Judy Garland in Judgment at Nuremberg
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Cultural Anthropology Through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-Based Sentiment
Cultural Anthropology through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-based Sentiment Peter A. Gloor, Joao Marcos, Patrick M. de Boer, Hauke Fuehres, Wei Lo, Keiichi Nemoto [email protected] MIT Center for Collective Intelligence Abstract In this paper we study the differences in historical World View between Western and Eastern cultures, represented through the English, the Chinese, Japanese, and German Wikipedia. In particular, we analyze the historical networks of the World’s leaders since the beginning of written history, comparing them in the different Wikipedias and assessing cultural chauvinism. We also identify the most influential female leaders of all times in the English, German, Spanish, and Portuguese Wikipedia. As an additional lens into the soul of a culture we compare top terms, sentiment, emotionality, and complexity of the English, Portuguese, Spanish, and German Wikinews. 1 Introduction Over the last ten years the Web has become a mirror of the real world (Gloor et al. 2009). More recently, the Web has also begun to influence the real world: Societal events such as the Arab spring and the Chilean student unrest have drawn a large part of their impetus from the Internet and online social networks. In the meantime, Wikipedia has become one of the top ten Web sites1, occasionally beating daily newspapers in the actuality of most recent news. Be it the resignation of German national soccer team captain Philipp Lahm, or the downing of Malaysian Airlines flight 17 in the Ukraine by a guided missile, the corresponding Wikipedia page is updated as soon as the actual event happened (Becker 2012. -
Literature and Film of the Weimar Republic (In English Translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 Weeks), 10:00 A.M
Instructor: Marion Gerlind, PhD (510) 430-2673 • [email protected] Literature and Film of the Weimar Republic (in English translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 weeks), 10:00 a.m. — 12:30 p.m. University Hall 41B, Berkeley, CA 94720 In this interactive seminar we shall read and reflect on literature as well as watch and discuss films of the Weimar Republic (1919–33), one of the most creative periods in German history, following the traumatic Word War I and revolutionary times. Many of the critical issues and challenges during these short 14 years are still relevant today. The Weimar Republic was not only Germany’s first democracy, but also a center of cultural experimentation, producing cutting-edge art. We’ll explore some of the most popular works: Bertolt Brecht and Kurt Weill’s musical play, The Threepenny Opera, Joseph von Sternberg’s original film The Blue Angel, Irmgard Keun’s bestseller The Artificial Silk Girl, Leontine Sagan’s classic film Girls in Uniform, Erich Maria Remarque’s antiwar novel All Quiet on the Western Front, as well as compelling poetry by Else Lasker-Schüler, Gertrud Kolmar, and Mascha Kaléko. Format This course will be conducted in English (films with English subtitles). Your active participation and preparation is highly encouraged! I recommend that you read the literature in preparation for our sessions. I shall provide weekly study questions, introduce (con)texts in short lectures and facilitate our discussions. You will have the opportunity to discuss the literature/films in small and large groups. We’ll consider authors’ biographies in the socio-historical background of their work. -
By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975
------------------------------------------------------------------------------ By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975 ------------------------------------------------------------------------------ The Code of the Woosters BERTIE I obey the Code of the Woosters. It's a simple philosophy. When perhaps a chap's in trouble. I respond with alacrity. And if my fellow men have problems Whatever they might be They call on me The sterling Wooster B. For despite This easy nature Come the evening When battle dawns To see a Wooster Grab the livestock by both the horns For when a Wooster's mask of pleasure Becomes a steely stare You'll know he's there He'll never turn a hair What would a chap do without it? How would he get through without it? How could he stay true wihtout the Code of the Woosters? If you're at sea, I shall be there, even put off tea to be there Woosters have swum oceans for the Code of Allegiance duly owed to the Wooster Code What a load If a girl Is in the doldrums Not a paddle To her name I'll be there Though frankly speaking Womanizing's not my game But if she's really in a lather Wild eyed and hat askew He'll see her through Old you know who... Whenever it calls, can't ignore it, even give up Ascot for it Woosters have died gladly for the code of For that rugged, heavy load called the Wooster Code What a load Take my card In case you need me, if you're jousting a losing cause Like the chap Who wins the double I can rattle The natural laws So if you're eaten up with anguish I'll snatch you from its jaws No second's pause From one sincerely yours.. -
A Kitchenette Cooks up a New Solo Cabaret Show by Dan Pine Staff Writer
Friday October 7, 2005 - Thursday October 13, 2005 Thursday October 6, 2005 A Kitchenette cooks up a new solo cabaret show by dan pine staff writer Many cabaret singers cite artists like Judy Garland and Ella Fitzgerald as influences. Lua Hadar loves both, but she adds another to her personal pantheon: Lili von Shtupp, the Marlene Dietrich send-up from “Blazing Saddles.” Hadar sings the von Shtupp classic “I’m Tired” in her new solo cabaret show “It’s About Time Already,” which premieres at the Purple Onion in San Francisco on Friday, Oct. 7. She will have two other performances later this month and next month in Napa and Larkspur. Von Shtupp was played by the late Madeline Kahn in the classic 1974 Mel Brooks film, and Hadar hopes to generate the same kind of comic energy in her show that Kahn did. After all, she performs the tune with a troop of dancing Chassids, in a kind of “Fiddler”-meets-Madonna moment. Fans of Hadar’s cabaret trio The Kitchenettes already know about her sense of humor. But the new show isn’t all about laughs. In fact, the show (and an accompanying CD of the same name) was born out of personal tragedy. Hadar’s mother died last year, leaving the singer as the last living member of her original nuclear family. The resulting grief, and the growing consciousness of mortality, spurred her to create the CD and solo show. “[The show and CD are] about my coming of age emotionally in the middle third of life,” she says. -
Kadimah Yiddish Theatre 2021 SEASON PREVIEW Kadimah.Org.Au
Kadimah Yiddish Theatre 2021 SEASON PREVIEW kadimah.org.au When theatres suddenly went dark in March 2020, lightbulbs of another type switched on for us at Kadimah Yiddish Theatre. While our live shows were cancelled and you, our dear loyal audience, were stuck at home, sparks were flying in our imaginations and in our home studios. Audio books were recorded, Digital Shakespeare Monologues in Yiddish were created and live Zoom conversations were had with leading Yiddishists around the world. All through the long months of COVID-19 lockdown, the creative team has been busy writing, researching and composing a program of exciting, new and original Yiddish theatre projects that we can’t wait to share with you. As restrictions in Victoria gradually ease, our plans to present and perform these new projects are coming to life. We’ll keep you posted on dates as we know more. But in the meantime, we want to share some of the exciting ideas we’re working on - and chalishing for you to see and enjoy. Biz 2021! Galit Klas & Evelyn Krape Artistic Co-Directors, Kadimah Yiddish Theatre Durkh a Modnem Gloz Through a Strange Lens GALIT KLAS AND JOSH ABRAHAMS If you can imagine a mash-up of Laurie Anderson, Marlene Dietrich and Kraftwerk, all in Yiddish, you might come close to the breathtakingly original musical concept that is Durkh a Modnem Gloz. The brainchild of world-renowned composer Josh Abrahams and performer Galit Klas, it sets an extraordinary electronic score to lyrics based on Yiddish poetry written by women. With alternatively dreamy, cinematic, robotic techno and Eurodance style tunes, Durkh A Modnem Gloz establishes Yiddish electronic music as a genre. -
George Grizzard: a Conversation with Abe J
Wright State University CORE Scholar Theatre, Dance, and Motion Pictures Faculty Publications Theatre, Dance, and Motion Pictures 2-5-1984 George Grizzard: A Conversation with Abe J. Bassett Abe J. Bassett Wright State University - Main Campus, [email protected] Follow this and additional works at: https://corescholar.libraries.wright.edu/theater Part of the Acting Commons, Dance Commons, Performance Studies Commons, and the Theatre History Commons Repository Citation Bassett, A. J. (1984). George Grizzard: A Conversation with Abe J. Bassett. https://corescholar.libraries.wright.edu/theater/8 This Interview is brought to you for free and open access by the Theatre, Dance, and Motion Pictures at CORE Scholar. It has been accepted for inclusion in Theatre, Dance, and Motion Pictures Faculty Publications by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. GEORGE GRIZZARD A Conversation With Abe J Bassett at Wright State University February 5, 1984 Introduction merican actor George Gizzard’s first connection with Wright State was in October, 1974 A when he directed William Saroyan’s The Time of Your Life, the dedicatory production of the Creative Arts Center’s Festival Playhouse. In January 1984, he returned to Wright State to create the role of Dr. Martin Dysart in the very successful Department of Theatre Arts production of Equus. The following summary of his film and theatre career is from Wikipedia: Grizzard memorably appeared as an unscrupulous United States senator in the film Advise and Consent in 1962. His other theatrical films included the drama From the Terrace with Paul Newman (1960), the Western story Comes a Horseman with Jane Fonda (1978) and a Neil Simon comedy, Seems Like Old Times (1980). -
German Cinema As a Vehicle for Teaching Culture, Literature
DOCUMENT7RESUMEA f ED 239 500 FL 014 185 AUTHOR' Duncan, Annelise M. TITLE German Cinema as a Vehicle for Teaching Culture, . Literature and Histoy. 01 PUB DATE Nov 83 . NOTE Pp.; Paper presented at the Annual' Meeting of the. AmeriCan Council on the Teaching of Foreign Languages (San Franci co, , November 24-26, 1993), PUB TYPE Guides - Cla r om User Guides (For Teachers) (052) Speeches/Conference Papers "(150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art Education; *Cultural Education; . *Film Study; *German; Higher Educati-on; History InStruction; Instructional Materials; Interdisciplinary Approach; *Literature Appreciation; *SeCond Language Instruction; Social HiStory ABSTRACT The use of German film in four instructional; contexts, based on experiences in developinga university course,, is aiScussed. One use is as part ofa German culture course taught in German, emphasizing the role of film as a cultural statement of ,its time, intended to be'either a social criticismor a propaganda tool.t A second use is integration of the film intoa literature course taught in German, employing a series of television' plays acquired from the Embassy of Wkst Germany. Experience with filmas part of an interdisciplinary German/journalism course offers ideas for,a third use: a curriculum, offered in Engl4sh, to explore a hi toric pdriod or film techniques. A fourth use is as an element of p riod course taught either in German or,if interdepartmental, En fish, such as a. course on t'he artistic manifestations of expres (Author/MSE) O 9- * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * * * * * * * * 4* * ** * * * * * * * * * *********** Reproductions supplied by EDRS are the best thatcan be made '* from the original document. -
Addendum III—The Return
AODENIDUMI --------------- Addendum III The Return Gear Technology's bimonthly aberration - gear trivia, humor, weirdness and oddments for the edification and amusement of our readers. Contributions are welcome. Gears on fil'm He)'; I've Been Looking 'Of OneoHhose • PUZZLE .• PUZZLE. PUULE • PUZZLE •. It's Friday night at the video store, The Missouri State Highway and a The supply room at Wacky ~ H ~ and as usual, all the new releases are Transportation Department is trying to i Widgets Gearrnoror Company ;; checked out. You can't decide between give away the Mark Twain Memorial contains two shelves, Shelf A has III "I Killer Teenage Cheerleaders from Bridge across the Mississippi River at ... C half spur gears and half helical H Outer Space and a documentary on the Hannibal, MO, No, they're not kidding. H i= gears, Shelf B has two-thirds spur I; mating rituals of the hippopotamus. The cost [0 repair the bridge, which is : gears and one-third helical. Gear Technology is here to help. listed on the National Register of His- ! H !Every g·earmotor made by H The Addendum page is proud to pre- toric Places, is greater than the cost to H Wa.cky Widgets turns out slightly ;;; sent a list of films for gear lovers. All build a new one, so the state must try to i ~ different (that's why they're of these films feature the industry's find an alternative use for the structure ! Wacky). Their production method H own star, the late Luella Gear. before it can tear it down, e H Born in 1900 in New York, Gear More than 100 proposals were sub- Do ls to blindfold the foreman, spin Iii made her broadway debut in 1917. -
Justice in the Justice Trial at Nuremberg Stephen J
University of Baltimore Law Review Volume 46 | Issue 3 Article 4 5-2017 A Court Pure and Unsullied: Justice in the Justice Trial at Nuremberg Stephen J. Sfekas Circuit Court for Baltimore City, Maryland Follow this and additional works at: http://scholarworks.law.ubalt.edu/ublr Part of the Fourteenth Amendment Commons, International Law Commons, and the Legal History Commons Recommended Citation Sfekas, Stephen J. (2017) "A Court Pure and Unsullied: Justice in the Justice Trial at Nuremberg," University of Baltimore Law Review: Vol. 46 : Iss. 3 , Article 4. Available at: http://scholarworks.law.ubalt.edu/ublr/vol46/iss3/4 This Peer Reviewed Articles is brought to you for free and open access by ScholarWorks@University of Baltimore School of Law. It has been accepted for inclusion in University of Baltimore Law Review by an authorized editor of ScholarWorks@University of Baltimore School of Law. For more information, please contact [email protected]. A COURT PURE AND UNSULLIED: JUSTICE IN THE JUSTICE TRIAL AT NUREMBERG* Hon. Stephen J. Sfekas** Therefore, O Citizens, I bid ye bow In awe to this command, Let no man live Uncurbed by law nor curbed by tyranny . Thus I ordain it now, a [] court Pure and unsullied . .1 I. INTRODUCTION In the immediate aftermath of World War II, the common understanding was that the Nazi regime had been maintained by a combination of instruments of terror, such as the Gestapo, the SS, and concentration camps, combined with a sophisticated propaganda campaign.2 Modern historiography, however, has revealed the -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J. -
Les Pel·Lícules Del Mes D'octubre Cinema Italià
CINEMA A SA NOSTRA Les pel·lícules del mes d'octubre Cinema Italià. A les 18.00 hores FITXES TÈCNIQUES Cinema italià Identificación de una mujer Nacionalitat i any de producció: Italia, 1982 Títol original: Identifícaziones di una donna 7 D'OCTUBRE Director: Michelangelo Antonioni La armada Brancaleone Guió: Michelangelo Antonioni, Gérard Brach, Tonino (1966-VOSE) Guerra Fotografia: Cario Di Palma Mario Monicelli Música: John Foxx Muntatge: Michelangelo Antonioni 21 D'OCTUBRE Intèrprets: Tomas Milian, Daniela Silverio, Christine Entre el amor y la muerte Boisson, Lara Wendel (1980-VOSE) La armada Brancaleone Ettore Scola Nacionalitat i any de producció: Italia, 1966 Títol original: L'armata Brancaleone 28 D'OCTUBRE Director: Mario Monicelli Guió: Mario Monicelli, Agenore Incrocci, Furio Identificación de una mujer Scarpelli (1982-VOSE) Fotografía: Cario Di Palma Michelangelo Antonioni Música: Cario Rustichelli Muntatge: Ruggero Mastroianni Intèrprets: Vittorio Gassman, Catherine Spaak, Folco Lulli, Gian Maria Volonté Entre el amor y la muerte Nacionalitat i any de producció: Italia, 1981 Títol original: Passione d'amore Director: Ettore Scola Guió: Ettore Scola, Ruggero Maccari Fotografía: Claudio Ragona Música: Armando Trovajoli Muntatge: Raimondo Crociani Intèrprets: Bernard Giraudeau, Valeria D'Obici, Laura Antonelli, Jean-Louis Tríntignant Octubre 20Ú9 papers de cinema 47 CINEMA A SA NOSTRA Les pel·lícules del mes Cinema & Jazz Voyeur. Any Internacional de l'Astronomia A les 19.00 hores FITXES TÈCNIQUES Cinema & Jazz Voyeur (Spike Malcolm X Lee & Bill Lee &Terence Director: Spike Lee Guió: James Baldwin, Arnold Perl I Spike Lee Blanchard) Fotografia: Ernest Dickerson Música: Terence Blanchard Intèrprets: Denzel Washington, Angela Basset, Albert 3 D'OCTUBRE Hall i Al Freeman Jr. -
Emotion and Memory of the Holocaust
Mark Goldstein 4.14.04 Professor Kansteiner Emotion and Memory of the Holocaust Surviving what was arguably the greatest act of genocide in human history, the Holocaust, entitles one the opportunity to recount one’s feeling and memories of the horror. In the aftermath of the Holocaust, an outpouring of eyewitness accounts by both survivors and perpetrators has surfaced as historical evidence. For many, this has determined what modern popular culture remembers about this atrocious event. Emotion obviously plays a vital role in the accounts of the survivors, yet can it be considered when discussing the historical significance of and the truth behind the murder of six million European Jews by the Third Reich? Emotion is the expression of thoughts and beliefs affected by feeling and sensibility of an individual regarding a certain event or individual. In terms of the Holocaust, emotion is overwhelmingly prevalent in the survivors’ tales of their experiences almost sixty years ago, conveyed in terms of life, death, and survival. As scholars often point out, the Holocaust evokes strong sentiments, and transmits and reinforces basic societal values. Through in- depth observation of various forms of media sources, this paper will argue that emotion and the lack thereof, as a repercussion of the Holocaust, through the testimonies of those who survived its trials and tribulations, has played an enormous role in determining historical knowledge of the genocide. In analyzing the stories which survivors of the concentration camps and their perpetrators have put forth as historical evidence supporting the findings of scholars, one must pose the question: where does fact end and emotional distortion of the subject begin? It is critical to approach this question with great care, so as to note that not all historical accounts of the Holocaust by survivors and perpetrators are laden with emotional input and a multilayered interpretation of the event.