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1 Before the Colditz Myth: Telling POW Stories in Postwar British Cinema Gill Plain Gill Plain Is Professor of English Literatu
1 Before the Colditz Myth: Telling POW Stories in Postwar British Cinema Gill Plain Gill Plain is Professor of English Literature and Popular Culture at the University of St Andrews. Her research interests cover twentieth-century war writing, crime fiction, British cinema and gender studies, and her publications include Women's Fiction of the Second World War (1996), Twentieth-Century Crime Fiction: Gender, Sexuality and the Body (2001), John Mills and British Cinema: Masculinity, Identity and Nation (2006) and Literature of the 1940s: War, Postwar and 'Peace' (2013). Abstract Before the concretization of the ‘Colditz Myth’ in the mid-1950s, British cinema’s engagement with the POW narrative took unexpected generic forms. The Captive Heart (1946) and The Wooden Horse (1950) draw on the narrative conventions and structures of feeling mobilized by documentary realism, romance, melodrama and crime. Exploring these films as hybrid genres draws attention to their capacity to symbolize a range of postwar social anxieties, in particular regarding demobilisation, repatriation and the reconstruction of peacetime masculinities. The films depict the frustration and boredom of incarceration, and build narratives of reassurance out of group and individual coping strategies. Yet, while characters might escape, the ‘duty to escape’ is not a central preoccupation: rather the films focus on the relationship between camp and home, and the 2 reconstruction of the incarcerated male subject. Between 1946 and 1955, cinema variously imagines the prisoner of war camp as a space of holistic reconstruction, and as a site for the reconstruction of male agency through productive labour. These films, then, bear little resemblance to the war genre through which they are usually conceptualised: rather they draw on domestic tropes to examine the pressures confronting the male subject in the aftermath of war. -
The Everlasting Man by G.K. Chesterton
The Everlasting Man by G.K. Chesterton Originally Published 1925 This book is in the Public Domain The Everlasting Man by G.K. Chesterton Prefatory Note........................................................................................................... 3 Introduction The Plan Of This Book .......................................................................... 3 Part I On the Creature Called Man.......................................................................... 10 I. The Man in the Cave .......................................................................................... 10 II. Professors and Prehistoric Men .......................................................................... 22 III. The Antiquity of Civilisation............................................................................. 32 IV. God and Comparative Religion...................................................................... 50 V. Man and Mythologies........................................................................................ 62 VI. The Demons and the Philosophers............................................................... 72 VII. The War of the Gods and Demons .............................................................. 86 VIII. The End of the World .................................................................................... 96 Part II On the Man Called Christ............................................................................ 106 I. The God in the Cave ....................................................................................... -
THE EBBS and FLOWS of BRITISH CINEMA BRIAN Mcfarlane
ISSUE 37 SCREEN EDUCATION 8 This is the second in Screen Education’s series on national cinemas, which will draw attention to the histories and contempo- rary production of film industries from around the world. Our aim is to highlight the ongoing significance and interconnected- ness of these industries to world cinema, and to extend teachers’ and students’ awareness of film production beyond the limits of Hollywood. NOW AND THEN: THE EBBS AND FLOWS OF BRITISH CINEMA BRIAN McFARLANE WHAT IS IT? British cinema, in Australia at least but probably elsewhere too, has always occupied a sort of middle ground. ISSUE 37 In the days when it was a recognizable national cinema, with a regular output and with cinemas largely (sometimes exclusively) devoted to screening this, it fell somewhere between the mainstream and the art- SCREEN EDUCATION house. Those days came to an end in the early 1960s, but until then what was often referred to as ‘a good British film’ was seen as a sort of opposition to the Hollywood domination of our screens without, however, giving us the arthouse trouble of reading subtitles. Like the revived Australian cinema since the 1970s, British cinema had the problem—as a national cinema trying to stake out an audience area of its own—of using the same language (more or less) as Hollywood, whose conquest of the world’s English-speaking audiences was completed during the teens of the twentieth century. It was a conquest that met with little resistance from the public, but there were always other filmmakers who needed to create their own stories and who sought to persuade that public to give them at least some of its attention. -
Repor T Re Sumes
REPOR TRE SUMES ED 017 483 TE 000 134 A MODIFIED CURRICULUM GUIDE, LANGUAGE ARTS. SAINT LOUIS PARK PUBLIC SCHOOLS, MINN. EDRS PRICE MF -$1.00 HC-$10.36 257P. DESCRIPTORS- *CURRICULUM GUIDES, *ENGLISH INSTRUCTION, *HIGH SCHOOL STUDENTS, *LANGUAGE ARTS, *SLOW LEARNERS, ENGLISH CURRICULUM, GRADE 10, GRADE 11, GRADE 12, LOW ABILITY UnrWrei nrr"FA?inNAL "IIIAM"; PYTARn" RrALIrR; ArenNnARY EDUCATION, ST. LOUIS PARK, MINNESOTA, THE ST. LOUIS PARK, MINNESOTA, CURRICULUM GUIDE IS DESIGNED TO MEET THE NEEDS AND ABILITES OF THE LOW 10 PERCENT OF SENIOR HIGH SCHOOL STUDENTS. BACKGROUND MATERIALS INCLUDE--(1) CRITERIA FOR IDENTIFICATION OF SLOW-LEARNERS AND FOR SELECTION OF TEACHERS OF THEM, (2) A CHART SHOWING THE CORRELATION BETWEEN SLOW-LEARNER CHARACTERISTICS AND THEIR IMPLICATIONS FOR THE TEACHER OF ENGLISH, (3) A STATEMENT OF PHILOSOPHY FOR EDUCATING SLOW-LEARNING CHILDREN, AND (4) INSTRUMENTS FOR IDENTIFYING STUDENTS' INTERESTS, ATTITUDES, AND READING HABITS AND FOR OBTAINING BIOGRAPHICAL INFORMATION. SOME SAMPLE UNITS ARE PROVIDED FOR USE AT SPECIFIC GRADE LEVELS. THE UNITS ON THE NOVEL ARE "IT'S LIKE THIS, CAT" FOR 10TH GRADE, "LET THE HURRICANE ROAR," "THE LIGHT IN THE FOREST," AND *THE OLD MAN AND THE SEA" FOR 11TH GRADE, AND THE WOODEN HORSE" FOR 12TH GRADE. COUNSELING UNITS INCLUDE A STUDY OF PERSONALITY IN GRADE 10, OF PERSONAL AND EMOTIONAL ADJUSTMENT AND THE DEVELOPMENT OF A PHILOSOPHY OF LIFE IN GRADE 11, AND OF OCCUPATICAS IN GRADE 12. UNITS ON THE DRAMA AND THE MASS MEDIA ARE SUGGESTED FOR 10TH- AND 11TM-GRADERS, RESPECTIVELY. OTHER DIVISIONS Orinc. GUIDE ARE DEVOTED TO A LIST OF RAPID READING BOOKS, A READING UNIT, POETRY, LISTENING, SPEECH, AND COMPOSITION, USAGE, AND MECHANICS. -
Introduction
Notes Introduction 1. Alfred Hitchcock’s question in response to criticism of his film Stage Fright (1950) is relevant here: ‘So why is it that we can’t tell a lie through a flash- back?’ (Truffaut 158) The (apparently) material depiction of the past would appear to guarantee its factuality. As Thomas Sutcliffe notes, part of what is at stake here is the disruption a particular kind of pact between the audience and the film-maker (11). 2. Look at All Those Roses appeared in 1941; of the stories collected in The Demon Lover (1945), ‘The Demon Lover’ appeared in The Listener in November 1941, ‘Happy Autumn Fields’ in The Cornhill in November 1944 and ‘Mysterious Kôr’ in Penguin New Writing in November 1944. 3. I will be focusing on new works published during the 1940s, but it is inter- esting to note Henry Reed’s comments, from an essay of 1946, on the fortunes in wartime of ‘classic’ writers: ‘Anthony Trollope has regained some of the enormous popularity he enjoyed in his own day [ … ] Joseph Conrad is beginning to revive [ … ] D. H. Lawrence is, for the moment, all but forgotten’ (8). As influences on contemporary writers, Reed identifies Thomas Hardy, James Joyce and ‘Henry James, who has entered on a period of popularity which he never attained in his lifetime’ (9). 4. In a discussion of 1980s television adaptations of texts from the 1930s including Vera Brittain’s Testament of Youth (1933) Roger Bromley identifies a similar shift in relation to the status of realism: ‘At their moment of original publication many of these [works] were welcomed as radical cultural inter- ventions in a political struggle over poverty, injustice and unemployment. -
French Videos Use the Find Function to Search This List
French Videos Use the Find function to search this list Accompanist, The Director: Claude Miller with Richard Bohringer, Romane Bohringer, Claude Rich, Elena Safonova. 1992, 111 minutes, French with yellow English subtitles. A collaborator in occupied Paris, merchant Charles Brice sees the war as an opportunity to increase his wealth – and ensure the devotion of his wife, a beautiful singer. But his moral compromise is mirrored by his wife’s infidelity, and she pursues a leader of the French Resistance with the same hunger that he pursues German marks. Caught in the middle of their emotional whirlpool is an awkward young pianist who observes everything – and who sacrifices her own chance at happiness by living in their dark shadow.LLC Library CALL NO. FR 129 Au Revoir, les enfants (Goodbye, Children) 1987, 103 minutes, French with English subtitles; VHS tape – SEE FR 191 C FOR A DVD COPY.Director: Louis Malle. Set during German occupation of France. Two boys become friends in a Catholic boarding school, one a gentile, the other a Jew. Their lives will change forever, when the Jewish boy’s identity becomes known to the Gestapo. LLC Library CALL NO. FR 064 Babette’s Feast Director: Gabriel Axel with Stéphane Audran, Birgitte Federspiel, Bodil Kjer, Bibi Anderson, Jarl Kulle. 1988, 102 minutes, French and D with English subtitles. Babette, a superb French chef, lives an anonymous life among a pious congregation on the desolate coast of Denmark. As cook and housekeeper to two elderly, religious women, she’s never called upon to prepare anything more exciting than the traditional boiled codfish and ale-bread soup, until one day she wins 10,000 francs and decides to spend it all by creating the most memorable, mouth- watering, magnificent meal ever consumed – even though her guests, the simple villagers, will have no idea what they’re eating. -
100 YEARS at the PHOENIX Archive of an Oxford Cinema 1913 – 2013
100 YEARS AT THE PHOENIX Archive of an Oxford Cinema 1913 – 2013 Hiu M Chan Dedicated to the Phoenix and Oxford with love This archive is part of a post-graduate research project and so is work-in-progress. While every effort has been made to weed out errors and inconsistencies – derived from the source material (newspaper microfi che archives) – some will have inevitably slipped through. If you spot any errors and omissions please get in touch via the website http://phoenixcentenary.wordpress.com and we will update the database. The publishers are not responsible for the verifi cation of the entries; that is my remit. Thank you. Hiu M Chan and the Phoenix Centenary Project Published in conjunction with the centenary of the Oxford Phoenix Picture, 57 Walton Street, Oxford OX2 6AE © Hiu M Chan, 2013 All right reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic or mechanical, without prior written permission of the author. ISBN 978-0-9567405-5-7 Design: Nick Withers Associate Editor: James Harrison Film lists typeset in Helvetica Neue Digitally printed and bound in England by Charlesworth Press, Wakefi eld, Yorkshire A special limited hardback edition was also published exclusively for use in the cinema on the 100th anniversary, 15th March 2013. For further details, research feedback, or to input any updates, corrections or amendments please contact: www.hiuandfi lm.com Oxfordfolio, 100A Cowley Road, Oxford OX4 1JE Preface 15th March 2013 marks the 100th anniversary of the Phoenix Picturehouse Cinema in Oxford. -
Helenê Kinêmatographikê; Or, Is This the Face That Launched a Thousand Films?
Nuntius Antiquus, Belo Horizonte, v. 12, n. 1, p. 215-257, 2016 Helenê kinêmatographikê; or, Is this the face that launched a thousand films? Helenê kinêmatographikê; ou, É esta a face que lançou mil filmes? Martin M. Winkler George Mason University Fairfax, VA – USA [email protected] Abstract: In ancient Greece and Rome, Helen of Troy was the most beautiful woman among mortals. Her beauty, an almost divine quality, made Helen immortal. Its praise was an integral part of Greek and Roman letters. The cinema has eagerly followed in the footsteps of classical and later authors and artists by retelling her story. Beautiful actresses have variously portrayed her as unhappy wife of Menelaus, romantic lover of Paris, and ruinous cause of the Trojan War. This paper pays homage to Helen’s beauty by presenting, in word and image, her most notable screen incarnations from 1911 to 2013. Keywords: Helen of Troy; film/cinema; romance; tragedy; actresses playing Helen. Resumo: Na Grécia e Roma antigas, Helena de Troia era a mulher mais bela entre as mortais. Sua beleza, uma qualidade quase divina, tornou Helena imortal. Seu elogio era uma parte integrante das literaturas grega e romana. O cinema acompanhou avidamente as marcas deixadas por autores e artistas dos períodos clássico e posterior, recontando a história dela. Belas atrizes a representaram de diversas maneiras, como a infeliz esposa de Menelau, a amante romântica de Páris ou a funesta causa da eISSN: 1983-3636 DOI: 10.17851/1983-3636.12.1.215-257 216 Nuntius Antiquus, Belo Horizonte, v. 12, n. 1, p. -
TITLE a Study of the Holocaust, Student Readings. INSTITUTION
DOCUMENT RESUME ED 419 720 SO 027 122 TITLE A Study of the Holocaust, Student Readings. Third Edition. INSTITUTION Des Moines Public Schools, IA.; Jewish Federation of Great Des Moines, IA.; Heartland Area Education Agency 11, Johnston, IA. PUB DATE 1992-00-00 NOTE 163p. AVAILABLE FROM Jewish Federation of Greater Des Moines, 910 Polk Boulevard, Des Moines, Iowa 50311, telephone: 515-277-6321 ($3.50). PUB TYPE Guides Classroom Learner (051) EDRS PRICE EDRS Price MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Anti Semitism; *Bias; Foreign Countries; Ghettos; International Crimes; *Jews; *Judaism; Minority Groups; *Nazism; Secondary Education; Social Discrimination; Social Studies; World History; *World War II IDENTIFIERS *Holocaust ABSTRACT This book of student readings is intended to provide factual information on the Holocaust and help students understand the importance of individual choice and responsibility for the people of a free society. Topics covered include: (1) "Racism and Anti-Semitism in Germany";(2) an excerpt from "Friedrich" by Hans Peter Richter (Holt, Rinehart & Winston, Inc., NY, 1979); (3) "Exclusion 1933-1939"; (4) "Separation and Ghettoization 1939-1944"; (5) "Rescue and Resistance"; (6) "Extermination 1941-1945"; (7) "Liberation and Reaction of the Free World 1945"; and (8)"Implications for Democracy and Universality of the Holocaust 1945 to the Present." An extensive glossary of events, people, places, and terms related to the Holocaust is included for student use.(EH) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** A STUDY OF O N THE HOLOCAUST 4.: r ie. 4111. t . 1. Are iv.; V T`"AZ - STUDENT READINGS 1- 'fta. -
French Videos - (Last Update September 16, 2019) Use the Find Function to Search This List
French Videos - (last update September 16, 2019) Use the Find function to search this list Accompanist, The Director: Claude Miller with Richard Bohringer, Romane Bohringer, Claude Rich, Elena Safonova. 1992, 111 minutes, French with yellow English subtitles. A collaborator in occupied Paris, merchant Charles Brice sees the war as an opportunity to increase his wealth – and ensure the devotion of his wife, a beautiful singer. But his moral compromise is mirrored by his wife’s infidelity, and she pursues a leader of the French Resistance with the same hunger that he pursues German marks. Caught in the middle of their emotional whirlpool is an awkward young pianist who observes everything – and who sacrifices her own chance at happiness by living in their dark shadow.LLC Library CALL NO. FR 129 Au Revoir, les enfants (Goodbye, Children) 1987, 103 minutes, French with English subtitles; VHS tape – SEE FR 191 C FOR A DVD COPY.Director: Louis Malle. Set during German occupation of France. Two boys become friends in a Catholic boarding school, one a gentile, the other a Jew. Their lives will change forever, when the Jewish boy’s identity becomes known to the Gestapo. LLC Library CALL NO. FR 064 Babette’s Feast Director: Gabriel Axel with Stéphane Audran, Birgitte Federspiel, Bodil Kjer, Bibi Anderson, Jarl Kulle. 1988, 102 minutes, French and D with English subtitles. Babette, a superb French chef, lives an anonymous life among a pious congregation on the desolate coast of Denmark. As cook and housekeeper to two elderly, religious women, she’s never called upon to prepare anything more exciting than the traditional boiled codfish and ale-bread soup, until one day she wins 10,000 francs and decides to spend it all by creating the most memorable, mouth- watering, magnificent meal ever consumed – even though her guests, the simple villagers, will have no idea what they’re eating. -
1 Before the Colditz Myth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository 1 Before the Colditz Myth: Telling POW Stories in Postwar British Cinema Gill Plain Gill Plain is Professor of English Literature and Popular Culture at the University of St Andrews. Her research interests cover twentieth-century war writing, crime fiction, British cinema and gender studies, and her publications include Women's Fiction of the Second World War (1996), Twentieth-Century Crime Fiction: Gender, Sexuality and the Body (2001), John Mills and British Cinema: Masculinity, Identity and Nation (2006) and Literature of the 1940s: War, Postwar and 'Peace' (2013). Abstract Before the concretization of the ‘Colditz Myth’ in the mid-1950s, British cinema’s engagement with the POW narrative took unexpected generic forms. The Captive Heart (1946) and The Wooden Horse (1950) draw on the narrative conventions and structures of feeling mobilized by documentary realism, romance, melodrama and crime. Exploring these films as hybrid genres draws attention to their capacity to symbolize a range of postwar social anxieties, in particular regarding demobilisation, repatriation and the reconstruction of peacetime masculinities. The films depict the frustration and boredom of incarceration, and build narratives of reassurance out of group and individual coping strategies. Yet, while characters might escape, the ‘duty to escape’ is not a central preoccupation: rather the films focus on the relationship between camp and home, and the 2 reconstruction of the incarcerated male subject. Between 1946 and 1955, cinema variously imagines the prisoner of war camp as a space of holistic reconstruction, and as a site for the reconstruction of male agency through productive labour.