmis, R. B., 2007, Axial skeleton ontogeny in the parasuchia (Archosauria: Pseudosuchia) and its implications for ontogenetic determination in archosaurs: Journal of Paleontology, v. 27, n. 2, p. 350-361.
Irmis, R. B., Parker, W. G., Nesbitt, S. J., and Liu, J., 2007, Early ornithischian dinosaurs: the Triassic record: Historical Biology, v. 19, n. 1, p. 3-22. Link to pdf
Jalil, N.-E., and Peyer, K., 2007, A new rauisuchian (Archosauria, Suchia) from the Upper Triassic of the Argana basin, Morocco: Palaeontology, v. 50, part 2, p. 417-430. (Arganasuchus dutuiti)
Kubo, T., and Benton, M. J., 2007, Evolution of hindlimb posture in archosaurs: limb stresses in extinct vertebrates: Palaeontology, v. 50, part 6, p. 1519-1529.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, , p. 201-218.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., Heckert, A. B., and Rinehart, L., 2007, A giant skull, ontogenetic variation and taxonomic validity of the Late Triassic phytosaur Parasuchus: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 222-228.
Lucas, S. G., Hunt, A. P., Heckert, A. P., and Spielmann, J. A., 2007, Global Triassic tetrapod biostratigraphy and biochronology: 2007 status: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 229-240.
Lucas, S. G., Hunt, A. P., and Spielmann, J. A., 2007, A new aetosaur from the Upper Triassic (Adamanian: Carnian) of Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 241-247. (Adamanasuchus eisenhardtae).
Lucas, S. G., Spielmann, J. A., Heckert, A. B., and Hunt, A. P., 2007, Topotypes of Typothorax coccinarum, a Late Triassic aetosaur from the American southwest: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 241-247.
Lucas, S. G., Spielmann, J. A., and Hunt, A. P., 2007, Biochronological significance of the Late Triassic tetrapods from Krasijow, Poland: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 248-258.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Nesbitt, S. J., 2007, The Anatomy of Effigia okeeffeae (Archosauria, Suchia), Theropod-like convergence, and the distribution of related taxa: Bulletin of the American Museum of Natural History, n. 302, 84pp.
Nesbitt, S. J., Irmis, R. B., and Parker, W. G., 2007, A critical re-evaluation of the Late Triassic Dinosaur Taxa of North America: Journal of Systematic Palaeontology, v. 5, n. 2, p. 209-243.
Parker, W. G., 2007, Reassessment of the aetosaur 'Desmatosuchus' chamaensis with a reanalysis of the phylogeny of the aetosauria (Archosauria: Pseudosuchia): Journal of Systematic Paleontology, v. 5, n. 1, p. 41-68. (Rioarribasuchus chamaensis = Desmatosuchus chamaensis = Heliocanthus chamaensis. Note: Desmatosuchus chamaensis was renamed by Lucas, S. G., Hunt, A. P., and Spielmann, J. A., 2006 as this paper was in press)
Prieto-Marquez, A., Gignac, P. M., and Joshi, S., 2007, Neontological evaluation of pelvic skeletal attributes purported to reflect sex in extinct non-avian archosaurs: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 603-609.
Schoch, R. R., 2007, Osteology of the small archosaur Aetosaurus from the Upper Triassic of Germany: Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 246, n. 1, p. 1-35.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 371-383.
Tanner, L. H., and Lucas, S. G., 2007, The Moenave Formation: Sedimentologic and stratigraphic context of the Triassic-Jurassic boundary in the Four Corners area, southwestern U.S.A.: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 111-125.
Wedal, M., 2007, What pneumaticity tells us about 'prosauropods', and vice versa: Special Papers in Paleontology, v. 77, p. 207-222.
Weinbaum, J. C., and Hungerbühler, A., 2007, A revision of Poposaurus gracilis (Archosauria: Suchia) based on two new specimens from the Late Triassic of southwestern U.S.A: Paläontologische Zeitschrift, v. 81, Heft 2, p. 131-145. (Poposaurus langstoni = Lythrosuchus langstoni)
Crocodilia (Mesosuchia, Eusuchia)
Genus: Nova (9
Aktiogavialis VELEZ-JURABE, BROCHU, & SANTOS, 2007
Barinasuchus PAOLILLO & LINARES, 2007
Dollosuchoides BROCHU, 2007a
Iharkutosuchus OSI, CLARK & WEISHAMPEL, 2007
Langstonia PAOLILLO & LINARES, 2007
Montealtasuchus CARVALHO, VASCONCELLOS & TAVARES, 2007
Oceanosuchus HUA, BUFFETAUT, LEGALL & ROGRON, 2007
Voay BROCHU, 2007
Zulmasuchus PAOLILLO & LINARES, 2007
Species: Nova (11)
Aktiogavialis puertoricensis VELEZ-JURABE, BROCHU, & SANTOS, 2007
Barinasuchus arveloi PAOLILLO & LINARES, 2007
= Sebecus cf. huilensis BUFFETAUT & OFFSTETTER, 1977
Congosaurus compressus (BUFFETAUT, 1979) JOUVE, 2007
= Rhabdognathus compressus BUFFETAUT, 1979
Dollosuchoides densmorei BROCHU, 2007a
Eocaiman palaeocoenicus BONA, 2007
Iharkutosuchus makadii OSI, CLARK & WEISHAMPEL, 2007
Mariliasuchus robustus NOBRE, CARVALHO, VASCONCELLOS & NAVA, 2007
Montealtasuchus arrudacamposi CARVALHO, VASCONCELLOS & TAVARES, 2007
Neuquensuchus universitas FIORELLI & CALVO, 2007
Oceanosuchus boecensis HUA, BUFFETAUT, LEGALL & ROGRON, 2007
Rhabdognathus aslerensis JOUVE, 2007
Synonym: Nova (5)
Kentisuchus spenceri (BUCKLAND, 1837) BROCHU, 2007
= Crocodilus spenceri (BUCKLAND, 1837) BROCHU, 2007
= Crocodilus toliapicus OWEN, 1850
= Kentisuchus toliapicus (OWEN, 1850) MOOK, 1955
= Crocodilus delucii GRAY, 1831
= Crocodilus champsoides OWEN, 1850
Langstonia huilensis (LANGSTON, 1965) PAOLILLO & LINARES, 2007
= Sebecus huilensis LANGSTON, 1965
Shuvosaurus okeeffeae (NESBIT & NORELL, 2006) LUCAS, SPIELMANN & HUNT, 2007
= Effigia okeeffeae NESBITT & NORELL, 2006
Voay robustus (GRANDIDIER & VAILLANT, 1872) BROCHU, 2007
= Crocodilus robustus GRANDIDIER & VAILLANT, 1872
Zulmasuchus querejazus (BUFFETAUT & MARSHELL, 1991) PAOLILLO & LINARES, 2007
= Sebecus querejazus BUFFETAUT & MARSHALL, 1991
Azevedo, R. P. F. de, Vasconcellos, P. L. de, Canderio, C. R. dos A., and Bergqvist, L. P., 2007, Restos microscopicos de vertebrados fosseis do Grupo Bauru (Neocertaceo), no oest do estado de Sao Paulo, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 533-541.
Bona, P., 2007, Un nueva especie de Eocaiman Simpson (Crocodylia, Alligatoridae) del Paleoceno Inferior de Patagonia: Ameghiniana, v. 44, n. 2, p. 435-445. (Eocaiman palaeocenicus)
Brochu, C. A., 2007, Systematics and taxonomy of Eocene tomistomine crocodylians from Britain and northern Europe: Palaeontology, v. 50, part 4, p. 917-928. (Dollosuchoides densmorei)
Brochu, C. A., 2007, Morphology, relationships, and biogeographical significance of an extinct horned crocodilie (Crocodylia, Crocodylidae) from the Quaternary of Madagascar: Zoological Journal of the Linnean Society, v. 150, p. 835-863. (Voay robustus = Crocodylus robustus)
Brochu, C. A., Nieves-Rivera, A. M., Velez-Juarbe, J., Daza-Vaca, J. D., and Santos, H., 2007, Tertiary crocodylians from Puerto Rico: Evidence for Late Tertiary endemic crocodylians in the West Indies? Geobios, v. 40, p. 51-59.
Calvo, J. O., Porfiri, J. D., Gonzalez-Riga, B. J., and Kellner, A. W. A., 2007, A new Cretaceous terrestrial ecosystem from Gondwana with description of a new sauropod dinosaur: Anais da Academia Brasilieria de Ciencias, v. 79, n. 3, p. 529-541.
Carvalho, I. de S., and Vasconcellos, F. M. de, and Tavares, S. A., S., 2007, Montealtosuchus arrudacamposi, a new peirosaurid crocodile (Mesoeucrocodylia) from the Late Cretaceous Adamantina Formation of Brazil: Zootaxa, v. 1607, p. 35-46. (Montealtosuchus arrudacomposi) Link to pdf
Delfino, M., Bohme, M., and Rook, L., 2007, First European evidence for transcontinental dispersal of Crocodylus (Late Neogene of southern Italy): Zoological Journal of the Linnean Society, v. 149, p. 293-307. Link to pdf
Fiorelli, L. E., and Calvo, J. O., 2007, The first "Protosuchian" (Archosauria: Crocodyliformes) from the Cretaceous (Santonian) of Gondwana: Arquivos do Museu Nacional, Rio de Janeiro, v. 65, n. 4, p. 417-459. (Neuquensuchus universitas)
Frey, E. D., and Salisbury, S. W., 2007, Crocodilians of the Crato Formation: evidence for enigmatic species: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 463-474.
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Garcia, K. L., 2007, A familia Peirosauridae do Cretaceo do Gondwana: taxonomia comparada e implicacoes paleogeograficas: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 393-404.
Garrison jr, J. R., Brinkman, D., Nichols, D. J., Layer, P., Burge, D., and Thayn, D., 2007, A multidisiplinary study of the Lower Cretaceous Cedar Mountain Formation, Mussentuchit Wash, Utah: a determination of the paleoenvironment and paleoecology of the Eolambia caroljonesa dinosaur quarry: Cretaceous Research, v. 28, p. 461-494.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Hua, S., Buffetaut, E., Legall, C., and Rogron, P., 2007, Oceanosuchus boecensis n. gen, n. sp., a marine pholidosaurid (Crocodylia, Mesosuchia) from the Lower Cenomanian of Normandy, (Western France): Bulletin of the Geological Society of France, t. 178, n. 6, p. 503-513. (Oceanosuchus boecensis)
Jouve, S., 2007, Taxonomic revision of the dryosaurid assemblage (Crocodyliformes: Mesoeucrocodylia) from the Paleocene of the Iullemmeden basin, West Africa: Journal of Paleontology, v. 81, n. 1, p. 163-175. (Rhabdognathus keinensis, Rhabdognathus aslerensis, Congosaurus compressus = Rhabdognathus compressus)
Larsson, H. C. E., and Sues, H.-D., 2007, Cranial osteology and phylogenetic relationships of Hamadasuchus rebouli (Crocodyliformes: Mesoeucrocodylia) from the Cretaceous of Morocco: Zoological Journal of the Linnean Society, v. 149, p. 533-567.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., Spielmann, J. A., and Hunt, A. P., 2007b, Taxonomy of Shuvosaurus, a Late Triassic archosaur from the Chinle Group, American southwest: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 249-261. (Shuvosaurus okeeffeae = Effigia okeeffeae) Link to pdf
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Marinho, T. da S., and Carvalho, I. de S., 2007, Revision of hte Sphagesauridae Kuhn, 1968 (Crocodyliformes, Mesoeurocodylia): In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 581-592.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Martin, J. E., 2007, New material of the Late Cretaceous globidontan Acynodon iberoccitanus (Crocodylia) from southern France: Journal of Paleontology, v. 27, n. 2, p. 362-372.
Martinelli, A. G., Garrido, A. C., Forasiepi, A. M., Paz, E. R., and Gurovich, Y., 2007, Notes on fossil remains from the Early Cretaceous Lohan Cura Formation, Neuquen Province, Argentina: Gondwana Research, v. 11, p. 537-552.
Nesbitt, S., 2007, The Anatomy of Effigia okeeffeae (Archosauria, Suchia), Theropod-like convergence, and the distribution of related taxa: Bulletin of the American Museum of Natural History, n. 302, 84pp.
Nobre, P. H., Carvalho, I. de S., Vasconcellos, F. M. de, and Nava, W. R., 2007, Mariliasuchus robustus, um nuvo crocodylomorpha (Mesoeucrocodylia) da Bacia Bauru, Brazil: Anuario do Instituto de Geociencias, v. 30, n. 1p., 32-43. (Mariliasuchus robustus)
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Osi, A., Clark, J. M., and Weishampel, D. B., 2007, First report on a new basal eusuchian crocodyliform with multicuspid teeth from the Upper Cretaceous (Santonian) of Hungary: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 243, n. 2, p. 169-177. (Iharkutosuchus makadii)
Paolillo, A., and Linares, O. J., 2007, Nuevos cocodrilos Sebecosuchia del Ceozoico Suramericano (Mesosuchia: Crocodylia): Paleobiologia Neotropical, n. 3, p. 25pp. (Barinasuchus arveloi, Langstonia huilensis = Sebecus huilensis, Zulmasuchus querejazui = Sebecus querejazui) Link to Pdf
Piras, P., Delfino, M., del Favero, L., and Kotsakis, T., 2007, Phylogenetic position of the crocodylian Megadontosuchus arduini and tomistomine palaeobiogeography: Acta Paleontologica Polonica, v. 52, p. 2, p. 315-328.
Pol, D., and Gasparini, Z., 2007, Crocodyliformes: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 116-142.
Prieto-Marquez, A., Gignac, P. M., and Joshi, S., 2007, Neontological evaluation of pelvic skeletal attributes purported to reflect sex in extinct non-avian archosaurs: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 603-609.
Salas-Gismondi, R., Antoine, P.-O., Baby, P., Brusset, S., Benammi, M., Espurt, N., de Franceschi, D., Pujos, F., and Tegada, J, and Urbina, M., 2007, Middle Miocene crocodiles from the Fitzcarrald arch, Amazonian Peru: In: 4th European Meeting on the Paleontology and Stratigraphy of Latin America, edited by Diaz-Martinez, E., and Rabano, I., Cuademos del Museo Geomienro, n. 8, Instituto Geologico y Minero de Espana, Madrid, 2007, p. 355-360.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Schweitzer, M. H., Elsey, R. M., Dacke, C. G., Horner, J. R., and Lamm, E.-T., 2007, Do egg-laying crocodilian (Alligator mississippiensis) archosaurs form medullary bone? Bone, v. 40, p. 1152-1158.
Shimada, K., and Parris, D. C., 2007, A long-snouted Late Cretaceous crocodyliform, Terminonaris cf. T. browni, from the Carlile Shale (Turonian) of Kansas: Transcations of the Kansas Academy of Science, v. 110, no. 1/2, p. 107-115.
Snyder, D., 2007, Morphology and systematics of two Miocene alligators from Florida, with a discussion of Alligator biogeography: Journal of Paleontology, v. 81, n. 5, p. 917-928.
Suarez Soruco, R., 2007, Bolivia y su paleobiodiversidad: In: 4th European Meeting on the Paleontology and Stratigraphy of Latin America, edited by Diaz-Martinez, E., and Rabano, I., Cuademos del Museo Geomienro, n. 8, Instituto Geologico y Minero de Espana, Madrid, 2007, p. 375-382.
Tanner, L. H., and Lucas, S. G., 2007, The Moenave Formation: Sedimentologic and stratigraphic context of the Triassic-Jurassic boundary in the Four Corners area, southwestern U.S.A.: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 111-125.
Tumarkin-Deratzian, A. R., Vann, D. R., and Dodson, P., 2007, Growth and textural ageing in long bones of the American alligator Alligator mississippiensis (Crocodylia: Alligatoridae): Zoological Journal of the Linnean Society, v. 150, p. 1-39.
Vasconcellos, F. M. de., and Carvalho, I. de S., 2007, Cranial features of Baurusuchus salgadoensis Carvalho, Campos & Nobre 2005, a Baurusuchidae (Mesoeucrocodylia) from the Adamantina Formation, Bauru Basin, Brazil: paleoichnological, taxonomic and systematic implications: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 319-332. Link to pdf
Velez-Juarbe, J,. Brochu, C. A., and Santos, H., 2007, A gharial from the Oligocene of Puerto Rico: transoceanic dipersal in the history of a non-marine reptile: Proceedings of the Royal Society, v .274, p. 1245-1254. (Aktiogavialis puertoricensis) Link to pdf
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
White, M., 2009, When Crocs ruled: National Geographic, v. 216, no. 5, p. 128-141.
Wolff, E. D. S., Fowler, D. W., and Bonde, J. W., 2007, A possilbe case of necrotizing dermatitis in the crocodylian Diplocynodon, from the Oligocene of the Isle of Wight, United Kingdom: Historical Biology, v. 19, n. 2, p. 203-207.
Pterosaurs
Genus: Nova (3)
Aralazhdarcho AVERIANOV, 2007
Gegepterus WANG, KELLNER, ZHOU & CAMPOS, 2007
Ingridia UNWIN & MARTILL, 2007
Tupandactylus KELLNER & CAMPOS, 2007
Species: Nova (4)
Aralazhdarcho bostobensis AVERIANOV, 2007
Ctenochasma taqueti BENNETT, 2007b
Gegepterus changi WANG, KELLNER, ZHOU & CAMPOS, 2007
Huaxiapterus benxiensis LU, GAO, XING, LI, & JI, 2007
Synonym: Nova (1)
Tupandactylus imperator (CAMPOS & KELLNER, 1997) KELLNER & CAMPOS, 2007
= Tapejara imperator CAMPOS & KELLNER, 1997
= Ingridia imperator (CAMPOS & KELLNER, 1997) UNWIN & MARTILL, 2007
= Tapejara imperator CAMPOS & KELLNER, 1997
Tupandactylus navigans (FREY, MARTILL & BUCHY, 2003b) emend KELLNER & CAMPS, 2007
= Tapejara navigans FREY, MARTILL & BUCHY, 2003b
= Ingridia navigans (FREY, MARTILL & BUCHY, 2003b ) UNWIN & MARTILL, 2007
Note: Both Kellner, et al, 2007 and Unwin, et al., 2007 renamed Tapejara imperator. Kellner & Campos paper was publshed two months before Unwin & Martill and therefore has priority. Also, Unwin & Martill place Tapejara navigans into thier new genus Ingridia as a seperate species, though Kellner et al., 2007 referTapejara navigans to Tupandactylus imperator. I'm following both Unwin & Martill and place Tapejara navigans as a sperate species of Tupandactylus.
Averianov, A. O., 2007, Mid-Cretaceous ornithocheirids (Pterosauria, Ornithocheiridae) from Russia and Uzbekistan: Palaeontological Journal, v. 41, n. 1, p. 79-86.
Averianov, A. O., 2007, New records of Azhdarchids (Pterosauria, Azhdarchidae) from the Late Cretaceous of Russia, Kazakhstan, and Central Asia: Palaeontological Journal, v. 41, n. 2, p. 189-197. (Aralazhdarcho bostobensis)
Bennett, S. C., 2007a, Reassessment of Utahdactylus from the Jurassic Morrison Formation of Utah: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 257-260.
Bennett, S. C., 2007b, A review of the pterosaur Ctenochasma: taxonomy and ontogeny: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 23-31. (Ctenochasma taqueti)
Bennett, S. C., 2007c, Articulation and function of the pteroid bone of pterosaurs: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 881-891.
Bennett, S. C., 2007d, A second specimen of the pterosaur Anurognathus ammoni: Paläontologische Zeitschrift, v. 81, n. 4, p. 376-398.
Calvo, J. O., Porfiri, J. D., Gonzalez-Riga, B. J., and Kellner, A. W. A., 2007, A new Cretaceous terrestrial ecosystem from Gondwana with description of a new sauropod dinosaur: Anais da Academia Brasilieria de Ciencias, v. 79, n. 3, p. 529-541.
Codorniu, L., and Gasparini, Z., 2007, Pterosauria: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 143-166.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Elias, F. A., Bertini, R. J., and Medeiros, M. A. A., 2007, Pterosaur teeth from the Lage do Coringa, middle Cretaceous, Sao Luis-Grajau basin, Maranhao state, Northern-Northeastern Brazil: Revista Brasileria de Geociencias, v. 37, n. 4, p. 688-676. Link to pdf
Fastnacht, M., 2007, Tooth repacement pattern of Coloborhynchus robustus (Pterosauria) from the Lower Cretaceous of Brazil: Journal of Morphology, published on line, 17pp.
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Grellet-Tinner, G., Wroe, S., Thompson, M. B., and Ji, Q., 2007, A note on pterosaur nesting behavior: Historical Biology, v. 19, n. 4, p. 273-277.
Hargrave, J. E., 2007, Pteranodon (Reptilia: Pterosauria): Stratigraphic distribution and taphonomy in the lower Pierre Shale Group (Campanian) western South Dakota and eastern Wyoming: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 215-225.
Hone, D. W. E., and Benton, M. J., 2007, Cope's Rule in pterosauria, and differing perceptions of Cope's Rule at different taxonomic levels: Journal of Expermential Biology, v. 20, p. 1164-1170.
Hone, D. W. E., and Benton, M. J., 2007, An evaluation of the phylogenetic relationships of the pterosaurs among archosauromorph reptiles: Journal of Systematic Palaeontology, v. 5, n. 4, p. 465-469.
Humphries, S., Bonser, R. H., Witton, M. P., and Martil, D M., 2007, Did pterosaurs feed by skimming? physical modelling and anatomical evaluation of an unusual feeding method: PLOS Biology, v. 5, issue 7, 9pp. Link to pdf
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper
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Agnatha
Genus: Nova (1)
Stephaspis GAI & ZHU, 2007
Species: Nova (2)
Gigantaspis minima PERNEGRE & GOUJET, 2007
Stephaspis dipteriga GAI & ZHU, 2007
Synonym: Nova (1)
Gigantaspis laticephala (BLIECK & GOUJET, 1983) PERNEGRE & GOUJET, 2007
= Zascinaspis laticephala BLIECK & GOUJET, 1983
Placoderm
Genus: Nova (2)
Erikaspis DUPRET, GOUJET & MARK-KURIK, 2007
Materpiscis LONG, TRINAJSTIC, YOUNG & SENDEN, 2007
Species: Nova (1)
Materpiscis attenboroughi LONG, TRINAJSTIC, YOUNG & SENDEN, 2007
Synonym: Nova (1)
Erikaspis zychi (STENSIO, 1945) DUPRET, GOUJET & MARK-KURIK, 2007
= Kujdanowiaspis zychi STENSIO, 1945 (nomen nudum)
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Dupret, V., Goujet, D., and Mark-Kurik, E., 2007, A new genus of placoderm (Arthrodira: 'Actinolepida') from the Lower Devonian of Podolia (Ukraine): Journal of Vertebrate Paleontology, v. 27, n. 2, p. 266-284. (Erikaspis zychi = Kujdanowiaspis zychi)
Janvier, P., Desbiens, S., and Willett, J. A., 2007, New evidence for the controversial "Lungs" on the Late Devonian antiarch Bothriolepis canadensis (Whieteaves, 1880) (Placodermi: Antiarcha): Journal of Vertebrate Paleontology, v. 27, n. 3, p. 709-710.
Long, J. A., Trinajstic, K., Young, G. C., and Senden, T., 2007, Live birth in the Devonian Period: Nature, v. 453, p. 650-652. (Materpiscis attenboroughi)
Randon, C., Derycke, C., Blieck, A., Perri, M. C., and Spalletta, C., 2007, Late Devonian-Early Carboniferous vertebrate microremains from the Carnic Alps, northern Italy: Geobios, v. 40, p. 809-826.
Suarez Soruco, R., 2007, Bolivia y su paleobiodiversidad: In: 4th European Meeting on the Paleontology and Stratigraphy of Latin America, edited by Diaz-Martinez, E., and Rabano, I., Cuademos del Museo Geomienro, n. 8, Instituto Geologico y Minero de Espana, Madrid, 2007, p. 375-382.
Trinajstic, K., and Hazelton, M., 2007, Ontogeny, phenotypic variation and phylogenetic implications of arthrodires from the Gogo Formation, Western Australia: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 571-583.
Trinajstic, K., Marshall, C., Long, J., and Bifield, K., 2007, Exceptional preservation of nerve and muscle tissues in Late Devonian placoderm fish and their evolutionary implications: Biology Letters, v. 3, p. 197-200.
Wilson, M. V. H., Hanke, G. F., and Marss, T., 2007, Paired fins of jawless vertebrates and thier homologies across the "Agnathan"- Tnathostome transition: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 122-149.
Fish
Genus: Nova (7)
Australopachycormus KEAR, 2007
Baoqingichtys WANG, JIN, WANG & ZHU, 2007
Paraperleidus ZHAO & LU, 2007
Prosantichthys ARRATIA & HERZOG, 2007
Sangiorgioichthys TINTORI & LOMBARDO, 2007
Tycheroichthys HAY, CUMBAA, MURRAY & PLINT, 2007
Zhejiangichthys WANG, JIN, WANG & ZHU, 2007
Species: Nova (7)
Australopachycormus hurleyi KEAR, 2007
Baoqingichtys microdontus WANG, JIN, WANG & ZHU, 2007
Paraperleidus changxingensis ZHAO & LU, 2007
Prosantichthys buergini ARRATIA & HERZOG, 2007
Sangiorgioichthys aldae TINTORI & LOMBARDO, 2007
Tycheroichthys dunveganensis HAY, CUMBAA, MURRAY & PLINT, 2007
Zhejiangichthys zhaoi WANG, JIN, WANG & ZHU, 2007
Alvarado-Ortega, J., Espinosa-Arrubarrena, L., Blanco, A., Vega, F. J., Benammi, M., and Briggs, D. E. G., 2007, Exceptional preservation of soft tissues in Cretaceous fishes from the Tlayua Quarry, Centarl Mexico: Palaios, v. 22, p. 682-685.
Azevedo, R. P. F. de, Vasconcellos, P. L. de, Canderio, C. R. dos A., and Bergqvist, L. P., 2007, Restos microscopicos de vertebrados fosseis do Grupo Bauru (Neocertaceo), no oest do estado de Sao Paulo, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 533-541.
Arratia, G., and Herzog, A., 2007, A new halecomorph fish from the Middle Triassic of Switzerland and its systematic implications: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 838-849. (Prosantichthys buegini)
Arratia, G,. and Schultz, H.-P., 2007, Eurycormus - Eurypoma, two Jurassic actinopterygia genera with mixed identity: Fossil Record, v. 10, n. 1, p. 17-31.
Blanco-Pinon, A., and Alvarado-Ortega, J., 2007, Review of Vallecillichthys multivertebratum (Teleostei: Ichthyodectiformes), a Late Cretaceous (early Turonian) "Bulldog fish" from northeastern Mexico: Revista Mexicana de Ciencias Geologicas, v. 24, n. 3, p.450-466. Link to pdf
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Brito, P. M., 2007, The Crato Formation fish fauna: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 429-443.
Cavin, L., and Forey, P. L., 2007, Using ghost lineages to identify diversification events in the fossil record: Biology Letters, v. 3, p. 201-204.
Cavin, L., Suteethorn, V., Buffetaut, E., Claude, J., Cuny, G., Le Loeuff, J., and Tong, H., 2007, The first sinamiid fish (Holostei, Halecomorpha) from Southeast Asia (Early Cretaceous of Thailand): Journal of Vertebrate Paleontology, v. 27, n. 4, p. 827-837. (Siamamia naga)
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Dietze, K., 2007, Redescription of Dastilbe crandalli (Chanidae, Euteleostei) from the Early Cretaceous Crato Formation of north-eastern Brazil: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 8-16.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Everhart, M. J., 2007, Remains of a pycnodont fish (Actinopterygii: Pycnodontiformes) in a coporlite; an uppermost record of Micropycnodon kansasensis in the Smoky Hill Chalk, western Kansas: Transcations of the Kansas Academy of Science, v. 110, n. 1/2, p. 35-43.
Forey, P. L., and Cavin, L., 2007, A new speices of Cladocyclus (Teleostei: Ichthyodectiformes) from the Cenomanian of Morocco: Palaeontologia Electronica, n. 10.3.12a, 10 pp. (Cladocyclus pankowskii)
Fürsich, F. T., Mäuser, M., Schneider, S., and Werner, W., 2007, The Wattendorf Plattenkalk (Upper Kimmeridgian) - a new conservation lagerstätte from the northern Franconian Alb, southern Germany: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 45-58.
Gallo, V., 2007, Parsimony analysis of endemicity of enchodontoid fishes from the Cenomanian: Notebooks on Geology, Letter 2007/01 (CG2007_L01), 8pp.
Garrison jr, J. R., Brinkman, D., Nichols, D. J., Layer, P., Burge, D., and Thayn, D., 2007, A multidisiplinary study of the Lower Cretaceous Cedar Mountain Formation, Mussentuchit Wash, Utah: a determination of the paleoenvironment and paleoecology of the Eolambia caroljonesa dinosaur quarry: Cretaceous Research, v. 28, p. 461-494.
Hay, M. J., Cumbaa, S. L., Murray, A. M., and Plint, A. G., 2007, A new paraclupeid fish (Clupeomorpha, Ellimmichthyiformes) from a muddy marine prodelta environment: middle Cenomanian Dunvegan Formation, Alberta, Canada: Canadian Journal of Earth Sciences, v. 44, p. 775-790. (Tycheroichthys dunveganensis)
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper Cretaceous (Cenomanian-Turonian and Turonian-Coniacian) open marine plattenkalk deposits of New Mexico: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 71-81.
Ivanov, A., and Tatyanaklets, 2007, Triassic fishes from Siberia, Russia: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural & Science, Bulletin 41, p. 108-109.
Janvier, P., 2007, Homologies and evolutionary transitions in early vertebrate history: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 56-121.
Jurkovsek, & Kolar-Jurkovsek, T., 2007, Fossil assemblages from the Upper Cretaceous Komen and tomaj Limestones of Kras (Slovenia): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 83-92.
Kear, B. P., 2007, First record of a pachycormid fish (Actinopterygii: Pachycormiformes) from the Lower Cretaceous of Australia: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1033-1038. (Australopachycormus hurleyi)
Lopez-Arbarello, A., and Codorniu, L., 2007, Semionotids (Neopterygi, semionotiformes) from the Lower Cretaceous Lagarcito Formation, San Luis Province, Argentina: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 811-826.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Martill, D. M., 2007, The age of the Cretaceous Santana Formation fossil konservat lagerstätte of north-east Brazil: a historical reivew and an appraisal of the biochronostratigraphic utility of its palaeobiota: Creaceous Research, v. 28, p. 895-920.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Milner, A. R. C., and Kirkland, J. I., 2007, The case for fishing dinosaurs at the St. George dinosaur discovery site at Johnson Farm: Utah Geological Survey, Survey Notes, v. 39, n. 3, p. 1-3.
Newbrey, M. G., Wilson, M. V. H., and Ashworth, A. C., 2007, Centrum growth patterns provide evidence for two small taxa of Hiodontidae in the Cretaceous Dinosaur Park Formation: Canadian Journal of Earth Sciences, v. 44, p. 721-732.
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Parris, D. C., Grandstaff, B. S., and Gallagher, W. B., 2007, Fossil fish from the Pierre Shale Group (Late Cretaceous): clarifying the biostratigraphic record: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 99-109.
Randon, C., Derycke, C., Blieck, A., Perri, M. C., and Spalletta, C., 2007, Late Devonian-Early Carboniferous vertebrate microremains from the Carnic Alps, northern Italy: Geobios, v. 40, p. 809-826.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Schein, J. P., and Lewis, R. D., 2007, Actinopterygian fishes from Upper Cretaceous rocks in Alabama, with emphasis on the Teleostan genus Enchodus: Paludicola, v. 6, n. 2, p. 41-86.
Tintori, A., and Lombardo, C., 2007, A new early Semionotidae (Semionotiformes, Actinopterygii) from the Upper Ladinian of Monte San Giorgio area (Southern Switzerland and northern Italy): Rivista Italiana di Paleontologia e Stratigrafia, v. 113, n. 3, p. 369-381. (Sangiorgioichthys aldae) Link to pdf
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Wang, N.-Z., Jing, F., Wang, W., and Zhu, X.-S., 2007, Actinopterygian fishes from the Permian-Triassic boundary beds in Zhejiang and the Jiangzi Provinces, South China and fish mass extinction, recovery and radiation: Vertebrata PalAsiatica, v. 45, n. 4, p. 307-329. (Baoqingichthys microdontus, Zhejiangichtys zhaoi)
Wilson, M. V. H., Hanke, G. F., and Marss, T., 2007, Paired fins of jawless vertebrates and thier homologies across the "Agnathan"- Tnathostome transition: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 122-149.
Zhao, L.-J., and Lu, L.-W., 2007, A new genus of early Triassic perleidid fish from Changzing, Zhejiang, China: Acta Palaeontologica Sinica, v. 46, n. 2, p. 238-243. (Paraperleidus changzingensis)
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Holland, T., Warren, A., Johanson, Z., Long, J., Parker, K., and Garvey, J., 2007, A new species of Barameda (Rhizodontida) and heterochrony in the Rhizodontid pectoral fin: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 295-315. (Barameda mitchelli)
Janvier, P., Clement, G., and Cloutier, R., 2007, A primitive megalichthyid fish (Sacropterygii, Tetrapodomorpha) from the Upper Devonian of Turkey and its biogeographical implications: Geodiversitas, v. 29, n. 2, p. 249-268. (Sengoerichthys ottoman) Link to pdf
Johanson, Z,. Long, J. A., Talent, J. A., Janvier, P., and Warren, J. W., 2007, New onychodontiform (Osteichthyes; Sacropterygii) from the Lower Devonian of Victoria, Australia: Journal of Paleontology, v. 81, n. 5, p. 1031-1043. (Bukkanodus jesseni)
Laurin, M., Meunier, F. J., Germain, D., and Lemoine, M., 2007, A microanatomical and histological sudy of the paired fin skeleton of the Devonian sacropterygian Eusthenopteron foordi: Journal of Paleontology, v. 81, n. 1, p. 143-153.
Newman, M. J., and den Blaauwen, J. L., 2007, The synonymy of the Scottish Devonian osteolepid fish Thursius macrolepidotus: Scottish Journal of Geology, v. 43, n. 2, p. 101-106. (Thursius macrolepidotus = Thursius moythomasi) Link to pdf
Witzmann, F., and Schoch, R. R., 2007, A megalichthyid sacropterygian fish from the Lower Permian (Autunian) of the Saar-Nahe Basin, Germany: Geobios, v. 45, p. 241-248. (Palatinicnthys laticeps) Link to pdf
Apesteguia, S., Agnolin, F. L., and Claeson, K., 2007, Review of Cretaceous dipnoans from Argentina (Sarcopterygii: Dipnoi) with descriptions of new species: Rev. Mus. Argentno Cienc. Nat. N. S., v. 9, n. 1, p. 27-40. (Chaoceratodus portezuelensis, Ameghinoceratodus iherigi, Ceratodus argentinus, Ceratodus kaopen, Ptychoceratodus cionei, Ptychoceratodus wichmanni)
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141. Link to pdf
Campbell, K. S. W., and Barwick, R. E., 2007, The structure and stratigraphy of Speonesydrion from New South Wales, Australia, and the dentition of primitive dipnoans: Paläontologische Zeitschrift, v. 81, Heft 2, p. 146-159.
Campbell, K. S. W., Barwick, R. E., and Blaauwen, J. L. den, 2007, Structure and function of the shoulder girdle in Dipnoans: new material from Dipterus valenciennesi: Senckenbergiana lethaea, v. 86, n. 1, p. 77-91.
Cavin, L., Suteethorn, V., Buffetaut, E., and Tong, H., 2007, A new Thai Mesozoic lungfish (Sarcopterygii, Dipnoi) with an insight into post-Palaeozoic dipnoan evolution: Zoological Journal of the Linnean Society, v. 149, P. 141-177. (Ferganoceratodus martini)
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Cione, A. L., Gouirie, S., Goin, F., and Poire, D., 2007, Atlantoceratodus, a new genus of lungfish from the Upper Cretaceous of South America and Africa: Revista del Museo de La Plata, v. 10, p. 1-12. (Atlantoceratodus iheringi = Ceratodus iheringi, Atlantoceratodus madagascariensis = Ceratodus madagascariensis)
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Friedman, M., 2007, Cranial structure in the Devonian lungfish Soederberghia groenlandica and its implications for the interrelationships of 'rhynchodipterids': Earth and Environmental Science Transcations of the Royal Society of Edinburgh, v. 98, p. 179-198.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Milner, A. R. C., and Kirkland, J. I., 2007, The case for fishing dinosaurs at the St. George dinosaur discovery site at Johnson Farm: Utah Geological Survey, Survey Notes, v. 39, n. 3, p. 1-3.
Newman, M. J., and Blaauwen, J. L. D., 2007, A new dipnoan fish from the Middle Devonian (Eifelian) of Scotland: Palaeontology, v. 50, part 6, p. 1403-1419. (Pinnalongus saxoni)
Coelocanths
Brito, P. M., 2007, The Crato Formation fish fauna: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 429-443.
Friedman, M., 2007, Styloichthys as the oldest coelacanth: implications for early osteichthyan interrelationships: Journal of Systematic Palaeontology, v. 5, n. 3, p. 289-343.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Martill, D. M., 2007, The age of the Cretaceous Santana Formation fossil konservat lagerstätte of north-east Brazil: a historical reivew and an appraisal of the biochronostratigraphic utility of its palaeobiota: Creaceous Research, v. 28, p. 895-920.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Milner, A. R. C., and Kirkland, J. I., 2007, The case for fishing dinosaurs at the St. George dinosaur discovery site at Johnson Farm: Utah Geological Survey, Survey Notes, v. 39, n. 3, p. 1-3.
Szrek, P., 2007, Coelacanths (Actinistia, Sacropterygii) from the Famennian (Upper Devonian) of the Holy Cross Mountains, Poland: Acta Geologica Polonica, v. 57, p. 403-413. Link to pdf
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Fish Ichnology
Fish Burrows
Fish Coprolites
Everhart, M. J., 2007, Remains of a pycnodont fish (Actinopterygii: Pycnodontiformes) in a coporlite; an uppermost record of Micropycnodon kansasensis in the Smoky Hill Chalk, western Kansas: Transactions of the Kansas Academy of Science, v. 110, n. 1/2, p. 35-43.
Schwanke, C., Souto, P. R. de F., 2007, Coprolitos espiralados da Formacao pedra do fogo, Bacia do Parnaiba: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 111-120.
Anderson, J. S., 2007, Incorporating ontogeny into the matrix: a phylogenetic evaluation of developmental evidence for the origin of modern amphibians: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 182-227.
Barycka, E., 2007, Morphology and ontogeny of the humerus of the Triassic temnospondyl amphibian Metoposaurus diagnosticus: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 243, n. 3, p. 351-361.
Blieck, A., Clement, G., Blom, H., Lelievre, H., Luksevics, E., Streel, M., Thorez, J., and Young, G. C., 2007, The biostratigraphical and palaeogeographical framework of the earliest diversification of tetrapods (Late Devonian): In Devonian Events and Correlations, edited by Becker, R. T., & Kirchgasser, W. T., Geological Society, london, Speical Publications, v. 278, p. 219-235.
Blom, H., Clack, J. A., Ahlberg, Per E., and Friedman, M., 2007, Devonian vertebrates from East Greenland: a review of faunal composition and distribution: Geodiversitas, v. 29, n. 1, p. 119-141.
Carroll, R. L., 2007, The Palaeozoic ancestry of Salamanders, Frogs and Caecilians: Zoological Journal of the Linnean Society, v. 150 (suppl. 1), p. 1-140.
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Huttenlacker, A. K., Pardo, J. D., and Small, B. J., 2007, Plemmyradytes shintoni, gen. et sp. nov., an Early Permian Amphibamid (Temnospondyli: Dissorophoidea) from the Eskridge Formation, Nebraska: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 316-328. (Plemmyradytes shintoni)
Konietzko-Meier, D., and Wawro, K., 2007, Mandibular dentition in the Late Triassic temnospondyl amphibian Metoposaurus: Acta Palaeontologica Polonica, v. 52, n. 1, p. 213-215.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural & Science, Bulletin 41, p. 201-218.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., Hunt, A. P., Heckert, A. P., and Spielmann, J. A., 2007, Global Triassic tetrapod biostratigraphy and biochronology: 2007 status: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 229-240.
Lucas, S. G., Spielmann, J. A., and Hunt, A. P., 2007, Biochronological significance of the Late Triassic tetrapods from Krasijow, Poland: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 248-258.
Markey, M. J., and Marshall, C. R., 2007, Terrestrial-style feeding in a very early aquatic tetrapod is supported by evidence from experimental analysis of suture morphology: Proceedings of the National Academy of Science, v. 104, n. 17, p. 7134-7138.
Milner, A. R., Klembara, J., and Dostal, O., 2007, A zatrachydid temnospondyl from the Lower Permian of the Boskovice furrow in Moravia (Czech Republic): Journal of Vertebrate Paleontology, v. 27, n. 3, p. 711-715.
Moser, M., and Schoch, R., 2007, Revision of the type material and nomenclature of Mastodonsaurus giganteus (Jaeger) (Temnospondyli) from the Middle Triassic of Germany: Palaeontology, v. 50, part 5, p. 1245-1266.
Mueller, B. D., 2007, Koskinonodon Branson and Mehl, 1929, a replacement name for the preoccupied temnospondyl Buettneria Case, 1922: Journal of Vertebrate Paleontology, v 27, n. 1, p. 225. (Koskinonodon perfectus = Buettneria perfecta, Koskinonodon priniceps)
Novikov, I. V., 2007, New data on trematosauroid labyrinthodonts of Eastern Europe: 1. Genus Inflectosaurus Shishkin, 1960: Palaeontological Journal, v. 41, n. 2, p. 167-174.
Pawley, K., 2007, The postcranial skeleton of Trimerorhachis insignis Cope, 1878 (Temnospondyli: Trimerorhachidae): a plesiomorphic temnospondyl from the Lower Permian of North America: Journal of Paleontology, V. 81, n. 5, p. 873-894. Link to pdf
Pineiro, G., Mariscano, C. A., and Damiani, R., 2007, Mandibles of mastodonsaurid temnopsondyls from the Upper Permian-Lower Triassic of Uruguay: Acta Palaeontologica Polonica, v. 52, n. 4, p. 695-703. Link to pdf
Pineiro, G., Marsicano, C., and Lorenzo, N., 2007, A new temnospondyl from the Permo-Triassic Buena Vista Formation of Uruguay: Palaeontology, v. 50, part 3, p. 627-640. (Uruyiella liminea)
Pineiro, G., Marsicano, C. A., Goso, C., and Morosi, E., 2007, Temnospondyl diversity of the Permian-Triassic Colonia Orozco local fauna (Buena Vista Formation) of Uruguay: Revista Brasileria de Paleontologia, v. 10, n. 3, p. 169-180. Link to pdf
Ruta, M., and Coates, M. J., 2007, Dates, nodes and character conflect: addressing the lissamphibian origin problem: Journal of Systematic Palaeontology, v. 5, n. 1, p. 69-122.
Ruta, M., Pisani, D., Lloyd, G. T., and Benton, M. J., 2007, A supertree of Temnospondyli: cladogenetic patterns in the most species-rich group of early-tetrapods: Procedings of the Royal Society, Series B, v. 274, p. 2087-2095.
Schoch, R. R., Fichter, F. M., and Keller, T., 2007, Anatomy and relationships of the Triassic temnospondyl Sclerothroax: Acta Palaeontologica Polonica, v. 52, n. 1, p. 117-136.
Schultz, C. L., and Langer, M. C., 2007, Tetrapodes Triassicos do Rio Grande do Sul, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 269-282.
Shishkin, M. A., 2007, Patterns of recovery of amphibian diversity in the Triassic: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 369-370.
Sidor, C. A., Steyer, J., S., and Damiani, R., 2007, Parotosuchus (Temnospondyl: Mastodonsauridae) from the Triassic of Antarctica: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 232-235.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona:In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 371-383.
Sulej, T., 2007, Osteology, variability and evolution of Metoposaurus, a temnospondyl from the Late Triassic of Poland: Palaeontologia Polonica, n, 64, p. 29-143.
Urban, M., and Berman, D. S., 2007, First occurrence of the Late Paleozoic amphibian Zatrachys serratus (Temnospondyli, Zatrachydidae) in the Eastern United States: Annals of Carnegie Museum, v. 76, n. 3, p. 157-164.
Warren, A., 2007, New data on Ossinodus pueri, a stem tetrapod from the Early Carbonifeorus of Australia: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 850-862.
Werneburg, R., 2007, Timeless design: colored pattern on skin in Early Permian brachiosaurids (Temnospondyli: Dissorophoidea): Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1047-1050.
Werneburg, R., Ronchi, A., and Schneider, J. W., 2007, The Early Permian branchiosaurids (Amphibia) of Sardinia (Italy): systematic palaeontology, palaeoecology, biostratigraphy and palaeobiogeographic problems: Palaeogeography, Paleoclimatology, Palaeontology, v. 252, p. 383-404.
Werneburg, R., Steyer, J. S., Sommer, G., Gand, G., Schneider, J. W., and Vianey-Liaud, M., 2007, The earliest tupilakosaurid amphibian with diplospondylous vertebrae from the Late Permian of Southern France: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 26-30.
Witzmann, F., 2007, The evolution of the scalation pattern in temnospondyl amphibians: Zoological Journal of the Linnean Society, v. 150, p. 815-834.
Witzmann, F., 2007, A hemivertebra in a temnospondyl amphibian: the oldest record of scoliosis: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1043-1046.
Witzman, F., and Scholz, H., 2007, Morphometric study of allometric skull growth in the temnospondyl Archegosaurus decheni from the Permian/Carboniferous of Germany: Geobios, v. 40, n. 4, p. 541-554.
Anderson, J. S., 2007, Direct evidence of the rostral anatomy of the Aistopod Phlegethontia, with a new cranial reconstruction: Journal of Paleontology, v. 81, n. 2, p. 408-410.
Carroll, R. L., 2007, The Palaeozoic ancestry of Salamanders, Frogs and Caecilians: Zoological Journal of the Linnean Society, v. 150 (suppl. 1), p. 1-140.
Markey, M. J., and Marshall, C. R., 2007, Terrestrial-style feeding in a very early aquatic tetrapod is supported by evidence from experimental analysis of suture morphology: Proceedings of the National Academy of Science, v. 104, n. 17, p. 7134-7138.
Reisz, R. R., 2007, The cranial anatomy of basal diadectomorphs and the origin of amniotes: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 228-252.
Ruta, M., and Coates, M. J., 2007, Dates, nodes and character conflect: addressing the lissamphibian origin problem: Journal of Systematic Palaeontology, v. 5, n. 1, p. 69-122.
Saber, H., Wartit, M. El., Hmich, D., and Schneider, J. W., 2007, Tectonic evolution from the Hercynian shortening to the Triassic extension in the Paleozoic sediments of the Western High Atlas (Morocco): Journal of Iberian Geology, v. 33, n. 1, p. 31-40.
Lower Reptiles (“Anapsids”)
Botha, J., Modesto, S. P., and Smith, R. M. H., 2007, Extended procolophonoid reptile survivorship after the end-Permian extinction: South African Journal of Science, v. 103, p. 54-56.
Chahud, A., Fairchild, T. R., 2007, Vertebrados paleozoicos do estado de Sao Paulo: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 101-110.
Dias-da-Silva, S., Modesto, S. P., and Schultz, C. L., 2006 (published 2007), New material of Procolophon (Parareptilia: Procolophonoidea) from the Lower Triassic of Brazil, with remarks on the ages of the Sanga do Cabral and Buena Vista Formation of South America: Canadian Journal of Earth Sciences, v. 43,p. 1685-1693.
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Karl, H.-V., Groning, E., and Brauckmann C., 2007, The Mesosauria in the collection of Gottingen and Clausthal: implicatiosn for a modifed classification: Clausthaler Geowissenschaften, v. 6, p. 63-78.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural, p. 201-218.
Larsson, H. C. E., 2007, MODEs of developmental evolution: an example wiht the origin and definition of the Autopodium: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 150-181.
Modesto, S. P., and Damiani, R., 2007, The procolophonid reptile Sauropareion anoplus from the Lowermost Triassic of South Africa: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 337-349.
Modesto, S. P., Scott, D. M., Berman, D. S., Muller, J., and Reisz, R. R., 2007, The skull and the palaeoecological significance of Labidosaurus hamatus, a captorhinid reptile from the Lower Permian of Texas: Zoological Journal of the Linnean Society, v. 149, p. 237-262.
Müller, J., and Tsuji, L. A., 2007, Impendance-matching hearing in Paleozoic reptiles: evidence of advanced senory perception at an early state of amniote evolution: Public Library of Science (PLOS), One, v. 9, 7 pp.
Reisz, R. R., 2007, The cranial anatomy of basal diadectomorphs and the origin of amniotes: In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 228-252.
Reisz, R. R., and Modesto, S. P., 2007, Heleosaurus scholtzi from the Permian of South Africa: a varanopid synapsid, not a diapsid reptile: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 734-739.
Reisz, R. R., Muller, J., Tsuji, L., and Scott, D., 2007, The cranial osteology of Belebey vegrandis (Parareptilia: Bolosauridae), from the Middle Permian of Russia, and its bearing on reptilian evolution: Zoological Journal of the Linnean Society, v. 151, p. 191-214.Link to pdf
Saber, H., Wartit, M. El., Hmich, D., and Schneider, J. W., 2007, Tectonic evolution from the Hercynian shortening to the Triassic extension in the Paleozoic sediments of the Western High Atlas (Morocco): Journal of Iberian Geology, v. 33, n. 1, p. 31-40.
Schultz, C. L., and Langer, M. C., 2007, Tetrapodes Triassicos do Rio Grande do Sul, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 269-282.
Voigt, S., Berman, D. S., and Henrici, A. C., 2007, First well-established track-trackmaker association of Paleozoic tetrapods based on Ichniotherium trackways and diadectid skeletons from the Lower Permian of Germany: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 553-570.
Turtles
Genus: Nova (2)
Chubutemys GAFFNEY, RICH, VICKERS-RICH, CONSTANTINE, VACCA, & KOOL, 2007
Linderochelys FUENTE, CALVO & GONZALEZ RIGA, 2007
Species: Nova (3)
Chubutemys copelloi GAFFNEY, RICH, VICKERS-RICH, CONSTANTINE, VACCA, & KOOL, 2007
Linderochelys rinconensis FUENTE, CALVO & GONZALEZ RIGA, 2007
Ordosemys brinkmania DANILOV & PARHAM, 2007
Synonym: Nova (1)
Xinjiangchelys wuerhoensis (YEH, 1977) emend DANILOV & PARHAM, 2007
= Sinemys wuerhoensis YEH, 1977
Batista, D. L., and Carvalho, I. de S., 2007, O genero Araripemys (Chelonii, Pleurodira) no Cretaceo Brasileiro: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 283-289.
Candelro, C. R. dos A., Azevedo, R. P. de, and Silva, P. M. da., 2007, Preliminary approach on depositonal environmental of the Uberaba Formation (Upper Cretaceous, Peiropolis site, Minas Gerais State, Brazil: an introduduction: Caminhos de Geografia, v. 8, n. 2, p. 81-85.
Carrino, M. H., 2007, Taxonomic comparison and stratigraphic distribuion of Toxochelys (Testudines: Cheloniidae) of South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 111-132.
Danilov, I. G., and Parham, J. F., 2007, The type series of 'Sinemys' wuerhoensis, a problematic turtle from the Lower Cretaceous of China, includes at least three taxa: Palaeontology, v. 50, part 2, p. 431-444. (Ordosemys brinkmania)
Difley, R., 2007, Biostratigraphy of the North Horn Formation at North Horn Mountain, Emery County, Utah: UGA Publication n. 36, p. 439-454.
De Laparent de Broin, F,. de la Fuente, M. S., and Frenandez, M. S., 2007, Notoemys laticentralis (Chelonii, Pleurodira), Late Jurassic of Argentina: New examination of the anatomical structures and comparisons: Revue de Paleobiologie, n. 26, n. 1, p. 99-136. Link to pdf
de Fuente, M. S., 2007, Testudines: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 50-86.
de Fuente, M. S., Calvo, J. O., and Gonzalez Riga, B. J., 2007, A new Cretaceous chelid turtle from the northern Neuquen Basin, Agentina: Ameghiana, v. 44, n. 2, p. 485-492. (Linderochelys rinconensis)
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Gaffney, E. S., Rich, T. H., Vickers-Rich, P., Constantine, A, Vacca, R., and Kool, L., 2007, Chubutemys, a new eucryptodiran turtle from the Early Cretaceous of Argentina, and the relationships of the Meiolaniidae: American Museum Novitates, n. 3599, 35pp. (Chubutemys copelloi)
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper Cretaceous (Cenomanian-Turonian and Turonian-Coniacian) open marine plattenkalk deposits of New Mexico: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 71-81.
Joyce, W. G., 2007, Phylogenetic relationships of Mesozoic Turtles: Bulletin of the Peabody Museum of Natural History, v. 48, n. 1, 3-102.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Matze, A. T., 2007, An almost complete juvenile specimen of the cheloniid turtle Ctenochelys stenoporus (Hay, 2905) from the Upper Cretaceous Niobrara Formation of Kansas, USA: Palaeontology, v. 50, part 3, p. 669-691.
Naish, D., 2007, Turtles of the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 452-457.
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Oliveira, G. R. de, 2007, Aspectos tafonomicos de testudines da Formacao Santana (Cretaceo (Inferior), Bacia do Araripe, Nordeste do Brazil: Anuario do Instituto de Geociencias, v. 30, n. 1, p. 77-87.
Oliveria, G. R. de., and Kellner, A. W. A., 2007, Taxonomic status of Araripemys "arturi" fielding, Martill & Naish, 2005 (Testudines, Pleurodira, Araripemyididae): In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 385-391.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Scheyer, T. M., and Sander, P. M., 2007, Shell bone histology indicates terrestrial palaeoecology of basal turtles: Proceedings of the Royal Socity, Series B,. v. 274, p. 1885-1893.
Sterli, J., de la Fuente, M. S., and Rougier, G. W., 2007, Anatomy and relationships of Palaeochersis talampayensis, a Late Triassic Turtle from Argentina: Palaeontographica, Abt. A., v. 281, Lfg. 1-3, p. 1-61. Link to pdf
Sterli, J., and Joyce, W. G., 2007, The cranial anataomy of the Early Jurassic turtle Kayentachelys aprix: Acta Palaontologica Polonica, v. 52, v. 4, p. 675-694.
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Diapsida (Lower Lepidosauromorphs)
Genus: Nova (1)
Miodentosaurus CHENG, WU & SATO, 2007
Species: Nova (1)
Anshusaurus huangnihensis CHENG, CHEN & WANG, 2007
Miodentosaurus brevis CHENG, WU & SATO, 2007
Lizards and Snakes
Genus: Nova (3)
Komensaurus CALDWELL & PALCI, 2007
Tripennaculus NYDAM, & VOCI, 2007
Xianglong LI, GAO, HOU & XU, 2007
Species: Nova (9)
Adriosaurus microbrachis PALCI & CALDWELL, 2007
Dicothodon cifellii NYDAM, EATON & SANKEY, 2007
Globidens schumanni MARTIN, 2007a
Hainosaurus newmilleri MARTIN, 2007b
Komensaurus carrolli CALDWELL & PALCI, 2007
Mensicognathus molybrochoros NYDAM, & VOCI, 2007
Plioplatecarpus nichollsae CUTHBERTSON, MALLON, CAMPIONE, & HOLMES, 2007
Tripennaculus eatoni NYDAM, & VOCI, 2007
Xianglong zhaoi LI, GAO, HOU & XU, 2007
Synonym: Nova (3)
Dicothodon bajaensis (NYDAM, 1999) NYDAM, EATON & SANKEY, 2007
= Polyglyphanodon bajaensis NYDAM, 1999
Peneteius saueri (McCORD, 1998) NYDAM, EATON & SANKEY, 2007
=Manangyasaurus saueri McCORD, 1998
Taniwhasaurus antarcticus (NOVAS, FERENANDEZ, GASPARINI, LIRIO, NUNEZ & PUERTA, 2002) MARTIN, & FERNANDEZ, 2007
= Lakumasaurus antarcticus NOVAS, FERENANDEZ, GASPARINI, LIRIO, NUNEZ & PUERTA, 2002
Albino, A., 2007, Lepidosauromorpha: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 87-115.
Buchy, M.-C., Frey, E., Stinnesbeck, W., and Lopez-Oliva, J. G., 2007, Cranial anatomy of a Maastrichtian (Upper Cretaceous) mosasaur (Squamata, Mosasauridae) from north-east Mexico: Revista Mexicana de Ciencias Geologics, v. 24, n. 1, p. 89-103. Link to pdf
Caldwell, M. W., 2007, Ontogeny, anatomy and attachment of the dentition in mosasaurs (Mosasauridae: Squamata): Zoological Journal of the Linnean Society, v. 149, p. 687-700.
Caldwell, M. W., 2007, Snake phylogeny, origins, and evolution: the role, impact, and importance of fossils, (1869-2006): In: Major transitions in vertebrate evolution, edited by Anderson, J. S., and Sues, H.-S., p. 253-302.
Caldell, M. W., and Konishi, T., 2007, Taxonomic re-assignment of the first-known mosasaur specimen from Japan, and a discussion of circum-Pacific mosasaur paleobiogeography: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 517-520.
Caldwell, M. W., and Palci, A., 2007, A new basal mosasauroid from the Cenomanian (U. Cretaceous) of Slovenia with a review of mosasauroid phylogeny and evolution: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 863-880. (Komensaurus carrolli)
Chatterjee, S., and Scotese, C., 2007, Biogeography of the Mesozoic lepidosaurs on the wandering Indian plate: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 551-579.
Conrad, J. L., and Norell, M. A., 2007, A complete Late Cretaceous Iguanian (Squamata, Reptilia) from the Gobi and identification of new iguaninan clade: American Museum Novitates, n. 3584, p. 47pp. (Saichangurvel davidsonae emend Saichangurvel davidsoni) Link to pdf
Note: The authors incorrectly used the wrong ending. They named it after a female preparator, Amy Davidson, and the ending should actually be -ae not -i.
Cuthbertson, R. S., Mallon, J. C., Campione, N. E., and Holmes, R. B., 2007, A new species of mosasaur (Squamata: Mosasauridae) from the Pierre Shale (Lower Campanian) of Manitoba: Canadian Journal of Earth Sciences, v. 44, n. 5, p. 593-606. (Plioplatecarpus nichollsae)
Diez Diaz, V., and Ortega, F., 2007, Un nuevo ejemplar de mosasaurio halisaurino del Cretacico Superior (Maastrichtiense) de la cuenca de Khourigba (Morocco): In: Cantera Paleontológica: 143-156. Diputación Provincial de Cuenca, Cuenca: 398 pp.
Difley, R., 2007, Biostratigraphy of the North Horn Formation at North Horn Mountain, Emery County, Utah: UGA Publication n. 36, p. 439-454.
Dutchak, A. R., and Caldwell, M. W., 2006 (published in 2007), Redescription of Aigialosaurus dalmaticus Kramberger, 1892, a Cenomanian mosasauroid lizard from Hvar Island, Croatia: Canadian Journal of Earth Sciences, v. 43, p. 1821-1834.
Evans, S. E., and Wang, Y., 2007, A juvenile lizard specimen with well-preserved skin impressions from the Upper Jurassic/Lower Cretaceous of Daohugou, Inner Mongolia, China: Naturwissenschaften, v. 94, p. 431-439. Link to pdf
Evans, S. E., Wang, Y., and Jones, M. E. H., 2007, An aggregation of lizard skeletons from the Lower Cretaceous of China: Senckenbergiana lethaea, v. 87, n. 1, p. 109-118. Link to pdf
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper Cretaceous (Cenomanian-Turonian and Turonian-Coniacian) open marine plattenkalk deposits of New Mexico: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 71-81.
Konishi, T., and Caldwell, M. W., 2007, New specimens of Platecarpus planifrons (Cope, 1874) (Squamata: Mosasauridae) and a revised taxonomy of the genus: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 59-72.
Li, P.-P., Gao, K.-Q., Hou, L.-H., and Xu, X., 2007, A gliding lizard from the Early Cretaceous of China: Proceedings of the National Academy of Science, v. 104, n. 13, p. 5507-5509. (Xianlong zhaoi)
Lindgren, J., 2007, First record of Halisaurus (Squamata: Mosasauridae) from the Pacific coast of North America: PaleoBios, v. 27, n. 2, p. 40-47.
Lindgren, J., Jagt, J. W. M., and Caldwell, M. W., 2007, A fishy mosasaur: the axial skeleton of Plotosaurus (Reptilia, Squamata) reassessed: Lethaia, v. 40, p. 153-160.
Martill, D. M., 2007, Lizards of the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 458-462.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Martin, J. E., 2007a, A new species of the durophagous mosasaur Globidens (Squamata: Mosasauridae) from the Late Cretaceous Pierre Shale Group of Central South Dakota, USA: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 177-198. (Globidens schurmanni)
Martin, J. E., 2007b, A North American Hainosaurus (Squamata: Mosasauridae) from the Late Cretaceous of southern South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 199-207. (Hainosaurus neumilleri)
Martin, J E., and Fernandez, M., 2007, The synonymy of the Late Cretaceous mosasaur (Squamata) genus Lakumasaurus from Antarctica with Taniwhasaurus from New Zealand and its bearing upon faunal similarity within the Weddellian Province: Geological Journal, v. 42, p. 203-311. (Taniwhasaurus antarcticus = Lakumasaurus antarcticus)
Martin, J. E., and Fox, J. E., 2007, Stomach contents of Globidens, a shell-crushing mosasaur (Squamata), from the Late Cretaceous Pierre Shale Group, Big Bend area of the Missouri River, central South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 167-176.
Meredith, R. W., Martin, J. E., and Wegleitner, P. N., 2007, The largest mosasaur (Squamata: Mosasauridae) from the Missouri River area (Late Cretaceous; Pierre Shale Group) of South Dakota and its relationships to Lewis and Clark: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 209-214. Link to pdf
Nydam, R. L., Eaton, J. F., and Sankey, J., 2007, New taxa of transversely-toothed lizards (squamata: Scincomorpha) and new information on the evolutionary history of "Teiids": Journal of Paleontology, v. 81, n. 3, p. 538-549. (Dicothodon cifellii, Dicothodon bajaensis = Polyglyphanodon bajaensis, Peneteius sauri = Manangyasaurus saurei) Link to pdf
Nydam, R. L., and Voci, G. E., 2007, Teiid-like Scincomorphan lizards from the Late Cretaceous (Campanian) of Southern Utah: Journal of Herpetology, v. 41, n. 2, p. 211-219. (Tripennaculus eatoni, Mensicognathus molybrochoros). Link to pdf
Obata, I., Matsukawa, M., and Shibata, K., 2007, Geological age and environments of the plesiosaurs and the mosasaurs from Japan: Jubilee Publ. Commem. Prof. Kamei's 80th birthday, p. 155-177.
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Palci, A., and Caldwell, M. W., 2007 Vestigial forelimbs and axial elongation in a 95 million-year-old non-snake squamate: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 1-7. (Adriosaurus microbrachis)
Patrick, D., Martin, J. E., Parris, D. C., and Grandstaff, D. E., 2007, Rare earth element (REE) analysis of fossil vertebrates from the Upper Cretaceous Pierre Shale Group for the purposes of paleobathymetric interpretations of the Western Interior Seaway: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 71-83.
Patrick, D., Martin, J. E., Parris, D. C., and Grandstaff, D. E., 2007, Rare earth element determination of the stratigraphic position of the holotype of Mosasaurus missouriensis (Harlan), the first named fossil reptile from the American West: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 155-165.
Salgado, L., Ferandez, M., and Talevi, M., 2007, Observaciones histologicas en reptiles marinos (Elasmosauridae y Mosasauridae) del Cretacico Tardio de Patagonia y Antartida: Ameghinana, v. 44, n. 3, p. 513-523.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Scanferla, C. A., and Canale, J. I., 2007, The youngest record of the Cretaceous snake genus Dinilysia (Squamata, Serpentes): South American Journal of Herpetology, v. 2, n. 1, p. 766-81. Link to pdf
Shimada, K., Everhart, M. J., and Ewell, K., 2007, A unique reptilian (large dolichosaurid lizard?) tooth from the Upper Cretaceous Niobrara Chalk of western Kansas: Transactions of the Kansas Academy of Science, v. 110, n. 3/4, p. 213-219.
Shimada, K., and Ystesund, T. K., 2007, A dolichosaurid lizard, Coniasaurus cf. C. crassidens, from the Upper Cretaeous Carlile Shale in Russell County, Kansas: Transacations of the Kansas Academy of Science, v. 110, n. 3/4, p. 236-242.
Silva, M. C. da, Barreto, A. M. F., Carvalho, I. de S., and Carvalho, M. S. S., 2007, Relacao entre a morfologia da denticao e os habitos alimentares dos vertebrados da Bacia da Paraiba, Nordeste do Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 433-440.
Sphenodonts
Genus: Nova (1)
Lamarquesaurus APESTEGUIA & ROUGIER, 2007
Species: Nova (1)
Lamarquesaurus cabazai APESTEGUIA & ROUGIER, 2007
Albino, A., 2007, Lepidosauromorpha: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 87-115.
Apesteguia, S., and Rougier, G. W., 2007, A Late Campanian Sphenodontid maxilla from Northern Patagonia: American Museum Novitates, n. 3581, 11pp. (Lamarquesaurus cabazai) Link to pdf
Chatterjee, S., and Scotese, C., 2007, Biogeography of the Mesozoic lepidosaurs on the wandering Indian plate: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 551-579.
Gasparini, Z., Salgado, L., and Coria, R. A., 2007, Reptilian faunal succession in the Mesozoic and Patagonia, an updated overview: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 335-358.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona:In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 371-383.
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Ichthyosaurs
Species: Nova (1)
Callawayia wolonggangense CHEN, CHENG & SANDER, 2007
Synonym: Nova (1)
Stenopterygius cayi (FERNANDEZ, 1994) FERNANDEZ, 2007
= Chacaicosaurus cayi FERNANDEZ, 1994
Chen, X. H., Cheng, L., and Sander, P. M., 2007, A new species of Callawayia (Reptilia: Ichthyosauria) from the Late Triassic Guanling biota, Guizhou, China: Geological Bulletin of China, v. 22, p. 228-235. (Callawayia wolonggangense)
Fernandez, M., 2007, Redescription and phylogenetic position of Caypullisaurus (Ichthyosauria: Ophthalmosauridae): Journal of Paleontology, v. 81, n. 2, p. 368-375.
Fernandez, M., 2007, Ichthyosauria: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 271-291.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Jiang, D.-Y., Schmitz, L., Motani, R., Hao, W.-C., and Sun, Y.-L., 2007, The mixosaurid ichthyosaur Phalarodon cf. P. fraasi from the Middle Triassic of Guizhou Province, China: Journal of Paleontology, v. 81, n. 3, p. 602-605. Link to pdf
Lingham-Soliar, T., and Plodowski, G., 2007, Taphonomic evidence for high-speed adapted fins in thunniform ichthyosaurs: Naturwissenschaften, v. 94, p. 65-70.
Lucas, S. G., Siberling, N. J., Jenks, J. F., Spielmann, J. A., and Rinehart, L. F., 2007, Third day: Upper Triassic and Lower Jurassic stratigraphy and biostratigrphy in western Nevada: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 23-32.
Reisdorf, A. G., 2007a, Der ichthyosaurier von Hauensteiner Nebelmeer wie eine kopflandung die wissenschaft kopf stehen lässt: Naturforschende Gesellschaft des Kantos Solothurn, heft 40, p. 7-22.
Reisdrof, A. G., 2007b, No Joke Movement mehr über den hauensteiner ichthyosaurier und rezente marine lungenatmer: Naturforschende Gesellschaft des Kantos Solothurn, heft 40, p. 23-49.
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
Sauropterygians and Placodontians
Genus: Nova (4)
Eopolycotylus ALBRIGHT, GILLETTE & TITUS, 2007a
Hydrorion GROßMANN, 2007
Pahaspasaurus SCHUMACHER, 2007
Palmulasaurus ALBRIGHT, GILLETTE & TITUS, 2007c
Species: Nova (2)
Eopolycotylus rankini ALBRIGHT, GILLETTE & TITUS, 2007a
Pahaspasaurus haasi SCHUMACHER, 2007
Synonym: Nova (2)
Hydrorion brachypterygius (HUENE, 1923) GROßMANN, 2007
= Plesiosaurus brachypterygius HUENE, 1923
= Microcleidus brachypterygius (HUENE, 1923), BAKKER, 1993
Palmulasaurus quadratus (ALBRIGHT, GILLETTE & TITUS, 2007a) ALBRIGHT, GILLETTE & TITUS, 2007c
= Palmula quadratus ALBRIGHT, GILLETTE & TITUS, 2007a
Albright III, L. B., Gillette, D. D., and Titus, A. L., 2007a, Plesiosaurs from the Upper Cretaceous (Cenomanian-Turonian) Tropic Shale of southern Utah, part 1: new records of the pliosaur Brachauchenius lucasi: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 31-40.
Albright III, L. B., Gillette, D. D., and Titus, A. L., 2007b, Plesiosaurs from the Upper Cretaceous (Cenomanian-Turonian) Tropic Shale of southern Utah, part 2: polycotylidae Journal of Vertebrate Paleontology, v. 27, n. 1, p. 41-58. (Eopolycotylus rankini, Palmula quadratus) Link to pdf
Albright III, L. B., Gillette, D. D., and Titus, A. L., 2007c, Plesiosaurs from the Upper Cretaceous (Cenomanian-Turonian) tropic shale of southern Utah, part 2: Polycotylidae: repalcement names for the preoccupied genus Palmula and the subfamily Palmulainae: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 1051. (Palmulasaurus quadratus = Palmula quadratus) Link to pdf
Arkhangelsky, M. S., Averianov, A. O., and Pervushov, E. M., 2007, Short-necked plesiosaurs of the family Polycotylidae from the Campanian of the Saratov Region: Palaeontological Journal, v. 2007, v. 41, n . 6, p. 656-660. Link to pdf
Everhart, M. J., 2007, Use of archival photographs to rediscover the locality of the Holyrood elasmosaur (Ellsworth County, Kansas): Transactions of the Kansas Academy of Science, v. 110, n. 1/2, p. 135-241.
Everhart, M. J., 2007, Historical note on the 1884 discovery of Brachauchenius lucasi (Plesiosauria; Pliosauridae) in Ottawa County, Kansas: Transactions of the Kansas Academy of Science, v. 110, n. 3/4, p. 255-258. Link to pdf
Farke, A. A., 2007, Reexamination of paleopathology in plesiosaurs and implications for behavioral interpretations: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 724-726.
Gasparini, Z., 2007, Plesiosauria: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 292-313.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Großmann, F., 2007, The taxonomic and phylogenetic position of the plesiosauroidea from the Lower Jurassic Posidonia shale of south-west Germany: Palaeontology, v. 50, part 3, p. 545-564. (Hydrorion brachypterygius = Plesiosaurus brachypterygius) Link to pdf
Kear, B. P., 2007, A juvenile pliosauroid plesiosaur (Reptilia: Sauropterygia) from the Lower Creaceous of South Australia: Journal of Paleontology, v. 81, n. 1, p. 154-162.
Kear, B. P., 2007, Taxonomic clarification of the Australian elasmosaurid genus Eromangasaurus, with reference to other Austral elasmosaur taxa: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 241-246.
Martin, J. E., Sawyer, J. F., Reguero, M., and Case, J. A., 2007, Occurrence of a young elasmosaurid plesiosaur skeleton from the Late Cretaceous (Maastrichtian) of Antarctica: U.S. Geological Survey and The National Academics, USGS of -2007-2047, Short Research Papers 066, doi:10.3133/of2007-1047.srp066, 4pp.
Noe, L. F., and Gomez-Perez, M., 2007, Postcript to Everhart, M. J., 2005. "Elasmosaurid remains from the Pierre Shale (Upper Cretaceous) of western Kansas. Possible missing elements of the type specimen of Elasmosaurus platyurus Cope, 1868?" - PalArch's Journal of Vertebrate Paleontology, 4, 3, p. 19-32: PalArch's Journal of Vertebrate Paleontology, 2, 1, p. 1-9.
Obata, I., Matsukawa, M., and Shibata, K., 2007, Geological age and environments of the plesiosaurs and the mosasaurs from Japan: Jubilee Publ. Commem. Prof. Kamei's 80th birthday, p. 155-177.
Salgado, L., Ferandez, M., and Talevi, M., 2007, Observaciones histologicas en reptiles marinos (Elasmosauridae y Mosasauridae) del Cretacico Tardio de Patagonia y Antartida: Ameghinana, v. 44, n. 3, p. 513-523.
Salgado, L., Parras, A., and Gasparini, Z., 2007, Un plesiosaurio de cuello corto (Plesiosauroidea, Polycotylidae) del Cretacico Superior del norte de Patagonia: Ameghiniana, v. 44, n. 2, p. 349-358.
Schumacher, B. A., 2007, A new polycotylid plesiosaur (Reptilia; Sauropterygia) from the Greenhorn Limestone (Upper Cretaceous; lower upper Cenomanian), Black Hills, South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 133-146. (Pahasapasaurus haasi).
Smith, A. S., 2007, The back-to-front plesiosaur Cryptoclidus (Apractocleidus) aldingeri from the Kimmeridgian of Milne Land, Greenland: Bulletin of the Geological Society of Denmark, v. 58, p. 1-7.
Thompson, W. A., Martin, J. E., and Reguero, M., 2007, Comparison of gastroliths within plesiosaurs (Elasmosauridae) from the Late Cretaceous marine deposits of Vega Island, Antarctic Peninsula, and the Missouri River area, South Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 147-153.
Vincent, P., Bardet, N., and Morel, N., 2007, An Elasmosaurid plesiosaur from the Aalenian (Middle Jurassic) of Western France: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 243, n. 3, p. 363-370.
Wahl, W. R., Ross, M., and Massare, J. A., 2007, Rediscovery of Wilbur Knight's Megalneusaurus rex site: new material from an old pit: Paludicola, v. 6, n. 2, p. 94-104. Link to pdf
Lower Archosauromorpha
Genus: Nova (1)
Mecistotrachelos FRASER, OLSEN, DOOLEY & RYAN, 2007
Species: Nova (3)
Anshunsaurus huangnihensis CHENG, CHEN & WANG, 2007
Macrocnemus fuyanensis LI, ZHAO, & WANG, 2007
Mecistotrachelos apeoros FRASER, OLSEN, DOOLEY & RYAN, 2007
Buffetaut, E., Li, J., Tong, H., and Zhang, H., 2007, A two-headed reptile from the Cretaceous of China: Biology Letters, v. 3, p. 80-81.
Casey, M. M., Fraser, N. C., and Kowalewski, M., 2007, Quantitative taphonomy of a Triassic reptile Tanytrachelos ahynis from the Cow Branch Formation, Dan River Basin, Solite Quarry, Virginia: Palaios, v. 22, p. 598-611.
Cheng, L., Chen, X., and Wang, C., 2007, A new species of Late Triassic Anshunsaurus (Reptilia: Thalattosauria) from Guizhou PRovince, Acta Geologica Sinica, v. 81, n. 10, p. 1345-1351. (Anshunsaurus huangnihensis) Link to pdf
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Fraser, N. C., Olsen, P. E., Dooley jr, A. C., and Ryan, T. R., 2007, A new gliding tetrapod (Diapsida: ?Archosauromorpha) from the Upper Triassic (Carnian) of Virginia: Journal of Vertebrate Paleontology, v. 27, n. 2, p. 261-265. (Mecistotrachelos apeoros)
Gao, K.-Q., Ksepka, D., Hou, L., Duan, Y., and Hu, D., 2007, Cranial morphology of an Early Cretaceous Monjurosuchid (Reptilia: Diapsida) from the Liaoning Province of China and evolution of the chrostoderan palate: Historical Biology, v. 19, n. 3, p. 215-224.
Gao, K.-Q., and Li, Q., 2007, Osteology of Monjurosuchus splendens (Diapsida: Christodera) based on a new specimen from the Lower Cretaceous of western Liaoning, China: Cretaceous Research, v. 28, p. 261-271.
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Hone, D. W. E., and Benton, M. J., 2007, An evaluation of the phylogenetic relationships of the pterosaurs among archosauromorph reptiles: Journal of Systematic Palaeontology, v. 5, n. 4, p. 465-469.
Irmis, R. B., Parker, W. G., Nesbitt, S. J., and Liu, J., 2007, Early ornithischian dinosaurs: the Triassic record: Historical Biology, v. 19, n. 1, p. 3-22.
Katsura, Y., 2007, Fusion of sacrals and anatomy in Champsosaurus (Diapsida, Choristodera): Historical Biology, v. 19, n. 3, p. 263-271.
Kubo, T., and Benton, M. J., 2007, Evolution of hindlimb posture in archosaurs: limb stresses in extinct vertebrates: Palaeontology, v. 50, part 6, p. 1519-1529.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural, p. 201-218.
Li, C., 2007, A juvenile Tanystropheus sp. (Protosauria, Tanystropheidae) from the Middle Triassic of Guizhou, China: Vertebrata PalAsiatica, v. 45, n. 1, p. 37-42.
Li, C., Zhao, L.-J., and Wang, L.-T., 2007, A new species of Macrocnemus (Reptilia: Protosauria) from the Middle Triassic of southwestern China and its palaeogeographical implications: Science in China Series D-Earth Sciences, v. 50, p. 1601-1605. (Macrocnemus fuyanensis)
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Matsumoto, R., Evans, S. E., and Manabe, M., 2007, The choristoderan reptile Monjurosuchus from the Early Cretaceous of Japan: Acta Palaeontologica Polonica, v. 52, n. 2, p. 339-350. Link to pdf
Nesbitt, S. J., Irmis, R. B., and Parker, W. G., 2007, A critical re-evaluation of the Late Triassic Dinosaur Taxa of North America: Journal of Systematic Palaeontology, v. 5, n. 2, p. 209-243.
Nosotti, S., 2007, Tanystropheus longobardicus (Reptilia, Protorosauria): re-interpretations of the anatomy based on new specimens from the Middle Triassic of Besano (Lombardy, Northern Italy): Memorie della Societa Italiana di Scienze Naturali e del Museo Civico di Storia Naturale di Milano, v. 35, fasc. III, 88pp. Link to pdf
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Renesto, S., and Dalla Vecchia, F. M., 2007, A revision of Longobardisaurus rossii Bizzarini and Muscio, 1995 from the Late Triassic of Friuli (Italy): Rivista Italiana di Paleontologi e Stratigrafia, v. 113, n. 2, p. 191-201.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Scheetz, R. D., and Britt, B. B., 2007, Paleontological discoveries of James A. "Dinosaur Jim" Jensen in Central Utah: UGA Publication 36, p. 455-465.
Schultz, C. L., and Langer, M. C., 2007, Tetrapodes Triassicos do Rio Grande do Sul, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 269-282.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural, p. 371-383.
Spielmann, J. A., Lucas, S. G., Heckert, A. B., Rinehart, L. F., and Hunt, A. P., 2007, Taxonomy and biostratigraphy of the Late Triassic archosauromorph Trilophosaurus: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 231-240.
Vandermark, D., Tarduno, J. A., and Brinkman, D. B., 2007, A fossil champsosaur population from the high Arctic: implications for Late Cretaceous paleotemperatures: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 248, p. 49-59. Link to pdf
Vega-Dias, C., and Schultz, C. L., 2007, Evidence of archosaurifrom feeding on dicynodonts in the Late Triassic of southern Brazil: PaleoBios, v. 27, n. 2, p. 62-67.
“Thecodontia, Pseudosuchia"
Genus: Nova (3)
Adamanasuchus LUCAS, HUNT & SPIELMANN, 2007
Arganasuchus JALIL & PEYER, 2007
Heliocanthus PARKER, 2007
Species: Nova (2)
Adamanasuchus eisenhardtae LUCAS, HUNT & SPIELMANN, 2007
Arganasuchus dutuiti JAILIL & PEYER, 2007
Synonym: Nova (2)
Heliocanthus chamaensis (ZEIGLER, HECKERT & LUCAS, 2002) PARKER, 2007
= Desmatosuchus chamaensis ZEIGLER, HECKERT & LUCAS, 2002
Poposaurus langstoni (LONG & MURRY, 1995) WEINBAUM & HUNGERBUHLER, 2007
= Lythrosuchus langstoni LONG & MURRY, 1995
= Postosuchus kirkpatricki CHATTERJEE, 1985 (partim)
Desojo, J. B, and Baez, A. M., 2007, Cranial morphology of the Late Triassic South American archosaur Neoaetosauroides engaeus: evidence for aetosaurian diversity: Palaeontology, v. 50, part 1, p. 267-276.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Harris, S. R., Pisani, D., Gower, D. J., and Wilkinson, M., 2007, Investigating stagnation in morphological phylogenetics using consensus data: Systematic Biology, v. 56, n. 1, p. 125-129.
Heckert, A. B., Lucas, S. G., Hunt, A. P., and Spielmann, J. A., 2007, Late Triassic aetosaur biochronology revisited: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 49-50.
Heckert, A. B., Spielmann, J. A., Lucas, S. G., and Hunt, A. P., 2007, Biostratigraphy utility of the Upper Triassic aetosaur Tecovasuchus (Archosauria: Stagonolepididae), anindex taxon of St. Johnsian (Adamanian: Late Carnian) time: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 51-57.
Irmis, R. B., 2007, Axial skeleton ontogeny in the parasuchia (Archosauria: Pseudosuchia) and its implications for ontogenetic determination in archosaurs: Journal of Paleontology, v. 27, n. 2, p. 350-361.
Irmis, R. B., Parker, W. G., Nesbitt, S. J., and Liu, J., 2007, Early ornithischian dinosaurs: the Triassic record: Historical Biology, v. 19, n. 1, p. 3-22. Link to pdf
Jalil, N.-E., and Peyer, K., 2007, A new rauisuchian (Archosauria, Suchia) from the Upper Triassic of the Argana basin, Morocco: Palaeontology, v. 50, part 2, p. 417-430. (Arganasuchus dutuiti)
Kubo, T., and Benton, M. J., 2007, Evolution of hindlimb posture in archosaurs: limb stresses in extinct vertebrates: Palaeontology, v. 50, part 6, p. 1519-1529.
Langer, M. C., Ribeiro, A. M., Schultz, C. L., and Ferigolo, J., 2007, The continental tetrapod-bearing Triassic of South Brazil: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, , p. 201-218.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Second Day: Early and Middle Triassic stratigraphy, sedimentology and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 181-187.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., Heckert, A. B., and Rinehart, L., 2007, A giant skull, ontogenetic variation and taxonomic validity of the Late Triassic phytosaur Parasuchus: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 222-228.
Lucas, S. G., Hunt, A. P., Heckert, A. P., and Spielmann, J. A., 2007, Global Triassic tetrapod biostratigraphy and biochronology: 2007 status: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 229-240.
Lucas, S. G., Hunt, A. P., and Spielmann, J. A., 2007, A new aetosaur from the Upper Triassic (Adamanian: Carnian) of Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 241-247. (Adamanasuchus eisenhardtae).
Lucas, S. G., Spielmann, J. A., Heckert, A. B., and Hunt, A. P., 2007, Topotypes of Typothorax coccinarum, a Late Triassic aetosaur from the American southwest: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 241-247.
Lucas, S. G., Spielmann, J. A., and Hunt, A. P., 2007, Biochronological significance of the Late Triassic tetrapods from Krasijow, Poland: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 248-258.
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Nesbitt, S. J., 2007, The Anatomy of Effigia okeeffeae (Archosauria, Suchia), Theropod-like convergence, and the distribution of related taxa: Bulletin of the American Museum of Natural History, n. 302, 84pp.
Nesbitt, S. J., Irmis, R. B., and Parker, W. G., 2007, A critical re-evaluation of the Late Triassic Dinosaur Taxa of North America: Journal of Systematic Palaeontology, v. 5, n. 2, p. 209-243.
Parker, W. G., 2007, Reassessment of the aetosaur 'Desmatosuchus' chamaensis with a reanalysis of the phylogeny of the aetosauria (Archosauria: Pseudosuchia): Journal of Systematic Paleontology, v. 5, n. 1, p. 41-68. (Rioarribasuchus chamaensis = Desmatosuchus chamaensis = Heliocanthus chamaensis. Note: Desmatosuchus chamaensis was renamed by Lucas, S. G., Hunt, A. P., and Spielmann, J. A., 2006 as this paper was in press)
Prieto-Marquez, A., Gignac, P. M., and Joshi, S., 2007, Neontological evaluation of pelvic skeletal attributes purported to reflect sex in extinct non-avian archosaurs: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 603-609.
Schoch, R. R., 2007, Osteology of the small archosaur Aetosaurus from the Upper Triassic of Germany: Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 246, n. 1, p. 1-35.
Spielmann, J. A., Lucas, S. G., and Heckert, A. B., 2007, Tetrapod fauna of the UpperTriassic (Revuletian) Owl Rock Formation, Chinle Group, Arizona: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 371-383.
Tanner, L. H., and Lucas, S. G., 2007, The Moenave Formation: Sedimentologic and stratigraphic context of the Triassic-Jurassic boundary in the Four Corners area, southwestern U.S.A.: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 111-125.
Wedal, M., 2007, What pneumaticity tells us about 'prosauropods', and vice versa: Special Papers in Paleontology, v. 77, p. 207-222.
Weinbaum, J. C., and Hungerbühler, A., 2007, A revision of Poposaurus gracilis (Archosauria: Suchia) based on two new specimens from the Late Triassic of southwestern U.S.A: Paläontologische Zeitschrift, v. 81, Heft 2, p. 131-145. (Poposaurus langstoni = Lythrosuchus langstoni)
Crocodilia (Mesosuchia, Eusuchia)
Genus: Nova (9
Aktiogavialis VELEZ-JURABE, BROCHU, & SANTOS, 2007
Barinasuchus PAOLILLO & LINARES, 2007
Dollosuchoides BROCHU, 2007a
Iharkutosuchus OSI, CLARK & WEISHAMPEL, 2007
Langstonia PAOLILLO & LINARES, 2007
Montealtasuchus CARVALHO, VASCONCELLOS & TAVARES, 2007
Oceanosuchus HUA, BUFFETAUT, LEGALL & ROGRON, 2007
Voay BROCHU, 2007
Zulmasuchus PAOLILLO & LINARES, 2007
Species: Nova (11)
Aktiogavialis puertoricensis VELEZ-JURABE, BROCHU, & SANTOS, 2007
Barinasuchus arveloi PAOLILLO & LINARES, 2007
= Sebecus cf. huilensis BUFFETAUT & OFFSTETTER, 1977
Congosaurus compressus (BUFFETAUT, 1979) JOUVE, 2007
= Rhabdognathus compressus BUFFETAUT, 1979
Dollosuchoides densmorei BROCHU, 2007a
Eocaiman palaeocoenicus BONA, 2007
Iharkutosuchus makadii OSI, CLARK & WEISHAMPEL, 2007
Mariliasuchus robustus NOBRE, CARVALHO, VASCONCELLOS & NAVA, 2007
Montealtasuchus arrudacamposi CARVALHO, VASCONCELLOS & TAVARES, 2007
Neuquensuchus universitas FIORELLI & CALVO, 2007
Oceanosuchus boecensis HUA, BUFFETAUT, LEGALL & ROGRON, 2007
Rhabdognathus aslerensis JOUVE, 2007
Synonym: Nova (5)
Kentisuchus spenceri (BUCKLAND, 1837) BROCHU, 2007
= Crocodilus spenceri (BUCKLAND, 1837) BROCHU, 2007
= Crocodilus toliapicus OWEN, 1850
= Kentisuchus toliapicus (OWEN, 1850) MOOK, 1955
= Crocodilus delucii GRAY, 1831
= Crocodilus champsoides OWEN, 1850
Langstonia huilensis (LANGSTON, 1965) PAOLILLO & LINARES, 2007
= Sebecus huilensis LANGSTON, 1965
Shuvosaurus okeeffeae (NESBIT & NORELL, 2006) LUCAS, SPIELMANN & HUNT, 2007
= Effigia okeeffeae NESBITT & NORELL, 2006
Voay robustus (GRANDIDIER & VAILLANT, 1872) BROCHU, 2007
= Crocodilus robustus GRANDIDIER & VAILLANT, 1872
Zulmasuchus querejazus (BUFFETAUT & MARSHELL, 1991) PAOLILLO & LINARES, 2007
= Sebecus querejazus BUFFETAUT & MARSHALL, 1991
Azevedo, R. P. F. de, Vasconcellos, P. L. de, Canderio, C. R. dos A., and Bergqvist, L. P., 2007, Restos microscopicos de vertebrados fosseis do Grupo Bauru (Neocertaceo), no oest do estado de Sao Paulo, Brasil: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 533-541.
Bona, P., 2007, Un nueva especie de Eocaiman Simpson (Crocodylia, Alligatoridae) del Paleoceno Inferior de Patagonia: Ameghiniana, v. 44, n. 2, p. 435-445. (Eocaiman palaeocenicus)
Brochu, C. A., 2007, Systematics and taxonomy of Eocene tomistomine crocodylians from Britain and northern Europe: Palaeontology, v. 50, part 4, p. 917-928. (Dollosuchoides densmorei)
Brochu, C. A., 2007, Morphology, relationships, and biogeographical significance of an extinct horned crocodilie (Crocodylia, Crocodylidae) from the Quaternary of Madagascar: Zoological Journal of the Linnean Society, v. 150, p. 835-863. (Voay robustus = Crocodylus robustus)
Brochu, C. A., Nieves-Rivera, A. M., Velez-Juarbe, J., Daza-Vaca, J. D., and Santos, H., 2007, Tertiary crocodylians from Puerto Rico: Evidence for Late Tertiary endemic crocodylians in the West Indies? Geobios, v. 40, p. 51-59.
Calvo, J. O., Porfiri, J. D., Gonzalez-Riga, B. J., and Kellner, A. W. A., 2007, A new Cretaceous terrestrial ecosystem from Gondwana with description of a new sauropod dinosaur: Anais da Academia Brasilieria de Ciencias, v. 79, n. 3, p. 529-541.
Carvalho, I. de S., and Vasconcellos, F. M. de, and Tavares, S. A., S., 2007, Montealtosuchus arrudacamposi, a new peirosaurid crocodile (Mesoeucrocodylia) from the Late Cretaceous Adamantina Formation of Brazil: Zootaxa, v. 1607, p. 35-46. (Montealtosuchus arrudacomposi) Link to pdf
Delfino, M., Bohme, M., and Rook, L., 2007, First European evidence for transcontinental dispersal of Crocodylus (Late Neogene of southern Italy): Zoological Journal of the Linnean Society, v. 149, p. 293-307. Link to pdf
Fiorelli, L. E., and Calvo, J. O., 2007, The first "Protosuchian" (Archosauria: Crocodyliformes) from the Cretaceous (Santonian) of Gondwana: Arquivos do Museu Nacional, Rio de Janeiro, v. 65, n. 4, p. 417-459. (Neuquensuchus universitas)
Frey, E. D., and Salisbury, S. W., 2007, Crocodilians of the Crato Formation: evidence for enigmatic species: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 463-474.
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Garcia, K. L., 2007, A familia Peirosauridae do Cretaceo do Gondwana: taxonomia comparada e implicacoes paleogeograficas: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 393-404.
Garrison jr, J. R., Brinkman, D., Nichols, D. J., Layer, P., Burge, D., and Thayn, D., 2007, A multidisiplinary study of the Lower Cretaceous Cedar Mountain Formation, Mussentuchit Wash, Utah: a determination of the paleoenvironment and paleoecology of the Eolambia caroljonesa dinosaur quarry: Cretaceous Research, v. 28, p. 461-494.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Hoganson, J. W., Erickson, J. M., and Holland, Jr., F. D., Amphibian, reptilian, and avian remains from the Fox Hills Formation (Maastrichtian): shoreline and estuarine deposits of the Pierre Sea in south-central North Dakota: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 239-256.
Hua, S., Buffetaut, E., Legall, C., and Rogron, P., 2007, Oceanosuchus boecensis n. gen, n. sp., a marine pholidosaurid (Crocodylia, Mesosuchia) from the Lower Cenomanian of Normandy, (Western France): Bulletin of the Geological Society of France, t. 178, n. 6, p. 503-513. (Oceanosuchus boecensis)
Jouve, S., 2007, Taxonomic revision of the dryosaurid assemblage (Crocodyliformes: Mesoeucrocodylia) from the Paleocene of the Iullemmeden basin, West Africa: Journal of Paleontology, v. 81, n. 1, p. 163-175. (Rhabdognathus keinensis, Rhabdognathus aslerensis, Congosaurus compressus = Rhabdognathus compressus)
Larsson, H. C. E., and Sues, H.-D., 2007, Cranial osteology and phylogenetic relationships of Hamadasuchus rebouli (Crocodyliformes: Mesoeucrocodylia) from the Cretaceous of Morocco: Zoological Journal of the Linnean Society, v. 149, p. 533-567.
Lucas, S. G., Heckert, A. B., Spielmann, J. A., Tanner, L. H., and Hunt, A. P., 2007, Third Day: Triassic stratigraphy and paleontology in northeastern Arizona: In: Triassic of the American West, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural History & Science, Bulletin 40, p. 186-197.
Lucas, S. G., Spielmann, J. A., and Hunt, A. P., 2007b, Taxonomy of Shuvosaurus, a Late Triassic archosaur from the Chinle Group, American southwest: In: The Global Triassic, Edited by Lucas, S. G., and Spielmann, J. A., New Mexico Museum of Natural and Science, bulletin 41, p. 249-261. (Shuvosaurus okeeffeae = Effigia okeeffeae) Link to pdf
Lucas, S. G., and Tanner, L. H., 2007, Tetrapod biosratigraphy and biochronology of the Triassic-Jurassic transition on the southern Colorado Plateau, USA: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 242-256.
Marinho, T. da S., and Carvalho, I. de S., 2007, Revision of hte Sphagesauridae Kuhn, 1968 (Crocodyliformes, Mesoeurocodylia): In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 581-592.
Martill, D. M., Bechly, G, and Heads, S. W., 2007, Appendix: species list for the Crato Formation: In: The Crato Fossil Beds of Brazil, window into an Ancient World, edited by Martin, D. M., Bechly, G., and Loveridge, R. F., p. 582-607.
Martin, J. E., 2007, New material of the Late Cretaceous globidontan Acynodon iberoccitanus (Crocodylia) from southern France: Journal of Paleontology, v. 27, n. 2, p. 362-372.
Martinelli, A. G., Garrido, A. C., Forasiepi, A. M., Paz, E. R., and Gurovich, Y., 2007, Notes on fossil remains from the Early Cretaceous Lohan Cura Formation, Neuquen Province, Argentina: Gondwana Research, v. 11, p. 537-552.
Nesbitt, S., 2007, The Anatomy of Effigia okeeffeae (Archosauria, Suchia), Theropod-like convergence, and the distribution of related taxa: Bulletin of the American Museum of Natural History, n. 302, 84pp.
Nobre, P. H., Carvalho, I. de S., Vasconcellos, F. M. de, and Nava, W. R., 2007, Mariliasuchus robustus, um nuvo crocodylomorpha (Mesoeucrocodylia) da Bacia Bauru, Brazil: Anuario do Instituto de Geociencias, v. 30, n. 1p., 32-43. (Mariliasuchus robustus)
Oheim, K. B., 2007, Fossil site predicition using geographic information systems (GIS) and suitability analysis: the Two Medicine Formation, MT, a test case: Paleogeography, Palaeoclimatology, Palaeoecology, v. 251, p. 354-365.
Osi, A., Clark, J. M., and Weishampel, D. B., 2007, First report on a new basal eusuchian crocodyliform with multicuspid teeth from the Upper Cretaceous (Santonian) of Hungary: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 243, n. 2, p. 169-177. (Iharkutosuchus makadii)
Paolillo, A., and Linares, O. J., 2007, Nuevos cocodrilos Sebecosuchia del Ceozoico Suramericano (Mesosuchia: Crocodylia): Paleobiologia Neotropical, n. 3, p. 25pp. (Barinasuchus arveloi, Langstonia huilensis = Sebecus huilensis, Zulmasuchus querejazui = Sebecus querejazui) Link to Pdf
Piras, P., Delfino, M., del Favero, L., and Kotsakis, T., 2007, Phylogenetic position of the crocodylian Megadontosuchus arduini and tomistomine palaeobiogeography: Acta Paleontologica Polonica, v. 52, p. 2, p. 315-328.
Pol, D., and Gasparini, Z., 2007, Crocodyliformes: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 116-142.
Prieto-Marquez, A., Gignac, P. M., and Joshi, S., 2007, Neontological evaluation of pelvic skeletal attributes purported to reflect sex in extinct non-avian archosaurs: Journal of Vertebrate Paleontology, v. 27, n. 3, p. 603-609.
Salas-Gismondi, R., Antoine, P.-O., Baby, P., Brusset, S., Benammi, M., Espurt, N., de Franceschi, D., Pujos, F., and Tegada, J, and Urbina, M., 2007, Middle Miocene crocodiles from the Fitzcarrald arch, Amazonian Peru: In: 4th European Meeting on the Paleontology and Stratigraphy of Latin America, edited by Diaz-Martinez, E., and Rabano, I., Cuademos del Museo Geomienro, n. 8, Instituto Geologico y Minero de Espana, Madrid, 2007, p. 355-360.
Sanchez-Hernandez, B., Benton, M. J., and Naish, D., 2007, Dinosaurs and other fossil vertebrates from the Late Jurassic and Early Cretaceous of the Galve area, NE Spain: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 249, p. 180-215.
Schweitzer, M. H., Elsey, R. M., Dacke, C. G., Horner, J. R., and Lamm, E.-T., 2007, Do egg-laying crocodilian (Alligator mississippiensis) archosaurs form medullary bone? Bone, v. 40, p. 1152-1158.
Shimada, K., and Parris, D. C., 2007, A long-snouted Late Cretaceous crocodyliform, Terminonaris cf. T. browni, from the Carlile Shale (Turonian) of Kansas: Transcations of the Kansas Academy of Science, v. 110, no. 1/2, p. 107-115.
Snyder, D., 2007, Morphology and systematics of two Miocene alligators from Florida, with a discussion of Alligator biogeography: Journal of Paleontology, v. 81, n. 5, p. 917-928.
Suarez Soruco, R., 2007, Bolivia y su paleobiodiversidad: In: 4th European Meeting on the Paleontology and Stratigraphy of Latin America, edited by Diaz-Martinez, E., and Rabano, I., Cuademos del Museo Geomienro, n. 8, Instituto Geologico y Minero de Espana, Madrid, 2007, p. 375-382.
Tanner, L. H., and Lucas, S. G., 2007, The Moenave Formation: Sedimentologic and stratigraphic context of the Triassic-Jurassic boundary in the Four Corners area, southwestern U.S.A.: Palaeogeography, Palaeoclimatology, Palaeoecology, v. 244, p. 111-125.
Tumarkin-Deratzian, A. R., Vann, D. R., and Dodson, P., 2007, Growth and textural ageing in long bones of the American alligator Alligator mississippiensis (Crocodylia: Alligatoridae): Zoological Journal of the Linnean Society, v. 150, p. 1-39.
Vasconcellos, F. M. de., and Carvalho, I. de S., 2007, Cranial features of Baurusuchus salgadoensis Carvalho, Campos & Nobre 2005, a Baurusuchidae (Mesoeucrocodylia) from the Adamantina Formation, Bauru Basin, Brazil: paleoichnological, taxonomic and systematic implications: In: Paleontologia: Cenarios de Vida, v. 1, edited by Carvalho, I. de S., Cassab, R. de C. T., Schwanke, C., Carvalho, M. de A., Fernandes, A. C. S., Rodrigues, M. A. da C., Carvalho, M. S. S. de, Arai, M., and Oliveria, M. E. Q., p. 319-332. Link to pdf
Velez-Juarbe, J,. Brochu, C. A., and Santos, H., 2007, A gharial from the Oligocene of Puerto Rico: transoceanic dipersal in the history of a non-marine reptile: Proceedings of the Royal Society, v .274, p. 1245-1254. (Aktiogavialis puertoricensis) Link to pdf
Viohl, G., and Zapp, M,. 2007, Schamhaupten, an outstanding Fossil-Lagerstätte in a silicified Plattenkalk around the Kimmeridgian-Tithonian boundary (Southern Franconian Alb, Bavaria): Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 127-142.
White, M., 2009, When Crocs ruled: National Geographic, v. 216, no. 5, p. 128-141.
Wolff, E. D. S., Fowler, D. W., and Bonde, J. W., 2007, A possilbe case of necrotizing dermatitis in the crocodylian Diplocynodon, from the Oligocene of the Isle of Wight, United Kingdom: Historical Biology, v. 19, n. 2, p. 203-207.
Pterosaurs
Genus: Nova (3)
Aralazhdarcho AVERIANOV, 2007
Gegepterus WANG, KELLNER, ZHOU & CAMPOS, 2007
Ingridia UNWIN & MARTILL, 2007
Tupandactylus KELLNER & CAMPOS, 2007
Species: Nova (4)
Aralazhdarcho bostobensis AVERIANOV, 2007
Ctenochasma taqueti BENNETT, 2007b
Gegepterus changi WANG, KELLNER, ZHOU & CAMPOS, 2007
Huaxiapterus benxiensis LU, GAO, XING, LI, & JI, 2007
Synonym: Nova (1)
Tupandactylus imperator (CAMPOS & KELLNER, 1997) KELLNER & CAMPOS, 2007
= Tapejara imperator CAMPOS & KELLNER, 1997
= Ingridia imperator (CAMPOS & KELLNER, 1997) UNWIN & MARTILL, 2007
= Tapejara imperator CAMPOS & KELLNER, 1997
Tupandactylus navigans (FREY, MARTILL & BUCHY, 2003b) emend KELLNER & CAMPS, 2007
= Tapejara navigans FREY, MARTILL & BUCHY, 2003b
= Ingridia navigans (FREY, MARTILL & BUCHY, 2003b ) UNWIN & MARTILL, 2007
Note: Both Kellner, et al, 2007 and Unwin, et al., 2007 renamed Tapejara imperator. Kellner & Campos paper was publshed two months before Unwin & Martill and therefore has priority. Also, Unwin & Martill place Tapejara navigans into thier new genus Ingridia as a seperate species, though Kellner et al., 2007 referTapejara navigans to Tupandactylus imperator. I'm following both Unwin & Martill and place Tapejara navigans as a sperate species of Tupandactylus.
Averianov, A. O., 2007, Mid-Cretaceous ornithocheirids (Pterosauria, Ornithocheiridae) from Russia and Uzbekistan: Palaeontological Journal, v. 41, n. 1, p. 79-86.
Averianov, A. O., 2007, New records of Azhdarchids (Pterosauria, Azhdarchidae) from the Late Cretaceous of Russia, Kazakhstan, and Central Asia: Palaeontological Journal, v. 41, n. 2, p. 189-197. (Aralazhdarcho bostobensis)
Bennett, S. C., 2007a, Reassessment of Utahdactylus from the Jurassic Morrison Formation of Utah: Journal of Vertebrate Paleontology, v. 27, n. 1, p. 257-260.
Bennett, S. C., 2007b, A review of the pterosaur Ctenochasma: taxonomy and ontogeny: Neues Jahrbuch für Geologie und Paläontologie, Abhandlungen, v. 245, n. 1, p. 23-31. (Ctenochasma taqueti)
Bennett, S. C., 2007c, Articulation and function of the pteroid bone of pterosaurs: Journal of Vertebrate Paleontology, v. 27, n. 4, p. 881-891.
Bennett, S. C., 2007d, A second specimen of the pterosaur Anurognathus ammoni: Paläontologische Zeitschrift, v. 81, n. 4, p. 376-398.
Calvo, J. O., Porfiri, J. D., Gonzalez-Riga, B. J., and Kellner, A. W. A., 2007, A new Cretaceous terrestrial ecosystem from Gondwana with description of a new sauropod dinosaur: Anais da Academia Brasilieria de Ciencias, v. 79, n. 3, p. 529-541.
Codorniu, L., and Gasparini, Z., 2007, Pterosauria: In: Patagonian Mesozoic Reptiles, edited by Gasparini, Z., Salgado, L., and Coria, R. A., Indiana University Press, p. 143-166.
Dzik, J., and Sulej, T., 2007, A review of the Early Late Triassic Krasiejow Biota from Silesia, Poland: Palaeontologica Polonica, n. 64, p. 1-27.
Elias, F. A., Bertini, R. J., and Medeiros, M. A. A., 2007, Pterosaur teeth from the Lage do Coringa, middle Cretaceous, Sao Luis-Grajau basin, Maranhao state, Northern-Northeastern Brazil: Revista Brasileria de Geociencias, v. 37, n. 4, p. 688-676. Link to pdf
Fastnacht, M., 2007, Tooth repacement pattern of Coloborhynchus robustus (Pterosauria) from the Lower Cretaceous of Brazil: Journal of Morphology, published on line, 17pp.
de Fuente, M. S., Salgado, L., Albino, A., Baez, A. M., Bonaparte, J. F., Calvo, J. O., Chiappe, L. M., Codorniu, L. S., Coria, R. A., Gasparini, Z., Gonzalez Riga, B. J., Novas, F. E., and Pol, D., 2007, Tetrapodos continentales del Cretacico de la Argentina: una sintesis actualizada: Ameghiana, 50 anviersario, p. 137-153.
Gasparini, Z., Fernandez, M., Fuente, M. de la, and Salgado, L., 2007, Reptiles marinos jurasicos y cretacicos de la Patagonia argentina: sup aporte al conocimiento de la herpetofauna mesozoica: Ameghiniana, 50 anivesario, p. 125-136. Link to pdf
Grellet-Tinner, G., Wroe, S., Thompson, M. B., and Ji, Q., 2007, A note on pterosaur nesting behavior: Historical Biology, v. 19, n. 4, p. 273-277.
Hargrave, J. E., 2007, Pteranodon (Reptilia: Pterosauria): Stratigraphic distribution and taphonomy in the lower Pierre Shale Group (Campanian) western South Dakota and eastern Wyoming: In: The Geology and Paleontology of the Late Cretaceous marine deposits of the Dakotas, edited by Martin, J. E., and Parris, D. C., The Geological Society of America, Special Paper 427, p. 215-225.
Hone, D. W. E., and Benton, M. J., 2007, Cope's Rule in pterosauria, and differing perceptions of Cope's Rule at different taxonomic levels: Journal of Expermential Biology, v. 20, p. 1164-1170.
Hone, D. W. E., and Benton, M. J., 2007, An evaluation of the phylogenetic relationships of the pterosaurs among archosauromorph reptiles: Journal of Systematic Palaeontology, v. 5, n. 4, p. 465-469.
Humphries, S., Bonser, R. H., Witton, M. P., and Martil, D M., 2007, Did pterosaurs feed by skimming? physical modelling and anatomical evaluation of an unusual feeding method: PLOS Biology, v. 5, issue 7, 9pp. Link to pdf
Ifrim, C., Stinnesbeck W., and Frey, E., 2007, Upper
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https://silentfilm.org/the-crowd/
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The Crowd
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https://silentfilm.org/the-crowd/
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Director King Vidor (1894–1982) had a long and distinguished career in both silent and sound films, but his masterpiece is unquestionably The Crowd. Within the simple framework of the life of an ordinary man trying to make his way in the big city, Vidor created a landmark American film.
Vidor fell in love with the movies as a child. In 1913, using a camera made from a cigar box, Vidor filmed a hurricane in his hometown of Galveston, Texas, and sold it to a newsreel company. Two years later, he and his new wife Florence struck out for Hollywood. Florence Vidor soon began making a name for herself as an actress, while her husband wrote movie scenarios and took any film work he could get. He wrote 52 scripts before he sold a single one. In 1919, he made his feature film directing debut with The Turn of the Road, which did well enough to attract offers from several major studios. He chose to open his own small studio, Vidor Village, but experienced no success. He then accepted a job at Metro Pictures, and, in 1924, when Metro merged with Goldwyn Pictures and Louis B. Mayer Productions, Vidor went along. MGM remained Vidor’s professional home for the next 20 years.
At MGM, Vidor found a kindred spirit in the youthful head of production, Irving Thalberg, who thought that the time was right for a film about the most traumatic event of the recent past: the Great War. The Big Parade (1925) was Vidor’s devastating portrait of the physical and emotional wounds inflicted by war. The film features one of John Gilbert’s greatest performances and was also a personal best for King Vidor, who proved that he had the creativity and imagination to work on a much larger canvas.
With the success of The Big Parade, Vidor immediately became one of the studio’s leading directors. Florence Vidor, meanwhile, had become a star in such sophisticated comedies as Ernst Lubitsch’s The Marriage Circle (1924). But even though the couple’s careers were flourishing, their marriage was falling apart. They divorced in 1924, and two years later Vidor married actress Eleanor Boardman, who was then costarring with John Gilbert in Vidor’s swashbuckler Bardelys the Magnificent (1926).
The Big Parade had placed an ordinary man in an extraordinary situation, but Vidor was convinced that there was also drama in ordinary life. And this time, he didn’t want a movie star, but an actual “Ordinary Man” to appear in the film that he would call The Crowd. He wasn’t having any luck finding such a person, until one day at the studio he spotted an extra named James Murray. On giving him a screen test, Vidor decided that Murray was “one of the best natural actors we had ever encountered.”
Vidor cast Eleanor Boardman in the role of the wife. Boardman’s screen image was that of a cool sophisticate, and she seemed an unlikely choice for the working-class girl. But Vidor was convinced that she was capable of delivering a good performance, and he worked hard to draw it out of her. He also used autobiographical elements based on their life together to sketch some of the little irritations in a marriage, adding naturalistic touches that give texture to the scenes. The result was a low-key, yet powerful performance that was Boardman’s best.
Vidor was impressed by the stylized films of German directors such as F.W. Murnau and Fritz Lang, a style which came to be known as expressionism, and he incorporated some of their techniques into The Crowd. Early in the film, John races home to be greeted by traumatic news. As he climbs up a long staircase, his apprehension is heightened by the use of forced perspective to create a dramatic, tunnel-like space, the walls and ceiling designed and specially painted to achieve the effect. Forced perspective is used to create a similar feeling in a scene set in a hospital corridor that appears to extend to infinity.
The downbeat yet hopeful ending was one of seven that Vidor shot at the studio’s request. Irving Thalberg was so concerned at the film’s prospects that he kept it on the shelf for a year before finally releasing it. And although The Crowd received excellent reviews and an Academy Award nomination, it was not a box-office success. Down through the years, its reputation among fans and filmmakers has grown. The final scene served as an inspiration for a similar sequence in Preston Sturges’s Sullivan’s Travels (1941), and the great Italian director Vittorio De Sica told Vidor that The Crowd influenced his film The Bicycle Thief (1948).
But there was no happy ending for the star of The Crowd. In spite of rave reviews, James Murray’s career faltered, and he became an alcoholic. When Vidor was looking for a leading man to star in his film Our Daily Bread (1934), he ran into a bloated, derelict Murray on the street, panhandling. Vidor told Murray that if he could pull himself together, the part was his. Murray became hostile and stalked off. Two years later, drunk and possibly suicidal, Murray fell into the Hudson River and drowned.
King Vidor made only two more silent films, The Patsy (1928) and Show People (1928), before the transition to sound. His own transition was successful, in part because he refused to let it change the way he made films. Many of the location scenes in his first talkie, Hallelujah! (1931), were actually filmed silent, so he would have the freedom of movement that the cumbersome new sound cameras did not allow. Hallelujah! was the first major studio film to portray African-American life.
Vidor continued to direct at MGM until 1944, with occasional work at other studios on films such as Stella Dallas (1937) and forays into independent production. His final feature film was Solomon and Sheba (1959), and he then taught at USC and wrote books on the art and craft of filmmaking. But until the end of his life, he continued to develop projects for new films he hoped to make. In 1979, he tried unsuccessfully to raise money for a film called Actor. It was the life story of James Murray.
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https://ancestors.familysearch.org/en/LTBC-9WD/eleanor-sophronia-boardman-1836
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FamilySearch.org
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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https://travsd.wordpress.com/2021/08/19/eleanor-boardman-the-face-in-the-crowd/
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Eleanor Boardman: The Face in “The Crowd”
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The few who remember the name Eleanor Boardman (1898-1991) today know her chiefly for being King Vidor's second wife and for starring in his 1928 masterpiece The Crowd. Boardman's screen career was very brief, lasting less than a decade, fewer than three dozen films. In fact she has nearly as many interesting credits outside cinema…
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(Travalanche)
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https://travsd.wordpress.com/2021/08/19/eleanor-boardman-the-face-in-the-crowd/
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The few who remember the name Eleanor Boardman (1898-1991) today know her chiefly for being King Vidor’s second wife and for starring in his 1928 masterpiece The Crowd.
Boardman’s screen career was very brief, lasting less than a decade, fewer than three dozen films. In fact she has nearly as many interesting credits outside cinema than in it. She started out as an artist’s model, and was apparently the one John R. Neill used for the character of Betsy Bobbin in L. Frank Baum’s book Tik-Tok of Oz (1914):
She was apparently for a time also the Eastman Kodak Girl in print adverts. She was in the chorus of a couple of Edgar Selwyn musicals, which led naturally to a contract with Goldwyn (co-founded by Selwyn). her first film was The Strangers Banquet (1922) with Hobart Bosworth, Claire Windsor, Rockliffe Fellowes, and Ford Sterling. She was also in the 1923 version of Vanity Fair, before her first starring picture Souls for Sale, working with Vidor for the first time in Three Wise Fools, and being named a WAMPAS Baby Star, all in the same year. She and Vidor were married in 1926, with Marion Davies as witness. Tell It to the Marines (1926) with Lon Chaney was another one of her silents. Her smattering of talkies included Flood (1931) with Monte Blue, and Cecil B. DeMille’s 1931 remake of The Squaw Man.
Boardman and Vidor divorced in 1933. By that time she had two daughters to raise, so she effectively dropped out of pictures, although she did return for one Spanish film, The Three Cornered Hat in 1935. In 1940 she married Argentine-French screenwriter-director Harry D’Abbadie D’Arrast, dividing time between the U.S. and Europe until his death in 1968.
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https://vintoz.com/blogs/vintage-movie-resources/eleanor-boardman-as-she-is
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Eleanor Boardman — As She Is (1928) 🇺🇸
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2023-12-24T10:17:14+00:00
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Of any one in pictures, Eleanor Boardman is at the same time the hardest to interview and the most entertaining. She is the despair of reporters who are after a story, and their delight when all hope of getting one has been abandoned. by Margaret Reid Not only her well-known frankness, but her disinterest in herself, m
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Vintoz
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https://vintoz.com/blogs/vintage-movie-resources/eleanor-boardman-as-she-is
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Of any one in pictures, Eleanor Boardman is at the same time the hardest to interview and the most entertaining. She is the despair of reporters who are after a story, and their delight when all hope of getting one has been abandoned.
by Margaret Reid
Not only her well-known frankness, but her disinterest in herself, make her a difficult subject. It is impossible to write about her as an actress. She is so much more a person than a personage. If, some day, there is an influx of fan-magazine reporters into the novelists’ field, it will be because that is the only medium of getting Eleanor Boardman onto paper.
She is not glamorous, she is not sensational, she is not quotable. She is wretched magazine copy.
In a few cases, reporters have dared to quote her frankness. Each time, she has been put on the official carpet and reprimanded severely. Two or three times it has precipitated her into really unpleasant jams, and still she refuses to be politic. She speaks her mind without reserve, and if any one objects — it’s too bad, of course, but not important. Compromise is impossible to her. Black and white and just that — as are right and wrong — with no midway shades.
She has a rigid moral code, and could never do anything, no matter how trivial, which she felt to be other than right. This strict rule of conduct is not the result of the fear of ultimate punishment, upon which most exemplary conduct is based. It is, instead, a fervent belief in the intrinsic beauty of living — instinctive preference.
She is intolerant of meanness, of dishonesty, of vulgarity, and does not hesitate to denounce manifestations of them, no matter in what quarter. This she does so openly that it is very disquieting to the persons concerned. She has been accused of tactlessness and rudeness — and calmly admits both. She is, as a matter of fact, guilty of the former but never of the latter. Rudeness constitutes an unwarranted attack, and Eleanor has never been guilty of that. Her sense of fair play extends to those whom she dislikes, and her private prejudices never color her spoken opinions.
Her opinions are all very definite, logically arrived at, and not lightly changed. She can seldom be prevailed upon to voice them for publication.
”Who cares,” she argues, “what I think about a thing? Mine is no expert judgment. ‘Eleanor Boardman considers Willa Cather the greatest American novelist,’” she suggested, and, replying for the public, “‘Does she, indeed! Well, that’s just dandy — and what of it?’”
If you try to interview her, you will come away with a fine story on Greta Garbo. Greta is one of her closest friends — and Eleanor would like to look, act and be just like her. She admires Greta with all the fervor of a schoolgirl, and never tires of quoting her.
Eleanor is impulsive in the forming of friendships, but her first impressions are usually accurate, and she is seldom mistaken in people. She is equally impulsive in her dislikes, and will not go out of her way to change her first impressions, whether good or bad. Impatient of bigotry and stupidity, she is quick to anger at them. Her cheeks grow very pink and her eyes very wide and blue. She becomes voluble in her indignation, and can argue any one off the mat. Afterward, she is always depressed, and wonders if she will never be able to improve her bad disposition.
She is intensely proud, but neither cold nor aloof. Although she shrinks from contact with people in the bulk, her understanding of human nature is deep, tempered with tenderness and sympathy for its struggles. More than ordinarily courageous herself, she is indulgent of timidity in others. It is her compassionate insight into the prisoners of the prosaic that made possible her magnificent, heart-breaking, real performance in The Crowd.
She is keenly interested in her career only when there is the possibility of a picture like The Crowd. She hates doing mediocre pictures, no matter how profuse her close-ups might be. When a picture does turn out well, her gratification is not for her own work, but for the production as a complete work of skill. She is probably one of the greatest artists on the screen, but the first glimpse of her real potentialities did not come until The Crowd.
Although she has had a generous share of trouble, sorrow and distress, she is still avid of life. She loves it, and is absorbed by it. She is a sensitive, aware person, and vibrant in her eagerness. Emotionally pliant, she has a balance of common sense, and her final decisions are always sane ones.
She loathes night clubs, premieres and too-gala parties. But occasionally she has a sudden yen to go dancing. At such times it doesn’t matter to her where she goes, just so it isn’t too crowded. When she is bored, she makes no effort to conceal it. When she is enjoying herself, she is scintillating and irresistible.
She has a rich sense of humor. Her impromptu imitations — particularly of Garbo — are deliciously accurate, and she tells a story excellently. She finds humor in nearly everything and laughs a great deal, but never unkindly.
There is no possible doubt about the authenticity of her beauty. On the screen she wears scarcely any make-up, and none at all off it, not even powder. Her appearance is something which does not interest her. On rare occasions she has an impulse to dress up, when she is to attend some large gathering. She feels a certain responsibility about preserving the illusion of movie glamour, when she is seen in public. She has a lot of fun assembling exquisite wardrobes against such occasions, but her enthusiasm generally stops short of actually using them. She adores severely plain sweater-suits and, if she is going nowhere in particular, wears no stockings on her slim, brown legs. She never glances in mirrors, or pats her hair. When there is an impression to be made on some one of importance, her hair can be unwaved and she in tennis shoes, and Eleanor will be sublimely unconscious and at ease.
She learned to play the piano so she could accompany her husband, King Vidor, who sings melting negro spirituals. She would like to be an expert pianist, and wistfully struggles through certain favorite Debussys and Ravels.
She likes verse, being particularly keen on the poems of Johnny Weaver, and every so often she puts aside whatever current book she happens to be reading, and returns to Samuel Butler’s The Way of All Flesh.
She plays a swift game of tennis and swims like a boy, but can seldom be prevailed upon for bridge. She likes to ride horseback, but was once thrown and has never been able to conquer a subsequent nervousness. She goes for long walks among the hills surrounding her home, and gathers wild flowers and bright leaves. On one occasion she ventured innocently among poison oak, and was away from the studio for a week.
She dislikes cheap publicity, especially if based on her private affairs. Her marriage, her recent motherhood, she does not deem contingent on her career; which, she thinks, is all that should be public interest.
Married to the brilliant young Vidor, and herself of pictures for several years, neither is completely immersed in their profession. Their friends, except for John Gilbert and Greta Garbo, are mostly of the literary world — Lawrence Stallings and his wife, Johnny Weaver and Peggy Wood, Donald Ogden Stewart, his wife, and his mother, of whom Eleanor is extremely fond.
Eleanor is a delightful conversationalist, and swears casually. Her voice is mellow, deep and inclined to a drawl. Her wit is pungent, often barbed and always very funny. If she finds she has inadvertently shocked some smug soul with her candor, it is her delight to continue and increase the shock. She esteems both conservatism and bonhomie, but their extremes — prudery and coarseness — offend her innate delicacy, and are her pet abominations.
She is disturbed by the fact that she shows little inclination toward the detail of housewifery. She thinks it would be more fitting were she able authoritatively to discuss menus and floor polishes with her servants, but quails at the prospect of learning how. She is, however, meticulous about her home and insists that it always be in perfect order.
She and her husband are building a house on a hilltop near their old home. Since Vidor is at work on a picture, the supervision of the new home falls to Eleanor. She is in her glory and refuses to be baffled by conduits, underground cables and multiple switches. She directs every detail of the construction — and intelligently, too. She loves to work with laths and nails, and when she couldn’t explain a certain niche which she wanted under an arch, she set to work and built it herself.
Aside from all this, may one say — and who is there to say one mayn’t? — that she is this reporter’s favorite actress.
Eleanor Boardman can seldom be prevailed upon to voice her personal opinions for publication.
Photo by: Ruth Harriet Louise (1903–1940)
Collection: Picture Play Magazine, November 1928
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https://www.findagrave.com/memorial/6249584/eleanor-boardman
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en
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1991) – Find a Grave Gedenkstätte
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Actress. While still a teenager, she began her career as a model for Eastman Kodak and became known as the Kodak Girl. The ads she appeared in were shown all over the United States, and she gained quite a bit of popularity. Even though her parents were very religious and believed that the movies were sinful and wicked,...
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https://de.findagrave.com/memorial/6249584/eleanor-boardman
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https://www.tshaonline.org/handbook/entries/vidor-king-wallis
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en
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Vidor, King Wallis
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The Handbook of Texas is your number one authoritative source for Texas history. Read this entry and thousands more like it on our site.
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/images/favicon/apple-touch-icon.png
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Texas State Historical Association
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https://www.tshaonline.org/handbook/entries/vidor-king-wallis
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King Vidor, film director, was born in Galveston, Texas, on February 8, 1894, the son of Charles Shelton and Katie Lee (Wallis) Vidor. His father was a lumber producer and merchant with the Miller-Vidor Lumber Company, which had headquarters in Galveston and owned land, mills, and lumber railroads in East Texas. The towns of Vidor and Milvid were named for him. King Vidor's grandfather, Charles Vidor, was a refugee of the Hungarian revolution of 1848–49 who settled in Galveston in the early 1850s. King attended Peacock Military Academy in San Antonio in 1908–09. He left after only one year. One of his schoolmates there was Edward Sedgwick, later his partner in the film business. Vidor began his career in the cinema as a teenage movie projectionist at a local Galveston theater. He made an amateur movie based on the Galveston hurricane of 1900 and opened his first movie company, Hotex, in Houston in 1915; his father was vice president of that company, having fallen on hard times in the lumber business. After making a few amateur films on his own, Vidor struck out for Hollywood with his bride, Florence Arto, in 1915 at the age of twenty-one. He was determined to learn more about the art and technique of filmmaking. The career he found in Hollywood spanned the earliest days of silent filmmaking, when he shot two-reelers on a shoestring budget, to the "Golden Age" of Hollywood, marked by the spectacular cinematic productions of David O. Selznick, with whom Vidor made Duel in the Sun (1946). Throughout his long Hollywood career, Vidor's Texas roots remained apparent. He considered himself a southerner and made films that championed the poor and exposed racism and the horrors of war, yet also captured the adventures and action of a lively West. Among the many films to his credit are The Big Parade (1925), Billy the Kid (1930), Our Daily Bread (1934), The Texas Rangers (1936), Northwest Passage (1940), and The Fountainhead (1951).
Though Vidor is probably best remembered for his collaboration with Selznick, which resulted in one of the top-grossing films in cinema history, he made most of his films not with Selznick but with Metro-Goldwyn-Mayer. M-G-M produced his first highly acclaimed film, The Big Parade, in 1925; it was hailed by critics as a powerful antiwar movie. Vidor made film history with the first all-black musical, Hallelujah!, in 1929. His Our Daily Bread won a League of Nations award "for its contribution to humanity" five years later. He also wrote two books, A Tree is a Tree (1953) and King Vidor on Filmmaking (1972). During the 1920s and 1930s, as his career was burgeoning, Vidor experienced a tumultuous personal period. He was divorced from Florence in 1924 and married Eleanor Boardman, from whom he was divorced in 1932. In that year he married his third wife, Elizabeth Hill. Vidor had a self-proclaimed sense of mission about his filmmaking, which was influenced by a Christian Scientist background. In 1920, at the outset of his successful career in Hollywood, he published a "creed" in Variety, in which he publicly announced his commitment to "the picture that will help humanity to free itself from the shackles of fear and suffering that have so long bound it with iron chains." Such was the youthful idealism that gave birth to films like The Big Parade and Hallelujah! It was a sensitivity that remained with Vidor to the end of his long career. Though he was nominated five times for an Academy Award for best director, he never won. In 1978, however, the Motion Picture Academy awarded him an honorary Oscar in recognition of his contributions to filmmaking. After he retired from directing, Vidor taught filmmaking at the University of Southern California and at the University of California at Los Angeles. He died on November 1, 1982, at the age of eighty-eight, leaving behind a wealth of films noted for their realism, their powerful social comment, and their psychological complexities.
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http://cinecollage.net/king-vidor.html
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cineCollage :: King Vidor
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King Vidor presents a problem for those critics who like to herd directors into the convenient pens that auteur theory has so solidly erected. Unusually eclectic, he flitted from the sober realism of Street Scene (1931) to the lurid melodramatics of Duel In The Sun (1946) via the womenâs picture Stella Dallas (1937).
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King Vidor (1894-1982)
"King Vidor presents a problem for those critics who like to herd directors into the convenient pens that auteur theory has so solidly erected. Unusually eclectic, he flitted from the sober realism of Street Scene (1931) to the lurid melodramatics of Duel in the Sun (1946) via the womenâs picture Stella Dallas (1937). A yawning ideological gap also existed among his films, and David Thomson isnât the only critic to spot the ease with which Vidor could move from the neo-socialism of Our Daily Bread (1934) to the crypto-fascism of The Fountainhead (1949). Itâs quite typical of Vidor that the former, about the bitter travails of a farm commune, was condemned for being both left and right wing." [2]
"King Wallis Vidor (February 8, 1894-November 1, 1982) originated in Galveston, Texas, retaining vivid memories all his life of a devastating flood and hurricane that hit the town when he was a child. A storm provided the subject of his moviemaking debut in 1909, which he shot with his friend Roy Clough and the latterâs crude homemade camera. A summer job as a ticket taker and substitute projectionist in a nickelodeon had engendered a lifelong fascination: âI was interested in photography and movement even before I started photographing things with a camera.â
At 18 Vidor was appointed Texas representative for New York-based Mutual Weekly newsreel company, partnering with a chauffeur who owned perhaps the only movie camera in the Lone Star State. After making a series of documentaries and short comedies, and marrying an aspiring actress named Florence Arto, he made his way to Hollywood in 1915.
Florence Vidor earned $10 a week as a contract player for Vitagraph Company while the fledgling filmmaker tried to peddle scenarios, writing more than 50 before finally selling one to Vitagraph for $30. He also worked as an extra for $1.50 a day, and managed to get onto the set of Intolerance to observe D. W. Griffith in action. âYou couldnât think of a greater experience or opportunity than to be on that set. I would have done just about anything to get in and watch what was going on.â
Mechanically inclined and too self-conscious to be an actor, the ambitious young man set his sights on becoming a director. For him, Hollywood was âjust one great Disneyland. It was a place where I wanted to be, and I wanted to be part of it⦠Everything to do with movies fascinated me. I didnât have thoughts about anything else.â
Prop man, assistant cameraman or what have you, Vidor took âany sort of studio work I could scare up,â to study the craft of filmmaking in those pre-union days. âI picked up all I could - I didn't separate things - writing et cetera was all part of it. On one film we were short musicians [to play mood music], so the cameraman played the violin and I cranked the camera; itâs all of the same craft,â he stated in a 1978 interview. âI'm not much on advice, but I would advise young people who want to make films to get in there and learn; learn the whole business. It's all one-learn how an actor feels. What I've learned is that you have to get in there and do it.â
The Texas native eventually got a job at Universal as a company clerk, supplementing his pay check by selling the studio a number of scenarios - written under the pseudonym of Charles K. Wallis (using his fatherâs first name) to override the company rule against buying scripts from employees. In 1919, after directing a series of two-reel dramatic films about the problems of adolescents for Judge Willis Brown, a juvenile court judge, Vidor decided it was time to make the big jump to features. When an agent tried and failed to sell his services, he wrote an original script with the intent of refusing offers for it unless he were hired to direct, praying it would have âsuch merit that all the studios would want it.â
The Turn in the Road was envisioned as âthe story of a young man, stunned by some personal tragedy, hesitating in his march through life to ask, âWhat is Truth?â â Though the story had âa miracle and some metaphysical talk in it,â reflecting the directorâs Christian Science upbringing, a dentist - one of Judge Brownâs backers - took a one-week option on the script and quickly secured financing for the $9,000 production from a group of doctors he knew.
Vidor made several films for his benefactors, to whom he felt obligated. He then accepted a two picture deal with First National Exhibitors, which he parlayed into his own boutique studio, Vidor Village. He gained experience directing films featuring Colleen Moore (with whom he initiated a secret romance they rekindled decades later) and ZaSu Pitts (whom he discovered on a streetcar), as well as his wife, but was forced to close the studio and freelance. Metroâs Peg oâ My Heart was one of two he made with stage actress Laurette Taylor.
Three Wise Fools (1923) represented his first film for Goldwyn, not to mention the first of six he would make with future wife Eleanor Boardman. Estranged from Florence Vidor - by now a rising star in Cecil B. DeMilleâs stable - a fast romance with Boardman ensued, coinciding with his rise through the ranks at Goldwyn and its successor, Metro-Goldwyn-Mayer.
Vidor rejected the opportunity to direct MGMâs 1925 Ben-Hur but his fortunes forever changed one day when he told Irving Thalberg âI was tired of making ephemeral films.â As he later recalled, âI had the idea to do a film that came to town and wasnât forgotten in a few weeks.â Asked if he had any ideas in mind, he voiced a desire to make a film about war, wheat or steel; when the producer expressed interest in a war movie, âI said that I had only an approach. I wanted it to be the story of a young American who was neither patriotic nor a pacifist, but who went to war and reacted normally to all the things that happened to him.â
The Big Parade (1925) ran six months at Graumanâs Chinese and two years at the Astor Theatre on Broadway. The unexpected success of the film resulted in the opportunity to make The Crowd. But despite the high praise won by the latter, Vidor recalled, âbecause it didnât jam the aisles of the gigantic movie emporiums it was referred to in some Hollywood circles as an âartistic flop.â â It did however earn him the first of five Academy Award nominations as Best Director.
The success of The Big Parade also moved William Randolph Hearst to acquire his services in directing the magnateâs mistress, Marion Davies. Despite his initial disinterest in working with her, together they made a trio of comedies including Vidorâs last two silent efforts, The Patsy and Show People. âMr. Hearst never gave up until he had me directing Miss Davies. Mind you, this was not an unpleasant chore,â recalled Vidor. âThe approach came in the form of a request to do a favor for Mr. Mayer, and, in addition, earn a substantial income.â
While on vacation in Paris, Vidor saw a Variety headline heralding the coming of sound. âI was excited, but greatly saddened. I realized that much magic would disappear from the screen.â MGMâs opposition to his idea for a talkie about African Americans with an all-black castâwhich heâd originally wanted to make as a silent - disappeared when he offered to invest his salary. Nicholas Schenck, chairman of Loewâs Inc., told him, âIf thatâs the way you feel about it, Iâll let you make a picture about whores.â
Vidorâs first talkie, the all-black musical Hallelujah (1929), brought him a second Oscar nomination as Best Director. It did not, however, make him wealthy; he spent decades wrestling with the studio over his earnings on the film, as he had on The Crowd. (âHis idealism in pledging his salary to get the film made cost him $31,000â of the $100,000 his Hallelujah contract called for, noted Scott Eyman.)
Ever the innovator, Vidor next shot Billy the Kid on location in Arizona in both 35mm and widescreen 70mm, only to see the latter version scrapped because exhibitors were âstill paying for the installation of sound equipment and didnât want any more revolutions!â He then made Street Scene (an adaptation of the play by Elmer Rice), and The Champ (based on a story by Frances Marion), which resulted in a third nomination for him and an Oscar for Wallace Beery. Bird of Paradise introduced the director to his third wife, script girl Elizabeth âBettyâ Hill.
Vidor was forced to borrow the production money âby mortgaging everything I hadâ to make Our Daily Bread (1934), a story about farm co-ops, when every major studio turned it down; the film won a League of Nations Award âfor its contribution to humanity.â His Wedding Night (1935) garnered the Venice Film Festival award for Best Director; Vidor co-founded the Screen Directorâs Guild (now the Directorâs Guild of America) the same year, serving not only as a guiding force in the groupâs formation but its first president âin decisive and difficult years,â as historian David Thomson noted.
Stella Dallas (adapted from the popular novel by Olive Higgins Prouty) was followed by The Citadel (1938). Filmed in England, the A. J. Cronin story of an idealistic young doctor earned a fourth Oscar nomination for Vidor, as well as a nod for his wife Elizabeth, who co-wrote the screenplay.
Vidor directed Gone With the Wind âfor just one weekendâ before David O. Selznick brought in Victor Fleming at Clark Gableâs request; happy to be free of the assignment âbecause they had turned it into such a mess with all those drafts of the script,â he then took over for Fleming on the final days of The Wizard of Oz, filming the black and white Kansas prologue (in which Judy Garland poignantly sings âOver the Rainbowâ) and epilogue sans credit. âVidor may have simply executed the script,â observed David Thomson of the assignment, âBut look at the scene again⦠and ask whether anything in that classic is more touching or more filled with prairie yearning.â
Northwest Passage (1940), starring Spencer Tracy as the commander of a group of Indian fighters and filmed on location in Idaho, gave the director his first opportunity to make a film in color (having turned down Selznickâs offer to direct The Adventures of Tom Sawyer). Though he was involved in the planning stages of The Yearling as early as 1941, the years-long delay due to a myriad of production problems resulted in Clarence Brown taking over the direction of that film.
The director contemplated enlistment in the Army Air Corps during World War II, but decided âI could best serve my country by making a film on American know-how, on the âarsenal-of-democracyâ themeâ formulated by President Roosevelt. To this end he dramatized the story of steel, the third of his three big themes, from the viewpoint of an immigrant. An American Romance (1944) was embraced by MGM and Louis B. Mayer, at least initially, but was not a huge success.
Asked by author Clive Denton about the change in his style after the war, Vidor noted, âmy career was designed somewhat along the line that in order to make the films that were closest to my heart one might say came from oneâs own inside - in other words the auteur theory - I must keep up my box office name in order to be permitted to do the stories and films which were obviously not box office.â Duel in the Sun (1946) began as âa personal film⦠a moderate-sized Western with an unknown cast,â but thanks to producer David O. Selznick ended up an all-star epic on the scale of Gone With the Wind. Though the lavish production became a huge box office hit it was not a happy experience for Vidor, who walked off the picture when Selznick bawled him out one too many times.
The Fountainhead (1949), based on the Ayn Rand novel, was not a personal project but Vidor felt âvery much in accord with this story⦠because I had just gone through Jungian analysis a few years before, and I was then very conscious of this recognition of the self, the dignity of the self, and the power and divinity one has.â He brought in Rand herself to do the adaptation after a husband and wife team âwrote a script that spoiled what the book intended to be, and what the characters intended to be.â
Though he wanted to direct The African Queen for Warner Bros., he accepted the assignment to direct Beyond the Forest with Bette Davis instead. Vidor wrapped his five-decade Hollywood career with a pair of epics, War and Peace (1956) and Solomon and Sheba (1959). The former brought him his fifth and final Oscar nomination, the Golden Globe and Directorâs Guild of America nominations. In between the two, he said no to the remake of a classic heâd passed up during the silent era. âMany times Iâve thought what a fool I was to turn down Ben-Hur for a less important picture. Many times Iâve thought that.â
In an attempt to remain active as studio executives became increasingly younger and less cognizant of his work, the director formed Vid-Mor Productions with his old friend Colleen Moore and initiated his own projects. Chief among them was the secret adventure on which he embarked in 1967 - an attempt to solve the scandalous 1922 murder of film director William Desmond Taylor and write a screenplay about it. After interviewing fellow silent era survivors, gaining access to police files, and solving the matter to his satisfaction, he pulled the plug on the still too-sensitive project. (The case and backstory would eventually become the basis for Sidney D. Kirkpatrickâs book, A Cast of Killers).
There were numerous other late-career efforts that never came to fruition, including a personal one reflecting âmy own individualityâ modeled partly on his 1919 feature Turn in the Road, âthat eventually becameâ The Milly Story; one based on Hawthorneâs gothic romance, The Marble Faun; and still another based on Bruno Frankâs biographical novel, A Man Called Cervantes.
âI never have thought of the word âretirement.â Iâve never had it in my vocabulary,â Vidor told David Shepard. To that end he began working on a number of documentaries and personal films, among them Truth and Illusion, a 16mm short about metaphysics. âI'm interested in life as a study. I've learned not to spend it too freely,â said Vidor. âI consider myself a metaphysician; I've taken time to comprehend the life pattern. Itâs important to me to make something of life, to have an understanding of it. My conclusion is that we make our own world, entirely; we can't blame anybody else for anything.â
The Metaphor (1979), a documentary he made with Andrew Wyeth about the painterâs workâwhich was influenced by The Big Parade, a film Wyeth saw 160 timesârepresents Vidorâs last directorial credit. However, it was not his final film. Late in 1979 he accepted an acting job, playing the supporting role of a grandfather, in James Tobackâs Love & Money (released in 1982). Vidor took the role at the behest of production manager Richard McWhorter, replacing Harry Ritz of the Ritz Brothers when the latter went into insulin shock after one dayâs work.
Vidor, who was presented with an honorary Academy Award for Lifetime Achievement in 1979, died of congestive heart failure at his beloved Willow Tree Ranch in Paso Robles, California, at the reported age of 87. He was survived by his daughters, Suzanne (by Florence) Antonia and Belinda (by Eleanor), eight grandchildren and seven great-grandchildren." [1]
Gallery
Filmography
The Metaphor (1980)
Truth and Illusion: An Introduction to Metaphysics (1964)
Solomon and Sheba (1959)
War and Peace (1956)
Man Without a Star (1955)
Light's Diamond Jubilee (1954)
Ruby Gentry (1952)
Japanese War Bride (1952)
Lightning Strikes Twice (1951)
Beyond the Forest (1949)
The Fountainhead (1949)
On Our Merry Way (1948) ... aka A Miracle Can Happen
Duel in the Sun (1946)
An American Romance (1944)
H.M. Pulham, Esq. (1941)
Comrade X (1940)
Northwest Passage (1940)
The Wizard of Oz (1939) (director: Kansas scenes)
The Citadel (1938)
Stella Dallas (1937)
The Texas Rangers (1936)
So Red the Rose (1935)
The Wedding Night (1935)
Our Daily Bread (1934)
The Stranger's Return (1933)
Cynara (1932)
Bird of Paradise (1932)
The Champ (1931)
Street Scene (1931)
Billy the Kid (1930)
Not So Dumb (1930)
Hallelujah (1929)
Show People (1928)
The Patsy (1928)
The Crowd (1928)
Bardelys the Magnificent (1926)
La bohème (1926)
The Big Parade (1925)
Proud Flesh (1925)
The Wife of the Centaur (1924)
His Hour (1924)
Wine of Youth (1924)
Happiness (1924)
Wild Oranges (1924)
Three Wise Fools (1923)
The Woman of Bronze (1923)
Peg o' My Heart (1922)
Conquering the Woman (1922)
Dusk to Dawn (1922)
Real Adventure (1922)
Love Never Dies (1921)
The Sky Pilot (1921)
The Jack-Knife Man (1920)
The Family Honor (1920)
Poor Relations (1919)
The Other Half (1919)
Better Times (1919)
The Turn in the Road (1919)
The Three Fives (1918)
Kid Politics (1918)
The Case of Bennie (1918)
Love of Bob (1918)
Dog vs. Dog (1918)
I'm a Man (1918)
The Preacher's Son (1918)
A Boy Built City (1918)
Thief or Angel (1918)
The Rebellion (1918)
The Accusing Toe (1918)
Marrying Off Dad (1918)
Tad's Swimming Hole (1918)
The Lost Lie (1918)
The Chocolate of the Gang (1918)
Bud's Recruit (1918)
Hurricane in Galveston (1913)
The Grand Military Parade (1913)
Resources
[1] Jordan Young, King Vidor's THE CROWD: The Making of a Silent Classic (Past Times Publishing Co., 2014) pp 69-76
[2] Jessica Winter, The Rough Guide to Film 1 (Rough Guides, 2007) pp 580
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https://walkoffame.com/eleanor-boardman/
|
en
|
Hollywood Walk of Fame
|
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[] |
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[
""
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[
"Chad"
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2019-10-25T08:18:56+00:00
|
Eleanor Boardman was an American film actress, popular during the era of silent movies. Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a […]
|
en
|
Hollywood Walk of Fame
|
https://walkoffame.com/eleanor-boardman/
|
Eleanor Boardman
Eleanor Boardman was an American film actress, popular during the era of silent movies.
Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a part in a film and she quickly began to attract audiences. She was chosen by Goldwyn Pictures as their “New Face of 1922,” through which she signed a contract with the company. After several successful supporting roles, she played the lead in 1923’s Souls for Sale. Her growing popularity was reflected by inclusion on the list of WAMPAS Baby Stars in 1923. She appeared in fewer than forty films during her career, achieving her greatest success in Vidor’s The Crowd in 1928. Her moving performance in that film is widely recognized as one of the outstanding portrayals in American silent films.
Boardman was married to the film director King Vidor, with whom she had two daughters, Antonia and Belinda. Their marriage lasted from 1926 until 1931. Fellow actors John Gilbert and Greta Garbo had planned a double wedding with them, but Garbo broke off the plans at the last minute.
Ms. Boardman’s second husband was Harry d’Abbadie d’Arrast to whom she was married from 1940 until his death in 1968.
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yago
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0
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https://walkoffame.com/eleanor-boardman/
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en
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Hollywood Walk of Fame
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[] |
[] |
[
""
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[
"Chad"
] |
2019-10-25T08:18:56+00:00
|
Eleanor Boardman was an American film actress, popular during the era of silent movies. Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a […]
|
en
|
Hollywood Walk of Fame
|
https://walkoffame.com/eleanor-boardman/
|
Eleanor Boardman
Eleanor Boardman was an American film actress, popular during the era of silent movies.
Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a part in a film and she quickly began to attract audiences. She was chosen by Goldwyn Pictures as their “New Face of 1922,” through which she signed a contract with the company. After several successful supporting roles, she played the lead in 1923’s Souls for Sale. Her growing popularity was reflected by inclusion on the list of WAMPAS Baby Stars in 1923. She appeared in fewer than forty films during her career, achieving her greatest success in Vidor’s The Crowd in 1928. Her moving performance in that film is widely recognized as one of the outstanding portrayals in American silent films.
Boardman was married to the film director King Vidor, with whom she had two daughters, Antonia and Belinda. Their marriage lasted from 1926 until 1931. Fellow actors John Gilbert and Greta Garbo had planned a double wedding with them, but Garbo broke off the plans at the last minute.
Ms. Boardman’s second husband was Harry d’Abbadie d’Arrast to whom she was married from 1940 until his death in 1968.
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1313
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yago
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| 62
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https://isitinterestingblog.wordpress.com/2024/02/26/bardelys-the-magnificent-1926/
|
en
|
Bardelys the Magnificent (1926)
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[
"Dawn Glory"
] |
2024-02-26T00:00:00
|
Directed by King Vidor. Screenplay by Dorothy Farnum, from the identically titled novel by Rafael Sabatini. Titles by Marian Ainslee and Ruth Cummings. Silent. This, my dears, is a Film of Magic - one that, by all accounts, we should not have and be able to watch today - and YET! - somehow it exists,…
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https://secure.gravatar.com/blavatar/4c0bc87351f089dbc9d2d9ba71d5749ff1e040534e40e6ef4a5a3a75f301b7a3?s=32
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IS IT INTERESTING
|
https://isitinterestingblog.wordpress.com/2024/02/26/bardelys-the-magnificent-1926/
|
Directed by King Vidor.
Screenplay by Dorothy Farnum, from the identically titled novel by Rafael Sabatini. Titles by Marian Ainslee and Ruth Cummings.
Silent.
This, my dears, is a Film of Magic – one that, by all accounts, we should not have and be able to watch today – and YET! – somehow it exists, available for our viewing now, in the year 2024. For seventy years (from 1936, when MGM’s 10-year contract with Sabatini for the rights to his novel expired and was not renewed (because, ew, who needs art made by Silent Dinosaurs [insert fit of inconsolable sobbing here]), and all prints of the film were destroyed by order of the studio as a result – to 2006, when a (missing-one-reel) print was found in someone’s private collection in France), the film was considered lost, and seen by no one (except, perchance, by that one Hero Frenchling).
Of course, the loss and rediscovery of the film is made even more enchanting by the fact that – for those seventy years – the only extant footage from it was thought to be the (all-too-brief) snippets that play during the film-screening sequence attended by Marion Davies’s character in SHOW PEOPLE (1928). For seven decades – that’s all Movie People believed the world would ever, ever see.
For any film to be rescued from Lostville is both a victory and a miracle – but for this specific film to be found alive deserves classification as something legendarily, weep-worthily more important than that. This film is the final collaboration of King Vidor and John Gilbert (whose most famous collaboration – THE BIG PARADE (1925) – also featured Karl Dane, who briefly appears in this one, as well); it’s the film that was released directly prior to Vidor and star Eleanor Boardman’s Real-Life wedding; the film contains a Repeat Rivalry Re-Teaming of Gilbert and Roy D’Arcy (who’d starred together in Erich Von Stroheim’s THE MERRY WIDOW (1925) the previous year); it was shot by master cinematographer William Daniels. Also – a fact which is somewhat peculiar, as we all know that the rights to it have been available – the film stands as the only-ever screen adaptation of this particular work of Sabatini’s.
So: please, let us all take a minute to say a weepy, grateful-ass prayer of thanks to the MovieWorld Angels (and that one gorgeous Frenchling) for gifting us this treasure.
Opening title card:
“In an age of light loves and lively scandals, a certain gentleman of France excelled in the noble art of getting himself talked about – – “
Oh, oh! I know this one:
(Shit, he was Spanish.)
…The Beloved Rogue?!
Just kidding, pals. This Romance Man is called Bardelys, and he *happens* to be Magnificent.
Repeated line, to Bardelys (full name: Marquis Christian de Bardelys)(John Gilbert)’s many ladies:
“Dark enchantress, can you doubt me?”
While Bardelys is distributing proof-of-love, wig-hair lockets, fellow-bachelor court acquaintance Comte de Chatellerault (a refreshingly un-monocled Roy D’Arcy) is having his marriage proposal(s) rejected by beautiful, self-possessed truth-teller Roxalanne de Lavedan (Eleanor Boardman). Everyone at court makes fun of Chatellerault’s ineptitude except Bardelys the Decent Niceling, who is like, ‘Don’t worry, my dude – you’ll probably get the next one.’
He also advises: “You don’t know women! The less one begs of them – the more one can take. I never beg!”
And like…yeah. Brother Magnificent has a point. Romantic begging is decidedly uncool.
The Comte de Rejection, annoyed by Studly Romance Man’s easy confidence, is like, ‘Clearly you’ve never met Roxalanne.’
“Braggart,” the Comte says to Bardelys, “I’ll wager everything I own – – that you cannot win her for your wife!”
Monsieur Magnificent’s response?
“I can win any woman I want for my wife – – but, Mon Dieu, I don’t want a wife!”
(Goddamn it, I love this cat’s style.)
The Comte de Rejection’s beautifully flourishy penmanship proves to be too fabulous for Bardelys to walk away from – and he decides to accept the Comte’s Roxalanne Challenge™.
When the King (Louis XIII, played by Arthur Lubin) hears about the bet, he’s like, ‘Y’all, that’s dumb as shit. I’d much rather go into Lavedansville and cut them all down with swords.’
Bardelys is like, ‘…All the same, Chief – I’m currently really feeling the urge to go prove my manhood to everyone, as well as win myself all of Chatellerault’s worldly possessions, so I’mma sneak out and try this anyway.’
King’s like, ‘No, I forbid it. You must not go!!!’
Bardelys (imaginedly, in my head, fade-dropping off the side of the screen): ‘Tooooooo bad.’
[Here, we encounter the film’s missing reel – in which Bardelys sets out on his Rebel Quest for Roxalanne Lavedan and is thusly branded a “traitor” by the disapproving King, who sends some teams of soldier-knights after Bardelys the Magnificent(ly Disloyal Turncoat) to capture and/or kill him. (Wow, how cute – and totally not an over-the-top reaction at all!) Anyhow, along the way – before he gets stab-wounded by one of these soldier-knights and stumbles into Roxalanne’s Castle Room in need of a hiding spot and medical attention – Bardelys finds a dying man in a barn named René de Lesperon (Theodore von Eltz) and is like, ‘Swell, maybe I can use his identity later.’]
Roxalanne helps wounded Bardelys (the Lavedans are not fans of the King – so the fact that Bardelys is being so fiercely chased by the soldier-knights actually works in his favor) – but when he insists on kissing her goodbye, Roxalanne decides she hates him, because, hello – rude.
Despite Roxalanne the Hater’s protests, Mama and Papa de Lavedan (aka: the Vicomtesse and Vicomte de Lavedan, played by Emily Fitzroy and Lionel Belmore, respectively) are happy to host the Newly Present Stranger, since, as Papa Vicomte explains to Bardelys, “Your letters told me that you are de Lesperon, leader of our revolt against the King.”
‘Uhhhhhh…’ says Bardelys in reply.
Soon after, Bardelys’s Bardelys-less entourage arrives at the Castle Mansion and is like, ‘Announcement – our dude is coming, get excited and give us the best of everything!’ The Lavedans are like, ‘Ugh, gross, no – we hate that guy, he’s such a fucking King-Pal!’
Papa Lavedan is like, ‘Badass Rebel René, what do you think we should do with these twerps?’
‘Oh, that’s easy,’ says Badass Rebel “René.” “Throw them out!”
(The entertained, joyful disbelief with which Gilbert delivers this instruction is beautifully funny, and tonally spot-on.)
Over the course of several months – and several romantic boat-rowings through the willow trees – Bardelys/René gets himself into a fine mess, as he and Roxalanne fall in love with each other. Sure, sure, yay-hooray for love and all that romance-jazz, however – Problem #A, girlfriend doesn’t know who he is, Problem #B, his Marriage Bet is a ticking time-bomb, and finally, Problem #C, Nosy Neighbor Eustache (George K. Arthur) – a true goofster fluffpants if ever there was one – is hot on the ‘John Gilbert, you are not René de Lesperon’ trail, popping up from Meddlesville, seemingly on the daily, with some new intel, such as ‘I hear René is dead’ and ‘Or, if he’s not dead, he defs has a jilted fiancée named Lisette whose letters I have intercepted’/’P.S. – Please don’t arrest me for Mail Tampering even though that’s certainly illegal’/’P.P.S. – Please also don’t disarm me with your fancy walking stick again, that was as embarrassing as fuck.’
Upset by the latest Lisette Intel, Roxalanne the Lied-To (several times over, she just doesn’t know it yet)(damn, woman – your instincts are good) turns “René” the Hunted over to the latest visiting Gang o’ King’s Soldier-Knights…and Sadling Guiltster Bardelys goes without a fuss.
Jesus Christ – once a Monocle-Man Evil, always a Monocle-Man Evil (even if there are no actual monocles, this time around). At “René’s” treason trial, Bardelys is like, ‘Boy, Chatellerault – am I glad to see you! Tell ’em who I am, brother!’
The (apparently now murderous) Comte de Rotten Egg is like, ‘You are 1000% René de Lesperon and you’re 1000% gonna die for it via hanging tomorrow. Cheerio!’
Roy D’Arcy really has it out for our boy lately, doesn’t he? (So.…..at what point does the hobo sniper appear in this one???)
“I don’t care who you are – – what you have done – – I love you – – forever,” says a desperately regretful, passionately apologetic Roxalanne, who visits Bardelys the Condemned in his Death Cell.
‘Well,’ we shufflingly whisper, ‘that’s an awfully convenient statement for you to make, ’cause see…there was this bet, and then there was this Barn Dude……’
“Good-bye, my dearest,” Roxalanne tearfully says to Bardelys at their Ultimate Parting. “Good-bye – – I pray God to let me join you – – soon.”
Oh, Roxalanne – don’t be such a Ray Schmidt. Pull yourself together, sailor!
I gotta be honest – as stellarly as Gilbert and Boardman perform the emotional grabbery of the Farewell Scene, the line of cloaked-‘n’-hooded Hangman Dudes standing behind them in the cell, who, for some reason, are holding like…3-foot-long, lit candles, makes for an image that is silly as shit.
However – I do appreciate Bardelys’s scene-concluding, rebound lines:
“I am ready, my friends! Life has been a magnificent adventure – Death may be another!”
(Pssst – if someone could remember to pass me a notecard featuring this statement on my death bed…that’d be swell. People would probably think I was The Coolest.)
(…Or, there’s a chance that everyone would suddenly be convinced of my lamery – as having a notecard prepared on which a quote from a 1926-silent-movie character called Bardelys is written and/or typed might minus me some Style Points. Whatever, though.)
Oh, God – nooooo, Roxalanne – do not trade yourself to the Comte de No Conscience to save Beloved Bardelys! That dude is a shit-souled rotten who aims to (further) ruin your life!!!
While the above distastefulness is occurring – Bardelys makes an impressively acrobatic escape from the gallows – a sequence which is fantastically choreographed and executed (no pun intended), and features some cool overhead photography from/by William Daniels.
Thanks to this escape-diversion, the King arrives in time to positively identify Bardelys and amusedly pardon him – which allows Bardelys to interrupt the Comte de Bad Intentions’s Sleaze Party with Roxalanne, and scribble (okay, so it’s a fine-ass scribble of calligraphied BEAUTY) a new contract that cedes all Bardelys’s property to Chatellerault, so that evil creep will LEAVE EVERYBODY THE FUCK ALONE.
“Roxalanne,” says Bardelys, turning toward her, “for love of you I’d gladly give up an Empire! Will you become the Marquise de Bardelys?”
‘Well, shit,’ says Roxalanne in response. ‘Unfortunately, I just lightning-married this scoundrel to save your (formerly) doomed ass, so…I’m not totally certain what to do, here, dear.’
And this is how Monocle Man Mirko and Prince Danilo find themselves – once again – dueling over a bride (though this time, they’re fighting with swords and not pistols).
“When I finish with the Comte Chatellerault, you will be a widow!” Bardelys shouts to Roxalanne amidst the mayhem.
…On a scale of 1 to 10, Captain Magnificent, can you tell us exactly how – merry – you think she’ll be, once this occurs?
The small room swordfight is an exciting affair – and ends with Mirko Comte de KARMA WILL GET YOU falling on his own sword like an idiot stone-deadling.
Yay-hooray for Impalement!
…Or……um…
Three cheers for Happily Ever After endings where John Gilbert doesn’t get hanged for treason and also nabs him a hot widow!!!
(…Just – go with it, man, and be grateful this film exists.)
This was a no-doubt fun time of a film, though there wasn’t anything earth-shatteringly wondrous about it…other than the fact that it, you know, is still alive and kicking.
Certainly, the movie’s worth a watch, purely as an act of celebration for its glorious resurrection.
…Or, depending on your mood, as a hearty ‘Fuck you!’ to MGM for attempting to destroy a piece of art that mattered in 1936 – and continues to matter now.
Long live BARDELYS…
THE MAGNIFICENT.
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1313
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yago
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https://immortalephemera.com/5491/eleanor-boardman/
|
en
|
Eleanor Boardman by Tammy Stone
|
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[
"Eleanor Boardman",
"silent film",
"silent movies",
"biography",
"profile",
"movie collectibles"
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[
"Cliff Aliperti"
] |
2005-06-12T06:37:15+00:00
|
A biography and career overview for silent film star Eleanor Boardman accompanied by images of Eleanor Boardman Movie Cards and Movie Collectibles.
|
en
|
Immortal Ephemera
|
https://immortalephemera.com/5491/eleanor-boardman/
|
The Silent Collection by Tammy Stone
From cover girl to movie star, Eleanor Boardman led a charmed life. Then again, it’s difficult to gauge all these years later what life was really like in those hectic days when movies were becoming a phenomenon of mass popularity, when the studio heads didn’t know quite what they wanted out of actors and everything was one big experiment. But one thing seems sure: they liked what they saw the minute Eleanor came into town.
While they didn’t turn her into an instant star a la Mary Pickford, Clara Bow or Norma Talmadge, they consistently employed Eleanor for her inordinate beauty and utter ease in front of the cameras. In those heady days, this translated into a very decent career of 35 films or so – not as prolific as many of her peers, but enough to garner her attention – and a life among the stars.
Boardman was born in Philadelphia on August 19, 1898, three years after the movies had become available to the public. Her early family life, however, was not compatible with the world that the movies were opening up. Her parents were extremely religious, and believed that films were wicked, and that watching them was tantamount to a sin. Luckily for us, Eleanor did not at all agree with her parents, and from the start sought out her own, independent lifestyle.
She was successful at it too. When she was a teenager, she became a model, and famously so when she signed on with Eastman Kodak to be one of what would be many “Kodak Girls.” Eleanor seemed to be able to smell out good opportunities, as this job was no mere modeling gig; Kodak, as we all know, would become the eminent manufacturer of motion picture film stock. But we jump ahead – first Eleanor worked her way up the modeling ranks, and when she reached the tender ages of fifteen and sixteen, she became the official “Kodak Girl.” This essentially meant that she was their leading model and the most recognizable face used to sell all Kodak products. (Much like today, we associate Kate Moss with Calvin Klein and Cindy Crawford with The Gap.)
For Eleanor, in the very early 1920s, this meant that her face appeared in an ad displayed all over the country. But she didn’t leave her career ambitions up to fate, hoping against hope to be discovered by a movie mogul, as happened to so many would-be stars before and after her. Instead, she packed up her bags and moved to Hollywood, bent on becoming an actress.
She didn’t have too long to wait. In 1922, the Goldwyn Pictures company signed her on as a contract player, and they liked her enough to renew her contract two years later, when they officially became Metro-Goldwyn-Mayer. She ultimately stayed with MGM until 1932. The studio clearly admired her ravishing beauty, but Eleanor also possessed a rare sophistication not found among all the young starlets. What’s more, she also had a real knack for acting. All this pretty much made her a perfect package as a contract player, and the reason for her lasting success.
She also became the target for romantic affection, and this certainly didn’t hurt her career. She had eyes for only one, but she sure knew how to pick them. In 1926, Eleanor married King Vidor, already a well known filmmaker who would, by the late 1950s, make nearly sixty films, many of them classics. This extremely talented producer, director, actor and even presenter fell in love with Eleanor soon after he met her, and the rest, as they say, is history.
But the story only begins here. Before Eleanor and King Vidor were married, he was already appreciative of her acting abilities, and cast her in some of his best-remembered films, including Three Wise Fools (1923), Wine of Youth (1924), Wife of the Centaur (1925), Proud Flesh (1925) and Bardelys the Magnificent (1926). She worked with some impressive costars in these films, from John Gilbert to Johnnie Walker and Harrison Ford (not that Harrison Ford!)
Perhaps the greatest work for both of them was 1928’s The Crowd, also an MGM production, in which James Murray starred as an alienated man in a vast urban jungle. Eleanor starred opposite him as the love interest, and the film ended up exceeding everyone’s expectations; surprisingly, Eleanor was the object of the best critical praise, since this was a movie meant to bolster the James Murray’s career. The Crowd did so well that 53 years after its initial release, it enjoyed a revival in England, where it played to sold out crowds at 1981’s London Film Festival. All that time later, a critic marveled at Eleanor’s talent: What a superbly controlled performance Eleanor Boardman gives; and what a sweetness she had, uncloying, instinct with life.” (John Coleman, The New Statesman).
Of course, with fame comes a price, and in Hollywood, this price is usually malicious gossip. In Eleanor’s case, rumors started flying among those who love to label celebrities that Eleanor was “the most outspoken girl in Hollywood.” (It could have been a lot worse!)
The star certainly did have the opportunity to speak out in a lot of places, given she was on everyone’s guest list for years. Among her elite hosts were William Randolph Hearst (the notorious newspaper mogul who inspired Citizen Kane) and Marion Davies, Douglas Fairbanks and Mary Pickford, F. Scott Fitzgerald, Greta Garbo, Joan Crawford, the Gish sisters and John Barrymore. In other words, the who’s who of early Hollywood.
Although Eleanor’s film career started late into the silent era, she did survive the transition to sound, at least for awhile.
Between 1927 and 1932 she made several talkies, but then she left MGM, divorced King Vidor, and went to Spain to make what be her two last films: 1934’s It Happened in Spain and 1935’s The Three Cornered Hat (Henri d’Abbadie d’Arrast directed). D’Arrast and Eleanor had something in common, as both were now well-known figures in Hollywood, but trying their luck out overseas. They also got along exceptionally well, and married soon after they finished the film.
After this, Eleanor lived the life of royalty, dividing her time between the U.S. and Europe, where the happy couple owned a chateau in the Pyrenees. In 1968, after d’Arrast died, Eleanor decided to move back to her native country, and settled in Montecito, California.
Ever ambitious, she didn’t settle into any old house, but designed one herself so that she could live out her last days in comfort in style: exactly as she had lived. And she lived long – she passed away on December 12, 1991, at the age of 93, perhaps not the most luminescent star in Hollywood, but one of the most stable, talented and enduring.
Tammy Stone is a freelance writer and journalist based in Toronto. Watch for her regular column on the greats of the Silent Screen in each issue of The Movie Profiles & Premiums Newsletter. Tammy invites you to write her with any questions or comments on her column.
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Posts about king vidor written by Backlots
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Backlots
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https://backlots.net/tag/king-vidor/
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Hello readers, and happy Halloween! I’ve been so busy these days that I didn’t have time to put together my Hitchcock Halloween blogathon, but stay tuned in the coming days for the announcement of Backlots’ 4th annual Dueling Divas blogathon, which will go on this year as usual!
Today is the final day of this year’s CMBA Blogathon, in which members of the esteemed Classic Movie Blog Association are writing about stars that have been lost in the annals of history. So many stars of yesteryear have faded due to unfortunate circumstance, and as classic film writers, we are doing our small part to bring back some of the glory that these stars enjoyed in their heyday.
The star that I have chosen for the blogathon is the talented and beautiful Eleanor Boardman, a hugely popular star in the silent era with enormous acting talent and uniquely soft yet defined features. Retiring in 1935 and spending a long and healthy retirement out of the spotlight, hers was the definition of a full life, lived her own way. In addition to having been a movie star, Boardman also spent time as a correspondent for the Hearst newspapers and worked in France for the International News Service, writing a column about American life in Paris.
Eleanor Boardman was born in Philadelphia on August 19, 1898, into a strict Presbyterian family. The method by which young Eleanor became an actress is disputed–by her own account, she left home to study art and interior design at the Academy of Fine Art, while former husband King Vidor claims that she rebelled against the stifling atmosphere of her home life to choose a career path of which her parents did not approve. But what we do know is that as a teenager, Eleanor was named the “Eastman Kodak Girl” and by 1922, she had come to the attention of Goldwyn Pictures, who gave her a contract for $750 a week. She moved to California to begin work and soon met and fell in love with up-and-coming director, King Vidor, who had seen pictures of her as a teenager and was immediately smitten.
In 1923, Boardman made Three Wise Fools with Vidor and subsequently made five more films with him as director in the next four years. The most masterful of the six films that Boardman made with Vidor is The Crowd (1928), a beautiful and sorrowful look at a man in social and economic turmoil. Eleanor Boardman plays his long-suffering wife, and gives a magnificent and nuanced portrayal of a woman conflicted between her love for her husband and her obligation to herself. The movie is one of my personal favorite silent films, and it is clear that Vidor understood instinctively how to direct Boardman toward her best work.
Vidor and Boardman finally married in 1926, in a ceremony that was supposed to be a double wedding with John Gilbert and Greta Garbo at the Beverly Hills home of Marion Davies. But when Garbo failed to show, Gilbert was left alone at the altar with Boardman and Vidor, who proceeded with the marriage. The photos from this event are immensely uncomfortable.
Boardman’s marriage to King Vidor produced two daughters, Antonia (born in 1927) and Belinda (born in 1930). But in 1931, shortly after the birth of their daughter Belinda, the marriage began to fail and they divorced the same year.
Following her divorce from Vidor, Boardman met writer Harry d’Abbadie d’Arrast, with whom she would spend the rest of her life. Boardman decided to retire from films in 1935, and in 1940 she married Arrast. Shortly after the marriage, she was hired by William Randolph Hearst’s International News Service to go to Paris to write a column entitled “Americans in Paris,” to appear in the newspapers once a week. She spent a year in Paris writing the column, meeting socialites and writing to her heart’s content, until she contracted tuberculosis and was forced to abandon the job to go to Switzerland to recover.
She returned to the United States with Arrast, and following his death in 1968 Boardman moved to Montecito, CA. She spent her remaining years in Montecito until her death at age 93 in 1991.
I was lucky enough to talk to Eleanor Boardman’s daughter, Belinda, a few months ago. The spitting image of her mother, Belinda talks articulately and beautifully about the full life she led with her illustrious mother and father, the parties and social scene of Hollywood, and the careers of her parents. Her words about her mother are always kind. Eleanor Boardman’s star burned brightly for a short period of time, but that was exactly how she wanted it. She lived her life her way.
Thanks to the CMBA for hosting this blogathon. Some of the material for this article comes from an interview conducted by Alan Greenberg with Eleanor Boardman in the 1980s. I have the privilege of access to portions of this interview, and have used it to fill in information about the life of this fascinating star. Many thanks also to Alan Greenberg for letting me listen to it.
See you next time!
By Lara Gabrielle Fowler
For many decades, Hollywood has been fascinated with movies about movies. Ranging from the highest celebrations of Hollywood stardom (Singin’ In the Rain) to analyses of the most terrible tragedies of the industry (A Star is Born), the films that come out of this penchant for self-examination consistently do extremely well at the box office to this day, often winning major industry awards and proving that audiences and critics alike share this passion for “Hollywood on Hollywood.”
Singin’ In the Rain (1952), about the coming of sound to Hollywood, has earned a place as the only musical in the top 10 of “AFI’s 100 Years…100 Movies” list.
Argo (2012), about a plot to rescue Iranian hostages by creating a blockbuster Hollywood movie, won the Oscar for Best Picture last year.
Self-awareness in movies dates back to the earliest days of cinema. Mack Sennett often appeared as himself in the Keystone Kops movies, acknowledging the disconnect between reality and the movies and making an attempt to sew them together to create a fluid illusion for the audience member. In “The Playhouse” (1921), Buster Keaton attends a show in which he plays all the parts. He (as his character) quips “This Keaton fellow seems to be the whole show!” This was a nudge to the audience, a peek over the 4th wall to let the audience know that Keaton is aware of himself as an actor.
Building on these early indications of self-awareness, the first full-scale “Hollywood on Hollywood” movie appeared in 1928 with the King Vidor comedy Show People, about the transformation of a young country girl into a major movie star. Starring Marion Davies and based on the early career of Gloria Swanson, Show People is a thorough and intelligent look at the complexities of stardom, and its quality rivals that of the later movies who drew from its precedent. It is truly a movie that, despite the passage of 85 years, solidly stands the test of time.
Peggy Pepper is the young Georgia girl who wants to be in movies, so her father drives her out to Hollywood where she lands a contract as a comedic bit player, often getting squirts in the face with seltzer water. She befriends a fellow comedic actor named Billy Boone, and they act together in low-budget films while remaining best of friends offscreen. At the screening of her first movie, Peggy gets an autograph request from none other than Charlie Chaplin (playing himself in a cameo) and promptly faints. Several other stars make cameos in the film, including Marion Davies herself. When Peggy sees Marion Davies, she reacts with disdain, an extremely clever demonstration of the film’s self-awareness.
Soon, Peggy is signed to “High Art Studios,” where she becomes a big star and slowly loses touch with society as her ego grows. She shuns Billy Boone as a lower-class actor, even though he tries desperately to maintain their friendship and bring her back to reality. She runs into him on a film set and reacts coldly to him, until he squirts her with seltzer water like he used to in their low-budget films together. She becomes enraged and storms off.
Shortly thereafter, she is informed by her studio head that theaters around the country are pulling her movies because her image is becoming too snooty. She is about to get married to a fake count Andre Telefair, when Billy bursts in and squirts her in the face with seltzer water, then throws a pie in the face of the fake count. This brings Peggy to her senses, and she and Billy make up. Peggy’s next movie is set in a World War I village, and she convinces director King Vidor (the real life director of Show People), to hire Billy as her new leading man, as a surprise. Billy is thrilled to see that Peggy is his leading lady, and the film ends as Peggy and Billy kiss on the set of their new movie together.
Show People is one of the finest silent movies to come out of the 1920s. It is strikingly modern, and could easily have been made today, needing very few changes. Though it is a comedy, one can see the influence it had on such later Hollywood on Hollywood movies such as A Star is Born, chronicling a male actor’s assistance to an actress, and that star witnessing her rise over his. It is said that this movie is loosely based on the career of Gloria Swanson, who later starred in her own Academy Award-winning film about Hollywood–the incomparable Sunset Boulevard.
See you next time!
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2016-08-11T03:25:01+00:00
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Eleanor Boardman , American actress and wife of King Vidor talks to William Haines in a scene from the film 'Wife Of The Centaur', directed by King Vidor for MGM. Get premium, high resolution news photos at Getty Images
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https://www.indiewire.com/features/general/academy-and-historian-kevin-brownlow-present-king-vidors-striking-silent-classic-the-crowd-video-195413/
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Academy and Historian Kevin Brownlow Present King Vidor’s Striking Silent Classic ‘The Crowd’ (VIDEO)
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2013-10-24T17:25:23+00:00
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Academy and Historian Kevin Brownlow Present King Vidor's Striking Silent Classic 'The Crowd' (VIDEO)
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IndieWire
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https://www.indiewire.com/features/general/academy-and-historian-kevin-brownlow-present-king-vidors-striking-silent-classic-the-crowd-video-195413/
|
Death did not come to silent movies on little cat feet. He burst in singing on October 6, 1927 when
Warner Bros. released “The Jazz Singer.”
The irony is that silent movies reached their artistic peak in 1928,
something that was strikingly demonstrated Tuesday night when the Academy of
Motion Picture Arts and Science and the Mary Pickford Foundation presented King
Vidor’s drama about one common man, “The Crowd.”
As funny as it is sad, “The Crowd” had the audience at the
half-filled Academy theatre laughing in all of the right places and none of the
wrong ones. And the acting, particularly
by Eleanor Boardman as the wife of a man fruitlessly trying to climb above the
crowd (“One of the Mob” was Vidor’s original title) has nothing in common with
the oversized gestures and dramatic poses that have made some silent films a
modern joke. Boardman, Vidor’s wife,
expresses everything from delight to despair with her eyes. As her husband endlessly hoping he will
become the “important” man his father promised he would be, James Murray, a
little known actor, is less certain and more awkward, as is John Sims. the
common man he plays. The score by Carl
Davis is almost uncannily right and helps to take away the need for words.
The silent film historian Kevin Brownlow who restored “The
Crowd” has called the movie one of ten “Essential” silent films. Interviewed by phone Tuesday afternoon, he
elaborated. “It’s one of the few social
problem films made during the 1920s and certainly the best of the lot. You’re in the middle of a Depression that
hasn’t happened yet. What’s important is
not the message but the plight of the people and the characters.”
What is most impressive in “The Crowd” is what Brownlow
calls “its amazing use of expressionist techniques.” He tells a story of Vidor at a European film
festival where Vittorio De Sica threw his arms around him and said: “The
Crowd! That is why I made ‘The Bicycle
Thief.’” He tells the story again in a Q
and A that follows the screening.
Images that have become clichés in American films began is
this one — the camera climbing up the exterior of a skyscraper and into a huge
room full of rows of clerks, eyes focused on numbing numbers. Billy Wilder stole that dehumanizing room for
“The Apartment.” And the crowd — the
hordes of people oppressively walking, pushing, sunning on a beach, laughing
together at a vaudeville show — is almost as much a character as Mary and John
Sims.
Today, when movie stars lift their skirts and pretend to pee
while sitting on toilets in mainstream films, it is hard to recapture the anger
felt by L.B. Mayer, the head of M-G-M, when a toilet was shown through an open bathroom door in
“The Crowd.” Although “The Crowd” was
an M-G-M movie, Mayer was so incensed by “that toilet picture” he made sure the
film would not win Academy Awards in 1927-28, the Academy’s first year. “The
Crowd” was nominated for “Unique and Artistic Picture,” but that predecessor of
Best Picture went to “Sunrise,” a 20th Century Fox film.
A special award was
given “TO WARNER BROS. for producing “The Jazz Singer,” the pioneer outstanding
talking picture, which has revolutionized the industry.”
Both Kevin Brownlow, who introduced “The Crowd,” and Randy
Haberkamp, the Academy’s managing director of preservation who had students
from Hollywood and Fairfax high schools bused to “The Crowd,” are, in
Haberkamp’s words, “trying to convert you.”
Basically, Haberkamp told the audience, the Roadrunner cartoons, “The
Life of Pi,” “Wall – E,” and Robert Redford’s new movie, “All Is Lost,” about a
solitary sailor dangerously adrift,are silent films.
It may not work. Many
of the great silent films, including “The Crowd,” are not even on DVD, although
Vidor’s 1925 World War I movie, “The Big Parade,” was released on DVD and
BluRay a week ago by Criterion. But
another chance to convert an audience comes tomorrow night when the Academy and
the Pickford Foundation present Ernst Lubitsch’s “The Student Prince in Old Heidelberg,” a
Vienese romance in which a prince falls in love with a barmaid.
|
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King Vidor facts for kids
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Learn King Vidor facts for kids
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/images/wk/favicon-16x16.png
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https://kids.kiddle.co/King_Vidor
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King Wallis Vidor (; February 8, 1894 – November 1, 1982) was an American film director, film producer, and screenwriter whose 67-year film-making career successfully spanned the silent and sound eras.
Early life and career
Vidor was born into a well-to-do family in Galveston, Texas, the son of Kate (née Wallis) and Charles Shelton Vidor, a lumber importer and mill owner. His grandfather, Károly Charles Vidor, was a refugee of the Hungarian Revolution of 1848, who settled in Galveston in the early 1850s. Vidor's mother, Kate Wallis, of Scotch-English descent, was a relative of the second wife of iconic frontiersman and politician Davy Crockett. The "King" in King Vidor is no sobriquet, but his given name in honor of his mother's favorite brother, King Wallis.
At the age of six, Vidor witnessed the devastation of the Galveston Hurricane of 1900. Based on that formative experience, he published a historical memoir of the disaster, titled "Southern Storm", for the May 1935 issue of Esquire magazine.
In 1939, he would direct the cyclone scene for Metro-Goldwyn-Mayer's The Wizard of Oz.
Vidor was introduced to Mary Baker Eddy's Christian Science by his mother at a very early age. Vidor would endow his films with the moral precepts of the faith, a "blend of pragmatic self-help and religious mysticism."
Vidor attended grade school at the Peacock Military Academy.
Career
As a boy, Vidor engaged in photographing and developing portraits of his relatives with a Box Brownie camera.
At the age of sixteen Vidor dropped out of a private high school in Maryland and returned to Galveston to work as a Nickelodeon ticket taker and projectionist. As an 18-year-old amateur newsreel cameraman Vidor began to acquire skills as a film documentarian. His first movie was based on footage taken of a local hurricane (not to be confused with the 1900 Galveston hurricane). He sold footage from a Houston army parade to a newsreel outfit (titled The Grand Military Parade) and made his first fictional movie, a semi-docucomedy concerning a local automobile race, In Tow (1913).
In 1918, at the age of 24, Vidor directed his first Hollywood feature, The Turn in the Road (1919). Vidor would make three more films for the Brentwood Corporation, all of which featured as yet unknown comedienne Zasu Pitts, who the director had discovered on a Hollywood streetcar. The films Better Times, The Other Half, and Poor Relations, all completed in 1919, also featured future film director David Butler and starred Vidor's then wife Florence Arto Vidor (married in 1915), a rising actor in Hollywood pictures. Vidor ended his association with the Brentwood group in 1920.
Vidor's earlier films tend to identify with the common people in a collective struggle, whereas his later works place individualists at the center of his narratives.
Vidor's most acclaimed and successful film in the silent era is The Big Parade (1925). His sound films of the 1940s and early 1950s arguably represent his richest output. Among his finest works are Northwest Passage (1940), Comrade X (1940), An American Romance (1944), and Duel in the Sun (1946). His dramatic depictions of the American western landscape endow nature with a sinister force where his characters struggle for survival and redemption.
Vidor was considered an "actors' director": many of his players received Academy Award nominations or awards, among them Wallace Beery, Robert Donat, Barbara Stanwyck, Jennifer Jones, Anne Shirley, and Lillian Gish.
Vidor was nominated five times by the Academy Awards for Best Director. In 1979, he was awarded an Honorary Academy Award for his "incomparable achievements as a cinematic creator and innovator." Additionally, he won eight national and international film awards during his career, including the Screen Directors Guild Lifetime Achievement Award in 1957.
In 1962, he was head of the jury at the 12th Berlin International Film Festival. In 1969, he was a member of the jury at the 6th Moscow International Film Festival.
Vidor lectured occasionally on film production and directing in the late 1950s and the 1960s at two state universities in Southern California, (USC and CSU, Los Angeles.) He published a non-technical handbook that provides anecdotes from his film career, On Film Making in 1972.
Personal life
In 1944 Vidor, a Republican, joined the anti-communist Motion Picture Alliance for the Preservation of American Ideals.
Vidor published his autobiography, A Tree is a Tree, in 1953. This book's title is inspired by an incident early in Vidor's Hollywood career. Vidor wanted to film a movie in the locations where its story was set, a decision which would have greatly added to the film's production budget. A budget-minded producer told him, "A rock is a rock. A tree is a tree. Shoot it in Griffith Park" (a nearby public space which was frequently used for filming exterior shots).
King Vidor was a Christian Scientist and wrote occasionally for church publications.
Marriages
Vidor was married three times:
Florence Arto (m. 1915–1924)
(later married Jascha Heifetz)
Suzanne (1918–2003)
(adopted by Jascha Heifetz)
Eleanor Boardman (m. 1926–1931)
Antonia (1927–2012)
Belinda (born 1930)
Elizabeth Hill (m. 1932–1978)
Death
Vidor died at age 88 of a heart ailment at his ranch in Paso Robles, California, on November 1, 1982.
Filmography
Academy Awards and nominations
Year Award Film Result 1927–28 Best Director The Crowd Frank Borzage – 7th Heaven 1929–30 Hallelujah Lewis Milestone – All Quiet on the Western Front 1931–32 Outstanding Production The Champ Irving Thalberg – Grand Hotel Best Director Frank Borzage – Bad Girl 1938 The Citadel Frank Capra – You Can't Take It with You 1956 War and Peace George Stevens – Giant 1979 Academy Honorary Award for his incomparable achievements as a cinematic creator and innovator
Directed Academy Award performances
Year Performer Film Result Academy Award for Best Actor 1931–32 Wallace Beery The Champ Won 1938 Robert Donat The Citadel Nominated Academy Award for Best Actress 1937 Barbara Stanwyck Stella Dallas Nominated 1946 Jennifer Jones Duel in the Sun Nominated Academy Award for Best Supporting Actress 1937 Anne Shirley Stella Dallas Nominated 1946 Lillian Gish Duel in the Sun Nominated
Academy Awards in King Vidor films
Year Film Academy Award
Nominations Academy Award
wins 1927–28 The Crowd 2 0 1929–30 Hallelujah 1 0 1931–32 The Champ 4 2 1936 The Texas Rangers 1 0 1938 The Citadel 4 0 1940 Northwest Passage 1 0 Comrade X 1 0 1946 Duel in the Sun 2 0 1949 Beyond the Forest 1 0 1956 War and Peace 3 0
Other awards
In 1964, he received the Golden Plate Award of the American Academy of Achievement. At the 11th Moscow International Film Festival in 1979, he was awarded with the Honorable Prize for the contribution to cinema. In 2020, Vidor was honored with a retrospective at the 70th Berlin International Film Festival, showcasing more than 30 of his films.
Images for kids
King Vidor and Colleen Moore on location for The Sky Pilot near Truckee, California
Hendrik Sartov (cinematographer), King Vidor (director), Irving Thalberg (producer) & Lillian Gish (co-star) on the set of La Bohème
King Vidor (center) with Renée Adorée and John Gilbert. On the set of The Big Parade
Nina Mae McKinney as Chick in Hallelujah
Vidor directed the black & white sequences for The Wizard of Oz (1939), including Judy Garland singing Over the Rainbow
See also
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
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Boardman, Eleanor (1898–1991)
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Boardman, Eleanor (1898–1991)American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters. Source for information on Boardman, Eleanor (1898–1991): Women in World History: A Biographical Encyclopedia dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
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American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters.
Films include:
The Stranger's Banquet (1922); Gimme (1923); Souls for Sale (1923); Vanity Fair (1923); Three Wise Fools (1923); The Day of Faith (1923); Wine of Youth (1924); Sinners in Silk (1924); The Turmoil (1924); The Silent Accuser (1924); So This Is Marriage (1924); The Wife of the Centaur (1924); The Way of a Girl (1925); Proud Flesh (1925); Exchange of Wives (1925); The Only Thing (1925); The Circle (1925); Memory Lane (1926); The Auction Block (1926); Bardelys the Magnificent (1926); Tell It to the Marines (1926); The Crowd (1928); Diamond Handcuffs (1928); She Goes to War (1929); Mamba (1930); Redemption (1930); The Great Meadow (1931); The Flood (1931); Women Love Once (1931); The Squaw Man (1931); The Phantom President (1932); The Big Chance (1933).
Clad in black-and-white stripes against a field of daisies, 16-year-old Eleanor Boardman gained national attention as the Kodak girl on publicity posters for Eastman Kodak. A few years later, she left her home in Philadelphia for New York, thinking more of a career as a costume or set designer than as an actress. Her elegant beauty, however, did not escape several producers who suggested a screen test. In 1922, against the wishes of her strict, religious family, she signed a contract with the Goldwyn Company, soon to become Metro-Goldwyn-Mayer. Although she made films for other studios, she remained under contract with MGM until 1932, playing in comedies as well as romantic dramas.
Praised for her naturalness in front of the camera, Boardman is best remembered for her leading role in The Crowd (1928), a realistic study of life in an American city, directed by King Vidor, to whom she was married. The film was revolutionary at the time because of its realistic presentation and its down-to-earth story of a young married couple trying to raise their status without breeding or education. Boardman's portrayal, praised by The New York Times critic Mordaunt Hall as "a wonderful combination of charm and sympathy," captivated audiences a second time in 1981 when the movie was revived for a London Film Festival.
Despite her screen success, Boardman's association with Louis B. Mayer was difficult, as was her marriage to Vidor, which ended in divorce and a bitter custody battle over their two daughters. Disillusioned, Boardman left for Europe in 1933, where she made her last screen appearance in The Three-Cornered Hat. After a second marriage to director Harry d'Abbadie d'Arrast, Boardman divided her time between Europe and the United States. For a few years in the 1950s, she wrote a column on Paris for the Hearst International News Service. Following the death of d'Arrast in 1968, Boardman reunited with Vidor, who was a frequent visitor to her house during her last years in Montecito, California.
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https://www.berlinale.de/en/2020/programme/202011043.html
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Wine of Youth
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Berlin International Film Festival - official website
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Mary Hollister has two suitors. Unlike her mother and grandmother, she doesn’t want to just marry as a matter of course; she wants to choose her husband wisely. So Mary decides to go on a camping trip with both men and another couple to try out a kind of “test marriage”. At home, the plan meets with rabid disapproval from the family. But Mary flouts the interdictions, triggering a serious crisis in her parents’ marriage … Wild parties, fast cars. Boasting all the emblems of the youth culture of the era, Wine of Youth opens as a resounding celebration of the Jazz Age, whose mavens seem to know no moral bounds. But because the film attributed to Mary a high sense of responsibility, it also showed that not everyone who fell in love primarily while doing a polka or a stately waltz is necessarily a tyrannical, hopeless old fogey or a hypocrite. Sporting none of the alluring trappings of a flapper, Eleanor Boardman, who would later play the epitome of a modern woman in The Crowd, proved to be ideal casting in King Vidor’s generational drama, playing a young woman with an inquiring mind and a desire for freedom. She proved the admiration was mutual in 1926 by marrying the director.
by King Vidor
with Eleanor Boardman, James Morrison, Johnnie Walker, Niles Welch, Creighton Hale, Ben Lyon, William Haines, William Collier Jr., Pauline Garon, Eulalie Jensen USA 1924 English intertitles 72’ Black/White Print: From the collection of the George Eastman Museum, Rochester, NY
With
Eleanor Boardman
James Morrison
Johnnie Walker
Niles Welch
Creighton Hale
Ben Lyon
William Haines
William Collier Jr.
Pauline Garon
Eulalie Jensen
Crew
Director King Vidor Screenplay Carey Wilson Story Rachel Crothers Mary the Third: a Comedy in Prologue and Three Acts (1923) Art Director Charles L. Cadwallader Assistant Director David Howard Producers King Vidor, Louis B. Mayer
Produced by
Metro-Goldwyn Pictures Corp.
Additional information
Print: From the collection of the George Eastman Museum, Rochester, NY
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https://backlots.net/2014/10/31/cmba-forgotten-stars-blogathon-eleanor-boardman/
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CMBA FORGOTTEN STARS BLOGATHON: Eleanor Boardman
|
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2014-10-31T00:00:00
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Hello readers, and happy Halloween! I've been so busy these days that I didn't have time to put together my Hitchcock Halloween blogathon, but stay tuned in the coming days for the announcement of Backlots' 4th annual Dueling Divas blogathon, which will go on this year as usual! Today is the final day of this…
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https://s1.wp.com/i/favicon.ico
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Backlots
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https://backlots.net/2014/10/31/cmba-forgotten-stars-blogathon-eleanor-boardman/
|
Hello readers, and happy Halloween! I’ve been so busy these days that I didn’t have time to put together my Hitchcock Halloween blogathon, but stay tuned in the coming days for the announcement of Backlots’ 4th annual Dueling Divas blogathon, which will go on this year as usual!
Today is the final day of this year’s CMBA Blogathon, in which members of the esteemed Classic Movie Blog Association are writing about stars that have been lost in the annals of history. So many stars of yesteryear have faded due to unfortunate circumstance, and as classic film writers, we are doing our small part to bring back some of the glory that these stars enjoyed in their heyday.
The star that I have chosen for the blogathon is the talented and beautiful Eleanor Boardman, a hugely popular star in the silent era with enormous acting talent and uniquely soft yet defined features. Retiring in 1935 and spending a long and healthy retirement out of the spotlight, hers was the definition of a full life, lived her own way. In addition to having been a movie star, Boardman also spent time as a correspondent for the Hearst newspapers and worked in France for the International News Service, writing a column about American life in Paris.
Eleanor Boardman was born in Philadelphia on August 19, 1898, into a strict Presbyterian family. The method by which young Eleanor became an actress is disputed–by her own account, she left home to study art and interior design at the Academy of Fine Art, while former husband King Vidor claims that she rebelled against the stifling atmosphere of her home life to choose a career path of which her parents did not approve. But what we do know is that as a teenager, Eleanor was named the “Eastman Kodak Girl” and by 1922, she had come to the attention of Goldwyn Pictures, who gave her a contract for $750 a week. She moved to California to begin work and soon met and fell in love with up-and-coming director, King Vidor, who had seen pictures of her as a teenager and was immediately smitten.
In 1923, Boardman made Three Wise Fools with Vidor and subsequently made five more films with him as director in the next four years. The most masterful of the six films that Boardman made with Vidor is The Crowd (1928), a beautiful and sorrowful look at a man in social and economic turmoil. Eleanor Boardman plays his long-suffering wife, and gives a magnificent and nuanced portrayal of a woman conflicted between her love for her husband and her obligation to herself. The movie is one of my personal favorite silent films, and it is clear that Vidor understood instinctively how to direct Boardman toward her best work.
Vidor and Boardman finally married in 1926, in a ceremony that was supposed to be a double wedding with John Gilbert and Greta Garbo at the Beverly Hills home of Marion Davies. But when Garbo failed to show, Gilbert was left alone at the altar with Boardman and Vidor, who proceeded with the marriage. The photos from this event are immensely uncomfortable.
Boardman’s marriage to King Vidor produced two daughters, Antonia (born in 1927) and Belinda (born in 1930). But in 1931, shortly after the birth of their daughter Belinda, the marriage began to fail and they divorced the same year.
Following her divorce from Vidor, Boardman met writer Harry d’Abbadie d’Arrast, with whom she would spend the rest of her life. Boardman decided to retire from films in 1935, and in 1940 she married Arrast. Shortly after the marriage, she was hired by William Randolph Hearst’s International News Service to go to Paris to write a column entitled “Americans in Paris,” to appear in the newspapers once a week. She spent a year in Paris writing the column, meeting socialites and writing to her heart’s content, until she contracted tuberculosis and was forced to abandon the job to go to Switzerland to recover.
She returned to the United States with Arrast, and following his death in 1968 Boardman moved to Montecito, CA. She spent her remaining years in Montecito until her death at age 93 in 1991.
I was lucky enough to talk to Eleanor Boardman’s daughter, Belinda, a few months ago. The spitting image of her mother, Belinda talks articulately and beautifully about the full life she led with her illustrious mother and father, the parties and social scene of Hollywood, and the careers of her parents. Her words about her mother are always kind. Eleanor Boardman’s star burned brightly for a short period of time, but that was exactly how she wanted it. She lived her life her way.
Thanks to the CMBA for hosting this blogathon. Some of the material for this article comes from an interview conducted by Alan Greenberg with Eleanor Boardman in the 1980s. I have the privilege of access to portions of this interview, and have used it to fill in information about the life of this fascinating star. Many thanks also to Alan Greenberg for letting me listen to it.
See you next time!
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Boardman, Eleanor (1898–1991)
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Boardman, Eleanor (1898–1991)American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters. Source for information on Boardman, Eleanor (1898–1991): Women in World History: A Biographical Encyclopedia dictionary.
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
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American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters.
Films include:
The Stranger's Banquet (1922); Gimme (1923); Souls for Sale (1923); Vanity Fair (1923); Three Wise Fools (1923); The Day of Faith (1923); Wine of Youth (1924); Sinners in Silk (1924); The Turmoil (1924); The Silent Accuser (1924); So This Is Marriage (1924); The Wife of the Centaur (1924); The Way of a Girl (1925); Proud Flesh (1925); Exchange of Wives (1925); The Only Thing (1925); The Circle (1925); Memory Lane (1926); The Auction Block (1926); Bardelys the Magnificent (1926); Tell It to the Marines (1926); The Crowd (1928); Diamond Handcuffs (1928); She Goes to War (1929); Mamba (1930); Redemption (1930); The Great Meadow (1931); The Flood (1931); Women Love Once (1931); The Squaw Man (1931); The Phantom President (1932); The Big Chance (1933).
Clad in black-and-white stripes against a field of daisies, 16-year-old Eleanor Boardman gained national attention as the Kodak girl on publicity posters for Eastman Kodak. A few years later, she left her home in Philadelphia for New York, thinking more of a career as a costume or set designer than as an actress. Her elegant beauty, however, did not escape several producers who suggested a screen test. In 1922, against the wishes of her strict, religious family, she signed a contract with the Goldwyn Company, soon to become Metro-Goldwyn-Mayer. Although she made films for other studios, she remained under contract with MGM until 1932, playing in comedies as well as romantic dramas.
Praised for her naturalness in front of the camera, Boardman is best remembered for her leading role in The Crowd (1928), a realistic study of life in an American city, directed by King Vidor, to whom she was married. The film was revolutionary at the time because of its realistic presentation and its down-to-earth story of a young married couple trying to raise their status without breeding or education. Boardman's portrayal, praised by The New York Times critic Mordaunt Hall as "a wonderful combination of charm and sympathy," captivated audiences a second time in 1981 when the movie was revived for a London Film Festival.
Despite her screen success, Boardman's association with Louis B. Mayer was difficult, as was her marriage to Vidor, which ended in divorce and a bitter custody battle over their two daughters. Disillusioned, Boardman left for Europe in 1933, where she made her last screen appearance in The Three-Cornered Hat. After a second marriage to director Harry d'Abbadie d'Arrast, Boardman divided her time between Europe and the United States. For a few years in the 1950s, she wrote a column on Paris for the Hearst International News Service. Following the death of d'Arrast in 1968, Boardman reunited with Vidor, who was a frequent visitor to her house during her last years in Montecito, California.
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Eleanor Boardman
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Italian postcard by Cinema-Illustrazione, Milano, series 1, no. 15. Photo: Metro-Goldwyn-Mayer.
<b>Eleanor Boardman</b> (1898-1991) was an American stage and silent screen actress, famous for King Vidor's <i>The Crowd</i> (1928), one of the best late American silent movies.
Born in Philadelphia, Eleanor Boardman originally worked on stage, but after temporarily losing her voice in 1922 she entered silent films. She was chosen by Goldwyn Pictures as their "New Face of 1922," through which she signed a contract with the company. After several successful supporting roles, she played the lead in Rupert Hughes' Souls for Sale (1923), also with Frank Mayo, Richard Dix, and Lew Cody. Boardman plays a runaway wife who ends up in Hollywood and from an extra becomes a star. Her husband (Cody), apparently a dangerous robber and killer of wives, pursues her. The film gives an insight view of Hollywood and many silent stars had cameos in the film. That same year, Boardman's growing popularity was reflected by her inclusion on the list of WAMPAS Baby Stars.
Eleanor Boardman appeared in more than 30 films during her career, achieving her greatest success in director King Vidor's The Crowd (1928). Her performance in that film is widely recognised as one of the outstanding performances in American silent films. Other memorable titles were e.g. The Circle (Frank Borzage, 1925), Bardelys the Magnificent (King Vidor, 1926) with John Gilbert, and Tell It to the Marines (George W. Hill, 1926) with William Haines and Lon Chaney. After some success in sound films, Boardman retired from acting in 1935 and retreated from Hollywood. Her only subsequent appearance was in an interview filmed for Kevin Brownlow and David Gill's British documentary series Hollywood (1980). From 1926 to 1931 she was married to Vidor and had two daughters with him. In 1940 she married director Harry d'Abadie d'Arrast.
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https://combo.staticflickr.com/pw/favicon.ico
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Flickr
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https://www.flickr.com/photos/truusbobjantoo/50985283708
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Italian postcard by Cinema-Illustrazione, Milano, series 1, no. 15. Photo: Metro-Goldwyn-Mayer.
Eleanor Boardman (1898-1991) was an American stage and silent screen actress, famous for King Vidor's The Crowd (1928), one of the best late American silent movies.
Born in Philadelphia, Eleanor Boardman originally worked on stage, but after temporarily losing her voice in 1922 she entered silent films. She was chosen by Goldwyn Pictures as their "New Face of 1922," through which she signed a contract with the company. After several successful supporting roles, she played the lead in Rupert Hughes' Souls for Sale (1923), also with Frank Mayo, Richard Dix, and Lew Cody. Boardman plays a runaway wife who ends up in Hollywood and from an extra becomes a star. Her husband (Cody), apparently a dangerous robber and killer of wives, pursues her. The film gives an insight view of Hollywood and many silent stars had cameos in the film. That same year, Boardman's growing popularity was reflected by her inclusion on the list of WAMPAS Baby Stars.
Eleanor Boardman appeared in more than 30 films during her career, achieving her greatest success in director King Vidor's The Crowd (1928). Her performance in that film is widely recognised as one of the outstanding performances in American silent films. Other memorable titles were e.g. The Circle (Frank Borzage, 1925), Bardelys the Magnificent (King Vidor, 1926) with John Gilbert, and Tell It to the Marines (George W. Hill, 1926) with William Haines and Lon Chaney. After some success in sound films, Boardman retired from acting in 1935 and retreated from Hollywood. Her only subsequent appearance was in an interview filmed for Kevin Brownlow and David Gill's British documentary series Hollywood (1980). From 1926 to 1931 she was married to Vidor and had two daughters with him. In 1940 she married director Harry d'Abadie d'Arrast.
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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Screening Room - Paul Weitz on King Vidor’s The Crowd
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King Vidor’s humanity and feeling for ordinary people come alive in his silent masterpiece, The Crowd. Paul Weitz reflects on what makes the film by the DGA’s first president a classic.
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https://www.dga.org/Craft/DGAQ/All-Articles/1504-Fall-2015/Screening-Room-The-Crowd
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Fall 2015
Faces in ‘The Crowd’
King Vidor’s humanity and feeling for ordinary people come alive in his silent masterpiece, The Crowd. Paul Weitz reflects on what makes the film by the DGA’s first president a classic.
By Robert Abele
"I wanted to be a playwright, but I was beginning to fall in love with film," says Paul Weitz as he settles in at his Venice, Calif., offices to revisit King Vidor’s 1928 silent masterpiece, The Crowd, an early favorite from Weitz’s younger, movie-bingeing days. "I was probably 19, and would have gotten it from Kim’s Video in New York. I loved that it was about the sting in the tail of the American dream, and it seemed extremely modern to me. I saw this, The Big Parade (1925), and Show People (1928), and got really excited about King Vidor."
After the enormous box-office success of The Big Parade, Vidor, who was a co-founder of the Directors Guild and its first president, had enough cachet at MGM to pitch his idea for The Crowd to Irving Thalberg, who liked to sprinkle some arty pictures in with the regular studio fare. The film is about an ordinary guy (James Murray, a studio extra Vidor spotted) whose belief that he’s meant to stand out from the rest of humanity is routinely shattered by the ups and downs of real life: a dead-end job, romantic bliss with a kind woman (Eleanor Boardman, Vidor’s then-wife) that becomes a turbulent marriage, and parenthood wounded by tragedy. Its unusual focus on the realistic plight of everyday people made it a dramatic oddity in its day. However, its reputation grew, influencing directors from Billy Wilder to the Italian neorealists, and in 1989, it was one of the first 25 movies selected to be preserved in the National Film Registry by the Library of Congress.
"In general I’m drawn to movies that discuss the culture through totally personal stories," says Weitz as the film opens with the birth of its hero, John Sims, on July 4, 1900, to a nervous, wide-eyed father who declares of his son, "There’s a little man the world is going to hear from." Weitz acknowledges the risks of the kind of realism Vidor was seeking in this scene. "Sometimes you get actors desperately afraid of overacting, and that father, who is emoting a lot, you might say is overacting. But I’ll bet if you looked at actual dads seeing their baby for the first time, they’re probably mugging like crazy."
Vidor segues to now-12-year-old John sitting on a fence with his friends, whose grown-up ambitions include "preacher" and "cowboy," but Johnny’s is a nebulous "somethin’ big" as he gets a dreamer’s look. Adds Weitz, "Somebody did a study recently that showed some ridiculous portion of students said their main goal was to become famous. That’s what’s happening to the hero in this movie, so Vidor shows his younger self staring off into the distance, at his own great fate."
Suddenly a medical carriage pulls up to John’s house, surrounded by onlookers, and a worried John rushes into the throng. Inside, shot from the top of a sharply angled, enclosed staircase, we see "the crowd" bunched together at the bottom as our young protagonist, his father on his deathbed, gingerly ascends toward the camera to experience his first dose of reality and responsibility. "This is a great shot, expressive and graphic," says Weitz. "It feels like German expressionism, and it’s easy to forget those directors were all lurking around at the time. The shot lingers on him for longer than is comfortable. And the kid is great here. He doesn’t overact."
Real Life: The Crowd seemed extremely modern to Weitz when he first saw it, with its German expressionist staircase (top) and a wide grid of office workers (bottom), a shot later echoed by Billy Wilder in The Apartment. (Photos: Photofest)
Vidor fast forwards to the 21-year-old John Sims on a ferry, beaming as he stares at the New York skyline, innocently telling a stranger, "All I want is an opportunity." (The stranger’s skeptical expression suggests he knows it’s not that simple.) Then comes a montage of bustling streets—some of which Vidor captured on location—and skyscrapers, including a miniature used for a vertical tracking shot up its face and into a high-story window. "The documentary-style shots help you believe that the more staged and backlot shots later are actually taking place in New York," says Weitz.
From that window, Vidor dissolves to a legendary forward tracking shot, from a high angle, across a wide grid of insurance workers’ desks before narrowing at our protagonist’s, just one of the crowd. Weitz takes a moment to reflect on Vidor’s multifaceted technique so far. "What he’s achieved is to take you from something utterly expressionistic, bordering on cloying, and into something incredibly cynical and dehumanizing," he says. "We go from the boy who in very artificial fashion is brought toward the camera, with the shot lingering, to the deadpan nature of our protagonist on the ferry and the guy scoffing at his naiveté—akin to Ernst Lubitsch or Billy Wilder—and then the pure documentary shots of New York, well-composed and cut. Within a very short span of time, he’s done three different types of filmmaking and managed to make them all work."
John, prone to writing advertising slogans in secret at his desk, is set up on a double date through garrulous co-worker Bert. He meets sweet-faced Mary (Boardman), and she and John hit it off, acting silly and having fun at Coney Island. "It’s really interesting how he’s bonding you to this guy," says Weitz. "They’re a couple of goofs. It’s endearing, and it erases the distance between us and John. But then John sees a clown juggling, and thinks he’s better than these poor boobs in the crowd. When he sees an ad for furniture on the bus, he says, ’Let’s get married!’ It’s a constant seismograph of cynicism versus idealism. There’s a certain kind of great filmmaker who [can] have both operating at full capacity."
Vidor cuts to their wedding day, then John and Mary get on a train for Niagara Falls. ("Vidor’s great at pressing ’skip,’" Weitz quips.) Sitting in a compartment, they soon realize they’ll be sharing a bed together for the first time. "They’re afraid of having sex; it’s quite edgy," says Weitz. "Instead of having something seem explicit, it’s great to just show how anxious they are. It’s like the end of The Graduate, where they’re like, ’What do we do now?’ It’s totally modern, unlike the romances of the time."
In the next scene, Vidor shows us John in the washroom zealously preparing, laughed at by two male passengers, with a cut to Mary primping separately, followed by a gently comic bit in which John forgets which curtained sleeping berth is theirs. (He finds a family jammed into one, and an old bearded man in another, before locating theirs.) Backing into their cramped sleeping space, he accidentally sits on a valise. Insert close-ups show Mary, turned away from him, waiting nervously. The scene ends with belongings falling on his head from the shelf above before a fade to black. "This is fantastic, how he makes a whole sequence out of two people about to have sex for the first time, surrounded by other people. There’s a lovely, deft touch. It’s a real lesson in using every shot. Vidor doesn’t have him go in head first—he sits on the bag. It’s so intimate and funny, but also sexy, because she looks so beautiful. The cutting pattern is great. It’s so much better to build up tension before the fact. And then all the stuff falls from above, which might be the orgasm."
Their home life in a tiny apartment near elevated train tracks is considerably more humdrum. She cooks and cleans. He amuses himself. On Christmas Eve, he escapes her visiting (and disapproving) mother and brothers, and gets drunk with Bert. A jump forward to months later, though, gives us a scene of petty complaints—mostly his, about broken fixtures and how drab she looks— turning into a full-on marital dispute, the movie’s longest scene so far. "He’s showing a very realistic fight," says Weitz, who comments on how the two-shots of John and Mary have changed. "They’re crowded together in the frame, but there’s space between them. It’s insane that he’s able to get this intimate and make you extremely uncomfortable. He’s stuck us in this apartment for a helluva long time, and what’s spectacular is that he’s turning our hero into an unlikable bastard."
When Mary tells him she’s pregnant, though, the sniping stops and they reconcile. At the hospital, the multitude of recovery beds graphically arranged reminds Weitz of the multitude of insurance desks earlier. "Vidor does incredible stuff with big, huge spaces, then juxtaposing that with their tiny apartment," he says. "He’s reminding us he picked somebody out of a crowd to make a movie about."
Tragedy Strikes: (top) John in a sea of humanity after his daughter is killed in a car crash; (middle) John and Mary on their way to Niagara Falls for their honeymoon; (bottom) domestic life in their tiny apartment. (Photos: Photofest)
Another leap in time now reveals John and Mary with two children. At work, John hasn’t been promoted, while Mary is beginning to chafe at her husband’s increasingly foolish belief that his ship is coming in. Then comes good news: A slogan of John’s wins $500 in a contest. The couple’s celebration is short-lived, though. Waving to their kids from their window, they witness their daughter dart into traffic and get hit by a truck. Once again, humanity gathers around as a distraught John gathers the child in his arms to carry her back into the building.
"This is an echo of the shot when he was a kid and his father died," notes Weitz. "He’s coming up the stairs, and everybody’s faces are behind him. Vidor’s staging is instinctive, but it bears relation to other shots in the film."
In a poignant vigil scene in their apartment, Weitz is moved not only by Murray’s performance, but also by Vidor’s use of the camera to transform a close-up. "It starts on John as a close-up, then it goes down one side first, then the other, hinging off him as he tries to quiet people down, going back to him each time. One tends to think of shotmaking in terms of the biggest shots, but here, how a close-up can become a two-shot, then a close-up again is equally expressive."
In a fit of grief John quits his job, and then a series of others he deems beneath him. Mary takes up dressmaking to earn money, but John won’t accept a "charity" job from his rich brothers-in-law. It’s the final straw for her, and she throws him out. With his boy in tow pleading for him to stay, John despondently walks on a bridge across train tracks, an industrial expanse behind them. He prepares to jump in front of a train, but decides against it. "At first he intercuts with the wheels of the train, and it’s amazing," says Weitz. "Then it zooms out into this accurate reflection of how much of the world is not human. And at the same time, John is so selfish. Vidor cast this beautifully. He cast somebody in Murray who looks like a child."
Chastened by his boy’s love, John hustles down a job juggling in a clown outfit with a sandwich board, just like the guy he made fun of earlier. With renewed optimism, he goes home, and Mary, compassionate as ever, decides to stick by him. He puts on a record and they dance, as if to blot away the harshness of life once more. It’s a reconciliation Weitz admits feels odd. "There’s something airheaded about it, but also something like, that’s all that one has," he says. "He’s as happy as he’s been at any time else. The whole movie’s about degradation, this addiction to success. The central message of the movie is, don’t think you’re special."
Finally grateful to have any kind of job, John buys tickets for them all to see a vaudeville show that night. At the theater, John and Mary enjoy themselves, and Vidor closes with a famous shot that pulls back from the pair laughing to show the rest of the audience, also in full guffaw. Weitz comments again on Vidor’s choice to echo an earlier shot. "The thing about that final shot is, of all the crowd shots, it’s one that starts on [the family], and then they become part of the crowd," he says. "The earlier shot was about dehumanization, going in toward the desks, but this last shot, with people laughing, it’s succumbing to the non-specialness of being human, and that’s OK. The fact that he’s quoting, or formally recapitulating, a very flashy shot from earlier makes the statement more interesting. You look at everybody as ants, but they’re made up of individualized lives. Everyone has their own drama, Vidor is saying."
Weitz pauses a moment to think about his own approach to movies, and how Vidor’s uncompromising film affected him. "You can see here that he succeeds, but he’s not afraid to fail, and that’s something I’ve applied," he says. "Sometimes I’ve failed, but the idea that you can have cynicism and innocence to the point of naiveté in the same movie is really hard to pull off. I’ve tried to do that. This couple here goes through some horrible shit, and he gets humbled. My movie Grandma (2015) is about being humbled as well. What a great tool humility is to get over the curse of living. And here, Vidor is probing this ache, this disease in the culture, and to me it’s incredible the degree to which he was able to do it on both a conscious and subconscious level. It’s about the tragic elements in the American myth, but it also operates on a purely existential level of, we’re all the same. The movie is not called John and Mary."
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https://www.tshaonline.org/handbook/entries/vidor-king-wallis
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Vidor, King Wallis
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The Handbook of Texas is your number one authoritative source for Texas history. Read this entry and thousands more like it on our site.
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Texas State Historical Association
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https://www.tshaonline.org/handbook/entries/vidor-king-wallis
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King Vidor, film director, was born in Galveston, Texas, on February 8, 1894, the son of Charles Shelton and Katie Lee (Wallis) Vidor. His father was a lumber producer and merchant with the Miller-Vidor Lumber Company, which had headquarters in Galveston and owned land, mills, and lumber railroads in East Texas. The towns of Vidor and Milvid were named for him. King Vidor's grandfather, Charles Vidor, was a refugee of the Hungarian revolution of 1848–49 who settled in Galveston in the early 1850s. King attended Peacock Military Academy in San Antonio in 1908–09. He left after only one year. One of his schoolmates there was Edward Sedgwick, later his partner in the film business. Vidor began his career in the cinema as a teenage movie projectionist at a local Galveston theater. He made an amateur movie based on the Galveston hurricane of 1900 and opened his first movie company, Hotex, in Houston in 1915; his father was vice president of that company, having fallen on hard times in the lumber business. After making a few amateur films on his own, Vidor struck out for Hollywood with his bride, Florence Arto, in 1915 at the age of twenty-one. He was determined to learn more about the art and technique of filmmaking. The career he found in Hollywood spanned the earliest days of silent filmmaking, when he shot two-reelers on a shoestring budget, to the "Golden Age" of Hollywood, marked by the spectacular cinematic productions of David O. Selznick, with whom Vidor made Duel in the Sun (1946). Throughout his long Hollywood career, Vidor's Texas roots remained apparent. He considered himself a southerner and made films that championed the poor and exposed racism and the horrors of war, yet also captured the adventures and action of a lively West. Among the many films to his credit are The Big Parade (1925), Billy the Kid (1930), Our Daily Bread (1934), The Texas Rangers (1936), Northwest Passage (1940), and The Fountainhead (1951).
Though Vidor is probably best remembered for his collaboration with Selznick, which resulted in one of the top-grossing films in cinema history, he made most of his films not with Selznick but with Metro-Goldwyn-Mayer. M-G-M produced his first highly acclaimed film, The Big Parade, in 1925; it was hailed by critics as a powerful antiwar movie. Vidor made film history with the first all-black musical, Hallelujah!, in 1929. His Our Daily Bread won a League of Nations award "for its contribution to humanity" five years later. He also wrote two books, A Tree is a Tree (1953) and King Vidor on Filmmaking (1972). During the 1920s and 1930s, as his career was burgeoning, Vidor experienced a tumultuous personal period. He was divorced from Florence in 1924 and married Eleanor Boardman, from whom he was divorced in 1932. In that year he married his third wife, Elizabeth Hill. Vidor had a self-proclaimed sense of mission about his filmmaking, which was influenced by a Christian Scientist background. In 1920, at the outset of his successful career in Hollywood, he published a "creed" in Variety, in which he publicly announced his commitment to "the picture that will help humanity to free itself from the shackles of fear and suffering that have so long bound it with iron chains." Such was the youthful idealism that gave birth to films like The Big Parade and Hallelujah! It was a sensitivity that remained with Vidor to the end of his long career. Though he was nominated five times for an Academy Award for best director, he never won. In 1978, however, the Motion Picture Academy awarded him an honorary Oscar in recognition of his contributions to filmmaking. After he retired from directing, Vidor taught filmmaking at the University of Southern California and at the University of California at Los Angeles. He died on November 1, 1982, at the age of eighty-eight, leaving behind a wealth of films noted for their realism, their powerful social comment, and their psychological complexities.
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https://obscurehollywood.net/eleanor-boardman.html
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Eleanor Boardman (1898
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Eleanor Boardman, a star of silent films, is best known as the second wife of famed director King Vidor and the star of arguably his finest film, The Crowd (1928).
Born in 1898 in Philadelphia, Eleanor Boardman was modeling for a local photography company from an early age. At 16 years, she was featured as the Kodak Girl in a nationally distributed ad. Standing in a field of flowers, she casually carries a camera. Throughout her career, she projected the youthful, wholesome and appealing image seen at an early age in this photo. She studied at the Academy of Fine Arts in Philadelphia, and in 1922 she went to New York to work in set and costume design for the theater. Her career goals soon changed. A screen test resulted in a studio contract and a trip to Hollywood.
King Vidor
By the end of 1922, she had appeared in her first film, Stranger's Banquet, a Marshall Neilan Production starring Hobart Bosworth and Clair Windsor. As a Wampas Baby Star in 1923, her career was promoted by the US Western Association of Motion Picture Advertisers as one of 13 young actresses on the threshold of stardom. She had her first starring part in her fourth film, Souls For Sale (1923), a story about the making of a movie star. Her co-star, Richard Dix, portrayed the star-making movie director. Three Wise Fools (1923), her first film directed by King Vidor, was made for Goldwyn Pictures. When Goldwyn merged into the new Metro-Goldwyn-Mayer, Goldwyn's contract personnel, including Boardman and Vidor, were included in the deal. Her first MGM film, Wine of Youth (1924), co-starred Ben Lyon and William Haines and was directed by Vidor. Of her 24 silent films, she made six with Vidor, who she married in 1926. Their finest film, The Crowd (1928), ranks among the greatest American films of all time.
Boardman's first talkie, She Goes to War (1929) was mostly silent with brief talking sequences. She appeared in seven talkies from 1930 to 1931. She played the deserted wife of John Gilbert in his disastrous second talkie, Redemption (1929). Boardman considered Redemption one of her personal favorite pictures because she wore such pretty clothes. She was loaned to Tiffany Studios to star with Jean Hersholt and Ralph Forbes in Mamba (1930), one of the earliest Technicolor films. The Great Meadow (1931) is an elaborate production about a newly wedded couple settling in the wilds of Kentucky in the 18th century. She has a relatively brief role in her final Hollywood film, The Squaw Man (1931), directed by Cecil B. DeMille. Her character, the true love of the hero, appears only at the beginning and the end of the film.
According to Boardman, her film career ended in 1932 when MGM cancelled her contract. She was in Hawaii with Vidor trying to salvage their marriage. The studio cabled her to come back for a loan out to Paramount, and she refused. She was through with Hollywood. She had been working continuously for nearly ten years going from one film to the next and had apparently tired of making movies. She left California and moved to Europe in 1933. She made her last film, The Three Cornered Hat (1935) directed by Harry d'Abbadie d'Arrast, in Spain. The story, derived from a popular 19th century Spanish novelette, concerns a magistrate's attempts to seduce the miller's virtuous wife. Victor Varconi, a Hungarian who had migrated to Hollywood in the 1920s, played the miller.
In 1940, Boardman married d'Abbadie d'Arrast, a Frenchman who had been in Hollywood from 1927 to 1933 before returning to Europe. They lived in Spain until the outset of World War II when they returned to the US. After the war, they moved back to Europe. After the death of d'Arrast in 1968, she spent her final years in Santa Barbara, California. Eleanor Boardman died in 1991 at the age of 93.
Eleanor Boardman would have been a silent film star even without her association with King Vidor. She is a charming actress. Her acting is sincere, restrained, and intelligent and her personality warm and pleasing. She is good-looking, but not a great beauty or a glamourous type. In The Crowd, which traces the life experiences of a typical American man, Boardman, deglamorized in makeup and dress, is outstanding as a middle class wife and mother. In addition to The Crowd, she starred in several first-rate, highly entertaining silent films. The Circle (1925), directed by Frank Borzage, depicts the situation and relationships of W. Somerset Maugham's eponymous play, a comedy of manners, without his witty dialogue. Memory Lane (1926), a sentimental and humorous romantic drama, also features Conrad Nagel and William Haines. In Tell It To the Marines (1926), Boardman has a relatively small part as the nurse loved by Haines and Lon Chaney. The relationship between the two men forms the center of the humorous and dramatic story.
In sound films, her voice is fine, but her acting is somewhat stiff and unpolished. Her transition to talkies was relatively smooth, but after seven talking films, she had not developed a distinctive or effective acting style. The talking films she appears in are likewise undistinguished. The most interesting, Mamba (1930) and The Big Meadow (1931), are appealing only in a historical sense. Three years into sound films, her career faltered. Her studio, MGM, was loaning her out as much as they were using her.
By 1933, her marriage to King Vidor was ending, and she was tired of the factory-like conditions of filmmaking. Although she liked Irving Thalburg, she had bad relations with Louis B. Mayer, the head of MGM. She was happy to end her career and move to Europe.
Late in life she had little respect for her films. She told William Drew that except for The Crowd she was not proud of any of them. Looking back on her career, she sometimes thought that she had not known what she was doing, and just tried to act normally, and do what she was told. She went from one picture to another, and did not remember much about any of them.
As this examination shows, Eleanor Boardman's judgment of her career was much too harsh.
Further Reading
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https://carrieannebrownian.wordpress.com/tag/king-vidor/
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King Vidor – Welcome to My Magick Theatre
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"~ Carrie-Anne"
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2019-09-23T06:30:54-04:00
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Posts about King Vidor written by Carrie-Anne
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en
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https://secure.gravatar.com/blavatar/fcac6bc064da6d933f5388d3487a6717419deb3459378c9b25456dca96f0d365?s=32
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Welcome to My Magick Theatre
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https://carrieannebrownian.wordpress.com/tag/king-vidor/
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Released 20 August 1929, King Vidor’s Hallelujah! is a triumph of early talkies. Unlike almost all others from this creaky era, Hallelujah! has very fluid camera work. It’s also notable for being the first all-Black film by a major studio. Prior, such films only came from “race studios” and were largely ignored.
Hallelujah! was considered so risky and unprofitable, King Vidor was forced to finance it with his own salary. TPTB were convinced white Americans would have no interest, though many plays with all-African-American casts had been very successful.
Unfortunately, owing to the racist climate of the times, King Vidor had to play it up as a film about sexual deviance to get MGM president Nicholas Schenck to accept it. Schenck responded, “Well, if you think like that, I’ll let you make a picture about whores.”
Zeke (Daniel L. Haynes) is a Southern cotton sharecropper who’s poor but happy. His entire family lives together in a cramped one-room house, but they’re very close. Harvesting their cotton crop is their only income for the entire year, so it’s a cause for celebration.
During the festivities, neighbors Adam and Eve, who have eleven children, show up and ask Zeke’s parson father, Pappy, to marry them. Pappy is initially hesitant because they’re all but legally married, but ultimately agrees, since “It’s never too late to do the Lord’s work.”
Zeke goes inside during the wedding and makes advances on his foster sister Missy Rose (blues singer Victoria Spivey), who’s playing the piano. She rebuffs him at first, then relents and professes affection.
In the morning, Zeke and his brother Spunk sell their harvest for $200. Instead of immediately going home with Spunk, Zeke heads off to the pier and meets singer-dancer Chick (Nina Mae McKinney). And thus all Zeke’s troubles begin.
Zeke follows Chick to a juke joint, where Chick and her partner Hot Shot swindle him out of all his money. Zeke is no dummy, and realises he’s been tricked and cheated. During the ensuing fight, Spunk shows up looking for Zeke.
Things go from bad to worse, and tragedy strikes, shaking Zeke to his very core.
Mammy knows something isn’t right when her oldest sons’ bed is still empty in the middle of the night. Her cries are a chain reaction, and soon the entire family is praying for their safe return and imagining the worst.
Zeke returns with nothing but bad news and heartache, and blames himself for the tragedy. While lamenting what happened, his train of thought becomes increasingly spiritual and eventually becomes a spirited sermon. Everyone is drawn to his comforting words.
Zeke is moved to become a preacher, and goes on the road with revival meetings. His new career brings financial prosperity to his family, much better than their income from cotton sharecropping.
Who should appear at a revival meeting but Chick! As Zeke preaches, Chick is moved to religious fervor and gets baptised in the river, much to the family’s displeasure. She’s so overcome with ecstasy, Zeke has carry her into a tent.
Temptation strikes, but is nipped in the bud by Mammy. That night, Zeke confesses to Missy Rose he’s at war with the Devil. Missy Rose finds it hard to believe a big, strong man like Zeke could be afraid of the Devil. Zeke says he doesn’t want the Devil to win, but temptation is so strong.
Zeke then thinks of a solution, marrying Missy Rose. If he has a wife, he can’t possibly be tempted by another woman.
Zeke’s commitment to defeating temptation doesn’t last long, and neither does Chick’s religious conversion. Hot Shot is convinced this isn’t the real her, and that she’s a natural sinner. The next time Zeke sees Chick, he abandons his ministry and family to run away with her.
Who will triumph in this age-old battle between good and evil, and will Zeke be able to find his way back to righteousness before any further tragedy and turmoil erupt?
I absolutely loved this film. The fluidity of the camera is amazing for 1929. The editing and mixing are also lightyears ahead of other early talkies. Hallelujah! was a huge success, startling considering none of the players were professional actors.
Though some criticise the film as racist, and Paul Robeson (one of my heroes) turned down the role of Zeke for that very reason, one must consider context and intent. Outside of race films like Oscar Micheaux’s, how many other films of this era dared to have an all-Black cast and depict them as fully-rounded people with a story that could, with a few alterations, just as easily be about white people?
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Director King Vidor got the idea for The Crowd after his wild success with The Big Parade (1925). He wanted a truly innovative film, in terms of acting and story as well as cinematography. Much of the camera work was influenced by the legendary director F.W. Murnau in particular and German Expressionism in general.
Thanks to his previous success, Vidor got the green light for this ambitious, experimental project from MGM’s wonder boy Irving G. Thalberg. Unsurprisingly, the infamous Louis B. Mayer hated it and held up release for nearly a year.
MGM insisted upon seven alternate endings, which were previewed in small towns. The film originally was released with two endings, the one Vidor intended and a scene of the Sims family around the Christmas tree after John gets a job with an ad agency.
Each theatre could choose which ending it wanted to show, but according to Vidor, most opted against the Christmas-themed ending.
Vidor wanted to avoid casting big names, to add authenticity to this story of everyday people. For the role of John, he chose James Murray. Contrary to popular misconception, Murray had had prior starring roles, and wasn’t an unknown extra who got a big break.
Sadly, Murray’s alcoholism wreaked havoc on his promising acting career. In 1934, Vidor found him panhandling, and offered him the lead role in Our Daily Bread (a sequel to The Crowd) if he could lose weight, clean up his appearance, and stop drinking.
Reportedly, Murray turned down this generous offer by saying, “Just because I stop you on the street and try to borrow a buck you think you can tell me what to do. As far as I am concerned, you know what you can do with your lousy part.”
On 11 July 1936, Murray fell from the North River pier and drownt, aged only 35.
The role of Mary was played by Vidor’s second wife, Eleanor Boardman, who was under contract to MGM. Though she was much more popular and well-known than Murray, she wasn’t a gigantic star like Mary Pickford either.
She had a much happier life than Murray, and lived to the ripe old age of 93.
The Crowd enjoyed modest critical and financial success during its original theatrical run. Some critics, like the venerable Mordaunt Hall of The New York Times, loved it, while others found it boring, drab, and too long. In spite of the mixed reviews, the film earned twice its production costs.
Today, the film is rightly recognized as one of the greatest of both the silent era and overall film history. In 1989, it was among the first 25 films chosen for preservation in the U.S. National Film Registry for being “culturally, historically, or aesthetically significant.”
In 1981, famed film historians Kevin Brownlow and David Gill restored the film, and prolific film soundtrack composer Carl Davis created a new score for it. Though it was released on VHS in the late Eighties, and then on laser disc, it’s inexplicably not on DVD yet.
Warner Brothers holds copyright to MGM’s silents, and has famously not only refused to release The Crowd, but also has ripped it off many free streaming sites. They also famously haven’t released The Wind (1928) either, and only cracked and released The Big Parade in 2013.
With any luck, this amazing film will finally have a proper DVD release and restoration soon. How does garbage like Year Zero get rushed right onto DVD, while classics of the cinematic canon gather dust?
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One of legendary director King Vidor’s greatest masterpieces, The Crowd, had its grand première 28 February 1928 in NYC, and went into general release 3 March. This is one of the absolute classics of both the silent era and film history in general.
On its face, it seems like a simple story of normal people going through everyday life, but it’s so much more than that. It’s a grand, powerful, epic human drama, poetry in motion.
John Sims (James Murray) is born on the Fourth of July 1900, and his dad vows to give him every opportunity in life. At age twelve, Johnny sings in a choir, plays piano, and recites poetry. When all his friends share what they want to be when they grow up, Johnny says his dad says he’s going to be something big.
Johnny’s world shatters when an ambulance arrives at his house. With a huge crowd gathered, he walks upstairs and learns his father is dead.
John moves to NYC at 21, idealistically drawn to it like so many others with grand, romantic dreams of making it big. A friend says he has to be good in this city if he wants to beat the crowd. John says that might be true, but all he wants is an opportunity.
One of the film’s most famous shots is a panning up a giant skyscraper, showing just how massive it is, and zeroing in on John in the middle of a mass of desks. This kind of sweeping camera work became impossible in the early sound era, due to technological limitations.
At the end of the workday, John rushes along with the crowd to wash up in the company bathroom. His friend Bert invites him on a Coney Island double-date, which John reluctantly accepts.
John battles another crowd on his journey out of the building and onto the street. Bert then introduces John to the ladies they’re going out with, Jane and Mary. Bert picks Jane, and John likes Mary (director King Vidor’s wife Eleanor Boardman).
John and Mary have a blast at Coney Island, going on so many rides which now exist only in memory. I love watching footage of Coney Island’s golden age.
On the bus home, John sees an ad saying, “You furnish the girl, we furnish the home.” He’s so taken with Mary, he proposes marriage, and she accepts. Naturally, a great crowd sees them off for their honeymoon.
Bert gives them a year or two tops.
On the train, John shows Mary a photo of a house in Liberty magazine, and promises it’ll be theirs when his ship comes in. Mary is quite embarrassed by another ad, “Maybe it’s time to re-tire,” with a kid in pyjamas. Her discomfort increases further when a porter goes to make up their bed.
I love the scene of Mary and John getting ready for bed, and their ensuing nervousness at sharing a bed for the first time. It’s so true to life, a sweet portrayal of an era when many people’s first sexual experience was the wedding night.
After their Niagara Falls honeymoon, John moves into the flat Mary shares with her mom and two brothers. The animosity between John and his in-laws is very mutual.
By April, John and Mary have moved into their own apartment. Though their relationship has started heading for the rocks, their love is rekindled when Mary reveals she’s expecting. John vows to work harder to make something of himself after their son’s birth.
Over the next five years, a daughter is born, and John gets an $8 raise. Mary remains frustrated with their poverty, and John keeps insisting his ship hasn’t come in yet.
When John wins $500 for one of his advertising slogans, it seems their luck has finally turned around. Instead, even worse hard times quickly follow. Will John ever catch a break, or will he be crushed by the all-powerful crowd?
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https://pixels.com/featured/king-vidor-with-his-wife-eleanor-boardman-edward-steichen.html%3Fproduct%3Dmetal-print
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King Vidor With His Wife Eleanor Boardman Metal Print by Edward Steichen
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King Vidor With His Wife Eleanor Boardman Metal Print by Edward Steichen. All metal prints are professionally printed, packaged, and shipped within 3 - 4 business days and delivered ready-to-hang on your wall. Choose from multiple sizes and mounting options.
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Pixels
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https://pixels.com/featured/king-vidor-with-his-wife-eleanor-boardman-edward-steichen.html?product=metal-print
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https://projects.latimes.com/hollywood/star-walk/eleanor-boardman/
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Eleanor Boardman
|
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Find the location of Eleanor Boardman's star on the Hollywood Walk of Fame, read a biography, see related stars and browse a map of important places in their career.
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https://d1qqc1e9kvmdh8.cloudfront.net/img/favicon.ico
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latimes.com
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https://projects.latimes.com/hollywood/star-walk/eleanor-boardman/
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Actress Born Aug. 19, 1898 in Philadelphia, PA
Eleanor Boardman was an actress during the silent film era who was married to director King Vidor.
A native of Philadelphia, Boardman won nationwide fame as the "Kodak Girl" on posters that advertised Eastman Kodak photographic products.
Her subsequent Hollywood career, which included few talkies, peaked with her leading role in "The Crowd" in 1928. Vidor directed the silent film.
Boardman also appeared in such silents as "Stranger's Banquet," "The Silent Accuser," "Memory Lane" and "Tell It to the Marines."
Her brief fling with talkies included such films as "She Goes to War," "Mamba," "The Flood" and a remake of "The Squaw Man."
Boardman in effect retired from the film business in 1931.
She divorced Vidor in 1933. They waged several court battles over the next decade over support and custody of their two daughters. Vidor won custody when Boardman took the girls to live in pre-World War II Europe. But she returned to the United States and regained custody of the children.
Boardman was also married to French director Harry D. D'Arrast.
She was 93 when she died.
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
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Boardman, Eleanor (1898–1991)
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Boardman, Eleanor (1898–1991)American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters. Source for information on Boardman, Eleanor (1898–1991): Women in World History: A Biographical Encyclopedia dictionary.
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
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American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters.
Films include:
The Stranger's Banquet (1922); Gimme (1923); Souls for Sale (1923); Vanity Fair (1923); Three Wise Fools (1923); The Day of Faith (1923); Wine of Youth (1924); Sinners in Silk (1924); The Turmoil (1924); The Silent Accuser (1924); So This Is Marriage (1924); The Wife of the Centaur (1924); The Way of a Girl (1925); Proud Flesh (1925); Exchange of Wives (1925); The Only Thing (1925); The Circle (1925); Memory Lane (1926); The Auction Block (1926); Bardelys the Magnificent (1926); Tell It to the Marines (1926); The Crowd (1928); Diamond Handcuffs (1928); She Goes to War (1929); Mamba (1930); Redemption (1930); The Great Meadow (1931); The Flood (1931); Women Love Once (1931); The Squaw Man (1931); The Phantom President (1932); The Big Chance (1933).
Clad in black-and-white stripes against a field of daisies, 16-year-old Eleanor Boardman gained national attention as the Kodak girl on publicity posters for Eastman Kodak. A few years later, she left her home in Philadelphia for New York, thinking more of a career as a costume or set designer than as an actress. Her elegant beauty, however, did not escape several producers who suggested a screen test. In 1922, against the wishes of her strict, religious family, she signed a contract with the Goldwyn Company, soon to become Metro-Goldwyn-Mayer. Although she made films for other studios, she remained under contract with MGM until 1932, playing in comedies as well as romantic dramas.
Praised for her naturalness in front of the camera, Boardman is best remembered for her leading role in The Crowd (1928), a realistic study of life in an American city, directed by King Vidor, to whom she was married. The film was revolutionary at the time because of its realistic presentation and its down-to-earth story of a young married couple trying to raise their status without breeding or education. Boardman's portrayal, praised by The New York Times critic Mordaunt Hall as "a wonderful combination of charm and sympathy," captivated audiences a second time in 1981 when the movie was revived for a London Film Festival.
Despite her screen success, Boardman's association with Louis B. Mayer was difficult, as was her marriage to Vidor, which ended in divorce and a bitter custody battle over their two daughters. Disillusioned, Boardman left for Europe in 1933, where she made her last screen appearance in The Three-Cornered Hat. After a second marriage to director Harry d'Abbadie d'Arrast, Boardman divided her time between Europe and the United States. For a few years in the 1950s, she wrote a column on Paris for the Hearst International News Service. Following the death of d'Arrast in 1968, Boardman reunited with Vidor, who was a frequent visitor to her house during her last years in Montecito, California.
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https://www.nndb.com/people/808/000043679/
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King Vidor
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AKA King Wallis Vidor
Born: 8-Feb-1894
Birthplace: Galveston, TX
Died: 1-Nov-1982
Location of death: Paso Robles, CA
Cause of death: unspecified
Remains: Cremated (ashes scattered in Paso Robles, CA)
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Film Director
Nationality: United States
Executive summary: Northwest Passage
Father: Charles S. Vidor
Mother: Kate Wallis
Wife: Florence Vidor (actress, m. 1915)
Wife: Eleanor Boardman (m. 1926, div. 1931)
Wife: Elizabeth Hill (m. 1932, until his death)
Daughter: Antonia (b. 1927)
High School: Peacock Mill Academy, San Antonio, TX
High School: Tome Institute, Maryland
Metro-Goldwyn-Mayer
Motion Picture Alliance for the Preservation of American Ideals
FILMOGRAPHY AS DIRECTOR
Solomon and Sheba (24-Dec-1959)
War and Peace (21-Aug-1956)
Man Without a Star (24-Mar-1955)
Ruby Gentry (25-Dec-1952)
Japanese War Bride (29-Jan-1952)
Lightning Strikes Twice (12-Apr-1951)
Beyond the Forest (21-Oct-1949)
The Fountainhead (2-Jul-1949)
On Our Merry Way (3-Feb-1948)
Duel in the Sun (31-Dec-1946)
An American Romance (11-Oct-1944)
H.M. Pulham, Esq. (3-Dec-1941)
Comrade X (13-Dec-1940)
Northwest Passage (23-Feb-1940)
The Citadel (3-Nov-1938)
Stella Dallas (5-Aug-1937)
The Texas Rangers (28-Aug-1936)
So Red the Rose (9-Nov-1935)
The Wedding Night (16-Mar-1935)
Our Daily Bread (1-Aug-1934)
The Stranger's Return (28-Jul-1933)
Cynara (24-Dec-1932)
Bird of Paradise (12-Aug-1932)
Street Scene (26-Aug-1931)
Billy the Kid (18-Oct-1930)
Not So Dumb (2-Feb-1930)
Hallelujah (20-Aug-1929)
Show People (11-Nov-1928)
The Patsy (22-Apr-1928)
The Crowd (18-Feb-1928)
Bardelys the Magnificent (30-Sep-1926)
La Boheme (24-Feb-1926)
The Big Parade (5-Nov-1925)
Wild Oranges (20-Jan-1924)
FILMOGRAPHY AS ACTOR
Love & Money (12-Feb-1982)
New!
NNDB MAPPER Create a map starting with King Vidor
Requires Flash 7+ and Javascript.
Do you know something we don't?
Submit a correction or make a comment about this profile
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https://www.amazon.com/prime-video/actor/Eleanor-Boardman/amzn1.dv.gti.001e5b23-8f36-4a24-94af-9cb14d91cccc/
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Eleanor Boardman: Movies, TV, and Bio
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Browse Eleanor Boardman movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.com/prime-video/actor/Eleanor-Boardman/amzn1.dv.gti.001e5b23-8f36-4a24-94af-9cb14d91cccc/
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Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
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https://vickielester.com/2014/09/25/hollywood-style-eleanor-boardman-and-king-vidor1929/
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Hollywood style – Eleanor Boardman and King Vidor – 1929
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"Vickie Lester"
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2014-09-25T00:00:00
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King Vidor escorts his wife, actress Eleanor Boardman, to the premiere of "Marianne" in 1929: This is the house architect Wallace Neff designed for them - it was completed in 1928: laniersmith What a beautiful couple! The house looks amazing. Is that an outdoor fireplace? Hope the house is still around I can just imagine…
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BEGUILING HOLLYWOOD
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https://vickielester.com/2014/09/25/hollywood-style-eleanor-boardman-and-king-vidor1929/
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Getty Images
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
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https://immortalephemera.com/5491/eleanor-boardman/
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Eleanor Boardman by Tammy Stone
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"Cliff Aliperti"
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2005-06-12T06:37:15+00:00
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A biography and career overview for silent film star Eleanor Boardman accompanied by images of Eleanor Boardman Movie Cards and Movie Collectibles.
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Immortal Ephemera
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https://immortalephemera.com/5491/eleanor-boardman/
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The Silent Collection by Tammy Stone
From cover girl to movie star, Eleanor Boardman led a charmed life. Then again, it’s difficult to gauge all these years later what life was really like in those hectic days when movies were becoming a phenomenon of mass popularity, when the studio heads didn’t know quite what they wanted out of actors and everything was one big experiment. But one thing seems sure: they liked what they saw the minute Eleanor came into town.
While they didn’t turn her into an instant star a la Mary Pickford, Clara Bow or Norma Talmadge, they consistently employed Eleanor for her inordinate beauty and utter ease in front of the cameras. In those heady days, this translated into a very decent career of 35 films or so – not as prolific as many of her peers, but enough to garner her attention – and a life among the stars.
Boardman was born in Philadelphia on August 19, 1898, three years after the movies had become available to the public. Her early family life, however, was not compatible with the world that the movies were opening up. Her parents were extremely religious, and believed that films were wicked, and that watching them was tantamount to a sin. Luckily for us, Eleanor did not at all agree with her parents, and from the start sought out her own, independent lifestyle.
She was successful at it too. When she was a teenager, she became a model, and famously so when she signed on with Eastman Kodak to be one of what would be many “Kodak Girls.” Eleanor seemed to be able to smell out good opportunities, as this job was no mere modeling gig; Kodak, as we all know, would become the eminent manufacturer of motion picture film stock. But we jump ahead – first Eleanor worked her way up the modeling ranks, and when she reached the tender ages of fifteen and sixteen, she became the official “Kodak Girl.” This essentially meant that she was their leading model and the most recognizable face used to sell all Kodak products. (Much like today, we associate Kate Moss with Calvin Klein and Cindy Crawford with The Gap.)
For Eleanor, in the very early 1920s, this meant that her face appeared in an ad displayed all over the country. But she didn’t leave her career ambitions up to fate, hoping against hope to be discovered by a movie mogul, as happened to so many would-be stars before and after her. Instead, she packed up her bags and moved to Hollywood, bent on becoming an actress.
She didn’t have too long to wait. In 1922, the Goldwyn Pictures company signed her on as a contract player, and they liked her enough to renew her contract two years later, when they officially became Metro-Goldwyn-Mayer. She ultimately stayed with MGM until 1932. The studio clearly admired her ravishing beauty, but Eleanor also possessed a rare sophistication not found among all the young starlets. What’s more, she also had a real knack for acting. All this pretty much made her a perfect package as a contract player, and the reason for her lasting success.
She also became the target for romantic affection, and this certainly didn’t hurt her career. She had eyes for only one, but she sure knew how to pick them. In 1926, Eleanor married King Vidor, already a well known filmmaker who would, by the late 1950s, make nearly sixty films, many of them classics. This extremely talented producer, director, actor and even presenter fell in love with Eleanor soon after he met her, and the rest, as they say, is history.
But the story only begins here. Before Eleanor and King Vidor were married, he was already appreciative of her acting abilities, and cast her in some of his best-remembered films, including Three Wise Fools (1923), Wine of Youth (1924), Wife of the Centaur (1925), Proud Flesh (1925) and Bardelys the Magnificent (1926). She worked with some impressive costars in these films, from John Gilbert to Johnnie Walker and Harrison Ford (not that Harrison Ford!)
Perhaps the greatest work for both of them was 1928’s The Crowd, also an MGM production, in which James Murray starred as an alienated man in a vast urban jungle. Eleanor starred opposite him as the love interest, and the film ended up exceeding everyone’s expectations; surprisingly, Eleanor was the object of the best critical praise, since this was a movie meant to bolster the James Murray’s career. The Crowd did so well that 53 years after its initial release, it enjoyed a revival in England, where it played to sold out crowds at 1981’s London Film Festival. All that time later, a critic marveled at Eleanor’s talent: What a superbly controlled performance Eleanor Boardman gives; and what a sweetness she had, uncloying, instinct with life.” (John Coleman, The New Statesman).
Of course, with fame comes a price, and in Hollywood, this price is usually malicious gossip. In Eleanor’s case, rumors started flying among those who love to label celebrities that Eleanor was “the most outspoken girl in Hollywood.” (It could have been a lot worse!)
The star certainly did have the opportunity to speak out in a lot of places, given she was on everyone’s guest list for years. Among her elite hosts were William Randolph Hearst (the notorious newspaper mogul who inspired Citizen Kane) and Marion Davies, Douglas Fairbanks and Mary Pickford, F. Scott Fitzgerald, Greta Garbo, Joan Crawford, the Gish sisters and John Barrymore. In other words, the who’s who of early Hollywood.
Although Eleanor’s film career started late into the silent era, she did survive the transition to sound, at least for awhile.
Between 1927 and 1932 she made several talkies, but then she left MGM, divorced King Vidor, and went to Spain to make what be her two last films: 1934’s It Happened in Spain and 1935’s The Three Cornered Hat (Henri d’Abbadie d’Arrast directed). D’Arrast and Eleanor had something in common, as both were now well-known figures in Hollywood, but trying their luck out overseas. They also got along exceptionally well, and married soon after they finished the film.
After this, Eleanor lived the life of royalty, dividing her time between the U.S. and Europe, where the happy couple owned a chateau in the Pyrenees. In 1968, after d’Arrast died, Eleanor decided to move back to her native country, and settled in Montecito, California.
Ever ambitious, she didn’t settle into any old house, but designed one herself so that she could live out her last days in comfort in style: exactly as she had lived. And she lived long – she passed away on December 12, 1991, at the age of 93, perhaps not the most luminescent star in Hollywood, but one of the most stable, talented and enduring.
Tammy Stone is a freelance writer and journalist based in Toronto. Watch for her regular column on the greats of the Silent Screen in each issue of The Movie Profiles & Premiums Newsletter. Tammy invites you to write her with any questions or comments on her column.
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https://www.tshaonline.org/handbook/entries/vidor-king-wallis
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Vidor, King Wallis
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""
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[
"Texas State Historical Association"
] | null |
The Handbook of Texas is your number one authoritative source for Texas history. Read this entry and thousands more like it on our site.
|
en
|
/images/favicon/apple-touch-icon.png
|
Texas State Historical Association
|
https://www.tshaonline.org/handbook/entries/vidor-king-wallis
|
King Vidor, film director, was born in Galveston, Texas, on February 8, 1894, the son of Charles Shelton and Katie Lee (Wallis) Vidor. His father was a lumber producer and merchant with the Miller-Vidor Lumber Company, which had headquarters in Galveston and owned land, mills, and lumber railroads in East Texas. The towns of Vidor and Milvid were named for him. King Vidor's grandfather, Charles Vidor, was a refugee of the Hungarian revolution of 1848–49 who settled in Galveston in the early 1850s. King attended Peacock Military Academy in San Antonio in 1908–09. He left after only one year. One of his schoolmates there was Edward Sedgwick, later his partner in the film business. Vidor began his career in the cinema as a teenage movie projectionist at a local Galveston theater. He made an amateur movie based on the Galveston hurricane of 1900 and opened his first movie company, Hotex, in Houston in 1915; his father was vice president of that company, having fallen on hard times in the lumber business. After making a few amateur films on his own, Vidor struck out for Hollywood with his bride, Florence Arto, in 1915 at the age of twenty-one. He was determined to learn more about the art and technique of filmmaking. The career he found in Hollywood spanned the earliest days of silent filmmaking, when he shot two-reelers on a shoestring budget, to the "Golden Age" of Hollywood, marked by the spectacular cinematic productions of David O. Selznick, with whom Vidor made Duel in the Sun (1946). Throughout his long Hollywood career, Vidor's Texas roots remained apparent. He considered himself a southerner and made films that championed the poor and exposed racism and the horrors of war, yet also captured the adventures and action of a lively West. Among the many films to his credit are The Big Parade (1925), Billy the Kid (1930), Our Daily Bread (1934), The Texas Rangers (1936), Northwest Passage (1940), and The Fountainhead (1951).
Though Vidor is probably best remembered for his collaboration with Selznick, which resulted in one of the top-grossing films in cinema history, he made most of his films not with Selznick but with Metro-Goldwyn-Mayer. M-G-M produced his first highly acclaimed film, The Big Parade, in 1925; it was hailed by critics as a powerful antiwar movie. Vidor made film history with the first all-black musical, Hallelujah!, in 1929. His Our Daily Bread won a League of Nations award "for its contribution to humanity" five years later. He also wrote two books, A Tree is a Tree (1953) and King Vidor on Filmmaking (1972). During the 1920s and 1930s, as his career was burgeoning, Vidor experienced a tumultuous personal period. He was divorced from Florence in 1924 and married Eleanor Boardman, from whom he was divorced in 1932. In that year he married his third wife, Elizabeth Hill. Vidor had a self-proclaimed sense of mission about his filmmaking, which was influenced by a Christian Scientist background. In 1920, at the outset of his successful career in Hollywood, he published a "creed" in Variety, in which he publicly announced his commitment to "the picture that will help humanity to free itself from the shackles of fear and suffering that have so long bound it with iron chains." Such was the youthful idealism that gave birth to films like The Big Parade and Hallelujah! It was a sensitivity that remained with Vidor to the end of his long career. Though he was nominated five times for an Academy Award for best director, he never won. In 1978, however, the Motion Picture Academy awarded him an honorary Oscar in recognition of his contributions to filmmaking. After he retired from directing, Vidor taught filmmaking at the University of Southern California and at the University of California at Los Angeles. He died on November 1, 1982, at the age of eighty-eight, leaving behind a wealth of films noted for their realism, their powerful social comment, and their psychological complexities.
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https://www.latimes.com/archives/la-xpm-1991-12-16-mn-340-story.html
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en
|
E. Boardman; Was Actress in Silent Films
|
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[
""
] | null |
[
"MYRNA OLIVER"
] |
1991-12-16T00:00:00
|
Eleanor Boardman, actress during the silent film era who was married to director King Vidor, has died.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-1991-12-16-mn-340-story.html
|
Eleanor Boardman, actress during the silent film era who was married to director King Vidor, has died. She was 93.
Miss Boardman died Thursday in her sleep at her Santa Barbara home, her stepdaughter, Suzanne Parry, said.
A native of Philadelphia, Miss Boardman won nationwide fame as the “Kodak Girl” on posters that advertised Eastman Kodak photographic products.
Her subsequent Hollywood career, which included few talkies, peaked with her leading role in “The Crowd” in 1928. Vidor directed the silent film.
Miss Boardman also appeared in such silents as “Stranger’s Banquet,” “The Silent Accuser,” “Memory Lane” and “Tell It to the Marines.”
Her brief fling with talkies included such films as “She Goes to War,” “Mamba,” “The Flood” and a remake of “The Squaw Man.”
Miss Boardman in effect retired from the film business in 1931.
She divorced Vidor in 1933. They waged several court battles over the next decade over support and custody of their two daughters. Vidor won custody when Miss Boardman took the girls to live in pre-World War II Europe. But she returned to the United States and regained custody of the children.
Miss Boardman was also married to French director Harry D. D’Arrast.
Survivors include her two daughters, Belinda Vidor Holliday, of Middleton in Northern California, and Antonia Vidor Whitnah, of Carmel, and four grandchildren.
At Miss Boardman’s request, there will be no services.
|
||
1313
|
yago
|
3
| 83
|
http://www.slate.com/articles/podcasts/you_must_remember_this/2015/10/the_true_story_of_the_romance_between_john_gilbert_and_greta_garbo.html
|
en
|
The Truth Behind the Great On-Screen and Off-Screen Romance of the Silent Film Era
|
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|
http://www.slate.com/content/dam/slate/articles/arts/you_must_remember_this/2015/10/151009_YMRT_greta-garbo-jack-gilbert.jpg.CROP.promo-large.jpg
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[
"greta garbo john gilbert",
"greta garbo jack gilbert",
"silent film john gilbert",
"the artist true story",
"you must remember this john gilbert",
"you must remember this greta garbo"
] | null |
[
"Karina Longworth"
] |
2015-10-09T14:58:04-04:00
|
You Must Remember This, the podcast that tells the secret and forgotten history of 20th-century Hollywood, has joined Panoply. And when each episode ai ...
|
Slate Magazine
|
http://www.slate.com/articles/podcasts/you_must_remember_this/2015/10/the_true_story_of_the_romance_between_john_gilbert_and_greta_garbo.html
|
You Must Remember This, the podcast that tells the secret and forgotten history of 20th-century Hollywood, has joined Panoply. And when each episode airs, creator and host Karina Longworth will share some of the research that went into the episode in a transcript excerpt here on Slate. Listen to the complete Episode 4 below, and subscribe to You Must Remember This on iTunes.
Greta Garbo is still, today, held up as one of the unmatchable stars of Hollywood’s Golden Era, even though most of her films are rarely revived. But if you were watching Hollywood in the mid-to-late 1920s, you were getting mixed messages about Garbo: You were told she was this enigmatic lone wolf on screen and off, and you were also asked to believe that she was in true love with her frequent co-star, John Gilbert, a king of the silent era whose transition to sound film was as rocky as anyone’s. There is a pervasive idea that Gilbert’s career was done in not by sound alone but because of a grudge held against him by Louis B. Mayer.
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Early on, producers seem to have understood that Gilbert was really great at wearing surprisingly ornate clothes and generally looking pretty. He gave the viewer as much or even more on an eye-candy level as the actresses he was cast against, and the characters those actresses played were usually overcome by his charms. But what was interesting about Gilbert wasn’t necessarily his impact on the women in the frame or in the audience—it was the way he performed the impact of women on him. By 1924, when Gilbert was cast in the second lead in the Norma Shearer/Lon Chaney circus movie He Who Gets Slapped, Gilbert had begun to establish his persona as a star: not so much a lover as a man overcome with love.
The following year, 1925, Gilbert anchored two of MGM’s biggest hits, Erich von Stroheim’s The Merry Widow, and King Vidor’s World War I epic The Big Parade. The other big MGM hit of 1925 was Ben-Hur. While in Europe for the agonized and ultimately mostly aborted first shoot of that film, Louis B. Mayer traveled from Rome to Berlin, where he screened a number of new European movies with his interpreter translating the intertitles live in the screening room. A girl in a German film called The Atonement of Gösta Berling caught Mayer’s eye. Or, rather, she caught him with her eyes. Mayer believed that there was ineffable thing that you could detect in the eyes of a performer that would tell you whether or not they had what it took to be a star. This young girl in the German movie, this Greta Gustafsson? She had the thing in the eyes like no one Mayer had ever seen. Mayer arranged to have the actress meet him at his hotel, and by that night, she had signed her first MGM contract, for $400 a week.
Irving Thalberg put Greta through an intensive makeover: Her hair was defrizzed, her waistline defatted, her boyish personal wardrobe was junked in favor of stylish new threads, paid for out of her weekly salary. She was then cast in a film called Torrent as a Spanish peasant who goes to Paris and comes back an elaborately costumed singer. And as soon as the rushes started to come in, that thing that Mayer had seen was now visible to everyone else.
Torrent would establish Greta Garbo as an ingénue, the screenland discovery of 1927, but it didn’t make Greta any happier. Feeling insecure and depressed, she started openly longing for her homeland of Sweden, but now MGM was determined to keep her around. They decided to make the most of her apparent melancholy, her penchant for solitude and distaste for the Hollywood social scene, and started crafting a persona for Garbo, as an implacable beauty with an untouchable heart.
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Perhaps it’s because the roles they supposedly played with each other off screen seemed so closely aligned with the roles they played on screen, that some have long suspected that John Gilbert and Greta Garbo’s romance was an invention. Louise Brooks, who claimed to have had a fling with Garbo, said the icy Swede’s affair with the tempestuous, alcoholic Gilbert had been invented by MGM’s publicity department to cover up Garbo’s bisexuality. Others have said Garbo never had much interest in sex with anyone. Certainly, there are enough conflicting stories about the Gilbert/Garbo love affair that all of them should be taken with a grain of salt, but the conflicting legends have been printed again and again for a reason—the contradictions complete the picture of Garbo as the most unknowable of superstars.
In 1926, director Clarence Brown wanted to cast Garbo opposite Gilbert in a romantic tragedy called Flesh and the Devil. It’s been reported that Greta and Jack, as all knew him, fell in love at first sight, that visible spark flew between them the first time they locked eyes. It’s a fact that this is what happened between the characters they played in their first scene together on film, in Flesh and the Devil. Certainly, the performers had a kind of chemistry together that comes along once in a lifetime, which is captured in the movie. The two could turn scenes in which virtually nothing is happening, shots in which they look at each other or look away from each other or meaningfully walk past each other or almost touch each other into something resembling an erotic dream. Many people believe that Gilbert, in a sense, taught Garbo how to be Garbo on the set of this film, by giving her direction in their scenes together that superseded the actual director’s direction. I’m not exactly sure how that would work in practice, but I don’t think you can discount the power that Gilbert had, when he was in his element. By now, he was the best man in Hollywood at playing a man in love, and Garbo soon became the best woman in Hollywood at playing an object of desire.
If you believe that Gilbert and Garbo had a real romance, then you have to believe that they became swept up in each other very quickly. Flesh and the Devil was shot in about three weeks, and by the end of the shoot, the couple were apparently speaking seriously of marriage. According to director Clarence Brown, Gilbert started proposing almost immediately. To outside observers like Brown, it seemed like the two were in love, but Gilbert was always more in love than Garbo. Again, not unlike the roles they played on screen.
One biographer has Garbo crediting Gilbert with her Hollywood success—in that, if they hadn’t met and found in each other a kindred spirit, on screen for sure if not also off screen, then she would have surely abandoned her American career and gone back to Sweden. And yet, as one version of the story goes, Garbo stuck around to become a star because Gilbert didn’t give her what she wanted. As that version goes, Garbo wanted to quit movies, and she told Gilbert that she would marry him and give up her career. Gilbert was like, yes, please, marry me, but don’t give up your career. Garbo apparently thought this meant that Gilbert wasn’t serious about her, that he just wanted an acting partner. But few accounts other than Garbo’s question Gilbert’s seriousness. King Vidor was set to marry actress Eleanor Boardman, and Gilbert arranged that it be a double wedding, that the Boardman/Vidor nuptials be followed by the union of Garbo and Gilbert. But the day of the wedding, Garbo didn’t show up. Gilbert was incredibly upset. At one point, he was in the bathroom weeping. According to Boardman, Louis B. Mayer walked in, saw his romantic idol whimpering, and said, “Sleep with her, don’t marry her.” Gilbert punched Mayer in the face. Mayer, on the floor, his eyeglasses broken in pieces, allegedly then said, “I will destroy you.”
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A lot of people believe Louis B. Mayer personally destroyed Gilbert’s career. Others believe Mayer didn’t have to do anything to bring Gilbert down a notch, because Gilbert’s movies very quickly stopped making money and started losing it. Because he was getting paid so much for each picture, his movies really couldn’t be made for less than $500,000, which meant they had to gross in the neighborhood of $800,000 in order to turn a profit. After 1929’s His Glorious Night, no John Gilbert film grossed as much as $700,000. Gilbert knew the score. He felt humiliated. He had always driven around town with the top of his convertible down, but now he started leaving the car closed, because when it was open, when he’d stop at intersections he was certain everyone of the sidewalk was laughing at him.
Just because he was paranoid, that didn’t mean that Louis B. Mayer wasn’t plotting against him. His apparent strategy became to make sure Gilbert played out his contract, without allowing the actor to do anything that might reverse his fortunes. In 1929, Howard Hawks contacted Gilbert about starring in The Dawn Patrol, a World War I talkie that Hawks was prepping at Warner Brothers. Hawks and Gilbert set a meeting with Mayer to discuss the possibility of loaning Gilbert out to the other studio. Loan-outs of contract stars were common and beloved by the studio that was doing the loaning, because they usually made a profit on the difference between what the borrowing studio was willing to pay and the star’s contracted salary. But there was no chance of making a profit on Gilbert’s contracted salary, and Mayer apparently only took the meeting in order to get Gilbert’s hopes up and crush them.
In 1931, an L.A. Times story called Gilbert “Hollywood’s Unhappiest Man,” reporting that he skulked around the MGM lot with his hat pulled down over his eyes. With his wife Ina Claire’s career on the ascendency, their marriage fell apart. In divorce court in Reno, Claire said of Gilbert, “He said he wanted to be left alone”—paraphrasing the famous line associated with Greta Garbo at least as far back as 1929.
For her part, Garbo was at the peak of her career, starring in MGM’s biggest films of 1931 and 1932, Mata Hari and Grand Hotel. She and Gilbert had remained close, even as their romantic lives diverged. In 1933, Garbo insisted that Gilbert be cast opposite her in Queen Christina. Gilbert got himself together, temporary quit drinking, and the two were able to recapture some of their old silent magic in the age of talkies. But the comeback didn’t hold. By 1936, Gilbert was dead. Garbo, who was in Sweden at the time, did not attend the funeral.
Garbo would continue making movies for MGM until 1941, and in fact, she would never make a film for another studio. With her box office results waning in the late 1930s, MGM finally decided it was time to shake up the Garbo persona, by casting her in a comedy, Ninotchka, in 1939. The Ernst Lubitsch film was a hit, so MGM doubled down and cast Garbo in a madcap dual role in the George Cukor film Two-Faced Woman. But Two-Faced Woman couldn’t find its tone, the National Legion of Decency protested its supposed cavalier attitude toward marriage, critics hated it, and audiences didn’t show up. The film was released three weeks after Pearl Harbor, and Garbo decided to take a hiatus from Hollywood for the extent of the war. She never came back and lived out the next 50 years in enigmatic semi-seclusion.
She never married, and though plenty have suggested this was because she preferred the company of several women to any one man, a close friend of Garbo’s reported shortly after her death that Garbo had once drunkenly admitted that Gilbert was her great love, but when it came to marriage, she couldn’t face the thought of giving herself up to another person. “I froze,” she is reported to have said. “I was afraid he would tell me what to do and boss me. I always wanted to be the boss.”
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https://obscurehollywood.net/eleanor-boardman.html
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Eleanor Boardman (1898
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Eleanor Boardman, a star of silent films, is best known as the second wife of famed director King Vidor and the star of arguably his finest film, The Crowd (1928).
Born in 1898 in Philadelphia, Eleanor Boardman was modeling for a local photography company from an early age. At 16 years, she was featured as the Kodak Girl in a nationally distributed ad. Standing in a field of flowers, she casually carries a camera. Throughout her career, she projected the youthful, wholesome and appealing image seen at an early age in this photo. She studied at the Academy of Fine Arts in Philadelphia, and in 1922 she went to New York to work in set and costume design for the theater. Her career goals soon changed. A screen test resulted in a studio contract and a trip to Hollywood.
King Vidor
By the end of 1922, she had appeared in her first film, Stranger's Banquet, a Marshall Neilan Production starring Hobart Bosworth and Clair Windsor. As a Wampas Baby Star in 1923, her career was promoted by the US Western Association of Motion Picture Advertisers as one of 13 young actresses on the threshold of stardom. She had her first starring part in her fourth film, Souls For Sale (1923), a story about the making of a movie star. Her co-star, Richard Dix, portrayed the star-making movie director. Three Wise Fools (1923), her first film directed by King Vidor, was made for Goldwyn Pictures. When Goldwyn merged into the new Metro-Goldwyn-Mayer, Goldwyn's contract personnel, including Boardman and Vidor, were included in the deal. Her first MGM film, Wine of Youth (1924), co-starred Ben Lyon and William Haines and was directed by Vidor. Of her 24 silent films, she made six with Vidor, who she married in 1926. Their finest film, The Crowd (1928), ranks among the greatest American films of all time.
Boardman's first talkie, She Goes to War (1929) was mostly silent with brief talking sequences. She appeared in seven talkies from 1930 to 1931. She played the deserted wife of John Gilbert in his disastrous second talkie, Redemption (1929). Boardman considered Redemption one of her personal favorite pictures because she wore such pretty clothes. She was loaned to Tiffany Studios to star with Jean Hersholt and Ralph Forbes in Mamba (1930), one of the earliest Technicolor films. The Great Meadow (1931) is an elaborate production about a newly wedded couple settling in the wilds of Kentucky in the 18th century. She has a relatively brief role in her final Hollywood film, The Squaw Man (1931), directed by Cecil B. DeMille. Her character, the true love of the hero, appears only at the beginning and the end of the film.
According to Boardman, her film career ended in 1932 when MGM cancelled her contract. She was in Hawaii with Vidor trying to salvage their marriage. The studio cabled her to come back for a loan out to Paramount, and she refused. She was through with Hollywood. She had been working continuously for nearly ten years going from one film to the next and had apparently tired of making movies. She left California and moved to Europe in 1933. She made her last film, The Three Cornered Hat (1935) directed by Harry d'Abbadie d'Arrast, in Spain. The story, derived from a popular 19th century Spanish novelette, concerns a magistrate's attempts to seduce the miller's virtuous wife. Victor Varconi, a Hungarian who had migrated to Hollywood in the 1920s, played the miller.
In 1940, Boardman married d'Abbadie d'Arrast, a Frenchman who had been in Hollywood from 1927 to 1933 before returning to Europe. They lived in Spain until the outset of World War II when they returned to the US. After the war, they moved back to Europe. After the death of d'Arrast in 1968, she spent her final years in Santa Barbara, California. Eleanor Boardman died in 1991 at the age of 93.
Eleanor Boardman would have been a silent film star even without her association with King Vidor. She is a charming actress. Her acting is sincere, restrained, and intelligent and her personality warm and pleasing. She is good-looking, but not a great beauty or a glamourous type. In The Crowd, which traces the life experiences of a typical American man, Boardman, deglamorized in makeup and dress, is outstanding as a middle class wife and mother. In addition to The Crowd, she starred in several first-rate, highly entertaining silent films. The Circle (1925), directed by Frank Borzage, depicts the situation and relationships of W. Somerset Maugham's eponymous play, a comedy of manners, without his witty dialogue. Memory Lane (1926), a sentimental and humorous romantic drama, also features Conrad Nagel and William Haines. In Tell It To the Marines (1926), Boardman has a relatively small part as the nurse loved by Haines and Lon Chaney. The relationship between the two men forms the center of the humorous and dramatic story.
In sound films, her voice is fine, but her acting is somewhat stiff and unpolished. Her transition to talkies was relatively smooth, but after seven talking films, she had not developed a distinctive or effective acting style. The talking films she appears in are likewise undistinguished. The most interesting, Mamba (1930) and The Big Meadow (1931), are appealing only in a historical sense. Three years into sound films, her career faltered. Her studio, MGM, was loaning her out as much as they were using her.
By 1933, her marriage to King Vidor was ending, and she was tired of the factory-like conditions of filmmaking. Although she liked Irving Thalburg, she had bad relations with Louis B. Mayer, the head of MGM. She was happy to end her career and move to Europe.
Late in life she had little respect for her films. She told William Drew that except for The Crowd she was not proud of any of them. Looking back on her career, she sometimes thought that she had not known what she was doing, and just tried to act normally, and do what she was told. She went from one picture to another, and did not remember much about any of them.
As this examination shows, Eleanor Boardman's judgment of her career was much too harsh.
Further Reading
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Florence Vidor | American actress
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Other articles where Florence Vidor is discussed: King Vidor: Silent films: …a scriptwriter while his wife, Florence Vidor (divorced 1925), became a well-known silent-film actress. In 1918 Vidor returned to directing and made 16 short films. The following year he helmed his first feature, The Turn in the Road, a drama that he also wrote. He subsequently directed a number of…
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Encyclopedia Britannica
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https://www.britannica.com/biography/Florence-Vidor
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In King Vidor: Silent films
…a scriptwriter while his wife, Florence Vidor (divorced 1925), became a well-known silent-film actress. In 1918 Vidor returned to directing and made 16 short films. The following year he helmed his first feature, The Turn in the Road, a drama that he also wrote. He subsequently directed a number of…
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The Oz Enthusiast
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Eleanor Boardman was a silent film star of the 1920's, who was married to director King Vidor - who worked on the MGM Wizard of Oz. (They di...
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http://theozenthusiast.blogspot.com/favicon.ico
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http://theozenthusiast.blogspot.com/2008/04/eleanor-boardman.html
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Eleanor Boardman
Eleanor Boardman was a silent film star of the 1920's, who was married to director King Vidor - who worked on the MGM Wizard of Oz. (They divorced several years before the movie was made). However, she has a much closer Oz connection. She was born in 1898 in Philadelphia, which was also the birthplace of W. W. Denslow, and John R. Neill. She gained some recognition at the age of 15, modeling as The Kodak Girl before entering films in 1922, but for Oz collectors she is best known as the model for Betsy Bobbin on the cover of Tik-Tok of Oz. I believe Peter Hanff learned of this connection when he met her daughter in California some years ago.
Tik-Tok was pubished in 1914, which would have made Eleanor about 16 years old at the time.
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https://www.flickr.com/photos/truusbobjantoo/50985283708
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Eleanor Boardman
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Italian postcard by Cinema-Illustrazione, Milano, series 1, no. 15. Photo: Metro-Goldwyn-Mayer.
<b>Eleanor Boardman</b> (1898-1991) was an American stage and silent screen actress, famous for King Vidor's <i>The Crowd</i> (1928), one of the best late American silent movies.
Born in Philadelphia, Eleanor Boardman originally worked on stage, but after temporarily losing her voice in 1922 she entered silent films. She was chosen by Goldwyn Pictures as their "New Face of 1922," through which she signed a contract with the company. After several successful supporting roles, she played the lead in Rupert Hughes' Souls for Sale (1923), also with Frank Mayo, Richard Dix, and Lew Cody. Boardman plays a runaway wife who ends up in Hollywood and from an extra becomes a star. Her husband (Cody), apparently a dangerous robber and killer of wives, pursues her. The film gives an insight view of Hollywood and many silent stars had cameos in the film. That same year, Boardman's growing popularity was reflected by her inclusion on the list of WAMPAS Baby Stars.
Eleanor Boardman appeared in more than 30 films during her career, achieving her greatest success in director King Vidor's The Crowd (1928). Her performance in that film is widely recognised as one of the outstanding performances in American silent films. Other memorable titles were e.g. The Circle (Frank Borzage, 1925), Bardelys the Magnificent (King Vidor, 1926) with John Gilbert, and Tell It to the Marines (George W. Hill, 1926) with William Haines and Lon Chaney. After some success in sound films, Boardman retired from acting in 1935 and retreated from Hollywood. Her only subsequent appearance was in an interview filmed for Kevin Brownlow and David Gill's British documentary series Hollywood (1980). From 1926 to 1931 she was married to Vidor and had two daughters with him. In 1940 she married director Harry d'Abadie d'Arrast.
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https://combo.staticflickr.com/pw/favicon.ico
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Flickr
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https://www.flickr.com/photos/truusbobjantoo/50985283708
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Italian postcard by Cinema-Illustrazione, Milano, series 1, no. 15. Photo: Metro-Goldwyn-Mayer.
Eleanor Boardman (1898-1991) was an American stage and silent screen actress, famous for King Vidor's The Crowd (1928), one of the best late American silent movies.
Born in Philadelphia, Eleanor Boardman originally worked on stage, but after temporarily losing her voice in 1922 she entered silent films. She was chosen by Goldwyn Pictures as their "New Face of 1922," through which she signed a contract with the company. After several successful supporting roles, she played the lead in Rupert Hughes' Souls for Sale (1923), also with Frank Mayo, Richard Dix, and Lew Cody. Boardman plays a runaway wife who ends up in Hollywood and from an extra becomes a star. Her husband (Cody), apparently a dangerous robber and killer of wives, pursues her. The film gives an insight view of Hollywood and many silent stars had cameos in the film. That same year, Boardman's growing popularity was reflected by her inclusion on the list of WAMPAS Baby Stars.
Eleanor Boardman appeared in more than 30 films during her career, achieving her greatest success in director King Vidor's The Crowd (1928). Her performance in that film is widely recognised as one of the outstanding performances in American silent films. Other memorable titles were e.g. The Circle (Frank Borzage, 1925), Bardelys the Magnificent (King Vidor, 1926) with John Gilbert, and Tell It to the Marines (George W. Hill, 1926) with William Haines and Lon Chaney. After some success in sound films, Boardman retired from acting in 1935 and retreated from Hollywood. Her only subsequent appearance was in an interview filmed for Kevin Brownlow and David Gill's British documentary series Hollywood (1980). From 1926 to 1931 she was married to Vidor and had two daughters with him. In 1940 she married director Harry d'Abadie d'Arrast.
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Who is Eleanor Boardman dating? Eleanor Boardman boyfriend, husband
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20 August 2024... Eleanor Boardman news, gossip, photos of Eleanor Boardman, biography, Eleanor Boardman boyfriend list 2024. Relationship history. Eleanor Boardman relationship list. Eleanor Boardman dating history, 2024, 2023, list of Eleanor Boardman relationships.
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Who's Dated Who?
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https://www.whosdatedwho.com/dating/eleanor-boardman
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King Vidor
1925 - 1934
King Vidor and Eleanor Boardman were married for 8 years. They dated for 1 year after getting together in 1925 and married in 1926. 8 years later they divorced on 11th Apr 1933.
40
view relationship
Connect any celebrity with Eleanor Boardman to see how closely they are linked... romantically!
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Eleanor Boardman and King Vidor
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"Eleanor Boardman and King Vidor photos",
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"Eleanor Boardman and King Vidor gossip",
"wedding",
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20 August 2024... Eleanor Boardman and King Vidor photos, news and gossip. Find out more about...
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Who's Dated Who?
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https://www.whosdatedwho.com/dating/eleanor-boardman-and-king-vidor
|
King Vidor and Eleanor Boardman were married for 8 years. They dated for 1 year after getting together in 1925 and married in 1926. 8 years later they divorced on 11th Apr 1933.
They had 2 children, Antonia (97) and Belinda (94).
About
American Director King Vidor was born King Wallis Vidor on 8th February, 1894 in Galveston, Texas USA and passed away on 1st Nov 1982 Paseo Robles, CA USA aged 88. He is most remembered for The Big Parade, The Crowd, Show People. His zodiac sign is Aquarius.
American Actress Eleanor Boardman was born on 19th August, 1898 in Philadephia, Pennsylvania and passed away on 12th Dec 1991 Santa Barbara, California aged 93. She is most remembered for The Crowd, WAMPAS Baby Star of 1923. Her zodiac sign is Leo.
Contribute
Eleanor Boardman and King Vidor - Dating, Gossip, News, Photos list. Help us build our profile of Eleanor Boardman and King Vidor! Login to add information, pictures and relationships, join in discussions and get credit for your contributions.
References
www.imdb.com/name/nm0896542/bio?ref_=nm_ov_bio_sm
www.imdb.com/name/nm0090187/bio/?ref_=nm_ov_bio_sm
Relationship Statistics
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CMBA FORGOTTEN STARS BLOGATHON: Eleanor Boardman
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2014-10-31T00:00:00
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Hello readers, and happy Halloween! I've been so busy these days that I didn't have time to put together my Hitchcock Halloween blogathon, but stay tuned in the coming days for the announcement of Backlots' 4th annual Dueling Divas blogathon, which will go on this year as usual! Today is the final day of this…
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en
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https://s1.wp.com/i/favicon.ico
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Backlots
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https://backlots.net/2014/10/31/cmba-forgotten-stars-blogathon-eleanor-boardman/
|
Hello readers, and happy Halloween! I’ve been so busy these days that I didn’t have time to put together my Hitchcock Halloween blogathon, but stay tuned in the coming days for the announcement of Backlots’ 4th annual Dueling Divas blogathon, which will go on this year as usual!
Today is the final day of this year’s CMBA Blogathon, in which members of the esteemed Classic Movie Blog Association are writing about stars that have been lost in the annals of history. So many stars of yesteryear have faded due to unfortunate circumstance, and as classic film writers, we are doing our small part to bring back some of the glory that these stars enjoyed in their heyday.
The star that I have chosen for the blogathon is the talented and beautiful Eleanor Boardman, a hugely popular star in the silent era with enormous acting talent and uniquely soft yet defined features. Retiring in 1935 and spending a long and healthy retirement out of the spotlight, hers was the definition of a full life, lived her own way. In addition to having been a movie star, Boardman also spent time as a correspondent for the Hearst newspapers and worked in France for the International News Service, writing a column about American life in Paris.
Eleanor Boardman was born in Philadelphia on August 19, 1898, into a strict Presbyterian family. The method by which young Eleanor became an actress is disputed–by her own account, she left home to study art and interior design at the Academy of Fine Art, while former husband King Vidor claims that she rebelled against the stifling atmosphere of her home life to choose a career path of which her parents did not approve. But what we do know is that as a teenager, Eleanor was named the “Eastman Kodak Girl” and by 1922, she had come to the attention of Goldwyn Pictures, who gave her a contract for $750 a week. She moved to California to begin work and soon met and fell in love with up-and-coming director, King Vidor, who had seen pictures of her as a teenager and was immediately smitten.
In 1923, Boardman made Three Wise Fools with Vidor and subsequently made five more films with him as director in the next four years. The most masterful of the six films that Boardman made with Vidor is The Crowd (1928), a beautiful and sorrowful look at a man in social and economic turmoil. Eleanor Boardman plays his long-suffering wife, and gives a magnificent and nuanced portrayal of a woman conflicted between her love for her husband and her obligation to herself. The movie is one of my personal favorite silent films, and it is clear that Vidor understood instinctively how to direct Boardman toward her best work.
Vidor and Boardman finally married in 1926, in a ceremony that was supposed to be a double wedding with John Gilbert and Greta Garbo at the Beverly Hills home of Marion Davies. But when Garbo failed to show, Gilbert was left alone at the altar with Boardman and Vidor, who proceeded with the marriage. The photos from this event are immensely uncomfortable.
Boardman’s marriage to King Vidor produced two daughters, Antonia (born in 1927) and Belinda (born in 1930). But in 1931, shortly after the birth of their daughter Belinda, the marriage began to fail and they divorced the same year.
Following her divorce from Vidor, Boardman met writer Harry d’Abbadie d’Arrast, with whom she would spend the rest of her life. Boardman decided to retire from films in 1935, and in 1940 she married Arrast. Shortly after the marriage, she was hired by William Randolph Hearst’s International News Service to go to Paris to write a column entitled “Americans in Paris,” to appear in the newspapers once a week. She spent a year in Paris writing the column, meeting socialites and writing to her heart’s content, until she contracted tuberculosis and was forced to abandon the job to go to Switzerland to recover.
She returned to the United States with Arrast, and following his death in 1968 Boardman moved to Montecito, CA. She spent her remaining years in Montecito until her death at age 93 in 1991.
I was lucky enough to talk to Eleanor Boardman’s daughter, Belinda, a few months ago. The spitting image of her mother, Belinda talks articulately and beautifully about the full life she led with her illustrious mother and father, the parties and social scene of Hollywood, and the careers of her parents. Her words about her mother are always kind. Eleanor Boardman’s star burned brightly for a short period of time, but that was exactly how she wanted it. She lived her life her way.
Thanks to the CMBA for hosting this blogathon. Some of the material for this article comes from an interview conducted by Alan Greenberg with Eleanor Boardman in the 1980s. I have the privilege of access to portions of this interview, and have used it to fill in information about the life of this fascinating star. Many thanks also to Alan Greenberg for letting me listen to it.
See you next time!
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https://lokkeheiss.com/2021/09/29/the-crowd-the-best-silent-film-of-all/
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The Crowd – The Best Silent Film of All?
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[
"Lokke Heiss"
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2021-09-29T00:00:00
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Everyone has their own choice for the best silent film ever made, my choice is King Vidor’s The Crowd (1928), which I saw most recently in a special screening attended by Kevin Brownlow and with a live orchestral score by Carl Davis, who was present to conduct his own music.
The premise of The Cr
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en
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Lokke Heiss
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https://lokkeheiss.com/2021/09/29/the-crowd-the-best-silent-film-of-all/
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Everyone has their own choice for the best silent film ever made, my choice is King Vidor’s The Crowd (1928), which I saw most recently in a special screening attended by Kevin Brownlow and with a live orchestral score by Carl Davis, who was present to conduct his own music.
The premise of The Crowd is simple: It’s the story of a man named John Sims, born on the Fourth of July, 1900. Twelve years later, John’s father dies but not before he has drilled into his son the need for him to be better than everybody else — to be important, to stand out from the crowd. At the age of 21, John sets out for New York City, gets a job at an insurance company, then meets and falls in love with a woman, Mary (Eleanor Boardman). They marry and raise a family. John has the normal strengths and failings we all have but one thing he has an extra helping of (courtesy of his dad) is ambition. As life’s disappointments mount, he nurses his ambition and pride as best he can, burying it deep inside of himself. Worse, he feels ashamed that he’s just one of ‘the mob’ and this isolates him from his wife and children. And when tragedy strikes the family, John’s pride comes roaring back, this time wrapped in the disguise of feeling sorry for himself — John loses his job and becomes a vagrant. Mary, long loyal to her husband, is persuaded to end the marriage. John’s despair becomes so great he is at the point of ending his life.
It’s at this moment that his son, who is tagging along with him in the street, tells him what a great dad he is. Recognizing he has his son’s whole-hearted love and support (something he never had from his own father), John becomes aware he has received a secular kind of blessing, an affirmation of his self-worth. As Ralph Waldo Emerson would describe it, “Belief consists in accepting the affirmations of the soul; unbelief, in denying them.” John realizes that the love between him and his son is greater than any trauma or tragedy from his past, and his pride — which was nothing in the end but fear of failure — falls away, and with this he is able to reclaim the love that his family is waiting to give him.
The Crowd is immeasurably helped by the performance of the two leads. John Murray, chosen because the role called for an actor with virtually no artifice, gives one of the greatest of all performances in silent film. Eleanor Boardman, whose prior films typically cast her as a sophisticate, beautifully portrays a simple woman progressively worn down by life, but still doing everything possible to keep her family together. For its use of technical aspects: use of moving camera, forced perspective, lighting, and for its understanding of story structure and thematic content — for its ability to use — with ease and facility — every effect, every technique at that point understood and learned by filmmakers to tell a story, The Crowd stands as a crowning achievement in the art of film in 1928, the year it was released.
The Crowd also strikes new ground in what would later be called modernism. With its interest in the emotional lives of its characters rather than with plot and, with its fragmentary assemblage of a typical life of an ordinary family, the film invites comparisons to other modernist works by writers such as James Joyce and Virginia Woolf. The Crowd even manages to be subversive. Vidor’s inclusion of a toilet in the scene of their cramped apartment is as shocking in its own way as Henry Miller’s use of ‘unprintable words’ in Tropic of Cancer. Louis B. Mayer famously hated the film because of the bathroom scene — he called it that “damn toilet film.”
These subversive qualities had their repercussions; the studio, not knowing what they had, delayed the release of this film and with this delay (which coincided with the public’s sudden interest in talking pictures), and with the studio’s lack of support, The Crowd failed to gain the sweeping recognition that it might otherwise have achieved. Although critically acclaimed, The Crowd is often brushed aside when talking about important films of its era. Having no major stars and with no easy way to describe or sell the film, The Crowd has an odd ‘orphan’ status among the films of its era — outside of festivals or film school, few people have seen it, at least on a big screen.
Because of this history, The Crowd is perhaps more important in its influence on future filmmakers. The Italian directors saw in King Vidor’s work a populist vision of the common man, the template of their vision of neorealism. Vittorio De Sica himself described The Crowd as the first ‘neorealist film,’ and freely admitted he used elements of this film for Bicycle Thief and Umberto D. Roberto Rossellini is quoted as describing the ‘unforgettable impression’ of The Crowd made on him, stating that watching the film “really struck me and put me on the road toward truth, toward reality.”
And who can forget Billy Wilder’s rethinking of many ideas from this film, when he made arguably his best picture, The Apartment, even playing direct homage to the film by recreating The Crowd’s opening scene of the New York skyline panning into a dissolve of endless desks manned by robotic workers?
And yet there is more to The Crowd than merely a summation of its artistic achievements or its importance in shaping the future of filmmaking. When John learns to accept his limitations that he is just an ‘ordinary man’ (even to rejoice in this realization — because with this insight he acquires a particular kind of freedom), The Crowd is offering an update of Walt Whitman’s Leaves of Grass, which also celebrated the freedom of the ordinary man. To conclude you are ‘nothing special,’ to accept your fate as one of the many blades of grass in a field stirred by the wind, is to see the world with new eyes.
In his essay ‘Inside The Whale,’ George Orwell describes Whitman’s insight that by acceptance of our ordinariness, there is a new-found joy of discovery — despite all hard knocks, the disappointments, all the pettiness of life, one can still find “that he is enjoying himself…” Whitman was writing in a time of national expansion and for many, unparalleled prosperity, but more than that, he was writing in a country where “freedom was something more than a word.” Orwell however, offers a cautionary conclusion, “Luckily for his beliefs, perhaps, he died too early to see the deterioration of American life that came with the large-scale industry and the exploiting of immigrant labor.” The Crowd is offering a current appraisal of the boundless optimism of the American Dream as envisioned by Whitman: Yes, the freedom to pursue your dreams is still part of our nation’s founding principle, but that dream is bounded by many barriers, both visible and invisible, and perhaps for most of us, the important part of living each day will be the ability to appreciate the small, simple things in our daily life, such as the gratitudes and affirmations we get from friends and family.
As I walked out of the theater, I saw Kevin Brownlow and confessed to him that this was my choice for Best Silent of All. He smiled, and said: ‘Mine too.’ We all know that Abel Gance’s Napoleon is the film that Brownlow has made into a career, and Kevin Brownlow has forgotten more films than I’ll ever see … and maybe he was caught up like I was, in the spirit of the evening.
Even so, for me, his answer was a thrilling validation. There are many Best Silents of All, and one is permitted to change one’s mind–as often as one wishes–for which film to award the title. But for me, even though there are many great films out there, I will always come back to The Crowd as the ultimate achievement of what can be done in the wonderful and often neglected art of silent film.
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John Sims has believed since childhood that he would become somebody important. However, John's father, who had hoped to provide his son with many opportunities for success, died young, changing John's fortunes and forcing him into the working crowd. By age twenty-one, John is an anonymous clerk in the gigantic Atlas Insurance Co. in New York. Bert, one of his co-workers, arranges a blind date for John with Mary, a friend of Bert's girlfriend. After spending a pleasant evening at the Coney Island amusement park with Mary, John asks her to marry him. She agrees and they honeymoon at Niagara Falls. Although John has promised Mary an opulent home “when his ship comes in,” they move into a very modest apartment adjacent to the El tracks. On Christmas Eve, Mary’s deaf mother and her two prosperous brothers Jim and Dick, who are antagonistic towards John, visit them for dinner. When John goes to Bert's to pick up some liquor, he finds a party in progress and returns home drunk, long after hi
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The Crowd was the film that director King Vidor made following his highly acclaimed and financially successful The Big Parade. In his 1953 autobiography, Vidor stated that he and Harry Behn wrote the original story for The Crowd under the title The Mob, and that he searched a long time to find the right, unknown actor to bring credibility and an “Everyman” quality to the role of "John Sims." Vidor claimed that James Murray, the actor he finally selected, had been working as an extra, but Murray had already appeared in featured roles. Eleanor Boardman, then married to Vidor, was cast as "Mary Sims."
Contemporary sources state that Vidor used a concealed camera to shoot several of the New York street sequences. M-G-M, fearful of the public’s reaction to the film’s grim theme, is reported to have held up its release for a year, while trying out various endings. According to Vidor's autobiography, seven different endings were shot and tried out at previews in small towns. Finally, the film was released with two endings; the one in the released [and viewed] film, Vidor’s preference, and another more upbeat ending with the family gathered around a Christmas tree after John has secured a position with an advertising firm as a result of his slogan writing. Exhibitors could choose which ending to run, but Vidor stated that the Christmas ending was very seldom used.
The Crowd was generally well received by the major critics, the NYT describing it as “substantial and worthy,” and although Var called it “a drab actionless story of ungodly length and apparently ...
More Less
The Crowd was the film that director King Vidor made following his highly acclaimed and financially successful The Big Parade. In his 1953 autobiography, Vidor stated that he and Harry Behn wrote the original story for The Crowd under the title The Mob, and that he searched a long time to find the right, unknown actor to bring credibility and an “Everyman” quality to the role of "John Sims." Vidor claimed that James Murray, the actor he finally selected, had been working as an extra, but Murray had already appeared in featured roles. Eleanor Boardman, then married to Vidor, was cast as "Mary Sims."
Contemporary sources state that Vidor used a concealed camera to shoot several of the New York street sequences. M-G-M, fearful of the public’s reaction to the film’s grim theme, is reported to have held up its release for a year, while trying out various endings. According to Vidor's autobiography, seven different endings were shot and tried out at previews in small towns. Finally, the film was released with two endings; the one in the released [and viewed] film, Vidor’s preference, and another more upbeat ending with the family gathered around a Christmas tree after John has secured a position with an advertising firm as a result of his slogan writing. Exhibitors could choose which ending to run, but Vidor stated that the Christmas ending was very seldom used.
The Crowd was generally well received by the major critics, the NYT describing it as “substantial and worthy,” and although Var called it “a drab actionless story of ungodly length and apparently telling nothing,” the film was reasonably popular and grossed twice its cost. It was voted one of the “Top Best Features” of 1928 by the 1929 Film Daily Year Book, as reported in the 7 Feb 1930 FD.
Murray subsequently appeared in other films and Vidor wanted to give him a role in Our Daily Bread (1934), but Murray had become an alcoholic. He died in Jul 1936 in what appeared to be a drowning accident in New York’s East River. The Crowd was restored in 1981 by Kevin Brownlow and David Gill, with a new score by Carl Davis.
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John Sims has believed since childhood that he would become somebody important. However, John's father, who had hoped to provide his son with many opportunities for success, died young, changing John's fortunes and forcing him into the working crowd. By age twenty-one, John is an anonymous clerk in the gigantic Atlas Insurance Co. in New York. Bert, one of his co-workers, arranges a blind date for John with Mary, a friend of Bert's girlfriend. After spending a pleasant evening at the Coney Island amusement park with Mary, John asks her to marry him. She agrees and they honeymoon at Niagara Falls. Although John has promised Mary an opulent home “when his ship comes in,” they move into a very modest apartment adjacent to the El tracks. On Christmas Eve, Mary’s deaf mother and her two prosperous brothers Jim and Dick, who are antagonistic towards John, visit them for dinner. When John goes to Bert's to pick up some liquor, he finds a party in progress and returns home drunk, long after his guests have left. Mary forgives him, but by April they are squabbling about problems with the apartment and about her appearance. However, all that is forgotten when Mary tells John that she is expecting a baby. In October, when a baby boy is born, John tells Mary that this is the impetus he has needed to make him try harder and promises to become “somebody.” Five years pass and a baby girl is added to the family. In the interim, John has received only a modest increase in pay and it is clear that he has not distinguished himself from the others in the “crowd”. Mary ...
More Less
John Sims has believed since childhood that he would become somebody important. However, John's father, who had hoped to provide his son with many opportunities for success, died young, changing John's fortunes and forcing him into the working crowd. By age twenty-one, John is an anonymous clerk in the gigantic Atlas Insurance Co. in New York. Bert, one of his co-workers, arranges a blind date for John with Mary, a friend of Bert's girlfriend. After spending a pleasant evening at the Coney Island amusement park with Mary, John asks her to marry him. She agrees and they honeymoon at Niagara Falls. Although John has promised Mary an opulent home “when his ship comes in,” they move into a very modest apartment adjacent to the El tracks. On Christmas Eve, Mary’s deaf mother and her two prosperous brothers Jim and Dick, who are antagonistic towards John, visit them for dinner. When John goes to Bert's to pick up some liquor, he finds a party in progress and returns home drunk, long after his guests have left. Mary forgives him, but by April they are squabbling about problems with the apartment and about her appearance. However, all that is forgotten when Mary tells John that she is expecting a baby. In October, when a baby boy is born, John tells Mary that this is the impetus he has needed to make him try harder and promises to become “somebody.” Five years pass and a baby girl is added to the family. In the interim, John has received only a modest increase in pay and it is clear that he has not distinguished himself from the others in the “crowd”. Mary tells him that she does not believe that his “ship” is ever going to arrive. John, who has a hobby of devising advertising slogans, enters a contest and wins five hundred dollars. When John returns home laden with presents for Mary and the children, who are playing across the street, he and Mary call them to come to see their new toys. As the children head home, the little girl is hit by a truck and subsequently dies. John and Mary are grief-stricken and although Mary recovers from the loss, John does not. Unable to concentrate on his job, he breaks down and quits on the eve of the company’s boat ride and picnic without telling Mary. At the company picnic, Mary asks Bert, who is now in a managerial position, to help John advance in the organization. John is then forced to admit that he has quit his job. Mary comforts him by telling him that there are many better jobs, but John encounters only disenchantment and rejection in looking for employment, forcing Mary to take on work as a dressmaker. After John dismisses a job offer from Mary’s brothers as charity, Mary calls him a bluffer and a quitter and slaps him. Later, after considering suicide, John’s spirits are raised by his little son and he lands a steady job as a juggling, sandwich-board man promoting a restaurant, a job he had scoffed at on his first date with Mary. When he returns home, he finds Mary leaving to live with her brothers. Believing that his luck has turned, John has brought her a small bouquet and tickets for a vaudeville theater that evening and is able to convince her not to leave him. John, Mary and their son attend the show and are delighted to see that John’s advertising slogan is featured in the theater’s printed program. Finally feeling at one with the "crowd," John and Mary laugh heartily at a comic acrobat act and look forward to a brighter future.
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ELEANOR BOARDMAN JAMES MURRAY and Director KING VIDOR with Camera Crew on set location candid on Ferry Boat during filming of THE CROWD 1928 director KING VIDOR story King Vidor screenplay King Vidor
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Download this stock image: ELEANOR BOARDMAN JAMES MURRAY and Director KING VIDOR with Camera Crew on set location candid on Ferry Boat during filming of THE CROWD 1928 director KING VIDOR story King Vidor screenplay King Vidor and John V.A. Weaver Metro Goldwyn Mayer - 2E5K2BF from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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ELEANOR BOARDMAN JAMES MURRAY and Director KING VIDOR with Camera Crew on set location candid on Ferry Boat during filming of THE CROWD 1928 director KING VIDOR story King Vidor screenplay King Vidor and John V.A. Weaver Metro Goldwyn Mayer
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Eleanor Boardman. Actress: Ein Mensch der Masse. Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway...
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en
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IMDb
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https://www.imdb.com/name/nm0090187/
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Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
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European Film Star Postcards
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"View my complete profile"
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A blog about cinema, film stars and vintage postcards.
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en
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https://filmstarpostcards.blogspot.com/favicon.ico
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https://filmstarpostcards.blogspot.com/2020/06/eleanor-boardman.html
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There is more than Hollywood...
European Film Star Postcards is a blog, dedicated to the stars of the European cinema. And to their photographers, the publishers of their postcards, and to the fans who collected them.
EFSP is also an elementary database. Here you can find bios, rare - and not so rare - postcards and film clips. EFSP is a non-commercial educational blog. If you own copyright protected material and do not wish it to appear on this site it will be promptly removed after contacting us.
Or do you like to share scans of your vintage postcards or maybe your choice of 10 Favourite European Film Star Postcards? Mail us, and join our exploration.
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
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Boardman, Eleanor (1898–1991)
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Boardman, Eleanor (1898–1991)American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters. Source for information on Boardman, Eleanor (1898–1991): Women in World History: A Biographical Encyclopedia dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/boardman-eleanor-1898-1991
|
American actress. Born in Philadelphia, Pennsylvania, on August 19, 1898; died in Santa Barbara, California, in 1991; attended Academy of Fine Arts, Philadelphia; married film director King Vidor, in 1926 (divorced); married film director Harry d'Abbadie d'Arrast; children: (first marriage) two daughters.
Films include:
The Stranger's Banquet (1922); Gimme (1923); Souls for Sale (1923); Vanity Fair (1923); Three Wise Fools (1923); The Day of Faith (1923); Wine of Youth (1924); Sinners in Silk (1924); The Turmoil (1924); The Silent Accuser (1924); So This Is Marriage (1924); The Wife of the Centaur (1924); The Way of a Girl (1925); Proud Flesh (1925); Exchange of Wives (1925); The Only Thing (1925); The Circle (1925); Memory Lane (1926); The Auction Block (1926); Bardelys the Magnificent (1926); Tell It to the Marines (1926); The Crowd (1928); Diamond Handcuffs (1928); She Goes to War (1929); Mamba (1930); Redemption (1930); The Great Meadow (1931); The Flood (1931); Women Love Once (1931); The Squaw Man (1931); The Phantom President (1932); The Big Chance (1933).
Clad in black-and-white stripes against a field of daisies, 16-year-old Eleanor Boardman gained national attention as the Kodak girl on publicity posters for Eastman Kodak. A few years later, she left her home in Philadelphia for New York, thinking more of a career as a costume or set designer than as an actress. Her elegant beauty, however, did not escape several producers who suggested a screen test. In 1922, against the wishes of her strict, religious family, she signed a contract with the Goldwyn Company, soon to become Metro-Goldwyn-Mayer. Although she made films for other studios, she remained under contract with MGM until 1932, playing in comedies as well as romantic dramas.
Praised for her naturalness in front of the camera, Boardman is best remembered for her leading role in The Crowd (1928), a realistic study of life in an American city, directed by King Vidor, to whom she was married. The film was revolutionary at the time because of its realistic presentation and its down-to-earth story of a young married couple trying to raise their status without breeding or education. Boardman's portrayal, praised by The New York Times critic Mordaunt Hall as "a wonderful combination of charm and sympathy," captivated audiences a second time in 1981 when the movie was revived for a London Film Festival.
Despite her screen success, Boardman's association with Louis B. Mayer was difficult, as was her marriage to Vidor, which ended in divorce and a bitter custody battle over their two daughters. Disillusioned, Boardman left for Europe in 1933, where she made her last screen appearance in The Three-Cornered Hat. After a second marriage to director Harry d'Abbadie d'Arrast, Boardman divided her time between Europe and the United States. For a few years in the 1950s, she wrote a column on Paris for the Hearst International News Service. Following the death of d'Arrast in 1968, Boardman reunited with Vidor, who was a frequent visitor to her house during her last years in Montecito, California.
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http://www.filmfestivaltraveler.com/film-festivals/reviews/4455-king-vidor-reigns-over-lincoln-center-as-part-of-retrospective
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King Vidor Reigns Over Lincoln Center As Part of Retrospective
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From August 5th through the 14th, Film at Lincoln Center presented a major retrospective devoted to the director, King Vidor. Below is a commentary on the screenings that I attended.
La Bohème from 1926 was Vidor’s next work after his very successful The Big Parade—one of his strongest silent films, unfortunately screened in this series only in a digital format. It is based on Henri Murger’s famous Scenes of Bohemian Life, the source for Giacomo Puccini’s classic opera, and was a project selected by Lillian Gish who was then at the peak of her career. Her magnificent performance as Mimi is one of the most memorable aspects of this moving work. Although the director had some disagreements with the actress about her approach, he nonetheless went on to say that “The movies have never known a more dedicated artist than Lillian Gish.” (John Gilbert who was the lead in Vidor’s previous feature, is also superb as Rodolfe.) Gish had substantial control over the production but the material was evidently congenial to the director who here displays his mastery of melodrama, a genre of which he was to become one of the finest practitioners in Hollywood, alongside such sterling exemplars as D.W. Griffith, John M. Stahl, Douglas Sirk, and Vincente Minnelli, among others. La Bohème features striking photography by Hendrik Sartov, who had worked with Gish previously, but regrettably the original elements do not appear to have survived in a pristine state, diminishing what visual pleasures it must have originally afforded. The presentation featured live piano accompaniment by the excellent Donald Sosin who performed along with all the silents in the series.
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Details
Parent Category: Film Festivals
Category: Reviews
Published on Tuesday, 30 August 2022 02:01
Written by Jack Angstreich
Hallelujah
From August 5th through the 14th, Film at Lincoln Center presented a major retrospective devoted to the director, King Vidor. Below is a commentary on the screenings that I attended.
La Bohème from 1926 was Vidor’s next work after his very successful The Big Parade—one of his strongest silent films, unfortunately screened in this series only in a digital format. It is based on Henri Murger’s famous Scenes of Bohemian Life, the source for Giacomo Puccini’s classic opera, and was a project selected by Lillian Gish who was then at the peak of her career. Her magnificent performance as Mimi is one of the most memorable aspects of this moving work. Although the director had some disagreements with the actress about her approach, he nonetheless went on to say that “The movies have never known a more dedicated artist than Lillian Gish.” (John Gilbert who was the lead in Vidor’s previous feature, is also superb as Rodolfe.) Gish had substantial control over the production but the material was evidently congenial to the director who here displays his mastery of melodrama, a genre of which he was to become one of the finest practitioners in Hollywood, alongside such sterling exemplars as D.W. Griffith, John M. Stahl, Douglas Sirk, and Vincente Minnelli, among others. La Bohème features striking photography by Hendrik Sartov, who had worked with Gish previously, but regrettably the original elements do not appear to have survived in a pristine state, diminishing what visual pleasures it must have originally afforded. The presentation featured live piano accompaniment by the excellent Donald Sosin who performed along with all the silents in the series.
The Crowd, another of Vidor’s most important silent films and one of his most expressionistic despite its commitment to naturalism, is about the marital and economic struggles of a low-level worker in a large New York firm. It too has an extraordinary pair of leads: Eleanor Boardman—the director’s second wife—and James Murray, whom he discovered and who went on to have a tragic life that later inspired an unproduced screenplay by the filmmaker. The theme of the American Dream was to prove a crucial one in the Vidor’s career and his work displays a remarkable class-consciousness—he went on to re-use these protagonists in his even greater Our Daily Bread of 1934, one of the most left-wing films ever produced in Hollywood, which was screened in this series only in a digital format. A bravura crane shot traversing an endless series of office desks would seem to have influenced similar shots in Billy Wilder’s The Apartment and Orson Welles’s The Trial. In an interview with Cahiers du Cinéma, Jean-Luc Godard said, “Make films about the people, they said; but The Crowd had already been made, so why remake it?” I hope someday to have an opportunity to see Kevin Brownlow’s restoration of the film with a score by Carl Davis. Dave Kehr’s capsule review for the Chicago Reader is worth quoting:
King Vidor’s 1928 classic, with James Murray as the “average man” picked out of the crowd by Vidor’s gliding camera. In his autobiography, Vidor claims he sold the project to Irving Thalberg as a sequel to his hit war film,The Big Parade: “Life is like a battle, isn’t it?” Accordingly, the misfortunes that befall Murray are hardly average, but the melodramatic elements are integral to Vidor’s vision of individual struggle. The camera style owes something to Murnau, but the sense of space—the vast environments that define and attack his protagonists—is Vidor’s own.
Immediately after The Crowd—and released in the same year—Vidor directed two romantic comedies—a genre that he only infrequently essayed—that demonstrated the delightful talents of the underrated Marion Davies. The first, The Patsy, is the more substantial. In a hilarious sequence, the actress does amazing impressions of Gish, Mae Murray and Pola Negri. Marie Dressler is amusing too as the character’s unsympathetic mother. The second film, Show People, a spoof of Hollywood, is slighter but quite charming and co-stars the appealing William Haines as the love interest of the heroine. Davies does an equally astonishing impression of Gloria Swanson here.
Vidor’s subsequent feature of the following year, Hallelujah, a religious musical with an all-Black cast, is one of his most perfectly realized and was a personal project partly financed with his own salary, although it proved to be a popular success. The director commented on the inspiration for the film:
I used to watch the negroes in the South, which was my home. I studied their music, and I used to wonder at the pent-up romance in them.
In his 1953 autobiography, A Tree is a Tree, he said about Hallelujah:
The sincerity and fervour of their religious expression intrigued me, as did the honest simplicity of their sexual drives. In many instances the intermingling of these two activities seemed to offer strikingly dramatic content.
The film is also notable for the indelible first screen appearance of Nina Mae McKinney.
Street Scene, from 1931, is an adaptation of the eponymous, acclaimed play by Elmer Rice—it later became an opera with music by Kurt Weill and lyrics by Langston Hughes—but, like Hallelujah, is photographed, very creatively, like a silent movie, despite almost entirely being filmed on a single set. The distinguished source, however, like that of many stage works turned into motion pictures, does seem to hamper the film somewhat—one would have liked for a scenarist to have re-written the dialogue for the new medium. One asset is the incomparably beautiful Sylvia Sidney in the lead role. The justly famous theme music—it is a clever pastiche of George Gershwin—is by Alfred Newman.
Vidor’s following feature, The Champ, released the same year and which was an enormous success, is less original and more conventional in style but nonetheless incredibly moving, especially for Jackie Cooper’s astounding child performance. The film helped revive Wallace Beery’s career. As heartbreaking but more complex as a work of social criticism is Stella Dallas from 1937, a superior remake of the excellent Henry King silent of the same name—again with a Newman score and elegantly photographed by the superb Rudolph Maté. The effect of the director’s accomplishedmise-en-scèneis amplified by a marvelous cast, particularly Barbara Stanwyck, Anne Shirley, and Alan Hale.
Vidor’s next work, The Citadel, released the following year—an adaptation of a novel by A.J. Cronin, who wrote the classic novel, The Stars Look Down, famously filmed by Carol Reed—seems less personally charged despite Vidor’s admiration of the material but is certainly worth seeing. Handsomely photographed by Harry Stradling, it too has a wonderful cast, including Robert Donat, Rosalind Russell, Ralph Richardson, Rex Harrison, Francis L. Sullivan, Cecil Parker, Nora Swinburne, and Felix Aylmer.
After this, Vidor contributed most of the outstanding black-and-white Kansas sequences in David O. Selznick’s The Wizard of Oz, as well as those of “Over the Rainbow” And “We’re Off to See the Wizard”; he then completed a masterpiece, Northwest Passage of 1940—shot in glorious Technicolor—a patriotic itinerary Western about the French and Indian Wars of the eighteenth century, which was screened in an astonishing 35-millimeter print from the archive of the George Eastman Museum. The director replaced W. S. Van Dyke after shooting began but his visual imagination was wholly engaged despite this. The cast includes a charismatic Spencer Tracy and an unusually good Robert Young in lead roles.
His following film, Comrade X, released the same year, is an entertaining, if lightweight and less personal, comedy—an apparent attempt to duplicate the success of Ernst Lubitsch’s Ninotchka—attractively photographedby Joseph Ruttenberg, and with an amusing screenplay by Ben Hecht and Charles Lederer, with uncredited work by Herman J. Mankiewicz. Of the leads, Clark Gable is characteristically excellent while the stunningly gorgeous Hedy Lamarr is surprisingly so. The fine secondary cast includes Eve Arden, Felix Bressart, Oscar Homolka, and Sig Rumann, the latter especially hilarious.
Vidor attempted something more significant and more in line with his thematic preoccupations with his next opus, which was released the following year, H.M. Pulham, Esq.,from the novel by John P. Marquand, which Harold Bloom unpredictably prophesied—in The Western Canon—would prove to be a permanent book. Certainly a creditable achievement, the film nonetheless seemed to me to be less imposing than one might have expected given the director’s expected affinity for the material. One weakness may be Robert Young’s performance which lacks the pathos and wit that Ronald Colman brought to a comparable role in a more satisfying adaptation of a work by the same author, The Late George Apley, by a filmmaker of comparable stature to Vidor, Joseph Mankiewicz. Lamarr is again unusually convincing as the bewitching object of his youthful affection. The supporting cast includes Ruth Hussey, Charles Coburn, and Van Heflin. The director’s note on H.M. Pulham, Esq. is worth citing:
Here was American life today told in terms of American humor, romance and a generous sprinkling of our home-grown satire. In addition, the story covered a span of more than 30 years, and I saw a chance to present a sort of American cavalcade of the significant events of this century while telling the human story of an American gentleman.
The book is written in the first person. It was all told from Harry Pulham's viewpoint. This is responsible for much of the deep human psychology of the novel. Here was a challenge. Could a motion picture be told completely in the first person? It would mean that nothing could happen in the entire picture unless it was seen or witnessed or experienced by Pulham. We decided to try it. The result is that in the picture nothing happens that is not experienced by Pulham.
So Robert Young is in every scene of the picture or is in the room when every scene happens. In the case of telephone conversations, no one is shown at the other end of the line. We only hear what Pulham hears. We do not see the other person at any time, for this would be letting the audience see something that Harry Pulham didn't see.
Much more ambitious was Vidor’s next work, An American Romance, a very personal project released in 1944, the third part of an informal “War, Wheat and Steel” trilogy with The Big Parade and Our Daily Bread.(The novelist John Fante was an uncredited contributor to the screenplay.) Unhappily, the film was severely cut by about fifty minutes and was unsuccessful commercially. What remains, artfully photographed in Technicolor by Harold Rosson, is of genuine interest, however, if maybe not amongst the director’s supreme achievements—two sequences of industrial assembly are especially compelling. An American Romance stars Brian Donlevy—whom the director thought was miscast—and Ann Richards. (Vidor originally wanted Spencer Tracy, Ingrid Bergman, and Joseph Cotten, all of whom were unavailable.) This too was shown in stellar 35-millimeter print from the George Eastman Museum. In A Tree is a Tree, Vidor had this to say about his experience after finishing the film:
When the picture was previewed in Inglewood, Louis B. Mayer came to me on the sidewalk in front of the theater, put his arm around my shoulders and said, 'I've just seen the greatest picture our company ever made'. However, an order came from the New York office to cut half an hour. They cut the human elements of the story instead of the documentary sections, explaining that this was the only way a half hour could be taken out without complications in the musical soundtrack. In other words, the film was edited according to the soundtrack and not according to the inherent story values. At the lowest emotional level I have reached since I have been on Hollywood, I went to my office, packed up and moved out of the studio. The picture was not a box office success. Many of the inhabitants of Hollywood and Beverly Hills have never seen the film and many do not even know it was made. I spent 3 years of my life on the project and MGM spent close to $3,000,000.
His next movie, the grandiose Duel in the Sun from 1946, a sublime Western photographed in dazzling Technicolor, is mesmerizing despite considerable interference from its producer, Selznick, as well as cuts demanded by ratings review boards. Disagreements with Selznick purportedly caused Vidor to quit the project two days before the end of shooting. Like other prominent films of the producer, such as The Wizard of Oz and Gone with the Wind, uncredited direction was undertaken by many hands, including Josef von Sternberg (who also served as color consultant), William Dieterle, William Cameron Menzies, Otto Brower, Sidney Franklin, along with Selznick himself but, even so, Vidor’s vision is discernible. (Duel in the Sun also had three cinematographers: Rosson again, Lee Garmes, and Ray Rennahan.) The source for the story is a novel by Niven Busch whose distinguished contributions as a screenwriter include Howard Hawks’s The Crowd Roars, Tay Garnett’s The Postman Always Rings Twice, Raoul Walsh’s Pursued, and uncredited work on Minnelli’s Gigi; he also wrote the book that was the basis for Anthony Mann’s The Furies. Jennifer Jones is uncommonly convincing in the lead role and breathtakingly alluring. Gregory Peck gives a brilliant, atypical performance as her rakish lover. The secondary cast is probably the most notable of Vidor’s entire career, including Gish again, Joseph Cotten, Lionel Barrymore, Herbert Marshall, Walter Huston, Charles Bickford, Harry Carey, Sidney Blackmer, Otto Kruger and, above all, Butterfly McQueen. The film was screened in a superlative 35-millimeter print from the Museum of Modern Art.
The erotic intensity of Duel in the Sun is continued in The Fountainhead from 1949–after Ayn Rand’s bestselling novel—one of the pinnacles of Vidor’s œuvre. The director’s ambivalence toward the author’s ideology generates a productive tension with the material. Rand’s dialogue is deliriously crazy; for the director, it serves as one vehicle for the expression of the larger-than-life passions that surge through his characters’ lives, as one can observe in many of his most essential films, such as Hallelujah, Duel in the Sun, and later in Beyond the Forest—released the same year but disappointingly not screened in this series—and Ruby Gentry from 1952, shown here only in a 16-millimeter print. With his cinematographer, Robert Burks—most celebrated for his terrific collaboration with Alfred Hitchcock—he found the most enthralling visual correlatives for these almost cosmic energies. A glamorous and entrancing Patricia Neal is a revelation in a cast that includes Gary Cooper, Raymond Massey, and Ray Collins.
Vidor’s Hollywood career concluded with Solomon and Sheba in 1958, a difficult production that he did not judge as fully successful. In 1964, he executed a very strange essay-film in 16-millimeter Kodachrome, Truth and Illusion: An Introduction to Metaphysics, which reflects his religious views—he was a Christian Scientist—and which is a kind of brief for philosophical idealism. (For an intriguing defense of this work, as well as an interpretation of the director’s style, see Fred Camper’s fascinating article, “The Myth of the Avant-Garde Film.”) He completed another short documentary in 16-millimeter in 1980, Metaphor, mostly a record of conversations on the title’s subject between Vidor and Andrew Wyeth, his favorite American painter. Wyeth’s favorite film was The Big Parade, which he claimed to have seen at least 180 times! Both films were screened in a digital format. As a footnote to the retrospective, the final program also featured Journey to Galveston, also from 1980, an estimable short 16-millimeter portrait of Vidor—shown in digital—at his ranch, directed by Catherine Berge, who talked at length about the background to the film before the presentation.
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https://www.waverlybooks.com/products/author/Boardman,%2520Eleanor.%2520(Subject)/~/product_id_asc
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Author: Boardman,%20Eleanor.%20(Subject)
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Waverley Books
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https://www.pinterest.com/pin/141230138293791907/
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2016-08-11T03:25:01+00:00
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Eleanor Boardman , American actress and wife of King Vidor talks to William Haines in a scene from the film 'Wife Of The Centaur', directed by King Vidor for MGM. Get premium, high resolution news photos at Getty Images
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Pinterest
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https://es.pinterest.com/pin/classic-hollywood-actresses-a-l--520658406926277055/
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https://www.amazon.com/Circle-Eleanor-Boardman/dp/B00A33J8KW
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Amazon.com
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https://walkoffame.com/eleanor-boardman/
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en
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Hollywood Walk of Fame
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2019-10-25T08:18:56+00:00
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Eleanor Boardman was an American film actress, popular during the era of silent movies. Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a […]
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en
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Hollywood Walk of Fame
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https://walkoffame.com/eleanor-boardman/
|
Eleanor Boardman
Eleanor Boardman was an American film actress, popular during the era of silent movies.
Born in Philadelphia, Pennsylvania, Boardman was originally on stage but, after temporarily losing her voice, in 1922, she entered silent films. There followed months of fruitless effort until one day Rupert Hughes saw her riding a horse and gave her a part in a film and she quickly began to attract audiences. She was chosen by Goldwyn Pictures as their “New Face of 1922,” through which she signed a contract with the company. After several successful supporting roles, she played the lead in 1923’s Souls for Sale. Her growing popularity was reflected by inclusion on the list of WAMPAS Baby Stars in 1923. She appeared in fewer than forty films during her career, achieving her greatest success in Vidor’s The Crowd in 1928. Her moving performance in that film is widely recognized as one of the outstanding portrayals in American silent films.
Boardman was married to the film director King Vidor, with whom she had two daughters, Antonia and Belinda. Their marriage lasted from 1926 until 1931. Fellow actors John Gilbert and Greta Garbo had planned a double wedding with them, but Garbo broke off the plans at the last minute.
Ms. Boardman’s second husband was Harry d’Abbadie d’Arrast to whom she was married from 1940 until his death in 1968.
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https://www.alamy.com/1929-los-angeles-usa-the-movie-actress-eleanor-boardman-1898-1991-wife-of-celebrated-director-king-vidor-1894-1982-from-1926-to-image342596151.html
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1929 , LOS ANGELES , USA : The movie actress ELEANOR BOARDMAN ( 1898 – 1991 ) , wife of celebrated director KING VIDOR ( 1894
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Download this stock image: 1929 , LOS ANGELES , USA : The movie actress ELEANOR BOARDMAN ( 1898 – 1991 ) , wife of celebrated director KING VIDOR ( 1894 - 1982 ) from 1926 to - 2AWAGTR from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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https://www.alamy.com/1929-los-angeles-usa-the-movie-actress-eleanor-boardman-1898-1991-wife-of-celebrated-director-king-vidor-1894-1982-from-1926-to-image342596151.html
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You can only use this image in editorial media and for personal use. Editorial media includes use as a visual reference to support your article, story, critique or educational text. Personal use allows you to make a single personal print, card or gift for non-commercial use. Not for resale.
It shouldn’t be used for commercial use which includes advertising, marketing, promotion, packaging, advertorials, and consumer or merchandising products.
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https://pixels.com/featured/king-vidor-with-his-wife-eleanor-boardman-edward-steichen.html
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King Vidor With His Wife Eleanor Boardman Photograph by Edward Steichen
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King Vidor With His Wife Eleanor Boardman is a photograph by Edward Steichen which was uploaded on March 10th, 2017. The photograph may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. All products are produced on-demand and shipped worldwide within 2 - 3 business days.
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Pixels
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https://pixels.com/featured/king-vidor-with-his-wife-eleanor-boardman-edward-steichen.html
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1313
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http://ithankyouarthur.blogspot.com/2011/11/proud-flesh-1925-another-eleanor.html
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ithankyou: Proud Flesh (1925) Eleanor Boardman & King Vidor (again!)
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[
""
] | null |
[
"View my complete profile"
] | null |
" Proud Flesh is King Vidor's gentle farewell to his passing youth..." wrote Charles Silver in programme notes for a 1972 showing of the fi...
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http://ithankyouarthur.blogspot.com/favicon.ico
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http://ithankyouarthur.blogspot.com/2011/11/proud-flesh-1925-another-eleanor.html
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This Vidor undeniably did with his next film, The Big Parade, but is Proud Flesh all that insubstantial? The film is certainly a fairly simple construct and one that was undeniably built around Eleanor Boardman... designed to show off the former model in a variety of opulent settings, wearing a stunning array of dresses, scarves and, a wonderful silver head-wrap.
If Vidor hadn’t popped the question to his future wife at this point, he was certainly thinking about it as he ensures that she looks great throughout.
The film’s central sequence has her meeting Pat O’Malley on the windswept cliffs at Cypress Point. He arrives to find her running wild, throwing her arms out to the open sea and letting the wind move her around in total freedom. All artifice of class is lost and she just is…and, in this setting, she finally allows herself to fall for him…just as he’d hoped. This section is almost dream-like and another superb set piece along the lines of Vidor’s "boat through the willows" tour de force in Bardleys.
But it’s Boardman’s acting that really elevates proceedings, she’s just so natural and capable. She tells the story with a range of expressions that are believable and engaging even to modern audiences. Not that she’s taxed too much by this tale but she makes the most of it with ease and elegance.
The film is never-the-less, stylish and full of wit, starting off, “for apparently no reason at all” with the San Francisco earthquake during which Boardman’s character, Fernanda Borel is born. She grows up in Spain in upper class circumstances and we see her romanced by the artful Don Diego (played by Harrison Ford…no, not that one), a man who has taken this process to new levels. Don Diego sub contracts the singing and has a band of helpers who help elevate him to Fernanda’s level for she has – “the most charming balcony in Barcelona” (the intertitles are a hoot!).
Fernanda aims to get Don Diego to reveal his true feelings by pretending she is moving to her uncle’s house in San Francisco. Seemingly he doesn’t fall for it and she is forced into following through and emigrating. Don Diego secretly follows her and by the time they are re-united she has already met a wealthy plumber, Pat O’Malley (played by, erm, Pat O’Malley). Finding O’Malley uncouth the Spanish couple tease him relentlessly. But, cruel as she may be, Fernanda does develop a soft spot for the earnest hero.
There are the usual twists and Vidor has us hanging on as long as possible before true love wins out. It's as if he was toying with an already well-trodden story progression and is pushing our response to Fernanda and Don Diego’s cruelty as far as he can. But, Fernada sees sense in the end and returns to the guy who feels it most. Don Diego is broken hearted for all of two minutes – the time it takes him to find a new date in his little black book. O’Malley and Fernanda presumably live happily ever after with the former's pet dog and assured of hot water and efficient central heating for always!
Very engaging even on a zillionth generation copy…another film you’d hope would get a proper DVD release someday.
For, as Charles Silver wrote, “Eleanor Boardman…possessed an ethereal loveliness which could elevate a trifle like Proud Flesh into something resembling art”. Yes, she did... and she could!
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https://www.afterall.com/obituaries/MarionBoardman
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en
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Marion Boardman Obituary
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Explore Marion Boardman's digital memorial and tribute page. Contribute photos, recollections, or videos, extend your condolences, and assist in preserving their legacy.
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en
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https://www.afterall.com/obituaries/MarionBoardman
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Marion Eleanor Boardman, age 90, passed away on December 29, 2014 at Rideout Memorial Hospital. She was born January 4, 1924 and was a life-long resident of the Yuba-Sutter farming community.Marion graduated from Yuba City High School in 1942 as Senior Valedictorian, Vanguard, Senior Class President, prom queen and Head Majorette. She also worked part-time in high school for the Tower Theater and the Bank of America.Marion was a member of Theta Alpha Delta Theta Tau Sorority for over 20 years at which time she modeled in many local fashion shows to help raise money for various charities.Marion married her husband, Alfred W. Boardman, in 1942 and they shared 61 happy, loving years together before he passed away in 2003. Together, they raised four children while working as a team in the rice, cattle and sheep industries.Marion was also preceded in death by her daughter, Barbara Nagler; sisters, Barbara Shelly and Bernice Thompson; brother, George (Bud) Johnson; and son-in-law, Thomas B. Schmidl.She leaves behind her son, William (Bill) Boardman (Alfretta); daughters, Denise Lynch Boardman and Peggy Schmidl; grandsons, Alex Schmidl, Brady Schmidl (Bethany), Blaine Lynch (Whitney), Wade Boardman; step-grandchildren, James Cox and GayLynn Cox. Also, numerous great-grandchildren, nieces and nephews. Marion was a charming and loving wife, mother and grandmother who will always be loved and greatly missed.A private service will be held for the immediate family.Donations, in lieu of flowers to charity of your choice would be appreciated.
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https://travsd.wordpress.com/2021/08/19/eleanor-boardman-the-face-in-the-crowd/
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Eleanor Boardman: The Face in “The Crowd”
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2021-08-19T00:00:00
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The few who remember the name Eleanor Boardman (1898-1991) today know her chiefly for being King Vidor's second wife and for starring in his 1928 masterpiece The Crowd. Boardman's screen career was very brief, lasting less than a decade, fewer than three dozen films. In fact she has nearly as many interesting credits outside cinema…
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en
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(Travalanche)
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https://travsd.wordpress.com/2021/08/19/eleanor-boardman-the-face-in-the-crowd/
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The few who remember the name Eleanor Boardman (1898-1991) today know her chiefly for being King Vidor’s second wife and for starring in his 1928 masterpiece The Crowd.
Boardman’s screen career was very brief, lasting less than a decade, fewer than three dozen films. In fact she has nearly as many interesting credits outside cinema than in it. She started out as an artist’s model, and was apparently the one John R. Neill used for the character of Betsy Bobbin in L. Frank Baum’s book Tik-Tok of Oz (1914):
She was apparently for a time also the Eastman Kodak Girl in print adverts. She was in the chorus of a couple of Edgar Selwyn musicals, which led naturally to a contract with Goldwyn (co-founded by Selwyn). her first film was The Strangers Banquet (1922) with Hobart Bosworth, Claire Windsor, Rockliffe Fellowes, and Ford Sterling. She was also in the 1923 version of Vanity Fair, before her first starring picture Souls for Sale, working with Vidor for the first time in Three Wise Fools, and being named a WAMPAS Baby Star, all in the same year. She and Vidor were married in 1926, with Marion Davies as witness. Tell It to the Marines (1926) with Lon Chaney was another one of her silents. Her smattering of talkies included Flood (1931) with Monte Blue, and Cecil B. DeMille’s 1931 remake of The Squaw Man.
Boardman and Vidor divorced in 1933. By that time she had two daughters to raise, so she effectively dropped out of pictures, although she did return for one Spanish film, The Three Cornered Hat in 1935. In 1940 she married Argentine-French screenwriter-director Harry D’Abbadie D’Arrast, dividing time between the U.S. and Europe until his death in 1968.
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https://www.mediastorehouse.com.au/mary-evans-prints-online/new-images-grenville-collins-collection/eleanor-boardman-american-silent-era-movie-18951617.html
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en
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Eleanor Boardman American silent era Movie Actress
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Prints of Eleanor Boardman (1898-1991) American Movie Actress of the Silent Era. Our beautiful Wall Art and Photo Gifts include Framed Prints
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en
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Media Storehouse Photo Prints
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https://www.mediastorehouse.com.au/mary-evans-prints-online/new-images-grenville-collins-collection/eleanor-boardman-american-silent-era-movie-18951617.html
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Eleanor Boardman (1898-1991) - American Movie Actress of the Silent Era. Married American Movie Director King Wallis Vidor (1926-1931) - then Argentinian-born French screenwriter and Director Harry d Abbadie d Arrast (1940-1968, his death). Date: 1920s. Mary Evans Picture Library makes available wonderful images created for people to enjoy over the centuries. © Mary Evans Picture Library 2015
Media ID 18951617
Acting Chic Elegance Mar19 Movie Patterned Scarf Silent Stylish Boardman
Framed Prints
Bring a touch of classic Hollywood glamour to your home or office with our Media Storehouse Framed Prints featuring the elegant and captivating image of Eleanor Boardman. This exquisite portrait of the American silent film actress, taken from the Mary Evans Prints Online archives, showcases Boardman's timeless beauty and charm. As a leading lady in the silent era, Boardman starred in numerous films and was married to renowned American movie director, King Vidor. Add this stunning piece to your collection and relive the golden age of cinema.
Photo Prints
Step back in time with our exquisite Media Storehouse Photographic Print of Eleanor Boardman, the captivating American silent movie actress. This stunning black and white image, sourced from Mary Evans Prints Online, showcases Boardman's enchanting beauty and elegance during her reign in Hollywood. As a leading actress of the silent era, Boardman graced the silver screen alongside legendary directors and stars. This print is an essential addition to any vintage movie memorabilia collection or a perfect conversation starter in your home or office. Rights Managed through Media Storehouse, this print guarantees the authenticity and high-quality reproduction of this iconic photograph.
Poster Prints
Step back in time with our stunning Eleanor Boardman Poster Print from the Media Storehouse collection. This exquisite image, sourced from Mary Evans Prints Online, showcases the captivating beauty and elegance of American silent film actress, Eleanor Boardman. Known for her roles in films during the 1920s, Boardman was married to renowned American movie director, King Vidor, from 1926 to 1931. Bring a piece of classic Hollywood history into your home or office with this beautifully printed and framed poster, perfect for any film or photography enthusiast.
Jigsaw Puzzles
Step back in time with our exquisite Eleanor Boardman jigsaw puzzle from Media Storehouse. Featuring an enchanting image of the American silent film actress, this intriguing puzzle brings the golden age of Hollywood right to your home. Captured in this stunning photograph from Mary Evans Prints Online, Eleanor Boardman, born in 1898, is shown in her prime. Known for her captivating performances in films during the 1920s, she was once married to renowned American movie director, King Vidor. This 500-piece jigsaw puzzle is the perfect way to unwind and immerse yourself in the history of cinema. Experience the thrill of piecing together this beautiful puzzle and uncovering the story behind the legendary actress.
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https://oac.cdlib.org/findaid/ark:/13030/kt6k4019k6/
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Vidor (King) papers
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http://cinecollage.net/king-vidor.html
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cineCollage :: King Vidor
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King Vidor presents a problem for those critics who like to herd directors into the convenient pens that auteur theory has so solidly erected. Unusually eclectic, he flitted from the sober realism of Street Scene (1931) to the lurid melodramatics of Duel In The Sun (1946) via the womenâs picture Stella Dallas (1937).
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images/icon.ico
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King Vidor (1894-1982)
"King Vidor presents a problem for those critics who like to herd directors into the convenient pens that auteur theory has so solidly erected. Unusually eclectic, he flitted from the sober realism of Street Scene (1931) to the lurid melodramatics of Duel in the Sun (1946) via the womenâs picture Stella Dallas (1937). A yawning ideological gap also existed among his films, and David Thomson isnât the only critic to spot the ease with which Vidor could move from the neo-socialism of Our Daily Bread (1934) to the crypto-fascism of The Fountainhead (1949). Itâs quite typical of Vidor that the former, about the bitter travails of a farm commune, was condemned for being both left and right wing." [2]
"King Wallis Vidor (February 8, 1894-November 1, 1982) originated in Galveston, Texas, retaining vivid memories all his life of a devastating flood and hurricane that hit the town when he was a child. A storm provided the subject of his moviemaking debut in 1909, which he shot with his friend Roy Clough and the latterâs crude homemade camera. A summer job as a ticket taker and substitute projectionist in a nickelodeon had engendered a lifelong fascination: âI was interested in photography and movement even before I started photographing things with a camera.â
At 18 Vidor was appointed Texas representative for New York-based Mutual Weekly newsreel company, partnering with a chauffeur who owned perhaps the only movie camera in the Lone Star State. After making a series of documentaries and short comedies, and marrying an aspiring actress named Florence Arto, he made his way to Hollywood in 1915.
Florence Vidor earned $10 a week as a contract player for Vitagraph Company while the fledgling filmmaker tried to peddle scenarios, writing more than 50 before finally selling one to Vitagraph for $30. He also worked as an extra for $1.50 a day, and managed to get onto the set of Intolerance to observe D. W. Griffith in action. âYou couldnât think of a greater experience or opportunity than to be on that set. I would have done just about anything to get in and watch what was going on.â
Mechanically inclined and too self-conscious to be an actor, the ambitious young man set his sights on becoming a director. For him, Hollywood was âjust one great Disneyland. It was a place where I wanted to be, and I wanted to be part of it⦠Everything to do with movies fascinated me. I didnât have thoughts about anything else.â
Prop man, assistant cameraman or what have you, Vidor took âany sort of studio work I could scare up,â to study the craft of filmmaking in those pre-union days. âI picked up all I could - I didn't separate things - writing et cetera was all part of it. On one film we were short musicians [to play mood music], so the cameraman played the violin and I cranked the camera; itâs all of the same craft,â he stated in a 1978 interview. âI'm not much on advice, but I would advise young people who want to make films to get in there and learn; learn the whole business. It's all one-learn how an actor feels. What I've learned is that you have to get in there and do it.â
The Texas native eventually got a job at Universal as a company clerk, supplementing his pay check by selling the studio a number of scenarios - written under the pseudonym of Charles K. Wallis (using his fatherâs first name) to override the company rule against buying scripts from employees. In 1919, after directing a series of two-reel dramatic films about the problems of adolescents for Judge Willis Brown, a juvenile court judge, Vidor decided it was time to make the big jump to features. When an agent tried and failed to sell his services, he wrote an original script with the intent of refusing offers for it unless he were hired to direct, praying it would have âsuch merit that all the studios would want it.â
The Turn in the Road was envisioned as âthe story of a young man, stunned by some personal tragedy, hesitating in his march through life to ask, âWhat is Truth?â â Though the story had âa miracle and some metaphysical talk in it,â reflecting the directorâs Christian Science upbringing, a dentist - one of Judge Brownâs backers - took a one-week option on the script and quickly secured financing for the $9,000 production from a group of doctors he knew.
Vidor made several films for his benefactors, to whom he felt obligated. He then accepted a two picture deal with First National Exhibitors, which he parlayed into his own boutique studio, Vidor Village. He gained experience directing films featuring Colleen Moore (with whom he initiated a secret romance they rekindled decades later) and ZaSu Pitts (whom he discovered on a streetcar), as well as his wife, but was forced to close the studio and freelance. Metroâs Peg oâ My Heart was one of two he made with stage actress Laurette Taylor.
Three Wise Fools (1923) represented his first film for Goldwyn, not to mention the first of six he would make with future wife Eleanor Boardman. Estranged from Florence Vidor - by now a rising star in Cecil B. DeMilleâs stable - a fast romance with Boardman ensued, coinciding with his rise through the ranks at Goldwyn and its successor, Metro-Goldwyn-Mayer.
Vidor rejected the opportunity to direct MGMâs 1925 Ben-Hur but his fortunes forever changed one day when he told Irving Thalberg âI was tired of making ephemeral films.â As he later recalled, âI had the idea to do a film that came to town and wasnât forgotten in a few weeks.â Asked if he had any ideas in mind, he voiced a desire to make a film about war, wheat or steel; when the producer expressed interest in a war movie, âI said that I had only an approach. I wanted it to be the story of a young American who was neither patriotic nor a pacifist, but who went to war and reacted normally to all the things that happened to him.â
The Big Parade (1925) ran six months at Graumanâs Chinese and two years at the Astor Theatre on Broadway. The unexpected success of the film resulted in the opportunity to make The Crowd. But despite the high praise won by the latter, Vidor recalled, âbecause it didnât jam the aisles of the gigantic movie emporiums it was referred to in some Hollywood circles as an âartistic flop.â â It did however earn him the first of five Academy Award nominations as Best Director.
The success of The Big Parade also moved William Randolph Hearst to acquire his services in directing the magnateâs mistress, Marion Davies. Despite his initial disinterest in working with her, together they made a trio of comedies including Vidorâs last two silent efforts, The Patsy and Show People. âMr. Hearst never gave up until he had me directing Miss Davies. Mind you, this was not an unpleasant chore,â recalled Vidor. âThe approach came in the form of a request to do a favor for Mr. Mayer, and, in addition, earn a substantial income.â
While on vacation in Paris, Vidor saw a Variety headline heralding the coming of sound. âI was excited, but greatly saddened. I realized that much magic would disappear from the screen.â MGMâs opposition to his idea for a talkie about African Americans with an all-black castâwhich heâd originally wanted to make as a silent - disappeared when he offered to invest his salary. Nicholas Schenck, chairman of Loewâs Inc., told him, âIf thatâs the way you feel about it, Iâll let you make a picture about whores.â
Vidorâs first talkie, the all-black musical Hallelujah (1929), brought him a second Oscar nomination as Best Director. It did not, however, make him wealthy; he spent decades wrestling with the studio over his earnings on the film, as he had on The Crowd. (âHis idealism in pledging his salary to get the film made cost him $31,000â of the $100,000 his Hallelujah contract called for, noted Scott Eyman.)
Ever the innovator, Vidor next shot Billy the Kid on location in Arizona in both 35mm and widescreen 70mm, only to see the latter version scrapped because exhibitors were âstill paying for the installation of sound equipment and didnât want any more revolutions!â He then made Street Scene (an adaptation of the play by Elmer Rice), and The Champ (based on a story by Frances Marion), which resulted in a third nomination for him and an Oscar for Wallace Beery. Bird of Paradise introduced the director to his third wife, script girl Elizabeth âBettyâ Hill.
Vidor was forced to borrow the production money âby mortgaging everything I hadâ to make Our Daily Bread (1934), a story about farm co-ops, when every major studio turned it down; the film won a League of Nations Award âfor its contribution to humanity.â His Wedding Night (1935) garnered the Venice Film Festival award for Best Director; Vidor co-founded the Screen Directorâs Guild (now the Directorâs Guild of America) the same year, serving not only as a guiding force in the groupâs formation but its first president âin decisive and difficult years,â as historian David Thomson noted.
Stella Dallas (adapted from the popular novel by Olive Higgins Prouty) was followed by The Citadel (1938). Filmed in England, the A. J. Cronin story of an idealistic young doctor earned a fourth Oscar nomination for Vidor, as well as a nod for his wife Elizabeth, who co-wrote the screenplay.
Vidor directed Gone With the Wind âfor just one weekendâ before David O. Selznick brought in Victor Fleming at Clark Gableâs request; happy to be free of the assignment âbecause they had turned it into such a mess with all those drafts of the script,â he then took over for Fleming on the final days of The Wizard of Oz, filming the black and white Kansas prologue (in which Judy Garland poignantly sings âOver the Rainbowâ) and epilogue sans credit. âVidor may have simply executed the script,â observed David Thomson of the assignment, âBut look at the scene again⦠and ask whether anything in that classic is more touching or more filled with prairie yearning.â
Northwest Passage (1940), starring Spencer Tracy as the commander of a group of Indian fighters and filmed on location in Idaho, gave the director his first opportunity to make a film in color (having turned down Selznickâs offer to direct The Adventures of Tom Sawyer). Though he was involved in the planning stages of The Yearling as early as 1941, the years-long delay due to a myriad of production problems resulted in Clarence Brown taking over the direction of that film.
The director contemplated enlistment in the Army Air Corps during World War II, but decided âI could best serve my country by making a film on American know-how, on the âarsenal-of-democracyâ themeâ formulated by President Roosevelt. To this end he dramatized the story of steel, the third of his three big themes, from the viewpoint of an immigrant. An American Romance (1944) was embraced by MGM and Louis B. Mayer, at least initially, but was not a huge success.
Asked by author Clive Denton about the change in his style after the war, Vidor noted, âmy career was designed somewhat along the line that in order to make the films that were closest to my heart one might say came from oneâs own inside - in other words the auteur theory - I must keep up my box office name in order to be permitted to do the stories and films which were obviously not box office.â Duel in the Sun (1946) began as âa personal film⦠a moderate-sized Western with an unknown cast,â but thanks to producer David O. Selznick ended up an all-star epic on the scale of Gone With the Wind. Though the lavish production became a huge box office hit it was not a happy experience for Vidor, who walked off the picture when Selznick bawled him out one too many times.
The Fountainhead (1949), based on the Ayn Rand novel, was not a personal project but Vidor felt âvery much in accord with this story⦠because I had just gone through Jungian analysis a few years before, and I was then very conscious of this recognition of the self, the dignity of the self, and the power and divinity one has.â He brought in Rand herself to do the adaptation after a husband and wife team âwrote a script that spoiled what the book intended to be, and what the characters intended to be.â
Though he wanted to direct The African Queen for Warner Bros., he accepted the assignment to direct Beyond the Forest with Bette Davis instead. Vidor wrapped his five-decade Hollywood career with a pair of epics, War and Peace (1956) and Solomon and Sheba (1959). The former brought him his fifth and final Oscar nomination, the Golden Globe and Directorâs Guild of America nominations. In between the two, he said no to the remake of a classic heâd passed up during the silent era. âMany times Iâve thought what a fool I was to turn down Ben-Hur for a less important picture. Many times Iâve thought that.â
In an attempt to remain active as studio executives became increasingly younger and less cognizant of his work, the director formed Vid-Mor Productions with his old friend Colleen Moore and initiated his own projects. Chief among them was the secret adventure on which he embarked in 1967 - an attempt to solve the scandalous 1922 murder of film director William Desmond Taylor and write a screenplay about it. After interviewing fellow silent era survivors, gaining access to police files, and solving the matter to his satisfaction, he pulled the plug on the still too-sensitive project. (The case and backstory would eventually become the basis for Sidney D. Kirkpatrickâs book, A Cast of Killers).
There were numerous other late-career efforts that never came to fruition, including a personal one reflecting âmy own individualityâ modeled partly on his 1919 feature Turn in the Road, âthat eventually becameâ The Milly Story; one based on Hawthorneâs gothic romance, The Marble Faun; and still another based on Bruno Frankâs biographical novel, A Man Called Cervantes.
âI never have thought of the word âretirement.â Iâve never had it in my vocabulary,â Vidor told David Shepard. To that end he began working on a number of documentaries and personal films, among them Truth and Illusion, a 16mm short about metaphysics. âI'm interested in life as a study. I've learned not to spend it too freely,â said Vidor. âI consider myself a metaphysician; I've taken time to comprehend the life pattern. Itâs important to me to make something of life, to have an understanding of it. My conclusion is that we make our own world, entirely; we can't blame anybody else for anything.â
The Metaphor (1979), a documentary he made with Andrew Wyeth about the painterâs workâwhich was influenced by The Big Parade, a film Wyeth saw 160 timesârepresents Vidorâs last directorial credit. However, it was not his final film. Late in 1979 he accepted an acting job, playing the supporting role of a grandfather, in James Tobackâs Love & Money (released in 1982). Vidor took the role at the behest of production manager Richard McWhorter, replacing Harry Ritz of the Ritz Brothers when the latter went into insulin shock after one dayâs work.
Vidor, who was presented with an honorary Academy Award for Lifetime Achievement in 1979, died of congestive heart failure at his beloved Willow Tree Ranch in Paso Robles, California, at the reported age of 87. He was survived by his daughters, Suzanne (by Florence) Antonia and Belinda (by Eleanor), eight grandchildren and seven great-grandchildren." [1]
Gallery
Filmography
The Metaphor (1980)
Truth and Illusion: An Introduction to Metaphysics (1964)
Solomon and Sheba (1959)
War and Peace (1956)
Man Without a Star (1955)
Light's Diamond Jubilee (1954)
Ruby Gentry (1952)
Japanese War Bride (1952)
Lightning Strikes Twice (1951)
Beyond the Forest (1949)
The Fountainhead (1949)
On Our Merry Way (1948) ... aka A Miracle Can Happen
Duel in the Sun (1946)
An American Romance (1944)
H.M. Pulham, Esq. (1941)
Comrade X (1940)
Northwest Passage (1940)
The Wizard of Oz (1939) (director: Kansas scenes)
The Citadel (1938)
Stella Dallas (1937)
The Texas Rangers (1936)
So Red the Rose (1935)
The Wedding Night (1935)
Our Daily Bread (1934)
The Stranger's Return (1933)
Cynara (1932)
Bird of Paradise (1932)
The Champ (1931)
Street Scene (1931)
Billy the Kid (1930)
Not So Dumb (1930)
Hallelujah (1929)
Show People (1928)
The Patsy (1928)
The Crowd (1928)
Bardelys the Magnificent (1926)
La bohème (1926)
The Big Parade (1925)
Proud Flesh (1925)
The Wife of the Centaur (1924)
His Hour (1924)
Wine of Youth (1924)
Happiness (1924)
Wild Oranges (1924)
Three Wise Fools (1923)
The Woman of Bronze (1923)
Peg o' My Heart (1922)
Conquering the Woman (1922)
Dusk to Dawn (1922)
Real Adventure (1922)
Love Never Dies (1921)
The Sky Pilot (1921)
The Jack-Knife Man (1920)
The Family Honor (1920)
Poor Relations (1919)
The Other Half (1919)
Better Times (1919)
The Turn in the Road (1919)
The Three Fives (1918)
Kid Politics (1918)
The Case of Bennie (1918)
Love of Bob (1918)
Dog vs. Dog (1918)
I'm a Man (1918)
The Preacher's Son (1918)
A Boy Built City (1918)
Thief or Angel (1918)
The Rebellion (1918)
The Accusing Toe (1918)
Marrying Off Dad (1918)
Tad's Swimming Hole (1918)
The Lost Lie (1918)
The Chocolate of the Gang (1918)
Bud's Recruit (1918)
Hurricane in Galveston (1913)
The Grand Military Parade (1913)
Resources
[1] Jordan Young, King Vidor's THE CROWD: The Making of a Silent Classic (Past Times Publishing Co., 2014) pp 69-76
[2] Jessica Winter, The Rough Guide to Film 1 (Rough Guides, 2007) pp 580
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E. Boardman; Was Actress in Silent Films
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[
"MYRNA OLIVER"
] |
1991-12-16T00:00:00
|
Eleanor Boardman, actress during the silent film era who was married to director King Vidor, has died.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-1991-12-16-mn-340-story.html
|
Eleanor Boardman, actress during the silent film era who was married to director King Vidor, has died. She was 93.
Miss Boardman died Thursday in her sleep at her Santa Barbara home, her stepdaughter, Suzanne Parry, said.
A native of Philadelphia, Miss Boardman won nationwide fame as the “Kodak Girl” on posters that advertised Eastman Kodak photographic products.
Her subsequent Hollywood career, which included few talkies, peaked with her leading role in “The Crowd” in 1928. Vidor directed the silent film.
Miss Boardman also appeared in such silents as “Stranger’s Banquet,” “The Silent Accuser,” “Memory Lane” and “Tell It to the Marines.”
Her brief fling with talkies included such films as “She Goes to War,” “Mamba,” “The Flood” and a remake of “The Squaw Man.”
Miss Boardman in effect retired from the film business in 1931.
She divorced Vidor in 1933. They waged several court battles over the next decade over support and custody of their two daughters. Vidor won custody when Miss Boardman took the girls to live in pre-World War II Europe. But she returned to the United States and regained custody of the children.
Miss Boardman was also married to French director Harry D. D’Arrast.
Survivors include her two daughters, Belinda Vidor Holliday, of Middleton in Northern California, and Antonia Vidor Whitnah, of Carmel, and four grandchildren.
At Miss Boardman’s request, there will be no services.
|
||
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https://www.nytimes.com/1991/12/17/arts/eleanor-boardman-actress-93.html
|
en
|
Eleanor Boardman, Actress, 93
|
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""
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[
"The Associated Press"
] |
1991-12-17T00:00:00
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/1991/12/17/arts/eleanor-boardman-actress-93.html
|
Eleanor Boardman, who starred in silent movies after gaining attention as a model for the Eastman Kodak Company, died at her home on Thursday. She was 93 years old.
She died in her sleep, said her stepdaughter, Suzanne Parry.
Miss Boardman, who was born in Philadelphia, gained nationwide recognition as the "Kodak Girl" on Eastman Kodak's advertising posters. From modeling, she moved into movies, starring in silent films including "Stranger's Banquet," "The Silent Accuser," "Memory Lane" and "Tell It to the Marines."
In 1928 she had a leading role in "The Crowd," directed by King Vidor, whom she married. The couple divorced in 1933. She later married the French director Harry D. D'Arrast.
Among her other credits were "She Goes to War," "Mamba," "The Flood" and a remake of "The Squaw Man."
|
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yago
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|
http://theozenthusiast.blogspot.com/2008/04/eleanor-boardman.html
|
en
|
The Oz Enthusiast
|
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""
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[
"Bill Campbell",
"View my complete profile"
] | null |
Eleanor Boardman was a silent film star of the 1920's, who was married to director King Vidor - who worked on the MGM Wizard of Oz. (They di...
|
http://theozenthusiast.blogspot.com/favicon.ico
|
http://theozenthusiast.blogspot.com/2008/04/eleanor-boardman.html
|
Eleanor Boardman
Eleanor Boardman was a silent film star of the 1920's, who was married to director King Vidor - who worked on the MGM Wizard of Oz. (They divorced several years before the movie was made). However, she has a much closer Oz connection. She was born in 1898 in Philadelphia, which was also the birthplace of W. W. Denslow, and John R. Neill. She gained some recognition at the age of 15, modeling as The Kodak Girl before entering films in 1922, but for Oz collectors she is best known as the model for Betsy Bobbin on the cover of Tik-Tok of Oz. I believe Peter Hanff learned of this connection when he met her daughter in California some years ago.
Tik-Tok was pubished in 1914, which would have made Eleanor about 16 years old at the time.
|
||||||
1313
|
yago
|
1
| 25
|
https://www.imdb.com/name/nm0090187/bio/
|
en
|
Eleanor Boardman
|
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[
"Eleanor Boardman",
"Biography"
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Eleanor Boardman. Actress: Ein Mensch der Masse. Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway...
|
en
|
IMDb
|
https://www.imdb.com/name/nm0090187/bio/
|
Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
|
|||||
1313
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yago
|
1
| 24
|
https://silentfilm.org/the-crowd/
|
en
|
The Crowd
|
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[
""
] | null |
[] | null |
en
|
https://silentfilm.org/the-crowd/
|
Director King Vidor (1894–1982) had a long and distinguished career in both silent and sound films, but his masterpiece is unquestionably The Crowd. Within the simple framework of the life of an ordinary man trying to make his way in the big city, Vidor created a landmark American film.
Vidor fell in love with the movies as a child. In 1913, using a camera made from a cigar box, Vidor filmed a hurricane in his hometown of Galveston, Texas, and sold it to a newsreel company. Two years later, he and his new wife Florence struck out for Hollywood. Florence Vidor soon began making a name for herself as an actress, while her husband wrote movie scenarios and took any film work he could get. He wrote 52 scripts before he sold a single one. In 1919, he made his feature film directing debut with The Turn of the Road, which did well enough to attract offers from several major studios. He chose to open his own small studio, Vidor Village, but experienced no success. He then accepted a job at Metro Pictures, and, in 1924, when Metro merged with Goldwyn Pictures and Louis B. Mayer Productions, Vidor went along. MGM remained Vidor’s professional home for the next 20 years.
At MGM, Vidor found a kindred spirit in the youthful head of production, Irving Thalberg, who thought that the time was right for a film about the most traumatic event of the recent past: the Great War. The Big Parade (1925) was Vidor’s devastating portrait of the physical and emotional wounds inflicted by war. The film features one of John Gilbert’s greatest performances and was also a personal best for King Vidor, who proved that he had the creativity and imagination to work on a much larger canvas.
With the success of The Big Parade, Vidor immediately became one of the studio’s leading directors. Florence Vidor, meanwhile, had become a star in such sophisticated comedies as Ernst Lubitsch’s The Marriage Circle (1924). But even though the couple’s careers were flourishing, their marriage was falling apart. They divorced in 1924, and two years later Vidor married actress Eleanor Boardman, who was then costarring with John Gilbert in Vidor’s swashbuckler Bardelys the Magnificent (1926).
The Big Parade had placed an ordinary man in an extraordinary situation, but Vidor was convinced that there was also drama in ordinary life. And this time, he didn’t want a movie star, but an actual “Ordinary Man” to appear in the film that he would call The Crowd. He wasn’t having any luck finding such a person, until one day at the studio he spotted an extra named James Murray. On giving him a screen test, Vidor decided that Murray was “one of the best natural actors we had ever encountered.”
Vidor cast Eleanor Boardman in the role of the wife. Boardman’s screen image was that of a cool sophisticate, and she seemed an unlikely choice for the working-class girl. But Vidor was convinced that she was capable of delivering a good performance, and he worked hard to draw it out of her. He also used autobiographical elements based on their life together to sketch some of the little irritations in a marriage, adding naturalistic touches that give texture to the scenes. The result was a low-key, yet powerful performance that was Boardman’s best.
Vidor was impressed by the stylized films of German directors such as F.W. Murnau and Fritz Lang, a style which came to be known as expressionism, and he incorporated some of their techniques into The Crowd. Early in the film, John races home to be greeted by traumatic news. As he climbs up a long staircase, his apprehension is heightened by the use of forced perspective to create a dramatic, tunnel-like space, the walls and ceiling designed and specially painted to achieve the effect. Forced perspective is used to create a similar feeling in a scene set in a hospital corridor that appears to extend to infinity.
The downbeat yet hopeful ending was one of seven that Vidor shot at the studio’s request. Irving Thalberg was so concerned at the film’s prospects that he kept it on the shelf for a year before finally releasing it. And although The Crowd received excellent reviews and an Academy Award nomination, it was not a box-office success. Down through the years, its reputation among fans and filmmakers has grown. The final scene served as an inspiration for a similar sequence in Preston Sturges’s Sullivan’s Travels (1941), and the great Italian director Vittorio De Sica told Vidor that The Crowd influenced his film The Bicycle Thief (1948).
But there was no happy ending for the star of The Crowd. In spite of rave reviews, James Murray’s career faltered, and he became an alcoholic. When Vidor was looking for a leading man to star in his film Our Daily Bread (1934), he ran into a bloated, derelict Murray on the street, panhandling. Vidor told Murray that if he could pull himself together, the part was his. Murray became hostile and stalked off. Two years later, drunk and possibly suicidal, Murray fell into the Hudson River and drowned.
King Vidor made only two more silent films, The Patsy (1928) and Show People (1928), before the transition to sound. His own transition was successful, in part because he refused to let it change the way he made films. Many of the location scenes in his first talkie, Hallelujah! (1931), were actually filmed silent, so he would have the freedom of movement that the cumbersome new sound cameras did not allow. Hallelujah! was the first major studio film to portray African-American life.
Vidor continued to direct at MGM until 1944, with occasional work at other studios on films such as Stella Dallas (1937) and forays into independent production. His final feature film was Solomon and Sheba (1959), and he then taught at USC and wrote books on the art and craft of filmmaking. But until the end of his life, he continued to develop projects for new films he hoped to make. In 1979, he tried unsuccessfully to raise money for a film called Actor. It was the life story of James Murray.
|
|||||||
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|
https://projects.latimes.com/hollywood/star-walk/eleanor-boardman/
|
en
|
Eleanor Boardman
|
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Find the location of Eleanor Boardman's star on the Hollywood Walk of Fame, read a biography, see related stars and browse a map of important places in their career.
|
en
|
https://d1qqc1e9kvmdh8.cloudfront.net/img/favicon.ico
|
latimes.com
|
https://projects.latimes.com/hollywood/star-walk/eleanor-boardman/
|
Actress Born Aug. 19, 1898 in Philadelphia, PA
Eleanor Boardman was an actress during the silent film era who was married to director King Vidor.
A native of Philadelphia, Boardman won nationwide fame as the "Kodak Girl" on posters that advertised Eastman Kodak photographic products.
Her subsequent Hollywood career, which included few talkies, peaked with her leading role in "The Crowd" in 1928. Vidor directed the silent film.
Boardman also appeared in such silents as "Stranger's Banquet," "The Silent Accuser," "Memory Lane" and "Tell It to the Marines."
Her brief fling with talkies included such films as "She Goes to War," "Mamba," "The Flood" and a remake of "The Squaw Man."
Boardman in effect retired from the film business in 1931.
She divorced Vidor in 1933. They waged several court battles over the next decade over support and custody of their two daughters. Vidor won custody when Boardman took the girls to live in pre-World War II Europe. But she returned to the United States and regained custody of the children.
Boardman was also married to French director Harry D. D'Arrast.
She was 93 when she died.
|
||||
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|
https://www.imdb.com/name/nm0090187/bio/
|
en
|
Eleanor Boardman
|
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Eleanor Boardman. Actress: Ein Mensch der Masse. Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway...
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en
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IMDb
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https://www.imdb.com/name/nm0090187/bio/
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Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
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1313
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yago
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https://collections.new.oscars.org/Details/Archive/70038689
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The wedding of King Vidor and Eleanor Boardman, September 8, 1926.
Item | Group portraits
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1313
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yago
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https://collections.new.oscars.org/Details/Archive/70038689
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ACADEMY COLLECTIONS
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Academy Collections brings together the holdings of the Academy Film Archive and a portion of the holdings of the Margaret Herrick Library for search and discovery.
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/Content/Images/favicon/favicon.ico
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The wedding of King Vidor and Eleanor Boardman, September 8, 1926.
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1313
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https://commons.wikimedia.org/wiki/Eleanor_Boardman
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Wikimedia Commons
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https://commons.wikimedia.org/wiki/Eleanor_Boardman
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Eleanor Boardman (August 19, 1898 – December 12, 1991) was an American film actress of the silent era, married to film director King Vidor.
1918?
Eleanor Boardman in The Blue Book of the Screen, 1923
1924
1924
1929
Eleanor Boardman in She Goes to War, 1929
Eleanor Boardman, 1931
Eleanor Boardman, 1931
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1313
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https://www.amazon.com/prime-video/actor/Eleanor-Boardman/amzn1.dv.gti.001e5b23-8f36-4a24-94af-9cb14d91cccc/
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Eleanor Boardman: Movies, TV, and Bio
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Browse Eleanor Boardman movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.com/prime-video/actor/Eleanor-Boardman/amzn1.dv.gti.001e5b23-8f36-4a24-94af-9cb14d91cccc/
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Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
|
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1313
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yago
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3
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https://filmstarpostcards.blogspot.com/2020/06/eleanor-boardman.html
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European Film Star Postcards
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A blog about cinema, film stars and vintage postcards.
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https://filmstarpostcards.blogspot.com/favicon.ico
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https://filmstarpostcards.blogspot.com/2020/06/eleanor-boardman.html
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There is more than Hollywood...
European Film Star Postcards is a blog, dedicated to the stars of the European cinema. And to their photographers, the publishers of their postcards, and to the fans who collected them.
EFSP is also an elementary database. Here you can find bios, rare - and not so rare - postcards and film clips. EFSP is a non-commercial educational blog. If you own copyright protected material and do not wish it to appear on this site it will be promptly removed after contacting us.
Or do you like to share scans of your vintage postcards or maybe your choice of 10 Favourite European Film Star Postcards? Mail us, and join our exploration.
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1313
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yago
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https://www.imdb.com/name/nm0090187/
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Eleanor Boardman
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"Eleanor Boardman"
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"IMDb"
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Eleanor Boardman. Actress: Ein Mensch der Masse. Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway...
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IMDb
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https://www.imdb.com/name/nm0090187/
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Philadelphia-born Eleanor Boardman had always wanted to be an actress, and as soon as she graduated high school she headed for New York to conquer Broadway. When Broadway proved not quite ready to be conquered yet, she took whatever jobs she could find, including one as an artist's model. In that capacity she heard that the Selwyn Organization, a major producer of Broadway plays, was looking for girls with no stage experience. Since she was more than qualified in that respect, she tried out for the job and before she knew it she was in the chorus line of "Rock-a-Bye-Baby" until the show closed three months later. She then got a job in another Selwyn production, "A Very Good Young Man", but that show closed not long after opening. It was at this time that a casting director for Goldwyn Pictures hit the Broadway scene looking for new faces. She tested for him and impressed him enough that he finally picked her out of a pool of more than 1000 young girls who tested for the opportunity to go to Hollywood. She made her first film in 1922 and stayed in the business until 1935, when she retired. She was married twice, first to director King Vidor from 1926-1931, then to director Harry d'Abbadie d'Arrast from 1940 to his death in 1968. She died in Santa Barbara, CA, in 1991.
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Eleanor Boardman
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2004-09-19T12:11:51+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Eleanor_Boardman
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American film actress
Olive Eleanor Boardman (August 19, 1898 – December 12, 1991) was an American film actress of the silent era.
Early life and career
[edit]
Olive Eleanor Boardman was born on August 19, 1898, the youngest child to George W. Boardman and Janice Merriam "Jennie" Stockman Boardman. She had two older sisters named Merriam and Esther.[1][2] In 1920, she was working as a contractor.[3]
Educated in Philadelphia,[4] Boardman originally acted on stage, but she lost her voice while starring in The National Anthem. She then entered a nationwide contest for new actors and actresses for silent films. She was chosen from among 1,000 competitors by Goldwyn Pictures as their "New Face of 1922". Her initial screen test was unsuccessful, but a second test resulted in a contract.[5] After several successful supporting roles, she played the lead in Souls for Sale in 1923. That same year, Boardman's growing popularity was reflected by her inclusion on the list of WAMPAS Baby Stars.[citation needed]
She appeared in more than 30 films during her career, including director King Vidor's The Crowd (1928). Her performance in that film is widely recognized as one of the outstanding performances in American silent film. In 1932, after some success in sound films, she parted ways with MGM. Her final film was The Three Cornered Hat, which was made in Spain in 1935. After that production, she retired from acting and retreated from Hollywood. Her last appearances were in an interview filmed for Kevin Brownlow and David Gill's British documentary series Hollywood (1980) and the series MGM: When the Lion Roars (1992).[citation needed]
Personal life
[edit]
Boardman was married to film director King Vidor,[5]: 111 with whom she had two daughters, Antonia and Belinda. They married in 1926 and were divorced on April 11, 1933.[6] Fellow actors John Gilbert and Greta Garbo had allegedly planned a double wedding with them, but Garbo broke the plans at the last minute.[5]: 111
On May 23, 1929, a federal grand jury returned an indictment that charged Boardman with evading income tax payments in 1925, 1926, and 1927. Simultaneously, an information filed in federal court accused Vidor of income tax evasion in 1925 and 1926. J. Marjorie Berger, an income tax counselor in Hollywood, had earlier been indicted on charges of preparing a false income tax return for the couple for 1925.[7]
Boardman's second husband was Harry d'Abbadie d'Arrast,[8] to whom she was married from 1940. She divided her time between the United States and their chateau in the Pyrenees Mountains. After her husband's death in 1968, she permanently relocated to the United States, where she settled into Montecito, California, living in a house she designed.
Death
[edit]
Boardman died in her sleep at her Santa Barbara, California, home on December 12, 1991, at the age of 93.[9] Her ashes were scattered in Santa Barbara near her home.[citation needed]
Recognition
[edit]
For her contributions to the film industry, Boardman has a motion pictures star on the Hollywood Walk of Fame. Her star is located at 6928 Hollywood Boulevard.[10]
Filmography
[edit]
Year Title Role Notes 1922 The Strangers' Banquet Jean McPherson Lost film 1923 Gimme Clothilde Kingsley Lost film Vanity Fair Amelia Sedley Lost film Souls for Sale Miss Remember Steddon Three Wise Fools Rena Fairchild / Sydney Fairfield The Day of Faith Jane Maynard Lost film 1924 True as Steel Ethel Parry Incomplete film Wine of Youth Mary Hollister Sinners in Silk Penelope Stevens Lost film The Turmoil Mary Vertrees The Silent Accuser Barbara Jane Lost film So This Is Marriage? Beth Marsh Lost film The Wife of the Centaur Joan Converse Lost film 1925 The Way of a Girl Rosamond Proud Flesh Fernanda The Circle Elizabeth Cheney Exchange of Wives Margaret Rathburn The Only Thing Thyra, Princess of Svendborg The Auction Block Lorelei Knight Lost film 1926 Memory Lane Mary Bardelys the Magnificent Roxalanne de Lavedan Tell It to the Marines Nurse Norma Dale 1928 The Crowd Mary Diamond Handcuffs Tillie 1929 She Goes to War Joan 1930 Mamba Helen von Linden Redemption Lisa 1931 The Great Meadow Diony Hall The Flood Joan Marshall Women Love Once Helen Fields The Squaw Man Lady Diana Kerhill 1935 The Three Cornered Hat The Miller's Wife
References
[edit]
Biography portal
Film portal
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Oscar Profile #416: King Vidor
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Born February 8, 1894 in Galveston, Texas, King Wallis Vidor was the son of a prominent businessman and his wife. He became freelance newsreel cameraman and cinema projectionist before becoming a f…
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Cinema Sight by Wesley Lovell
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https://www.cinemasight.com/oscar-profile-416-king-vidor/
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Born February 8, 1894 in Galveston, Texas, King Wallis Vidor was the son of a prominent businessman and his wife. He became freelance newsreel cameraman and cinema projectionist before becoming a filmmaker himself. The city of Vidor, Texas, was named after his father Charles Shelton Vidor who founded the Miller-Vidor Lumber Co., which the town grew up around. His grandfather, Karoly (Charles) Vidor, was a Hungarian immigrant who served with the 1st Texas Infantry at the battle of Gettysburg.
Vidor made his first film as a director in 1913 with The Grand Military Parade at 19. He married Florence Arto, one of the great beauties of early Hollywood, known professionally as Florence Vidor in 1914. Moving to Hollywood in 1915, Vidor worked as a screenwriter and director of a numerous shorts. His first full-length film in Hollywood was 1919’s The Turn in the Road.
After the success of 1922’s Peg o’ My Heart, Vidor won a long-term contract with Goldwyn Studios (later absorbed into MGM). Divorced from Florence in 1924, he made The Big Parade, among the most acclaimed war films of the silent era and an enormous commercial success. Florence Vidor went on to marry violinist Jascha Heifetz who adopted her daughter with Vidor.
Vidor married second wife Eleanor Boardman in 1926 with whom he had two more daughters, He starred her in 1928’s The Crowd for which he received his first Oscar nomination. He received his second for the following year’s Hallelujah, his first sound film. He was divorced from Boardman in 1931, marrying Elizabeth Hill in 1932 to whom he would remain married to until her death in 1978.
Vidor’s 1930s successes included Street Scene, The Champ (his third Oscar nomination), Our Daily Bread, Stella Dallas and The Citadel (his fourth Oscar nomination). He also directed the Kansas sequences of The Wizard of Oz after Victor Fleming was reassigned to Gone with the Wind but did not receive screen credit. His 1940s hits included Northwest Passage, Duel in the Sun and The Fountainhead. The 1950s brought Ruby Gentry, Man Without a Star, War and Peace, (his fifth Oscar nomination) and Solomon and Sheba after which he retired.
Despite his retirement, Vidor made documentary shorts in 1964, 1973 and 1980 at which time he entered into the Guinness Book of World Records as the director having the longest career as a film director, spanning 67 years from 1913-1980.
At the 1977 Academy Awards, co-presenter Vidor accepted the Best Director Oscar for Woody Allen for his direction of Annie Hall. The following year Vidor himself was the recipient of an Academy Award, an honorary one, for his incomparable achievements as a cinematic creator and innovator.
King Vidor died November 1, 1982 at the age of 88.
ESSENTIAL FILMS
THE BIG PARADE (1925)
Opening on a reserved seat basis in November 1925 and going into general release in September 1927, by 1930 this granddad of anti-war films was still drawing in customers when a new spate came along. John Gilbert had his greatest role as the privileged son of a Midwest banker who forgoes the officer title he father secured for him to join his buddies as an ordinary foot soldier who sees the worst of it first-hand in France. There he falls in love with a local farm girl, while on leave. Wounded in the war, he returns home to find his fiancée in love with his brother leaving him free to return to France to reunite with his true love.
THE CROWD (1928)
Vidor filmed many scenes of what is generally considered his masterpiece on New York City streets using real crowds instead of extras, real buses and trains and even real traffic cops. His film about an ordinary couple played by his then wife Eleanor Boardman and the tragic James Murray who are lost in the crowd. Billy Wilder copied the famous scene of Murray in an office surrounded by desk after desk for The Apartment. Vidor filmed nine different ending before MGM found one it approved of. Studio head Louis B. Mayer still hated the film, considering it vulgar for showing a bathroom with a toilet in it.
STELLA DALLAS (1937)
Adverse to wearing wigs, Barbara Stanwyck dyed her hair blonde for the first and only time in her career to play the tacky mother over a twenty-year span. Even though this was the remake of a famous talkie made twelve years earlier, this version was so popular that it spawned a radio soap opera that opened later that year and ran for seventeen years. Stanwyck earned her first Oscar nomination for what is still considered one of her greatest roles. Anne Shirley was also nominated for playing her sensitive daughter. A 1990 remake called Stella starring Bette Midler and Trini Alvarado was less successful.
THE CITADEL (1938)
Later twice done as TV mini-series in 1983 and 2003, Vidor’s award-winning film of A.J. Cronin’s acclaimed novel about a dedicated doctor who loses his way and falls into a world of easy money treating wealthy hypochondriacs was an eye-opener. Whereas John Ford’s film of Arrowsmith six years earlier had sugarcoated some of the abuses of the medical profession in Sinclair Lewis’ novel, Vidor’s film faces them head-on. Robert Donat, Oscar nominated as the idealistic doctor, Rosalind Russell as his supportive wife, Ralph Richardson as his best friend and Rex Harrison as a false one are all first-rate.
WAR AND PEACE (1956)
Tolstoy’s massive novel was always a difficult one to film. At the time producer Dino De Laurentis made this one, there were two other rival productions that failed in their attempts to make their own versions, one by Orson Welles, the other by Mike Todd. Although highly successful as spectacle, Audrey Hepburn is merely adequate as Natasha and Henry Fonda way too old at 50 as Pierre. The characters are supposed to be 13 and 50 respectively at the start of the film, which they clearly are not. Most of the actors, including Hepburn and Fonda, are obviously sitting on mechanical horses, not real ones in their close-ups.
KING VIDOR AND OSCAR
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ithankyou: Boardman talks in colour… Mamba (1930)
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Things you never expected to see… on several levels. This film was considered mostly lost for a long time until a nearly complete 35mm nit...
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http://ithankyouarthur.blogspot.com/2023/03/boardman-talks-and-in-colour-mamba-1930.html
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Things you never expected to see… on several levels. This film was considered mostly lost for a long time until a nearly complete 35mm nitrate copy was located in Australia in 2009. This has subsequently been fully restored by the UCLA Film & Television Archive and The Film Foundation in 2016, but what I watched was a rather fuzzy copy on YouTube… sometimes you must take what you can find. How could I resist seeing elegant Eleanor Boardman, silent star of The Crowd, Bardleys the Magnificent and Souls for Sale, in Technicolor and, talking too?
On the face of it, Boardman could be seen as one of those who’s career stalled after sound but she made seven talkies including the fascinating part-talkie She Goes to War (1929) enough of which survives to show how she was more than capable of sustaining her career, should she have really wanted to. Now in her early thirties, Boardman was married to and having children with King Vidor and, film fans, that’s an activity which doesn’t always sit well with the Hollywood sausage machine especially if you are, famously, “the most outspoken girl in Hollywood”! She liked Redemption (1929), the picture she made with John Gilbert, which didn’t enhance his (or her) prospects but gave her a gorgeous wardrobe, and then got loaned out by MGM to Tiffany Studios for Mamba.
Her last Hollywood film was de Mille’s remake of his own The Squaw Man (1931) and, as family duties and her increasingly unhappy marriage began to pre-occupy her, she refused to dance to the studio’s tune and return from an Hawaiian make-or-break with Vidor, to be loaned again this time to Paramount. By 1933 she had divorced King and taken her children off to Europe where she eventually met and married writer/director Harry d'Abbadie d'Arrast for whom she starred in her last film, The Three Cornered Hat (1935) made in Italy. She appeared in Kevin Brownlow’s Hollywood series interviewed in 1977, still strikingly sharp and eloquent, comfortable with her life and perhaps slightly dismissive of most of her films, save The Crowd.
Jean Hersholt
Here she’s perfectly fine, good at the grander emotions, dressed like a clothes horse if a little under-powered in some scenes in which she’s outshone, as everyone else, by a perfectly nasty turn from Jean Hersholt. Jean’s upbringing in Denmark, enabled him to nail the German accent required for the part of the titular snake, August Bolte (Mambo), a German opportunist who doesn’t care who he exploits as long as there’s profit in it. Born Jean Pierre Carl Buron, he started acting in short films in 1906 but emigrated for New York in 1913 aged 27 and established himself quickly, making films, most notably in Greed (1924) into the 1950s. He also translated 160 of Hans Christian Anderson’s fairy tales into English and ended up as Leslie Nielsen’s paternal half-uncle… fact fans!
The film is one of those exhibiting a considerable amount of silent style especially when it begins with an extraordinary single take – some 90 seconds long – during which director Albert S. Rogell’s camera moves down and through a number of street scenes on an African reservation, showing us the local colour, and the nature of the place we are about to experience: Neu Posen in German East Africa, sometime in 1913. Like many other “pre-code” films of the period it comes with heavy doses of language and actions reflecting “the attitudes of the time” … Your honour, may I refer you to the statement made by one English officer to a German one: “… too many blacks to run after and too few of us whites to ever be able to hold them in line…” a sentence that is followed by the artful suggestion that those civilised whites of Britain and Germany would never be caught fighting amongst themselves. The audience knew and of course we still know, what this means.
Bolte arrives and is immediately confronted by a local woman (Hazel Jones) who claims he is the father of her child; the other Europeans look on is disgust as he pushes her away. He goes for a drink in a bar full of singing German and British officers only to be given the coldest of shoulders and to be told to his face that he’s not invited to Colonel Cromwell’s party. Bolte sings alone and throws his beer away ordering a champagne…
Bolte reviews his options...
“With more land und money than anyone else in East Africa… I could buy und sell the whole army!
A begging letter from a nobleman in debt back in Germany, offers the hand of his daughter Helen (Eleanor Boardman) in marriage in exchange for Bolte paying his creditors off. After reviewing Helen’s photograph, Bolte decides that this is the way to gain proper respect from society; married to a Lady, his snobbish detractors will have no option but to pay her their respects. He goes back to Germany and brings back his already traumatised new wife back with him. As his cockney manservant (a lively Will Stanton) says: “Blimey sir! But she’s a real aristocrat… she’s got quality!”
On the ocean journey she meets a handsome German officer, Karl von Reiden (Ralph Forbes) who is certainly more along the lines of the kind of man she’d hoped to wed. They connect but are soon separated by Bolte who demonstrates a grotesque mix of jealousy and pride. Back in Neu Posen in Bolte’s grubby mansion, Helen is holding out as long as she can, her honour still at stake as her contractual-obliged partner invites his former enemies to a party in her honour to which everyone is invited and duty bound to attend for her sake. Before the party begins, the native woman pays Bolte another visit and, after an altercation, she falls over his balcony and to her death.
Initially his grand party goes well but when news of the death breaks out the mood turns sour and the faint-hearted merrymaking stops, leaving Helen at the mercy of her husband until, that is, she is rescued by von Reiden who takes her off to see the local natives’ “Moon Dance” - perhaps it will help you forget… He delivers her back to her predatory partner just as he receives news that way has been declared between Germany and Great Britain. Now things reach a peak as Bolte tries to avoid the draft and to hold onto his ill-gotten gains…
Eleanor Boardman and Ralph Forbes
Mambo is alleged to have cost over $500,000 to produce and appears to have been well received with the colour photography impressing. It’s more than just a novelty though with the colonial questions raised and the moral dangers presented by Bolte and then the War. Hersholt makes the picture though and seems able to raise sympathy for his misbegotten creation of Bolte who very rarely, if ever, does the right thing but still presents as a victim in comparison to the taller and more handsome officers, just about to fight the War to End all Wars.
This would look amazing on the big screen and I look forward to a 35mm screening at some point and somewhere…
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ithankyou: Boardman talks in colour… Mamba (1930)
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Things you never expected to see… on several levels. This film was considered mostly lost for a long time until a nearly complete 35mm nit...
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Things you never expected to see… on several levels. This film was considered mostly lost for a long time until a nearly complete 35mm nitrate copy was located in Australia in 2009. This has subsequently been fully restored by the UCLA Film & Television Archive and The Film Foundation in 2016, but what I watched was a rather fuzzy copy on YouTube… sometimes you must take what you can find. How could I resist seeing elegant Eleanor Boardman, silent star of The Crowd, Bardleys the Magnificent and Souls for Sale, in Technicolor and, talking too?
On the face of it, Boardman could be seen as one of those who’s career stalled after sound but she made seven talkies including the fascinating part-talkie She Goes to War (1929) enough of which survives to show how she was more than capable of sustaining her career, should she have really wanted to. Now in her early thirties, Boardman was married to and having children with King Vidor and, film fans, that’s an activity which doesn’t always sit well with the Hollywood sausage machine especially if you are, famously, “the most outspoken girl in Hollywood”! She liked Redemption (1929), the picture she made with John Gilbert, which didn’t enhance his (or her) prospects but gave her a gorgeous wardrobe, and then got loaned out by MGM to Tiffany Studios for Mamba.
Her last Hollywood film was de Mille’s remake of his own The Squaw Man (1931) and, as family duties and her increasingly unhappy marriage began to pre-occupy her, she refused to dance to the studio’s tune and return from an Hawaiian make-or-break with Vidor, to be loaned again this time to Paramount. By 1933 she had divorced King and taken her children off to Europe where she eventually met and married writer/director Harry d'Abbadie d'Arrast for whom she starred in her last film, The Three Cornered Hat (1935) made in Italy. She appeared in Kevin Brownlow’s Hollywood series interviewed in 1977, still strikingly sharp and eloquent, comfortable with her life and perhaps slightly dismissive of most of her films, save The Crowd.
Jean Hersholt
Here she’s perfectly fine, good at the grander emotions, dressed like a clothes horse if a little under-powered in some scenes in which she’s outshone, as everyone else, by a perfectly nasty turn from Jean Hersholt. Jean’s upbringing in Denmark, enabled him to nail the German accent required for the part of the titular snake, August Bolte (Mambo), a German opportunist who doesn’t care who he exploits as long as there’s profit in it. Born Jean Pierre Carl Buron, he started acting in short films in 1906 but emigrated for New York in 1913 aged 27 and established himself quickly, making films, most notably in Greed (1924) into the 1950s. He also translated 160 of Hans Christian Anderson’s fairy tales into English and ended up as Leslie Nielsen’s paternal half-uncle… fact fans!
The film is one of those exhibiting a considerable amount of silent style especially when it begins with an extraordinary single take – some 90 seconds long – during which director Albert S. Rogell’s camera moves down and through a number of street scenes on an African reservation, showing us the local colour, and the nature of the place we are about to experience: Neu Posen in German East Africa, sometime in 1913. Like many other “pre-code” films of the period it comes with heavy doses of language and actions reflecting “the attitudes of the time” … Your honour, may I refer you to the statement made by one English officer to a German one: “… too many blacks to run after and too few of us whites to ever be able to hold them in line…” a sentence that is followed by the artful suggestion that those civilised whites of Britain and Germany would never be caught fighting amongst themselves. The audience knew and of course we still know, what this means.
Bolte arrives and is immediately confronted by a local woman (Hazel Jones) who claims he is the father of her child; the other Europeans look on is disgust as he pushes her away. He goes for a drink in a bar full of singing German and British officers only to be given the coldest of shoulders and to be told to his face that he’s not invited to Colonel Cromwell’s party. Bolte sings alone and throws his beer away ordering a champagne…
Bolte reviews his options...
“With more land und money than anyone else in East Africa… I could buy und sell the whole army!
A begging letter from a nobleman in debt back in Germany, offers the hand of his daughter Helen (Eleanor Boardman) in marriage in exchange for Bolte paying his creditors off. After reviewing Helen’s photograph, Bolte decides that this is the way to gain proper respect from society; married to a Lady, his snobbish detractors will have no option but to pay her their respects. He goes back to Germany and brings back his already traumatised new wife back with him. As his cockney manservant (a lively Will Stanton) says: “Blimey sir! But she’s a real aristocrat… she’s got quality!”
On the ocean journey she meets a handsome German officer, Karl von Reiden (Ralph Forbes) who is certainly more along the lines of the kind of man she’d hoped to wed. They connect but are soon separated by Bolte who demonstrates a grotesque mix of jealousy and pride. Back in Neu Posen in Bolte’s grubby mansion, Helen is holding out as long as she can, her honour still at stake as her contractual-obliged partner invites his former enemies to a party in her honour to which everyone is invited and duty bound to attend for her sake. Before the party begins, the native woman pays Bolte another visit and, after an altercation, she falls over his balcony and to her death.
Initially his grand party goes well but when news of the death breaks out the mood turns sour and the faint-hearted merrymaking stops, leaving Helen at the mercy of her husband until, that is, she is rescued by von Reiden who takes her off to see the local natives’ “Moon Dance” - perhaps it will help you forget… He delivers her back to her predatory partner just as he receives news that way has been declared between Germany and Great Britain. Now things reach a peak as Bolte tries to avoid the draft and to hold onto his ill-gotten gains…
Eleanor Boardman and Ralph Forbes
Mambo is alleged to have cost over $500,000 to produce and appears to have been well received with the colour photography impressing. It’s more than just a novelty though with the colonial questions raised and the moral dangers presented by Bolte and then the War. Hersholt makes the picture though and seems able to raise sympathy for his misbegotten creation of Bolte who very rarely, if ever, does the right thing but still presents as a victim in comparison to the taller and more handsome officers, just about to fight the War to End all Wars.
This would look amazing on the big screen and I look forward to a 35mm screening at some point and somewhere…
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