DOCSLIB.ORG

½%Y ‰Žâïý Ä *Ñ ©

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
½%Y ‰Žâïý Ä *Ñ © 120776bk Dietrich2 9/7/04 8:08 PM Page 2 11. Ja, so bin ich 3:05 15. You Do Something to Me 2:57 (Robert Stolz–Walter Reisch) (Cole Porter) Also available from Naxos Nostalgia With Peter Kreuder conducting Wal-Berg’s With Victor Young’s Orchestra; in English Orchestra Decca 23139, mx DLA 1913-A Polydor 524182, mx 6470-1bkp Recorded 19 December 1939, Los Angeles Recorded c. July 1933, Paris 16. Falling in Love Again 2:55 12. Mein blondes Baby 3:14 (Friederich Holländer) (Peter Kreuder–Fritz Rotter) With Victor Young’s Orchestra; in English With Peter Kreuder, piano Decca 23141, mx DLA 1884-C Polydor 524181, mx 6471-4bkp Recorded 11 December 1939, Los Angeles Recorded c. July 1933, Paris 17. The Boys in the Back Room: Parody 13. Allein – in einer grossen Stadt 3:44 1:18 (Franz Wachsmann–Max Kolpe) (Friedrich Holländer–Frank Loesser) With Peter Kreuder conducting Wal-Berg’s With unknown piano; in English Orchestra Private pressing, mx VE 061492-1 8.120557* 8.120558 8.120601* Polydor 524181, mx 6476-3bkp Recorded 1941, Hollywood Recorded c. July 1933, Paris Transfers and Production: David Lennick 14. Wo ist der Mann? 3:08 (Peter Kreuder–Kurt Gerhardt) Digital Noise Reduction: Graham Newton With Peter Kreuder conducting Wal-Berg’s Original recordings from the collections of Orchestra David Lennick and Horst Weggler Polydor 524182, mx 6477 3/4bkp Original monochrome photo from Mary Evans Recorded c. July 1933, Paris Picture Library 8.120613* 8.120630* 8.120722 * Not Available in the U.S. NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120776 6 8.120776 120776bk Dietrich2 9/7/04 8:08 PM Page 1 English versions. The English translations quite the beginning of the decade. She reprised 1. Potpourri aus der Revue Es liegt in 5. This Evening, Children 2:37 MARLENE DIETRICH Vol.2 often tell a different story from the German Falling in Love Again and recorded some der Luft 8:25 from The Blue Angel ‘Naughty Lola’ originals: “Falling in Love Again”, in German, new songs and standards, the remainder of (Mischa Spoliansky–Marcellus Schiffer) (Friedrich Holländer–Robert Liebmann) was Ich bin von Kopf bis Fuss auf Liebe which can be heard on the previous Dietrich With Margo Lion, Oskar Karlweis, Otto With Friedrich Holländer und sein Jazz- Original 1928-1941 Recordings eingestellt (From Head to Toe, I’m Made for collection (Naxos Nostalgia 8.120557) along Wallberg, Ida Wüst, Käte Lenz & Hubert Symphoniker; in English Love). “Kinder, Heut Abend, da such ich mir with her other early records. There would be von Meyerinck with Mischa Spoliansky & Electrola test, mx BLR 6080 Glamour, mystery, discipline, control, perfection dozen silent films before bringing Emil Jannings was aus”, in its English version, was titled This more recordings in the 1940s, many of them His Revue Orchestra Recorded January 1930, Berlin -- what other words come to mind in associa- to his knees in the classic Blue Angel in 1929. Evening, Children, words which never once made specially for propaganda purposes, and a Electrola EH 146, mx CL 4214-2, 4215-2 6. Wenn ich mir was wünschen Dürfte tion with the great Dietrich? Legs, trousers, Director Josef von Sternberg immediately appeared in the translated lyric; a more revived career in night clubs and on records in Recorded January 1928, Berlin 1:55 allure, enigma, ennui. Director Billy Wilder brought her to the United States, where she accurate title would have been “I Gotta Get a the ’50s and ’60s, but this set concludes with 2. Wenn die beste Freundin 3:10 (Friedrich Holländer) called her “a strange combination of the femme was groomed for stardom and put to work in Man”. “Blonde Women”and Naughty Lola one of her rarest items: a parody of the song From Es Liegt In Der Luft With Friedrich Holländer, piano fatale, the German Hausfrau and Florence Morocco and Dishonored. The Blue Angel was were closer to their German originals. she immortalized in Destry Rides Again, The (Mischa Spoliansky–Marcellus Schiffer) Electrola EG 2265, mx BLR 6130-2 Nightingale”. released in between the two American At this time, Dietrich began recording the Boys In The Back Room. Not listed in With Margo Lion & Oskar Karlweis; Recorded February 1930, Berlin Maria Magdalene Dietrich was born productions, and all three appeared between type of material that would form her cabaret discographies, virtually unknown among Mischa Spoliansky, piano 7. Peter 3:17 27 December 1901 in Schöneberg, near Berlin, November 1930 and March 1931. Von act in the ’50s and ’60s, beginning with Wenn collectors, the disc was probably intended as a Electrola EG 892, mx BL 4231-1 (Rudolf Nelson–Friedrich Holländer) and died 6 May 1992 in Paris. Some sources Sternberg would direct Marlene Dietrich in ich mir was wünschen Dürfte (If I Could souvenir for the company of The Lady is Recorded June 1928, Berlin With Peter Kreuder’s Orchestra give a birthdate of 1902 or 1904 and give her four more films: Shanghai Express, Blonde Wish Something) in 1930. In 1931 she Willing, a 1941 film produced and directed by 3. Naughty Lola 2:34 Ultraphon A 887, mx 16310 surname as “von Losch”, but this was the name Venus, The Scarlet Empress and The Devil Is a recorded Peter and Jonny, the latter reprised Mitchell Leisen. Only a few copies were from The Blue Angel Recorded c. April 1931, Berlin of her stepfather, and “Marlene”was simply a Woman, with Rouben Mamoulian’s Song of in the 1933 film Song of Songs. Two quite pressed, and a typed, pasted label reads only (Friedrich Holländer) 8. Jonny (Take 1) 3:05 contraction of Maria Magdalene. Her father Songs sandwiched in between. Other film different versions of Jonny were recorded at “Unpublished : Parody : Marlene Dietrich”. With Friedrich Holländer und sein Jazz- (Friedrich Holländer) was a military officer who died when Maria classics included Desire, The Garden of Allah the same sessions; both were issued on 78 and Off screen, Marlene Dietrich was a lover, a Symphoniker; in English With Peter Kreuder’s Orchestra was quite young. “I am a Prussian,”Dietrich and Destry Rides Again. Dietrich’s films in the both are included here. Friedrich Holländer led mother, and eventually “the world’s most Victor 22593, mx BLR 6079-2 Ultraphon A 887, mx 16311 once said. Discipline was everything in a 1940s were less memorable; those in the ’50s the accompaniment on her 1930 recordings, glamorous grandmother”. Her wartime efforts Recorded January 1930, Berlin Recorded c. April 1931, Berlin Prussian household; the same discipline that and ’60s are hardly worth mentioning, except and Peter Kreuder took over the task in 1931 brought her the Medal of Freedom and the 4. Ich bin von Kopf bis Fuss auf Liebe 9. Jonny (Take 2) 2:57 enabled young Maria to study the violin, or to Witness For The Prosecution and Judgment at and again in 1933 when she recorded a Legion of Honour, and her performing range eingestellt 3:00 submit to the endless rigours of working in Nuremberg. But by this time, Marlene Dietrich number of sides for Polydor in Paris. These even extended to being part of Orson Welles’ (Friedrich Holländer) From The Blue Angel With Peter Kreuder’s Orchestra films without a word of complaint. was a stage legend, more glamorous than ever. included the jazzy Wo ist der Mann and the magic act. And as this CD is going into (Friedrich Holländer) Marlene actually played the violin As a recording artist, Marlene Dietrich first dramatic Allein – in einer grossen Stadt production, the Dietrich legend is about to Telefunken A 887, mx 16311-2 With Friedrich Holländer und sein Jazz- Recorded c. April 1931, Berlin professionally for a few years, mostly in theatre performed as part of the cast of a 1928 Berlin (Alone in a Big Town). Hot Voodoo was the appear on film screens once again, this time in Symphoniker orchestras and in the small ensembles that revue, It’s In The Air, and her voice is recog- feature number in the 1932 film Blonde Venus, a biographical picture with Gwyneth Paltrow Electrola EG 1770, mx BLR 6129-2 10. Hot Voodoo 3:23 provided mood music for silent films. The next nizable in the ensembles and brief solos on the with Dietrich strip-teasing her way out of a as Maria Magdalene. From Head to Toe, made Recorded February 1930, Berlin From Blonde Venus step was to acting companies such as Max two-sided medley that begins this compilation. gorilla suit. for love. (Sam Coslow–Leo Robin) Reinhart’s, followed by work on screen in the Her first solos were of the songs from The Blue By the time of her 1939 recordings, the With studio orchestra; in English movies themselves. She made more than a Angel, recorded in separate German and Dietrich voice was pitched much lower than at -- David Lennick, 2004 Private pressing, 1932; Hollywood 2 8.120776 3 8.120776 4 8.120776 120776bk Dietrich2 9/7/04 8:08 PM Page 1 English versions. The English translations quite the beginning of the decade. She reprised 1. Potpourri aus der Revue Es liegt in 5. This Evening, Children 2:37 MARLENE DIETRICH Vol.2 often tell a different story from the German Falling in Love Again and recorded some der Luft 8:25 from The Blue Angel ‘Naughty Lola’ originals: “Falling in Love Again”, in German, new songs and standards, the remainder of (Mischa Spoliansky–Marcellus Schiffer) (Friedrich Holländer–Robert Liebmann) was Ich bin von Kopf bis Fuss auf Liebe which can be heard on the previous Dietrich With Margo Lion, Oskar Karlweis, Otto With Friedrich Holländer und sein Jazz- Original 1928-1941 Recordings eingestellt (From Head to Toe, I’m Made for collection (Naxos Nostalgia 8.120557) along Wallberg, Ida Wüst, Käte Lenz & Hubert Symphoniker; in English Love).
Load more

Recommended publications
  • Volker Hartung • Cologne Swing • JPK 00 52 16 CAMERA
    If watching a motion picture, few of us are consciously One thing is certain: Hollywood's production would aware of the important role of the music soundtrack ac- have had a very different tone. The loss for German and companying the storyline. Austrian cinema was immense. What than happened to If the composer and the music director have done a German Film Art during the Third Reich? good job, music is blending in with the other elements There were still many good musicians left in Germany of the film. However, if the film music were missing, we after the exodus of their Jewish colleagues, who had left would notice this after a while. How many of todays film to the United States via Paris, London and Lissabon. buffs have ever heard of Bernard Herrmann or Max Stei- Few of them were actually interested in politics at all ner, or knowing something about their work? What a and they contributed some wonderful music to the Ger- poor impression would the screening of ‘Gone With the man film industry right until the end of the Second Wind’ from 1939 make without Max Steiner's wonderful World War- a fact which is neglected in Germany and music score and 'Tara's Theme'! What would 'The Stu- not very well known outside the country. Composers dent of Prague' (1925) or 'Bel Ami' (1940) have been like Franz Doelle, Friedrich Schröder, Leo Leux, Georg without the fascinating musical direction of Theo Mak- Hentschel, Peter Kreuder, and Fred Raymond were great keben? talents, well trained in German musical tradition and In recent years more attention has been paid to the education and they wrote equally great music for many great-but-little-known film music composers whose films produced in Babelsberg at the time.
    [Show full text]
  • Download the Berlin Program
    BERLIN The Last NIGHT. THE LAST Cabaret. PRESENTED WITH: VO-Barber COV TLC program half page ad FINAL.indd 1 2019-11-28 8:18 AM The Theatre of Music Alan Corbishley: Artistic Director COMING UP: SEPT/OCT 2020 Music of the Night: The Concert Tour a continued celebration of Andrew Lloyd Webber’s 70th Birthday, touring BC and Alberta. 2021 Canadian Premiere of the 2017 Pulitzer Prize Opera, Angel’s Bone: A contemporary fable that examines the dark motivations and effects of modern day slavery and human trafficking. In partnership with Generously supported by www.soundthealarm.ca CITY OPERA VANCOUVER SOUND THE ALARM: MUSIC/THEATRE THE PUSH INTERNATIONAL PERFORMING ARTS FESTIVAL PRESENT BERLIN THE LAST CABARET A new work devised by Alan Corbishley, Joanna Garfinkel, and Roger Parton Running Time: 90:00. No intermission. Haze and lighting effects. There will be a talk-back immediately following the performances on January 23, 24 and 25, 2020. STARRING Meaghan Chenosky • Daniel Deorksen • Alen Dominguez Brent Hirose • Julia Munčs Alan Corbishley • Stage Director Roger Parton • Music Director, Vocal Coach and Arranger Joanna Garfinkel • Dramaturg John Webber • Set and Lighting Design Christopher David Gauthier • Costume Design Tara Cheyenne Friedenberg • Movement and Choreography Jayson McLean • Production Manager Melanie Thompson • Stage Manager Kattia Woloshyniuk • Ticket Manager Sara Bailey • Graphic and Programme Design Luthor Bonk • Programme Editor Michelle Koebke / Diamond’s Edge • Production Photography Chris Randle • Videographer Murray Paterson Marketing Group • Marketing Trudy Chalmers • General Manager Charles Barber • Artistic Director This production is being given on the traditional territories of the Coast Salish peoples of the Xʷməθkwəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Səl̓ílwətaʔ (Tsleil-Waututh) Nations.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • NJDARM: Collection Guide
    NJDARM: Collection Guide - NEW JERSEY STATE ARCHIVES COLLECTION GUIDE Record Group: Governor Franklin Murphy (1846-1920; served 1902-1905) Series: Correspondence, 1902-1905 Accession #: 1989.009, Unknown Series #: S3400001 Guide Date: 1987 (JK) Volume: 6 c.f. [12 boxes] Box 1 | Box 2 | Box 3 | Box 4 | Box 5 | Box 6 | Box 7 | Box 8 | Box 9 | Box 10 | Box 11 | Box 12 Contents Explanatory Note: All correspondence is either to or from the Governor's office unless otherwise stated. Box 1 1. Elections, 1901-1903. 2. Primary election reform, 1902-1903. 3. Requests for interviews, 1902-1904 (2 files). 4. Taxation, 1902-1904. 5. Miscellaneous bills before State Legislature and U.S. Congress, 1902 (2 files). 6. Letters of congratulation, 1902. 7. Acknowledgements to letters recommending government appointees, 1902. 8. Fish and game, 1902-1904 (3 files). 9. Tuberculosis Sanatorium Commission, 1902-1904. 10. Invitations to various functions, April - July 1904. 11. Requests for Governor's autograph and photograph, 1902-1904. 12. Princeton Battle Monument, 1902-1904. 13. Forestry, 1901-1905. 14. Estate of Imlay Clark(e), 1902. 15. Correspondence re: railroad passes & telegraph stamps, 1902-1903. 16. Delinquent Corporations, 1901-1905 (2 files). 17. Robert H. McCarter, Attorney General, 1903-1904. 18. New Jersey Reformatories, 1902-1904 (6 files). Box 2 19. Reappointment of Minister Powell to Haiti, 1901-1902. 20. Corporations and charters, 1902-1904. 21. Miscellaneous complaint letters, December 1901-1902. file:///M|/highpoint/webdocs/state/darm/darm2011/guides/guides%20for%20pdf/s3400001.html[5/16/2011 9:33:48 AM] NJDARM: Collection Guide - 22. Joshua E.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Trude Hesterberg She Opened Her Own Cabaret, the Wilde Bühne, in 1921
    Hesterberg, Trude Trude Hesterberg she opened her own cabaret, the Wilde Bühne, in 1921. She was also involved in a number of film productions in * 2 May 1892 in Berlin, Deutschland Berlin. She performed in longer guest engagements in Co- † 31 August 1967 in München, Deutschland logne (Metropol-Theater 1913), alongside Massary at the Künstlertheater in Munich and in Switzerland in 1923. Actress, cabaret director, soubrette, diseuse, operetta After the Second World War she worked in Munich as singer, chanson singer theater and film actress, including as Mrs. Peachum in the production of The Threepenny Opera in the Munich „Kleinkunst ist subtile Miniaturarbeit. Da wirkt entwe- chamber plays. der alles oder nichts. Und dennoch ist sie die unberechen- Biography barste und schwerste aller Künste. Die genaue Wirkung eines Chansons ist nicht und unter gar keinen Umstän- Trude Hesterberg was born on 2 May, 1892 in Berlin den vorauszusagen, sie hängt ganz und gar vom Publi- “way out in the sticks” in Oranienburg (Hesterberg. p. 5). kum ab.“ (Hesterberg. Was ich noch sagen wollte…, S. That same year, two events occurred in Berlin that would 113) prove of decisive significance for the life of Getrude Joh- anna Dorothea Helen Hesterberg, as she was christened. „Cabaret is subtle work in miniature. Either everything Firstly, on on 20 August, Max Skladonowsky filmed his works or nothing does. And it is nonetheless the most un- brother Emil doing gymnastics on the roof of Schönhau- predictable and difficult of the arts. The precise effect of ser Allee 148 using a Bioscop camera, his first film record- a chanson is not foreseeable under any circumstances; it ing.
    [Show full text]
  • Annual Report of the Colonies, Gold Coast, 1901
    COLONIAL REPORTS—ANNUAL. No. 375. GOLD COAST. REPORT FOR 19 01, » (For Report for 1900, see No. 344.) $xt*tnitb to both $0*10** of parliament bfi (Eommanb of $ie Jtta)e*tg. December, 1902. LONDON: PRINTED FOB HIS MAJESTY'S STATIONERY OFFICE, BY DARLING k SON, LTD., 84-40, BAOOH STBBBT, E. And to be purchased, either directly or through any Bookseller, from EYRE k SPOTTISWOODE, EAST HABDIV» STOUT, FLBBT STRUT, XLO and 32, ABINGDON STREET, WXSTXIHSTKB, S.W.J or OLIVER k BOYD, EDIKBUBOH; or E. PONSONBY, 116, GBAFTOH STBOT, DUBLIH. 1902. [Cd. 788-46] Price %\d. COLONIAL REPORTS, The following, among oilier, reports rotottig t* His y1* Colonial Possesions hare bom lamed, and wmj be from the sources indicated on the title page ANNUAL, No. Colony, Tear. 351 Jamaica ... •»• »•» ••• . »t • •• • •» 1900-1901 352 Cocos Islands ... *•* ».. • •• • •* • •• 1901 353 Southern Nigeria *. • ... • t • ... ... 1900 354 Bermuda ••• ••• • •• • •• »»• 1901 355 Gambia »•• ••• • •• ••• »•• it 356 Falkland Islands ••• ••• i, ••• •** 357 Northern Territories of the Gold Coast • •• • •• »> 358 Malta ••• ... • •• • •• n 359 Gibraltar ••• It* • • * • •• n 360 Straits Settlements ••• ... • •• • •• ti 361 Sierra Leone ••• *!>• ... .. • •• 362 British Honduras ... >•• ... • • • ... »» 363 Turks and Caicos Islands - • ... • • • ti 364 Seychelles ... ».» • •• • •• • • • „ v 365 Bahamas... ... ... »•• ••* • •• • * • 1901-1902 366 Fiji . * • • •• ... *. * • *• 1901 367 Ceylon .«• • » » • •• ... ... 368 Barbados ... • •• • •• • • * ... 1901-1902 369 Hong Kong ••• • •• ..
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • In Boxer China: an Experiment with International Justice at Paoting-Fu
    ACCOUNTABILITY FOR “CRIMES AGAINST THE LAWS OF HUMANITY” IN BOXER CHINA: AN EXPERIMENT WITH INTERNATIONAL JUSTICE AT PAOTING-FU BENJAMIN E. BROCKMAN-HAWE* * Benjamin E. Brockman-Hawe received his J.D. from Boston University (2008), where he graduated with honors in the concentration of international law, and his L.L.M. from Columbia University (2016). This paper was originally pre- pared for presentation at the European Society of International Law’s Tenth An- niversary Conference at Vienna, September 2014. I would like to thank Lilie Schoenack and Alice Lam for their encouragement, support and assistance in seeing this work brought to completion. I am also grateful to have been assisted by Ruiken Sun and Karl-Heinz Mertins, whose gen- erous, careful and skillful translations of Chinese and German sources was in- strumental to the completion of this project. I was also fortunate to have benefited from the insights, guidance and assistance of R. John Pritchard and Jon Bush, two of international law’s greats! Throughout this paper I refer to places and people using the spellings em- ployed by those who lived through the Boxer Rebellion in lieu of the preferred contemporary spellings. Thus, for example, the cities today identified as Baoding and Beijing I identify as Paoting-Fu and Peking. Where there was a great deal of variation for the spelling of names, I have elected to use a spelling most common to those who wrote of the events at issue (i.e., Paoting-Fu for Pao-Ting-Fu, Pao- tingfu, Pautingfu, etc.), except where the name is part of a quotation, in which case the original spelling has been preserved.
    [Show full text]
  • Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
    Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
    [Show full text]
  • Stardom: Industry of Desire 1
    STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]