The Problem of the Hour
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Good, the Bad, and the Other the Representation of Pregnancy
The Good, The Bad, and The Other The Representation of Pregnancy and Childbirth in American Horror Film from 1968 to 1979 Saoirse Carey Submitted to the Department of Design and Visual Arts in candidacy for the Bachelor of Arts (Hons) Design for Stage and Screen Character Makeup Design Faculty of Film Art and Creative Technologies 2021 1 This dissertation is submitted by the undersigned to the Institute of Art Design and Technology, Dun Laoghaire in partial fulfilment for the BA (Hons) in Design for Stage and Screen. It is entirely the author’s own work, except where noted, and has not been submitted for an award from this or any other educational institution. Signed: Saoirse Carey 2 Acknowledgements I would first like to thank my supervisors, Alice Rekab and Elaine Sisson, for the endless support, guidance and feedback. I would also like to thank Caitlin O’Donnell and Saoirse Whelan for always being there and providing insight, critic and support in every project I do. Finally, I would like to thank my girlfriend, Robyn, for watching all of these films with me, and taking time to read over my work and give feedback. 3 Abstract: This study concerns itself with the representation of mothers, pregnancy and childbirth in American horror film from 1968 to 1979. I explored three of these films; Roman Polanski’s Rosemary’s Baby (1968), David Cronenberg’s The Brood (1979) and Ridley Scott’s Alien (1979). The study queries the sudden increase in horror films which explore ideas of pregnancy and birth from this time. This study also sets out to evaluate the representations of the mother figures in these films to investigate the intent of these films. -
CHS Baseball Team Op Ens Season Tate's Best Track Girls Competing Here in Chelsea Relays
mmm WEATHER QUOTE Mln. Mux Preclp. Thursday, April 1? 43 61 0.02 "A few honest men are'better Friday, A[>rll i3 42 uo IMO than numbers, If you choose god Saturday. April 14 40 62 0.11 Sunday, April 15 40 47 Truce ly, honest men to be captains of Monday, April 16 34 54 u.fio horse, honest men will follow." Tuesday, April 1? U 57 j1.no , —Oliver Cromwell. Wednesday, April 18 40 63 0,00 • PI us 15c per copy ONE HUNDRED-NINTH YEAR—No. 45 16 Pages This Week 2 Supplements CHELSEA, MICHIGAN, THURSDAY, APRIL 19, 1979 USPS 101-720 SUBSCRIPTION: $«.00 PER YEAR CHS Baseball tate's Best Track Team Girls Competing Here Open s season In Chelsea Relays » At long last the weatherman Roger Mo^re, John Dunn and Jefl cooperated ahd allowed the Chel Dils each contributed one hit to South.- School Twelve Strong Teams sea High school varsity baseball the effort. Three Bulldogs tied in the RBI's team to take the field and begin department, with Augustine, Moore this season. and Jeff Oils' each driving in two. Fun Fair Set Entered in Saturday Meet the Bulldogs took out their ear Lou Jahnke and John Dunn each ly season frustration on South; Ly brought home one. Some of the best track girls in jump team and Chelsea's pair of For Saturday the state will be in town this Sa Lorrie Vandegrift and Tracy Boh- on, soundly trouncing sthe Lions, Mike Eisele, the starting pitch 11-2, Tuesday afternoon at home. -
Race and WWI
Introductions, headnotes, and back matter copyright © 2016 by Literary Classics of the United States, Inc., New York, N.Y. Cover photograph: American soldiers in France, 1918. Courtesy of the National Archives. Woodrow Wilson: Copyright © 1983, 1989 by Princeton University Press. Vernon E. Kniptash: Copyright © 2009 by the University of Oklahoma Press. Mary Borden: Copyright © Patrick Aylmer 1929, 2008. Shirley Millard: Copyright © 1936 by Shirley Millard. Ernest Hemingway: Copyright © 1925, 1930 by Charles Scribner’s Sons, renewed 1953, 1958 by Ernest Hemingway. * * * The readings presented here are drawn from World War I and America: Told by the Americans Who Lived It. Published to mark the centenary of the Amer- ican entry into the conflict, World War I and America brings together 128 diverse texts—speeches, messages, letters, diaries, poems, songs, newspaper and magazine articles, excerpts from memoirs and journalistic narratives— written by scores of American participants and observers that illuminate and vivify events from the outbreak of war in 1914 through the Armistice, the Paris Peace Conference, and the League of Nations debate. The writers col- lected in the volume—soldiers, airmen, nurses, diplomats, statesmen, political activists, journalists—provide unique insight into how Americans perceived the war and how the conflict transformed American life. It is being published by The Library of America, a nonprofit institution dedicated to preserving America’s best and most significant writing in handsome, enduring volumes, featuring authoritative texts. You can learn more about World War I and America, and about The Library of America, at www.loa.org. For materials to support your use of this reader, and for multimedia content related to World War I, visit: www.WWIAmerica.org World War I and America is made possible by the generous support of the National Endowment for the Humanities. -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
CHURCH and PEOPLE " Holyrussia," the Empire Is Called, and the Troops of The
CHAPTER V CHURCH AND PEOPLE " HOLYRussia," the Empire is called, and the troops of the Tsar are his " Christ-loving army." The slow train stops at a wayside station, and..among the grey cot- The Church. tages on the hillside rises a white church hardly supporting the weight of a heavy blue cupola. The train approaches a great city, and from behind factory chimneys cupolas loom up, and when the factory chimneys are passed it is the domes and belfries of the churches that dominate the city. " Set yourselves in the shadow of the sign of the Cross, O Russian folk of true believers," is the appeal that the Crown makes to the people at critical moments in its history. With these words began the Manifesto of Alexander I1 announcing the emancipation of the serfs. And these same words were used bfthose mutineers on the battleship Potenzkin who appeared before Odessa in 1905. The svrnbols of the Orthodox Church are set around Russian life like banners, like ancient watch- towers. The Church is an element in the national conscious- ness. It enters into the details of life, moulds custom, main- tains a traditional atmosphere to the influence of which a Russian, from the very fact that he is a Russian, involuntarily submits. A Russian may, and most Russian intelligents do, deny the Church in theory, but in taking his share in the collective life of the nation he, at many points, recognises the Ch'urch as a fact. More than that. In those borcler- lands of emotion that until life's end evade the control of toilsomely acquired personal conviction, the Church retains a foothold, yielding only slowly and in the course of generations to modern influences. -
Letterhead Press Releases
September 5, 2013 .NEWS RELEASE. LONG LIVE THE NEW FLESH: THE CRONENBERG PROJECT Additional details announced for The Cronenberg Project, including major exhibition David Cronenberg: Evolution, art exhibition, two film programmes, special guests, eBook, digital extension and virtual museum Toronto – Piers Handling, CEO and Director, TIFF and Noah Cowan, Artistic Director, TIFF Bell Lightbox along with David Cronenberg came together this morning at a press conference held at TIFF Bell Lightbox to unveil exciting new details of The Cronenberg Project. Included in the announcements were the full film retrospective and sidebar film programme, eBook and a selection of special guests and events. The Cronenberg Project, TIFF’s multi-platform celebration of Cronenberg’s work, will have its world premiere at TIFF Bell Lightbox from November 1, 2013 to January 19, 2014. Additional details for the original film exhibition David Cronenberg: Evolution, digital-experience extension Body/Mind/Change, visual art exhibition David Cronenberg: Transformation, the David Cronenberg: Virtual Exhibition and original publications that comprise The Cronenberg Project were also announced. TIFF’s first original major touring exhibition—and the core component of The Cronenberg Project—David Cronenberg: Evolution parallels David Cronenberg’s evolution as a filmmaker with his ongoing examination of human evolution. The exhibition will be divided into three major sections that, through props, costumes, audio-visual elements and behind-the-scenes footage, trace thematic developments across Cronenberg’s cinema while exploring sub-themes of sexual control, personal identity and Cronenberg’s relationship to science and science fiction. The first section, titled Who Is My Creator?, comprises Cronenberg’s earliest works, from Stereo (1969) to his breakthrough film Videodrome (1983), and examines his protagonists’ search for father figures within the worlds of science and technology. -
The Rebirth of Religion in Russia
View of the Holy of Holies of Russia, showing the high wall and lofty watch-towers which enclose it. Originally a fort, the Kremlin is now a museum, mausoleum, and treasure-house of things precious in Russian life and Russian religion. In no other equal area in the world ANNALS OF HISTORY is there crowded such an array of historic cathedrals THE REBIrtH OF RELIGION IN RUSSIA and monaster- ies, sacred relics, trophies of war, The Church Reorganized While Bolshevik Cannons sacerdotal robes, gold and silver Spread Destruction in the Nation’s vessels, precious Holy of Holies stones, pearls, and jewels to the value of millions of Y HOMAS HITTEMORE dollars, etc. B T W Note: The text, he Holy Kremlin of Moscow has During the bombardment a Chinese photographs, and Tbecome a Bolshevik fortress. From workman, looking on, was heard to captions of this ar- the 9th to the 16th of November, 1917, say, “The Russian is not good; bad ticle were originally published in National for more than seven days under a man; he shoots on his God.” Geographic 34:5 hurricane of fire, the city was stormed (November 1918): and finally carried by the Bolsheviks Outraged and despoiled, the Kremlin 378–401. in terrible fratricidal war. Since then is in bonds today, guarded by foreign the sacred citadel has been playing a mercenaries. The forty times forty new and ignominious role in the his- churches of the white stone city seem tory of Russia. to draw a little closer in answer to the trumpet calls of the Kremlin domes. -
Eastern Promises and the Continuing Decline of David Cronenberg
World Socialist Web Site wsws.org Eastern Promises and the continuing decline of David Cronenberg By Hiram Lee 16 October 2007 Eastern Promises, directed by David Cronenberg, diary and has uncovered some disturbing entries. screenplay by Steven Knight Semyon and his family, it turns out, are part of the Eastern Promises is the follow-up to veteran Russian mafia and the young girl—a teenager—who Canadian director David Cronenberg’s A History Of wrote the diary was held prisoner by them, exploited Violence. Both are films working in and around the and raped. gangster movie genre, unusual for a director best As the film progresses, a struggle between the mafia known for his horror and science fiction films, and both and Anna for possession of the diary will escalate, have made Cronenberg into something of a critical putting Anna and her own family in great danger. She darling. And, in some ways, it’s not hard to see why. will, however, find an unlikely ally in the mafia’s Cronenberg is, at least superficially, better than a great chauffeur and “undertaker,” Nikolai (Viggo many mainstream filmmakers in terms of his technique, Mortensen). his unpredictability and his ability to draw rich Apart from a few eccentric moments,Eastern performances from his actors. This speaks not only to Promises is a more or less conventional gangster his talents—and he is talented—but also to the prevailing movie. It has all the clichés one has come to expect of artistic weakness in Hollywood and so-called the genre. There is the reckless mobster who murders a “independent” cinema. -
Mutating Masculinity: Re-Visions of Gender and Violence in the Cinema of David Cronenberg
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2011 Mutating masculinity: re-visions of gender and violence in the cinema of David Cronenberg. Loren, Scott Abstract: Though the films of David Cronenberg might not always be concerned with gender froma social constructivist or performative perspective, I think one readily agrees with Linda Ruth Williams’ claim that “for Cronenberg, anatomy is anything but destiny”3. For decades, his characteristic mutations of gendered bodies have repeatedly accompanied the destabilization of fixed notions about gender. It seems that the most fixed notion of gender to be found in his work is that gender is mutable. Likethe physical boarders to bodies in his films, gender is repeatedly undone, constantly shifting, threatening to become something else. For Cronenberg, a perpetual undoing and rearticulation of gender raises the question of when a man becomes a man in a rather unconventional manner. His films initially encourage us to ask other questions, like: “When does a man become a walking, speaking anus?” (Naked Lunch); “when does a man become an insect?” (The Fly); “when does a man become a machine?” (Videodrome, The Fly, Crash, eXistenZ). Of course one would also have to ask: “When does a man become a woman?” (Crimes of the Future, M. Butterfly) “When is a man completely unable to enter manhood?” (Spider) “When is a man a monster?” and “Is a man ever ‘simply’ a man?” (most of his films). It seems that with the release of each new film, one must rearticulate inquiries into the staging of gender in Cronenberg’s work, which is precisely what I wish to do here. -
NOVEMBER 20, 2003 3 Season Hinges on Development Coach Hopes Veterans Will Give Leadership to Talented Freshmen
WSSMNMNUMBnvlflMRV IWMMMB,* 22807 ■ PU.II NOV202BB 13 ■ ftp 17 TNtKirasi MM RMk It IMS* MMH M WtWlH* »«• in an effort lo prove how much food is wasted at Students abandon their George Foreman Grills to set the IMU faces Northeastern University Saturday with IMU, Community Service-Learning provides a table for a new tradition — pre-Thanksgiving dinner with hopes of sending its seniors off with a win, while contin- study at D-hall to show the numbers. IMUfriends. uing its success for the future. James Madison University Today: Mostly sunny Hie>:S8 THE REEZE ** Low: 38 - Program places faculty in dorms Rain floods parking lot KRYA PAPAF1IV Professor living in Chesapeake Hall is first participant in project tewiir fih«t>triiphrr Heavy rain freshman dormitories. Wednesday BY KRISTY NICOLICH Life, situates faculty members in dor- mitories in an effort to make them Burkhart-Evans hopes to focus on caused water to senior writer more approachable and help them "helping freshman students in a real rise, In Cl Lot on This year, JMU has taken teacher- learn more about the students' lives. and concrete way by integrating liv- Grace Street, "The best way to get a true picture ing and learning," according to an flooding cart In student interaction a step beyond the the rear of the FMIR press release. classroom — into the dorm room. is to go where the students live," said parking lot. Since the tall semester began, Suad Cox, the program's first participant. The major goals of the program are Cox, a College of Business professor, "The FMIR is an adviser, mentor and a "to help freshmen transition, increase has been living on the first floor of friend to the students." faculty awareness of student concerns Chesapeake Hall. -
THE POLITICS of HYSTERIA in DAVID CRONENBERG's “THE BROOD” Kate Leigh Averett a Thesis Submitted to the Faculty of The
THE POLITICS OF HYSTERIA IN DAVID CRONENBERG’S “THE BROOD” Kate Leigh Averett A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master in Art History in the School of Arts and Sciences Chapel Hill 2017 Approved by: Carol Magee Cary Levine JJ Bauer © 2017 Kate Leigh Averett ALL RIGHTS RESERVED ii ABSTRACT Kate Leigh Averett: The Politics of Hysteria in David Cronenberg’s “The Brood” (Under the direction of Carol Magee) This thesis situates David Cronenberg’s 1979 film The Brood within the politics of family during the late 1970s by examining the role of monstrous birth as a form of hysteria. Specifically, I analyze Cronenberg’s monstrous Mother, Nola Carveth, within the role of the family in the 1970s, when the patriarchal, nuclear family is under question in American society. In his essay The American Nightmare: Horror in the 70s critic Robin Wood began a debate surrounding Cronenberg’s early films, namely accusing the director of reactionary misogyny and calling for a political critique of his and other horror director’s work. The debate which followed has sidestepped The Brood, disregarding it as a complication to his oeuvre due to its autobiographical basis. This film, however, offers an opportunity to apply Wood’s call for political criticism to portrayals of hysteria in contemporary visual culture; this thesis takes up this call and fills an important interpretive gap in the scholarship surrounding gender in Cronenberg’s early films. iii This thesis is dedicated to my family for believing in me, supporting me and not traumatizing me too much along the way. -
Volume 58, Number 07 (July 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1940 Volume 58, Number 07 (July 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 07 (July 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/259 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ) . — < @ — — — —— . — — — — — — repertoire suggests the use of Summer enlarging ofthe £F\ •viert — I HOE Recent Additions mmsd(s m at qj d n fi coj to the Catalog of FAMOUS SONGS PUBLISHED MONTHLY By Theodore presser Co., Philadelphia, pa. H. E. KREHBIEL, Editor editorial and ADVISORY staff Volume Editor Price, $1.50 Each Tor ALTO DR. JAMES FRANCIS COOKE, Ditson Co. Hipsher, Associate Editor Oliver For SOPRANO outstanding writers on musical Dr. Edward Ellsworth America's • Mode by one of Contents William M. Felton. Music Editor music critic of leading metropolitan Contents subjects, for years the Guy McCoy volumes of Famous bongs Verna Arvev Or. Nicholas Doury Elizabeth Ciest journals, this collection in the four Beethoven. Good Friend, for Hullah. Three Fishers RoyPeery Went Dr. S. Fry George C. Knck Dr. Rob Jensen.