Vertigo. Revista De Cine (Ateneo Da Coruña)
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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
JOURNAL the Association of Jewish Refugees
VOLUME 17 NO.7 JULY 2017 JOURNAL The Association of Jewish Refugees Hitler’s ROOTS AND ALL Family roots are very much at the heart of this month’s journal, with Channel Islands several stories about AJR members, trustees and staff commemorating and in some cases discovering their lost ancestors. Fans of arts and culture will enjoy a fascinating article about the huge contribution that Jewish immigrants made to Hollywood, as well as reviews of recent productions at the Southbank Centre and JW3, in addition to our usual book reviews and Art Notes. We also have a report and some lovely photos from the AJR’s recent summer trip to Liverpool, complementing our regular round up of regional meetings and events. We hope you enjoy reading this issue. Actor and author John Nettles stands next to a German occupation observation tower in Les Landes, Jersey. News ........................................................3, 20 Photo: UKTV Family lost and found ....................................4 Letter from Israel ............................................5 During World War II, the infant AJR, founded in 1941, could only Letters to the Editor ................................... 6-7 communicate with its members through irregularly appearing Art Notes .......................................................8 circulars. One subject about which these circulars sought to inform At Your Service ...............................................9 Reviews ........................................................10 anxious refugee readers was the fate of family -
Walter Benjamin Conference Benjamin's Beginnings
Walter Benjamin Conference Benjamin’s Beginnings Content About the Conference 2 Program Committee and Chair Persons 4 Welcome Address 11 Conference Venues 12 Program (schedule) 14 Wednesday, June 26 16 Thursday, June 27 Morning 20 Early Afternoon 32 Late Afternoon 43 Friday, June 28 Morning 55 Afternoon 67 Saturday, June 29 79 List of Participants 89 About the Conference Walter Benjamin obtained his doctoral degree on June 27 in 1919 at the University of Bern. Precisely 100 years later, this serves as an occasion to host the bi-annual conference organized by the International Walter Benjamin Society (IWBS) in Bern, and to look at these beginnings. Six thematically-based panels show how Benja- min’s thinking is connected to almost all subjects within the humanities, and therefore, requires an inter- and transdisciplinary approach. In addition, a reading session also aims to promote a lively discussion of two of Benjamin’s texts. The International Walter Benjamin Conference (IWBC2019) – Bejamin’s Beginnings takes place between June 26 and 29 of 2019 at the Universität Bern, Switzerland. Conference languages are German, English, and French. It is organized by the International Walter Benjamin Society, the Walter Benjamin Kolleg, and the Robert Walser-Zentrum. International Walter Benjamin Society The organizing committee received 94 applications from 19 countries. Via an anonymous selection process, 67 abstracts from 15 countries were accepted: Argentina, Austria, Belgium, Brazil, Canada, Germany, Great Britain, Italy, Mexico, Poland, Sharjah -
Deutsches Musicalarchiv: Sammlung Klaus Baberg, SMA 0002 Stand: 19.09.2017
Albert-Ludwigs-Universität Freiburg, Zentrum für Populäre Kultur und Musik Titelblat Deutsches Musicalarchiv: Sammlung Klaus Baberg, SMA 0002 Stand: 19.09.2017 Deutsches Musicalarchiv: Sammlung Klaus Baberg SMA 0002 Umfang: 5 kleine, 7 große Archivboxen; eine Archivbox in Übergröße; ca. 15 Regalmeter mit Programmheften, Leitz-Ordnern und Einzelmappen; ca. 8 Regalmeter mit Tonträgern. Inhalt: Material zu Musicalaufführungen, v. a. deutschsprachige, der 1970er- bis 2010er Jahre: gut 1000 Programmhefte, Werbeflyer und Presseberichte, 1117 Plakate, rund 200 Fachbücher, Musik- und Filmaufnahmen (362 CDs, 13 DVDs, 26 + 89 Tonkasseten, 32 Videokasseten, 409 Langspielplaten, 23 Singles), Texthefte, Fotos, PR-Material, einzelne Fachzeitschriften. Herkunft: Klaus Baberg hate seine ersten Berührungen mit dem Musical durch die Opereten- und Musical- Fernsehfilme in den 1960er Jahren. Seit 1979 sammelte er intensiv Programmhefte und Programme von Musicals. Verschiedene Exponate aus seiner Sammlung waren auf Ausstellungen zu sehen. Klaus Baberg ist Vorstandsmitglied im 2011 gegründeten Förderverein des Deutschen Musicalarchivs „Freunde und Förderer des Deutschen Musicalarchivs e.V.“ Baberg ist seit 1980 bei der Sparkasse Iserlohn beschäftigt. Hinweis: Der größte Teil der Bestände ist in diesem Dokument erschlossen. Die Bücher und das Notenmaterial der Sammlung sind im Bibliothekskatalog des ZPKM nachgewiesen (Recherche: Eingabe "abl: sbab" in den Suchschlitz). Die Musicalplakate der Sammlung Baberg wurden separiert und werden mit anderen Graphiken aufbewart. -
Home Advice, Gossip, and Professional Resignation: the Female Journalists in the Films of Billy Wilder
Asian Women March 2016, Vol. 32, No. 1, pp. 111-128 Home Advice, Gossip, and Professional Resignation: The Female Journalists in the Films of Billy Wilder Simón Peña-Fernández University of the Basque Country, Spain Abstract The cinematic image of journalism has traditionally relegated the role of women to the background. The same occurs in Billy Wilder films, whose powerful portrayal of the profession in Ace in the Hole (1951) and The Front Page (1974) was cemented in his previous career as a reporter for tabloids in Vienna and Berlin in the twenties. Among the numerous journalists that appear in the twenty-six films he wrote and directed, only one in ten are women, and they are also relegated to the stereotypical patterns of representation of the early twentieth century. But unlike many other directors who worked as journalists before entering the world of motion pictures and who subsequently contributed to the construction of the film stereotype of the profession, Wilder could boast about something that was hardly within reach of his peers, since he had impersonated a female journalist who offered advice in the Berlin tabloid Tempo. This paper analyzes the female journalist characters in the twenty-six films written and directed by Billy Wilder, among the 240 workers in the mass media who appear in those films. The results show that Wilder relied on a highly stereotyped portrait of the profession, with only three female characters with enough of their own identity to stand out as individuals, and that Wilder’s portrait ties in with a primitive view of the profession in which women are only one out of ten media workers and only suited to write gossip columns and offer home advice. -
Lucia Moholy's Bauhaus Negatives and The
I would like to acknowledge the collaboration with Jeffrey Saletnik on the initial research of this essay’s subject matter, beginning in 2008 for the conference ‘Bauhaus Palimpsest: The Object of Discourse’ held at Harvard University Art Museums (14–15 March 2008) and published subsequently in the Images in Exile: Lucia Moholy’s ‘Introduction’ of Bauhaus Construct: Fashioning Identity, Discourse, and Modernism Bauhaus Negatives and the London: Routledge 2009. For invaluable assistance with the later research, I would especially like to thank Sabine Hartmann and Construction of the Bauhaus Legacy Wencke Clausnitzer-Paschold at the Bauhaus- Archiv, Berlin, and Laura Muir at the Busch- Reisinger Museum, Harvard University, all of whom responded to multiple queries Robin Schuldenfrei concerning their collection’s objects and documents and gave generously of both their time and expertise. I would like to express gratitude to the Institute of Art and Visual History at the Humboldt University, Berlin, for its support. This essay has also benefitted This article argues that photographs of the Bauhaus – its architecture and design from the assistance and thoughtful objects – taken by Lucia Moholy played a key role in establishing the school during suggestions of John Ackerman, Michael the short period of its existence, but that they took on heightened significance in Berkowitz, Kerstin Flasche, Louis Kaplan, exile, during the post-war period in which the Bauhaus’s legacy was solidified. As Elizabeth Otto, Rolf Sachsse, Pepper Stetler Bauhaus members fled Germany in the 1930s, what they were able to take with them and the audience members at the conference formed a disproportionate part of their oeuvre thereafter; what was no longer extant ‘Entfernt. -
The Austrian Imperial-Royal Army
Enrico Acerbi The Austrian Imperial-Royal Army 1805-1809 Placed on the Napoleon Series: February-September 2010 Oberoesterreicher Regimente: IR 3 - IR 4 - IR 14 - IR 45 - IR 49 - IR 59 - Garnison - Inner Oesterreicher Regiment IR 43 Inner Oersterreicher Regiment IR 13 - IR 16 - IR 26 - IR 27 - IR 43 Mahren un Schlesische Regiment IR 1 - IR 7 - IR 8 - IR 10 Mahren und Schlesischge Regiment IR 12 - IR 15 - IR 20 - IR 22 Mahren und Schlesische Regiment IR 29 - IR 40 - IR 56 - IR 57 Galician Regiments IR 9 - IR 23 - IR 24 - IR 30 Galician Regiments IR 38 - IR 41 - IR 44 - IR 46 Galician Regiments IR 50 - IR 55 - IR 58 - IR 63 Bohmisches IR 11 - IR 54 - IR 21 - IR 28 Bohmisches IR 17 - IR 18 - IR 36 - IR 42 Bohmisches IR 35 - IR 25 - IR 47 Austrian Cavalry - Cuirassiers in 1809 Dragoner - Chevauxlégers 1809 K.K. Stabs-Dragoner abteilungen, 1-5 DR, 1-6 Chevauxlégers Vienna Buergerkorps The Austrian Imperial-Royal Army (Kaiserliche-Königliche Heer) 1805 – 1809: Introduction By Enrico Acerbi The following table explains why the year 1809 (Anno Neun in Austria) was chosen in order to present one of the most powerful armies of the Napoleonic Era. In that disgraceful year (for Austria) the Habsburg Empire launched a campaign with the greatest military contingent, of about 630.000 men. This powerful army, however, was stopped by one of the more brilliant and hazardous campaign of Napoléon, was battered and weakened till the following years. Year Emperor Event Contingent (men) 1650 Thirty Years War 150000 1673 60000 Leopold I 1690 97000 1706 Joseph -
Femme Fatale
the cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir Petra Désirée Nolan Submitted in Total Fulfilment of the Requirements of the Degree of Doctor of Philosophy April 2004 The School of Art History, Cinema, Classics and Archaeology The University of Melbourne Abstract The hardboiled hero is recognised as a central trope in the film noir cycle, and particularly in the ‘classic’ noir texts produced in Hollywood in the 1940s. Like the films themselves, this protagonist has largely been understood as an allegorical embodiment of a bleak post-World War Two mood of anxiety and disillusionment. Theorists have consistently attributed his pessimism, alienation, paranoia and fatalism to the concurrent American cultural climate. With its themes of murder, illicit desire, betrayal, obsession and moral dissolution, the noir canon also proves conducive to psychoanalytic interpretation. By oedipalising the noir hero and the cinematic text in which he is embedded, this approach at best has produced exemplary noir criticism, but at worst a tendency to universalise his trajectory. This thesis proposes a complementary and newly historicised critical paradigm with which to interpret the noir hero. Such an exegesis encompasses a number of social, aesthetic, demographic and political forces reaching back to the nineteenth century. This will reveal the centrality of modernity in shaping the noir hero’s ontology. The noir hero will also be connected to the flâneur, a figure who embodied the changes of modernity and who emerged in the mid-nineteenth century as both an historical entity and a critical metaphor for the new subject. As a rehistoricised approach will reveal, this nineteenth century—or classic—flâneur provides a potent template for the noir hero. -
INFORMATION ISSUED by the ASSOCIATION of JEWISH REFUGEES in GREAT BRITAIN 8 FAIRFAX MANSIONS, Office and Consulting Hours: RNCHLEY ROAD (Corner Fairfax Road)
Vol. XIV No. 12 December, 1959 INFORMATION ISSUED BY THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN 8 FAIRFAX MANSIONS, Office and Consulting Hours: RNCHLEY ROAD (Corner Fairfax Road). Monday to Thursday 10 a-m.— t p.m. 3- LONDON. N.WJ Friday 10 a-m.— I p.m. Telephone: MAIda Vale 90947 (General Office) MAIda Vale 4449 (Employment Afency and Social Services Dept.) auslaendischen Waehrung, so soil die Kauf FORDERUNGEN DES kraft angemessen beruecksichtigt werden. Der U.S. Dollar ist nach dem amtlichen Devisen kurs DM. 4,20 gleichzusetzen. Im Anschluss COUNCIL OF JEWS FROM GERMANY an Berechnungen des Statistischen Bundesamts in Wiesbaden wird in der Praxis der Laender Ruecksprachen mit Wiedergutmachungsbehoerden haeufig ein U.S. Dollar etwa DM. 3 gleich- kommen fuer die Zeit entfalle, in der der Ver gesetzt. Ein Einkommen von 4,000 Dollar Waehrend die Regelurcg der rueckerstat- wuerde nach dieser Berechnung bereits in vielen tungsrechtlichen Geldverbindlichkeiten des folgte, wenn er in Deutschland geblieben waere, zum Heeresdienst eingezogen worden waere. Faellen zu dem Ergebnis fuehren, dass eine Deutschen Reichs auf Grund des Bundes- Verfolgter eine ausreichende Lebensgrundlage rueckersstattungsgesetzes (BRueG) Sache des Mehrere Laender haben auf Grund von Empfehlungen eines Unterausschusses der erreicht hat. Nach der uebereinstimmenden Bundes ist, richten sich die Entschaedigungs- Auffassung aller Verfolgtenverbaende entspricht ansprueche nach dem Bundesentschaedigungs- obersten Wiedergutmachungsbehoerden Rund- erlasse zur Anwendung -
Cpo 777 797–2 Booklet.Indd 3 25.06.2013 11:59:28 Orchester Wiener Akademie (Auf Originalinstrumenten Des 19
Franz Liszt (1811–1886) Hungarian Rhapsodies 1–6 Rhapsodies for large orchesta, arr. by the composer & Franz Doppler 1 Hungarian Rhapsody No. 1 in F minor [S,359 No. 1] 12'08 2 Hungarian Rhapsody No. 2 in D minor [S,359 No. 2] 11'01 3 Hungarian Rhapsody No. 3 in D flat major 9'18 [S,359 No. 3] 4 Hungarian Rhapsody No. 4 in D minor [S,359 No. 4] 13'23 5 Hungarian Rhapsody No. 5 in E minor [S,359 No. 5] 10'32 6 Hungarian Rhapsody No. 6 in D major 14'00 »Pester Carneval« [S,359 No. 6] T.T.: 70'24 Orchester Wiener Akademie Martin Haselböck, Dirigent/Conductor cpo 777 797–2 Booklet.indd 3 25.06.2013 11:59:28 Orchester Wiener Akademie (auf Originalinstrumenten des 19. Jahrhunderts / On authentic 19th century instruments) Violine solo / Violin solo: Ilia Korol Flöte solo / Flute solo: Verena Fischer Dirigent / Conductor: Martin Haselböck Aufgenommen / Recorded: 21. und 23. Oktober 2012. Live Recording, Liszt Festival Raiding Flöte / Flute Marie-Celine Labbé (Piccolo): E. J. Albert, Brüssel um 1895 / E. J. Albert, Brussels, ca. 1895 Verena Fischer: Emil Rittershausen, Berlin um 1900 / Emil Rittershausen, Berlin, ca. 1900 Charles Brink: Rudall, Carte & Co., London 1880 / Rudall, Carte & Co., London, 1880 Oboe / Oboe Emma Black: Wiener Oboe von Karl Radovanovic, 2004 / Viennese oboe by Karl Radovanovic, 2004 Peter Wuttke: Julius Schetelig, Berlin um 1875 / Julius Schetelig, Berlin, ca. 1875 Klarinette / Clarinet Peter Rabl: Klarinetten in A, B und C: Kopien von Rudolf Tutz nach Georg Ottensteiner 1860 / Clarinets in A, B flat and C: Rudolf Tutz replicas after Georg Ottensteiner, 1860 Christian Koell: B-Klarinette Georg Ottensteiner, um 1860; A-Klarinette: Kopie von Rudolf Tutz nach Georg Ottensteiner / B flat clarinet Georg Ottensteiner, ca. -
Klimt and the Ringstrasse a Showcase of Grandeur
KLIMT AND THE RINGSTRASSE A SHOWCASE OF GRANDEUR Lower Belvedere 3 July to 11 October 2015 Gustav Klimt Music (study), 1895 Oil on canvas 37 x 44.5 cm © bpk / Bayerische Staatsgemäldesammlungen KLIMT AND THE RINGSTRASSE A SHOWCASE OF GRANDEUR The development considered a tour de force of urban planning. In the wake of the booming Gründerzeit years of the nineteenth century, a multitude of palaces and magnificent public buildings Emperor Francis Joseph officially inaugurated the Ringstraße. On the occasion of its anniversary, the Belvedere dedicates the exhibition Klimt and the Ringstraße, which runs from 3 July to 11 October 2015, to the charismatic Ringstraße painters, who had a great impact on their time. The show spans from the oeuvre of Hans Makart, nicknamed the Klimt, the so- Künstler-Compagnie . The show is intended to convey the splendid lifestyle of the Ringstraße era. In addition to a number of sensual and narrative masterpieces, the exhibition also includes little-known works by the young Klimt. Ringstraße ensembles forms an essential part of the historic centre of Vienna, now a World Cultural Heritage site. being the sole hub of the Danube Monarchy and simultaneously identified the latter as one of the great political powers on the European continent. Building activities started in the 1860s and were only about to be completed when World War I broke out in 1914. With the Ringstraße, Vienna also presented itself as a new and dynamic centre of business and commerce. Ringstraße is still synonymous with the splendour of the Gründerzeit, the nineteenth The Ringstraße had thus become an indicator of social repute and a manifestation of the monar Prefect Georges-Eugène Haussmann, a new and representative centre was developed that was Agnes Husslein-Arco, Director of the Belvedere, points out. -
Billy Wilder (1906-2002)
Billy Wilder (1906-2002) “People copy, people steal. Most of the pictures they make nowadays are loaded down with special effects. I couldn't do that. I quit smoking because I couldn't reload my Zippo..” — Billy Wilder, quoted in The New York Times An Austrian Legend He was born Samuel Wilder on June 22, 1906 in a remote corner of a remote province of the Austro-Hungarian Empire (now part of Poland). He died at his home in Beverly Hills, California on March 27, 2002. In the intervening 95 years, an impressive life story unfolded, a life that was to have a lasting impact on Hollywood and world cinema. Wilder's mother nicknamed her young son “Billie” because she had seen the Buffalo Bill Wild West show as a teenager. By the time Billie was four years old (the “Billy” spelling came after Wilder was in the U.S.), the family had a fine home in Vienna's toney First District, living both there and in Kraców until the First World War tore the old Empire apart and created hard times for the Wilders and all Austrians. The recent Broadway and London musical productions of Sunset Boulevard, based on Billy Wilder's 1950 movie of the same name, and the 1995 remake of Sabrina, Wilder's 1954 romantic tale featuring Audrey Hepburn, Humphrey Bogart, and William Holden, are good illustrations of how director Billy Wilder's films tend to endure, much like the man himself. Wilder was still active in his nineties, even if he was no longer directing award-winning movies.