The Culture of Viennese Jewry at the Fin De Siècle

Total Page:16

File Type:pdf, Size:1020Kb

The Culture of Viennese Jewry at the Fin De Siècle VOLUME 13 NO.1 JANUARY 2013 The culture of Viennese Jewry at the fin de siècle he wealth of culture that the Jewish Hans Kelsen, Theodor Herzl, founder of assumed the leading role in the Holy community of Vienna developed in Zionism, and Sigmund Freud, founder Roman Empire of the German Nation. T the short period of its flourishing of psychoanalysis. Then there are the In 1521, the Austrian Duchies had come – between the middle of the nineteenth cabaret artists and university professors, under the rule of Ferdinand I, a staunch century and its destruction by the Nazis the journalists (not least Moritz Benedikt Catholic from Spain. Ferdinand and his – is the more astonishing as Vienna had of the Neue Freie Presse), the feminists successors proceeded against religious no Jewish community of any size before and photographers, the salonnières and dissenters with severe measures, aiming the mid-nineteenth century. Jews were sociologists … to squeeze Protestantism out of Viennese banned from what was then the imperial This cultural flowering took place public life. That process was largely capital until the revolution of 1848 and under historical and cultural conditions completed by the time of the second siege were not fully emancipated from all that were particular to Vienna. At the of Vienna by the Turks in 1683. restrictions of residence until 1867, as This had serious consequences for part of the reforms that followed Austria’s the character and quality of the civic life defeat by Prussia in the war of 1866. of Vienna. The city, like other European Viennese Jewry was a cultural centre cities in the later Middle Ages, had of European-wide significance in the begun to develop an autonomous urban later nineteenth and early twentieth civic and political life, centred on its centuries; the very concept of ‘fin-de-siècle burghers, merchants and traders. This Vienna’, with its avant-garde association segment of Viennese society, independent with the dislocations and dissonances of economically and in its politics, was also Modernism, was in very large measure independent-minded in its welcome of the dependent on Viennese Jewry. For it was reformed Protestant religion and of the that community which was responsible new ideas of humanism and rationalism for producing much of the city’s culture, that spread with the Renaissance. It was in the form of its artists, composers, that entire spectrum of independence that writers, theatre and film directors, as well Arthur Schnitzler, Vienna’s greatest playwright was repressed by the forces of the Counter- as providing a large part of the audiences, Reformation and by Habsburg power. readers, visitors to exhibitions and other time of the full emancipation of the Jews Protestantism disappeared, and with it consumers of culture, not to mention the of Austria in 1867, Vienna was still very went Viennese municipal self-government producers, impresarios, gallery owners much a city marked by the triumph of the and the budding free Viennese and art dealers who were the facilitators Counter-Reformation in the seventeenth Bürgertum, bearer of the values of sturdy of the cultural scene. century and the Baroque culture that it independence, free-thinking self-reliance The Jewish contribution to the culture produced there. This was most obviously and political autonomy. Instead, Vienna of Vienna in the late nineteenth and early true of the dominance of Catholicism was to become the seat of the imperial twentieth centuries extended across the and the Catholic Church, the religion court, where the high aristocracy held range of cultural and intellectual activity. of the Habsburg establishment, whose sway alongside the Catholic Church, with It encompassed a large number of famous buildings and monuments occupied a its overriding hostility to modern trends of names, as in the field of literature, to take prominent place on the city’s skyline, as thought. Vienna only regained its civic self- just one example: Arthur Schnitzler, Karl it was of the influence of Catholicism on government in the mid-nineteenth century. Kraus, Hugo von Hofmannsthal, Felix Vienna’s popular and high culture. Yet in The resurgence of Catholicism had Salten, Hermann Broch, Franz Werfel, the sixteenth century Vienna had been negative consequences for the Jews. The Elias Canetti, Friedrich Torberg, Hilde very receptive to the Reformation and a Jews of Vienna had experienced periodic Spiel, Hugo Bettauer, Joseph Roth, Peter significant proportion of its citizens had bouts of persecution and expulsion over Altenberg, Stefan Zweig, Vicki Baum been Protestants. the centuries: the city’s great Catholic and Richard Beer Hoffmann. No list of The triumph of the Counter-Reformation preachers, from Johannes Capistranus Vienna’s Jews can omit the composers in the seventeenth century also saw in the fifteenth century to Abraham a Gustav Mahler and Arnold Schoenberg, the triumph of the Catholic house of Sancta Clara in the seventeenth, had the conductor Bruno Walter, the director Habsburg, which, apart from its hereditary been notably hostile to Jews. In 1669, Max Reinhardt, the philosophers Ludwig rule over its Austrian lands, also held the Emperor Leopold I set about expelling Wittgenstein and Karl Popper, the lawyer office of Holy Roman Emperor and thus continued overleaf AJR JOURNAL JANUARY 2013 The culture of Viennese Jewry continued AJR HOLOCAUST the Jews from Vienna, a prohibition that prestige from their position at the head MEMORIAL DAY SERVICE was not formally overturned for nearly of the Holy Roman Empire. But dynastic 'Communities Together: 200 years. The Habsburgs needed Jews tradition and religious sanction could Build a Bridge’ to finance their wars but treated them not supply the efficiency and cohesion Thursday 24 January 2013 with scant respect once they had outlived required of a modern state. Austria never 2.00 pm their usefulness. Samuel Oppenheimer, succeeded in meeting the challenges of at Belsize Square Synagogue, Leopold I’s court banker from 1680 to the modern era. In the late eighteenth 51 Belsize Square, 1703, acted as both financier and military century, the reforms of Emperor Joseph London, NW3 4HX contractor, making possible the war that II, which included the first declaration of Guest Speaker: saved Christendom from the infidel Turk tolerance for Jews, ended in failure. After Sir Andrew Burns, UK Envoy in 1683. But when he died, the regime 1789, the French Revolution confronted for Post-Holocaust Issues cancelled its debts to him and declared the Habsburg Empire with demands for Rabbi Stuart Altshuler will lead the his bank bankrupt. popular democracy and for autonomous service, during which AJR members The culture into which the Jewish self-government for national groups; but will light memorial candles and community of Vienna developed after the Habsburg autocracy never conceded Kaddish will be recited. The Akiva 1867 still contained defining elements the first demand, while the second would School Choir will participate. from the Baroque. The lavish ostentation have spelt the break-up of the multi-ethnic Please bring your children and of Baroque Catholic religious architecture Empire. The defeat of Napoleon in 1815 grandchildren, who will be very and decoration helped to create a highly was followed by a long period of reaction welcome. visual culture that appealed strongly to under the chancellorship of Metternich, Light Refreshments will be provided the senses, unlike the modest austerity broken only by the revolution of 1848. after the service. that marked Protestant, and in its way But that revolution failed. Its For catering purposes, please also Jewish culture. The sensuous aspect suppression was followed by another reserve a seat by contacting Karin of Vienna was noted by all observers, with decade of absolute rule under the new Pereira on 020 8385 3070 or at its visual pageantry, its artistic pretensions emperor, Francis Joseph, until defeat in [email protected] and its sheer love of enjoyment and self- the Italian war of 1859 forced the start indulgence, which was assisted not a little of constitutional reform, a process that by the city’s centuries-old association with culminated in the instalment of a liberal its vineyards and their products. parliamentary regime after Austria’s NATIONAL HOLOCAUST But this pleasure-loving front concealed defeat by Prussia in 1866. Even that, MEMORIAL DAY SERVICE a profound awareness of the transitory and however, proved to be a false dawn. After Monday 28 January 2012 illusory nature of existence, which found the economic crash of 1873, the liberals 3.30 pm expression in the Baroque metaphor were forced into retreat; in the 1890s, they at The Queen Elizabeth II of life as a dream. The Viennese were lost control of Vienna, their stronghold, Conference Centre, famed for their light-hearted charm, to the avowedly anti-liberal and anti- Broad Sanctuary, Westminster but that apparent frivolity contained Semitic Christian Socials. The growth There is a strictly limited number an underlying element of fatalism, of radical nationalism and the failure of of places, offered on a first-come- deriving from a sense of the unreality liberalism formed the background to first-served basis, on coaches from and impermanent insubstantiality of life, the development of Viennese Jewry in locations in North-West London and as well as an alarming propensity for the decades before 1914; along with the Ilford for refugees and survivors. brutality. It was, appropriately, in Vienna glittering prospects opened up to Jews Please contact Karin Pereira on that Sigmund Freud conceived his project by the modern metropolis, these factors 020 8385 3070 or at of the interpretation of dreams and his created the matrix from which Viennese [email protected] if you would like exploration of the influence of instinctive Jewish culture emerged. to attend and/or would like drives on the human mind.
Recommended publications
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts
    The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013.
    [Show full text]
  • 02Bodyetd.Pdf (193.2Kb)
    Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years.
    [Show full text]
  • Original Writer Title Genre Running Time Year Director/Writer Actor
    Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen,
    [Show full text]
  • Constructing Jewish Bodies in Germany Through Physical Culture and Racial Pseudo-Science
    Constructing Jewish Bodies in Germany through Physical Culture and Racial Pseudo-Science By: Marissa Alperin May, 2018 Abstract As industrialization heightened in Europe, so did science and technological innovation. The expanded focus on human biology, evolution and genetics coincided with the growth of racism in Europe. In Germany, one group of people who were subjugated, was the Jewish population. Since, Jewish racism was a phenomenon in Europe during the physical culture movement, scientific “findings” were used in Germany to suggest that the intellectual abilities and physical beauty of Jews were inferior to the Nordic race. As a result of social, political, economic, religious, and cultural factors, Jewish bodies were projected as being abnormal. Thus, pseudoscience was used as a tool for reinventing/protecting the German nation by preserving the blood of the glorious bodily conception of the German people. Keywords History, racism, pseudoscience, phrenology, physiognomy, eugenics, Jews, and Germany. During the physical culture movement in Europe (1850s-1920s), there was a desire to improve the health, strength, diet, athleticism, fitness, and appearance of the human body. The physical culture movement was centered on the natural living conditions of people (conditions of development and growth). In an effort to relieve human suffering caused by an increase in urbanization and industrialization and to heighten the prosperity and wellbeing of people, science and medicine were used by many Europeans, as instruments for improving health. The physical culture movement also inspired people to study and compare the physical beauty and intellectual attributes of the body to an individual’s race, in an effort to maximize the potential of the body.
    [Show full text]
  • Angel Sings the Blues: Josef Von Sternberg's the Blue Angel in Context
    FILMHISTORIA Online Vol. 30, núm. 2 (2020) · ISSN: 2014-668X REVIEW ESSAYS . Angel Sings the Blues: Josef von Sternberg’s The Blue Angel in Context ROBERT J. CARDULLO University of Michigan Abstract This essay reconsiders The Blue Angel (1930) not only in light of its 2001 restoration, but also in light of the following: the careers of Josef von Sternberg, Emil Jannings, and Marlene Dietrich; the 1905 novel by Heinrich Mann from which The Blue Angel was adapted; early sound cinema; and the cultural-historical circumstances out of which the film arose. In The Blue Angel, Dietrich, in particular, found the vehicle by which she could achieve global stardom, and Sternberg—a volatile man of mystery and contradiction, stubbornness and secretiveness, pride and even arrogance—for the first time found a subject on which he could focus his prodigious talent. Keywords: The Blue Angel, Josef von Sternberg, Emil Jannings, Marlene Dietrich, Heinrich Mann, Nazism. Resumen Este ensayo reconsidera El ángel azul (1930) no solo a la luz de su restauración de 2001, sino también a la luz de lo siguiente: las carreras de Josef von Sternberg, Emil Jannings y Marlene Dietrich; la novela de 1905 de Heinrich Mann de la cual se adaptó El ángel azul; cine de sonido temprano; y las circunstancias histórico-culturales de las cuales surgió la película. En El ángel azul, Dietrich, en particular, encontró el vehículo por el cual podía alcanzar el estrellato global, y Sternberg, un hombre volátil de misterio y contradicción, terquedad y secretismo, orgullo e incluso arrogancia, por primera vez encontró un tema en el que podía enfocar su prodigioso talento.
    [Show full text]
  • The Astrological Imaginary in Early Twentieth–Century German Culture
    The Astrological Imaginary in Early Twentieth–Century German Culture by Jennifer Lynn Zahrt A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and the Designated Emphasis in Film in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Niklaus Largier, Co-Chair Professor Anton Kaes, Co-Chair Professor Jonathan Sheehan Spring 2012 ©2012 Jennifer Lynn Zahrt, All Rights Reserved. Abstract The Astrological Imaginary in Early Twentieth–Century German Culture by Jennifer Lynn Zahrt Doctor of Philosophy in German and the Designated Emphasis in Film University of California, Berkeley Professor Niklaus Largier, Co-Chair Professor Anton Kaes, Co-Chair My dissertation focuses on astrological discourses in early twentieth–century Germany. In four chapters, I examine films, literary texts, and selected academic and intellectual prose that engage astrology and its symbolism as a response to the experience of modernity in Germany. Often this response is couched within the context of a return to early modern German culture, the historical period when astrology last had popular validity. Proceeding from the understanding of astrology as a multiplicity of practices with their own histories, my dissertation analyzes the specific forms of astrological discourse that are taken up in early twentieth–century German culture. In my first chapter I examine the revival of astrology in Germany from the perspective of Oscar A. H. Schmitz (1873–1931), who galvanized a community of astrologers to use the term Erfahrungswissenschaft to promote astrology diagnostically, as an art of discursive subject formation. In my second chapter, I discuss how Paul Wegener’s Golem film cycle both responds to and intensifies the astrological and the occult revivals.
    [Show full text]
  • Full Text In
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 16 (2019) 35–58 DOI: 10.2478/ausfm-2019-0003 German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches Christina Stojanova University of Regina (Canada) E-mail: [email protected] “True symbolism occurs where the particular represents the more general […] as living, momentary revelation of the unfathomable .” Johann Wolfgang von Goethe, 1949, no. 314. Abstract. Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924). Keywords: Symbolism, Expressionism, semiotic vs. symbolic approach, psychological vs. visionary art, shadow, animus/anima, Faust- Mephistopheles dyad. This essay argues that the longevity of German Expressionist cinema as a unique expression of the complex historical, cultural, and psychological environment of the Weimar republic (1918–1933), is above all predicated on its sophisticated cinematic language, defined as “symbolic expression” of “illogical and irrational factors, transcending our omprehension,” which “cannot be dealt with rationally” (Jung qtd. in Smythe 2012, 151).
    [Show full text]
  • After the Golem: Teaching Golems, Kabbalah, Exile, Imagination, and Technological Takeover
    English Faculty Publications English 2020 After the Golem: Teaching Golems, Kabbalah, Exile, Imagination, and Technological Takeover. Temma F. Berg Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/engfac Part of the English Language and Literature Commons, Jewish Studies Commons, and the Teacher Education and Professional Development Commons Share feedback about the accessibility of this item. Recommended Citation Berg, Temma."After the Golem: Teaching Golems, Kabbalah, Exile, Imagination, and Technological Takeover." In Teaching Jewish American Literature. Ed. Roberta Rosenberg and Rachel Rubinstein, 267-75. New York: The Modern Language Association of America, 2020. This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/engfac/94 This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. After the Golem: Teaching Golems, Kabbalah, Exile, Imagination, and Technological Takeover. Abstract The golem is an elusive creature. From a religious perspective it enacts spirit entering matter, a creation story of potential salvation crossed with reprehensible arrogance. As a historical narrative, the golem story becomes a tale of Jewish powerlessness and oppression, of pogroms and ghettoization, of assimilation and exile, and sometimes, of renewal. As the subject of a course in women, gender and sexuality studies, the golem narrative can be seen as a relentless questioning of otherness and identity and as a revelation of the complex intersectionalities of gender, class, sexuality, race, disability, and ethnicity.
    [Show full text]
  • Paul Czinner Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​
    Paul Czinner Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ The Loves of Ariane https://bg.listvote.com/lists/film/movies/the-loves-of-ariane-7749068/actors Victims of Passion https://bg.listvote.com/lists/film/movies/victims-of-passion-21869966/actors The Fiddler of Florence https://bg.listvote.com/lists/film/movies/the-fiddler-of-florence-13576912/actors Husbands or Lovers https://bg.listvote.com/lists/film/movies/husbands-or-lovers-15836945/actors The Rise of Catherine the https://bg.listvote.com/lists/film/movies/the-rise-of-catherine-the-great-1736026/actors Great The Bolshoi Ballet https://bg.listvote.com/lists/film/movies/the-bolshoi-ballet-22683504/actors Escape Me Never https://bg.listvote.com/lists/film/movies/escape-me-never-2516860/actors As You Like It https://bg.listvote.com/lists/film/movies/as-you-like-it-2707658/actors Love https://bg.listvote.com/lists/film/movies/love-3208388/actors Inferno https://bg.listvote.com/lists/film/movies/inferno-36344795/actors Ariane, jeune fille russe https://bg.listvote.com/lists/film/movies/ariane%2C-jeune-fille-russe-4790224/actors Ariane https://bg.listvote.com/lists/film/movies/ariane-4790226/actors Doña Juana https://bg.listvote.com/lists/film/movies/do%C3%B1a-juana-5303845/actors Fräulein Else https://bg.listvote.com/lists/film/movies/fr%C3%A4ulein-else-5506649/actors The Way of Lost Souls https://bg.listvote.com/lists/film/movies/the-way-of-lost-souls-600525/actors Stolen Life https://bg.listvote.com/lists/film/movies/stolen-life-7618619/actors Dreaming Lips https://bg.listvote.com/lists/film/movies/dreaming-lips-989970/actors.
    [Show full text]
  • Shadow of the Vampire"
    Journal of Dracula Studies Volume 4 2002 Article 2 2002 Imitations of Immortality: "Shadow of the Vampire" James Craig Holte East Carolina University Follow this and additional works at: https://research.library.kutztown.edu/dracula-studies Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Holte, James Craig (2002) "Imitations of Immortality: "Shadow of the Vampire"," Journal of Dracula Studies: Vol. 4 , Article 2. Available at: https://research.library.kutztown.edu/dracula-studies/vol4/iss1/2 This Article is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Journal of Dracula Studies by an authorized editor of Research Commons at Kutztown University. For more information, please contact [email protected],. Imitations of Immortality: "Shadow of the Vampire" Cover Page Footnote James Craig Holte is a Professor of English and Director of Graduate Studies in English at East Carolina University, where he teaches courses in film and literature. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol4/ iss1/2 Imitations of Immortality: “Shadow of the Vampire” James Craig Holte [James Craig Holte is a Professor of English and Director of Graduate Studies in English at East Carolina University, where he teaches courses in film and literature.] At some future conference a round-table discussion entitled “The Golden Age of Film and Fantasy” will be scheduled, and as the participants debate the merits of particular film -- arguing the success of adapted high fantasies, the problem of original screenplays, the relationship of horror to the fantastic, the transforming nature of animation, the role of children’s fantasy in film, and the problematic role of computer graphics in special effects -- they will be discussing the films of today.
    [Show full text]
  • Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
    Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience.
    [Show full text]