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Kipling, Masculinity and Empire
Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J. -
Mutual Aesthetics Joseph D
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 Mutual Aesthetics Joseph D. Sherry Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Sherry, Joseph D., "Mutual Aesthetics" (2016). Honors Projects Overview. 117. https://digitalcommons.ric.edu/honors_projects/117 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MUTUAL AESTHETICS VISUAL STYLE IN THE FILMS OF F.W. MURNAU AND JOHN FORD, 1928-1941 By Joseph D. Sherry An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Film Studies Program The School of Arts and Sciences Rhode Island College 2016 Sherry 1 Introduction F.W. Murnau wrote, “All great arts have had great artists born to understand them as no other men can, and the motion picture is the single art expression of our age.”1 Murnau made this remark shortly after his masterpiece, Sunrise: A Song of Two Humans (1927), was released by Fox Film Corporation. Sunrise’s production riveted the entire studio lot due to its scope and Murnau’s international reputation; its subsequent critical success solidified Murnau’s place in Fox’s top-tier of directors. But John Ford, also one of Fox’s top-tier directors, once brusquely remarked, “It’s no use talking to me about art . -
Um Período Maneirista Na Obra De John Ford
Um período maneirista na obra de John Ford Jorge Carrega FCT/CIAC-Universidade do Algarve [email protected] Resumo: Partindo de uma contextualização histórica, este artigo pretende efetuar uma análise formal da obra de John Ford com o objetivo de identificar as origens de uma estética anticlássica, que marcou a filmografía do realizador entre finais das décadas de 1920 e 1940, propondo a existencia de um período maneirista na obra daquele que foi um dos maiores cineastas do cinema clássico de Hollywood. Palavras-chave: John Ford, cinema de Hollywood, maneirismo, expressionismo. Resumen: Desde un contexto histórico, este artículo pretende realizar un análisis formal de la obra de John Ford, con el fin de identificar los orígenes de una estética anticlássica, que marca la filmografía del director entre finales de las décadas de 1920 y 1940, y proponer la existência de un período manierista en la obra de uno de los grandes nombres del cine clásico de Hollywood. Palabras clave: John Ford, cine de Hollywood, manierismo, expresionismo. Revista Comunicación, Nº10, Vol.1, año 2012, PP.775-786 ISSN 1989-600X 775 Um período maneirista na obra de John Ford 1. Introdução John Ford é unanimemente considerado um dos maiores cineastas da história do cinema e o seu nome é hoje sinónimo do western. Contudo, a obra de Ford é mais complexa do que a sua lenda parece afirmar. Aquele que muitos consideram o cineasta clássico por excelência, ou o post-Griffith, Griffith, para utilizar a expressão de Ethan Morden (Morden, 1989: 281), assinou ao longo da sua carreira um curioso ciclo de obras que denunciam um maneirismo latente, resultado da tensão inevitável entre o modelo estético e formal imposto pelo sistema de produção dos estúdios de Hollywood e a pulsão criativa do próprio realizador. -
Wee Willie Winkie (1937) and Susannah of the Mounties (1939): Different Imperial Frontiers, Same Shirley Temple?
Wee Willie Winkie (1937) and Susannah of the Mounties (1939): Different Imperial Frontiers, Same Shirley Temple? Richard A. Voeltz Cameron University in Lawton, Oklahoma, USA Abstract The Paper really has two themes. One will be an exploration of how Hollywood dealt with imperial themes involving British India (really Afghanistan) with the Lancers and the Canadian west with the “Mounties”. Here the disarming relationship of child film star Shirley Temple with “savage native peoples” comes into play. A second more central theme centers on the film career of Shirley Temple herself and her roles in Wee Willie Winkie and Susannah of the Mounties. Her apogee of popularity reached its peak in the period 1937-1939, the time frame for both films. Although she made some films in 1940, Susannah really marked an end to a certain period of her career as puberty beckoned. The peculiar gender relationship with the principle male characters (Victor McLaglen and Randolph Scott) will then be explored, showing how her “non-threatening white sexuality” did not impinge on the two masculine imperial frontier domains. All this points to Shirley Temple as a cultural icon and as a commercial and sexual commodity in American popular culture. [Keywords: Imperial, Hollywood, Shirley Temple; gender relationship; icon, commodity, popular culture] In the A&E Television Network Biography series the actress Gloria Stuart (late of Titanic fame) relates a humorous anecdote about how the comedian Harpo Marx once asked if “he could buy Shirley Temple” because she was so cute, charming and precious.(Biography) Shirley Temple’s short, meteoric career in Depression-era America, a time when audiences found welcome escape in her delightful charm, youth, spirit, singing, and dancing, and the fact that she almost single-handedly saved 20th Century Fox Studio and perhaps even Hollywood itself (or at least the mythology tells us that), need not be extensively related here, but some general observations about her extraordinary career warrant attention. -
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. -
Hawaii Marine July 22, 1993 8 Days Until Let's Do Our Bayfest '93 Part, Help Keep
HAWAII Iti*ulAiPikattglkl MarineServing MCAS Kaneohe Bay, 1st MEB, Camp H.M. Vol. 22 No. 29 Smith and Marine Barracks. ily 22, 1993 President Clinton announces policy for gays in the military conduct will be Headquarters Marine Corps homosexual conduct. discharged. "This is a good policy - a (Homosexual conduct is defined courageous policy- and one that as a homosexual act, a statement HQMC, WASHINGTON D.C. - can be implemented," said Gen. that the member is homosexual or "The policy I am announcing today Carl E. Mundy Jr., Commandant bisexual, or a marriage or is, in my judgement, the right of the Marine Corps, immediately attempted marriage to someone of thing to do and the best way to after the announcement. "What the same gender); do it," said President Bill Clinton, you've seen in process is military - No investigations or inquiries Monday at Fort McNair in advice, the best we can give, to will be conducted solely to Washington, D.C., as he outlined the Commander-in-Chief who took determine a servicemember's the new policy regarding that advice and took all the factors sexual orientation. However, homosexual conduct in the Armed that weigh in this very difficult commanders can; and will, initiate Forces. The revised policy will equation. He made a courageous inquiries or investigations when become effective Oct. 1. decision." there is credible information that The announcement, made to a group of senior officers and enlisted personnel of all services, came following nearly six months WTI his is a good policy - a of extensive review at the highest courageous policy - and levels of government, including civilian and military testimony one that can be implemented. -
John Wayne Declared at the 1979 Academy Awards
TTHHEE DUUKKEE’’SS LEEGGAACCYY COONNTTIINNUUEESS TOO CCAASSTT AA GGIIAANNTT SSHHAADDOOWW by Nick Zegarac “Oscar and I have something in common,” John Wayne proclaimed at the 1979 Academy Awards, “Oscar first came to Hollywood in 1928. So did I. We're both a little weather-beaten, but we're still here and plan to be around for a whole lot longer.” It was a statement fraught with irony and possibly a few quietly bitter regrets. For in the intervening decades, John Wayne had seen his reputation plummet amongst a new generation of film goers who viewed his patriotic legacy as fraudulent (partly, because Wayne himself had never served in the armed forces even though he frequently donned military regalia for his films) but more to the point, misperceived as blatant war mongering in a decade where Viet Nam divided the nation into pro and con encampments. “It's kind’a sad thing when a normal love of country makes you a super patriot,” Wayne openly declared. He had tolerated his place in the new Hollywood so far as it went, though he never accepted the suggestion that his views were out of touch. “Very few of these so-called liberals are open-minded. They shout you down and won't let you speak if you disagree with them.” The year before, John Wayne had been scheduled to appear as a presenter at the annual Oscar telecast but had to bow out due to complications from surgery to remove a malignant tumor. In his place on that night in 1978, presenter Bob Hope held back his emotions to offer encouragement to the ailing American icon. -
Carry On, Cowboy: Roast Beef Westerns
Carry On, Cowboy: roast beef Westerns HALL, Sheldon <http://orcid.org/0000-0003-0950-7310> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/5293/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HALL, Sheldon (2012). Carry On, Cowboy: roast beef Westerns. Iluminace: Journal of Film History, Theory, and Aesthetics, 24 (3), p. 102. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Carry On, Cowboy: Roast Beef Westerns Iluminace: Journal of Film History, Theory, and Aesthetics, vol. 25, no. 3 (Fall 2012) For obvious reasons – lack of landscape, the pointlessness of competing with the Americans in a genre they invented, lack of British actors who looked good in the saddle – Britain’s contribution to the Western has been on a par with Switzerland’s contribution to naval warfare.1 Paul Simpson The chapter on “Westerns around the world” in Paul Simpson’s survey book The Rough Guide to Westerns includes entries on a dozen countries or regions which have produced significant numbers of Westerns; yet Britain is the only country to attract this kind of mockery. Not surprisingly, Simpson is British, thus exemplifying the traditional national characteristics of self-deprecation and celebration of failure. The first point Simpson makes recalls one of the reasons François Truffaut gave to Alfred Hitchcock for what Truffaut notoriously saw as “a certain incompatibility between the terms ‘cinema’ and ‘Britain’ […] there are national characteristics – among them, the English countryside, the subdued way of life, the stolid routine – that are antidramatic in a sense. -
No. 151 May 2015
No. 151 May 2015 THE RED HACKLE Here’s another SAVE AS MUCH benefit of working AS % 34 1 for the Armed Forces ONLINE OFF PRICES 20% WITH OFF AT RENEW AL2 Reasons to join the AA affinity scheme: • You’ll have the option to put your AA Membership on hold, for example when you’re on duty overseas • AA Membership covers the whole of the UK including Northern Ireland • More dedicated patrols than any other UK breakdown service3 To join, call 0800 048 0075 quoting reference F0690 Breakdown Cover 1. Applies to Family Roadside and Relay cover in the first year only. Other levels of cover are available and varying discounts apply. Offer only available to Armed Forces personnel by calling the number given, quoting the stated reference and paying annually by direct debit under a recurring transaction arrangement. Enrolment offer available to new Members for their first 12 months of Membership only. Offer not available in conjunction with any other offer/discount or on any other AA product/service. Details correct at time of issue. 2. Renewal offer available to Armed Forces personnel who are existing AA Members, or who join under the enrolment offer, and will be available at each renewal date until they cease to be Armed Forces personnel or the withdrawal of this scheme. 3. Mintel – UK Vehicle recovery report, September 2014. Automobile Association Insurance Services Limited is an insurance intermediary authorised and regulated by the Financial Conduct Authority. Registered office: Fanum House, Basing View, Basingstoke RG21 4EA. Registered in England & Wales, number 2414212. RAF00704_Catterick Garrison_266x186mm.indd 1 15/01/2015 09:43 am No. -
DISTINGUISHED RESIDENTS of Hillside Memorial Park 1
DISTINGUISHED RESIDENTS of Hillside Memorial Park 1 D ISTINGUISHE D R ESI D ENTS OF H ILLSI D E M E M O R IAL P A R K 2011 DISTINGUISHED RESIDENTS HILLSIDE MEMORIAL PARK AND MORTUARY DISTINGUISHED RESIDENTS BOOK For over 70 years, Hillside Memorial Park and Mortuary has been dedicated to serving the Southern California Jewish Community and to preserving the memories of those who have been laid to rest within our park. We understand that every person leaves a unique legacy and that the greatest tribute is not grief but gratitude for a life well lived. We are privileged to have been entrusted by so many families over the years. This Distinguished Residents Book features the biographies and photos of some of those individuals whose legacies have impacted our lives 2 and helped to shape our culture and our community. It has been created to honor their memory and to inspire generations by their extraordinary accomplishments, tenacity and philanthropy. There are stars whose brightness is visible on earth although they have long burned out. There are people whose brilliance continues to light the world though they are no longer among the living. These lights are particularly bright when the night is dark. They light the way for us all. Hannah Szenesh HILLSIDE MEMORIAL PARK IRVING AARONSON (1895 – 1963) From his start as an 11-year-old movie theater pianist, Irving Aaronson became a Big Band leader in the 1920s and ‘30s. His band included members Gene Krupa, Claude Thornhill and Artie Shaw. He later worked for MGM as a music coordinator for “Arrivederci Roma” (1957), “This Could Be the Night” (1957), Irving Aaronson “Meet Me in Las Vegas” (1956) and as music advisor for “The Merry Widow” (1952). -
The Black Watch (Royal Highland Regiment)
No.171 May2017 THE REDHACKLE No. 171 42nd 73rd May 2017 THE RED HACKLE The Chronicle of The Black Wa tch (Royal Highland Regiment), its successor The Black Wa tch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Wa tch Association The Association Royal Patron, His Royal Highness The Prince Charles, Duke of Rothesay attended the London Branch drinks reception at the Victory Services Club on 24 November 2016. MAY2017 THE RED HACKLE 1 Perthand Kinross Need alittle support? Then OA Scotland maybeable to help is proud to be TheOfficersAssociation Scotland provides arange of welfareservices forformer officers, their ws/wido home to the widowers and dependants OA Scotland offers: BlackWatch • Financial Assistance • Annuities • RespiteBreaks Museum and • Advice • MobilitySupport Home Other services Services forex-officers We also offer arange of employment If youare serving or have served in the services aimed at getting those detached Armed Forces and want to find out more Headquarters from the work placeback into work as about OA Scotland WelfareServices well as afreerecruitmentservice available to you, please contactus Contactusat Contactusat Tel0131 5501557 Tel0131 55015571557 [email protected] [email protected] Delivering Quality www.oascotland.org.uk www.oascotland.org.uk to the Heart of Scotland Scottish Charity No. NewHSC010665aig House,Logie Green Road,NeEdwHinburghaig House EH7,L 4HQogie Green Road, Edinburgh EH7 4HQ Accountants to The Black Watch (Royal Highland Regiment) For over 60 years the primary concern of Morris & Young has always been to provide sound business advice which is truly appropriate to the client’s needs. In order to achieve this it is vital to understand the commercial objectives, structure and nature of each client’s business and/or their personal financial aspirations. -
Guide to the Motion Picture Stills Collection 1920-1934
University of Chicago Library Guide to the Motion Picture Stills Collection 1920-1934 © 2006 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Scope Note 3 Related Resources 5 Subject Headings 5 INVENTORY 6 Series I: Actors and Actresses 6 Series II: Motion Picture Stills 171 Series III: Scrapbooks 285 Subseries 1: Scrapbooks; Individual Actors and Actresses 285 Subseries 2: Miscellaneous Scrapbooks 296 Series IV: Vitaphone Stills 297 Series V: Large Film Stills and Marquee Cards 300 Series VI: Coming Attractions, Glass Lantern Slides 302 Series VII: Duplicate Film Stills 302 Series VIII: Index Cards 302 Descriptive Summary Identifier ICU.SPCL.MOTIONPICTURE Title Motion Picture Stills. Collection Date 1920-1934 Size 87.5 linear feet (139 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Contains approximately 30,000 black and white photographs of movie stills, production shots, and portrait photographs of actors. Includes 8" x 10" photographs, 187 scrapbooks devoted to individual film stars, marquee cards, and glass lantern slides announcing coming attractions from Pathe and other movie studios. Information on Use Access No restrictions. Citation When quoting material from this collection, the preferred citation is: Motion Picture Stills. Collection, [Box #, Folder #], Special Collections Research Center, University of Chicago Library Scope Note The Motion Picture Stills Collection features a group of approximately 30,000 black and white photographs of movie stills, production shots, and portrait photographs of actors. The first half of this collection consists of these 8" x 10" photographs.