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Elizabeth Cochrane Seaman (born Elizabeth Jane Cochran; May 5, 1864 – January 27, 1922), better known by her pen name Nellie Bly, was an American journalist who was widely known for her record-breaking trip around the world in 72 days in emulation of Jules Verne's fictional character Phileas Fogg, and for an exposé in which she worked undercover to report on a mental institution from within ...
Illustration from the book depicting the Mexican people Six Months in Mexico is a book written by Elizabeth Jane Cochrane under her pen name Nellie Bly about her travels through Mexico around 1885. She took the initiative to work as a foreign correspondent at the age of 21.
Game board illustrating journalist Nellie Bly's circumnavigation of the globe (1889–1890), in the New York World, 26 January 1890. Round the World with Nellie Bly game board. Around the World in Seventy-Two Days is an 1890 book by journalist Elizabeth Jane Cochrane, writing under her pseudonym, Nellie Bly.
Nellie Bly (1887). Ten Days in a Mad-House. New York: Norman L. Munro. Published with "Miscellaneous Sketches: Trying to be a Servant", and "Nellie Bly as a White Slave". Ten Days in a Mad-House at Project Gutenberg; Audio book at Project Gutenberg; Ten Days in a Madhouse public domain audiobook at LibriVox; Ten Days in a Mad-House at IMDb
The epilogue reveals that Nellie's work led to sweeping mental health reform, including the closing of the Women's Lunatic Asylum. Nellie continued to work as a journalist until her death in 1922. In 1998, Nellie was inducted into the National Women's Hall of Fame under her actual name, Elizabeth Jane Cochrane, as "Nellie Bly" is a pen name. [2]
Robert Livingston Seaman (1822 – March 11, 1904) was an American industrialist who was the husband of investigative journalist Elizabeth Jane Cochran (better known as Nellie Bly).
The portrait of Nellie Bly as a young woman is cast in silver bronze. The other faces, cast in bronze and portrayed in broken sections, include an Asian-American woman, an African-American woman, a young girl, and an older LGBTQ woman. These women are not specific people from Bly's life, but are inspired by women in the artist's life. [10]
The film closely follows Bly's original account, and extracts much of the dialogue from Bly's 1880s exposé. [6]In an interview on Los Angeles talk radio, Caroline Barry described Christopher Lambert bringing authenticity to the part of the antagonist Dr. Dent by portraying his motives as misguided good intent rather than evil, adding to the realism of the film.