Poetics of Anger in John Osborne's Look Back in Anger and Femi Osofisan's the Chattering and the Song
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Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Heck, Kalling, "Film After Authority: the Transition to Democracy and the End of Politics" (2017). Theses and Dissertations. 1484. https://dc.uwm.edu/etd/1484 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck A Dissertation SubmitteD in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Patrice Petro A comparison of films maDe after the transition from authoritarianism or totalitarianism to Democracy, this Dissertation aDDresses the ways that cinema can Digest anD extenD moments of political transition. By comparing films from four Different nations—the Italian Germany Year Zero, Hungarian Sátántangó, South Korean Woman on the Beach, anD American Medium Cool—in relation to iDeas Drawn from critical anD political theory, this project examines how anD why these wilDly Diverse films turn to ambiguity as their primary means to Disrupt the ravages of unchecked authority. -
The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
Tennessee William‟S Contribution to American Drama
© January 2019 | IJIRT | Volume 5 Issue 8 | ISSN: 2349-6002 Tennessee William‟s Contribution to American Drama Mrs.M.Kokila1, T.Akhila2 1M.A., M.Phil, Assistant Professor, Nadar Saraswathi College of Arts and Science, Theni 2M.A., English, Nadar Saraswathi College of Arts and Science, Theni Abstract- Tennesse Williams is a dramatist of lost souls. seen in the work of Europeans such as John Osborne, His milieu is the south, a tense and unreconstructed Harold Pinter and Jean Genet as well as in that of locale typical only of an environment we all inhabit. In Americans such Williams Inge, paddy Chayefsky and the mythology of his work, the south is an antebellum Edward Albee. mansion of faded elegance inhabited by gentle dreamers, misfits, fugitives and outcasts losers who are WILLIAMS, THE MOST POPULAR not meant to win. Always the gothic focus of his work echoes an awareness of loneliness and loss a sense of PLAYWRIGHT AND A MAJOR DRAMATIST corruption and the physical violence which is an aspect of southern romanticism. His theme is the plight of the William‟s claims to the status of a major dramatist individual trapped by his environment, the loneliness rests, in large measure, on the significant and popular and lack of communication between human beings acceptance accorded four works: THE GLASS unable to reconcile the flesh with sprit. It is his special MENAGERIE (1945), A STREETCAR NAMED to temper extremes of physical violence, brutality and DESIRE (1947), SUMMER AND SMOKE (1948) perversion with gentle, loving glimpses of humanity and and CAT ON A HOT TIN ROOF (1955). -
English Language and Literature (ENGL) 1 English Language and Literature (ENGL)
English Language and Literature (ENGL) 1 English Language and Literature (ENGL) * ENGL 005b / AFAM 013b, Counterarchives: Black Historical Fictions Elleza Kelley While historical records have long been the source from which we draw our picture of the past, it is with literature and art that we attempt to speculatively work out that which falls between the cracks of conventional archival documentation, that which cannot be contained by historical record—emotion, gesture, the sensory, the sonic, the inner life, the aerlife, the neglected and erased. This course examines how contemporary black writers have imagined and attempted to represent black life from the late 17th to the early 20th centuries, asking what fiction can tell us about history. Reading these works as alternative archives, or “counterarchives,” which index the excess and fugitive material of black histories in the Americas, we probe the uses, limits, and revelations of historical fictions, from the experimental and realist novel, to works of poetry and drama. Drawing on the work of various interdisciplinary scholars, we use these historical fictions to explore and enter into urgent and ongoing conversations around black life & death, African-American history & memory, black aesthetics, and the problem of “The Archive.” Enrollment limited to first-year students. Preregistration required; see under First-Year Seminar Program. HU * ENGL 006a / AFAM 017a, Black Nature: African American Nature Writing Jonathan Howard What stories do we tell about nature? How are the stories we are able to tell about nature informed by race? And how do these stories shape our understanding of what it means to be human? In contrast to a largely white tradition of nature writing that assumes a superior position outside of Nature, this course undertakes a broad survey of African American nature writing. -
Fullers Corner Cemetery ~ Originally Compiled by Macdonald, Russell & Jackson - 1975 Updated by Ann Foss - Hartland Historical Society - 2013 Updated by Bruce A
~ Fullers Corner Cemetery ~ Originally compiled by MacDonald, Russell & Jackson - 1975 Updated by Ann Foss - Hartland Historical Society - 2013 Updated by Bruce A. Fowler - Hartland Historical Society - 2014 (Updated June 19, 2021) SURNAME LOT NAME & INFORMATION NOTES BACHELDOR E18 Susannah (Merrill); b. 13 July 1777, d. 7 Sep 1832 at 55yrs Wife of Ephraim Bacheldor, Jr (1775-1856); m. 13 June 1797 Cumberland He married 2nd to Elizabeth and was living with his son John in Hartland in 1850. He and his father were early settlers of Baldwin, Maine. He had an older brother named Sylvanus. BACHELDOR E19 Sylvanus; b. 1824, d. 7 Jan 1843 at 19yrs, 5mos Son of Ephraim Bacheldor, Jr & Susannah (Merrill) BAKER M13 Harriet Underwood (Fuller); b. 18 July 1861, d. after 1940 "Sisters" Daughter of James Fuller, Jr (E02) & Sarah (Underwood) (E03) Widow of William S. Baker of Bangor Buried next to her sister Dr. Jennie Fuller (M13) BARNES D05 Elder Abram, Sr.; b. 29 Oct 1822, d. 31 Aug 1894 at 71yrs, 10mos, 24dys He was a Reverend (Elder) in Hartland. “The Elder Barnes was among the first to accept the 3rd Angel’s message. He observed the Seventh Day Sabbath for over 45 years and labored as a minister traveling over a considerable portion of Maine and is quite widely known among the people of this Conference. A man of the most strict Christian integrity, he was highly respected by all who knew him. His last illness was about one year’s duration and at times his suffering was very great but at last he fell peacefully asleep.” BARNES D04 Abigail H. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
SARP Data~Sep 2018
1 Screenwriting Research Network www.screenwritingresearch.com Screenwriting Archives and Resources Project (SARP) A worldwide statement of screenwriting resources. September 2018 © SRN 2018 Coordination: Ian W. Macdonald [email protected] 1 2 Introduction The Screenwriting Archives and Resources Project (SARP) is an initiative of the Executive Council of the Screenwriting Research Network (SRN). The SRN is a group of scholars worldwide whose research focuses on the genesis, generation and development of screen ideas, i.e. those intended to become moving image productions, whether fiction, fact or entertainment, in any medium (e.g. film, TV, interactive etc.). More information can be found on the SRN website at www.screenwritingresearch.com. Scholars of screenwriting have, until the 2000s, tended to work in isolation from like- minded others, often in academic environments where screenwriting is seen as a specialism in the industrial sense, of some interest within the broad study of Film, or Creative Industries and other sub-fields of Media, Media Practice, Communication and Cultural Studies. Screenwriting scholars have now come together to focus on the practices, processes, discourse, industry and cultural meanings of developing screen ideas; and in following these interests, we have discovered that the collection and preservation of textual material (including scripts, screenplays etc.) has been badly neglected by both academics and archivists, with a few honourable exceptions. This database is intended to draw together information on the collections that do exist, providing us with a greater awareness of what’s available, and therefore also – sadly – what is not. This document is compiled from a basic questionnaire available to anyone, whether scholar, practitioner, archivist or enthusiast. -
A Study Guide, with Theatrical Emphasis, for Robert Bolt's Play a Man for All Seasons For
A Study Guide, with Theatrical Emphasis, For Meg for Robert Bolt’s Play A Man for All Seasons by Arthur Kincaid V. Questions for Discussion and Essay Writing…..….…....…105 Contents VI. List of Works Consulted……………….………..………..109 I. Introduction…………………………..……….………..….5 II. General Background 1. Thomas More…………………………..….……...……..6 2. Henry VIII and Thomas More…...……….…….….…..10 3. Renaissance Humanism…...……………....…….….…..12 4. Robert Bolt…………………………………...….…..…13 5. Theatrical Influences………………………….......…....15 III. Classroom & Theatre Performance 1. What Is Theatre?……………...………….….…….....…19 2. Aspects of a Play...……………………………………..22 3. Classroom Performance………...………………..…......30 4. Full Performance………………………………………31 5. Acting Exercises……………….……..………….....…..37 IV. Notes and Questions for Study and Performance 1. Act 1, A Man for All Seasons……………...…….....…..….47 2. Act 2, A Man for All Seasons……………....……..…....….74 5 www.thomasmorestudies.org Kincaid’s Guide: A Man for All Seasons 6 II. General Background I. Introduction 1. Sir Thomas More This guide is designed to give a performance orientation to the study of Robert Bolt’s A Man for All Seasons. It attempts to encourage teachers Nobody wants to be a hero. You go through life giving up and students to discover the work as a play to be performed. You can use parts of yourself – a hope, a dream, an ambition, a belief, a liking, this guide for inactive classroom study if you wish, but it would be much a piece of self-respect. But in every man there is something he more interesting and productive to use it as a stimulus to performance cannot give up and still remain himself – a core, an identity, a work of some sort, whether it be rehearsing a scene in class or a full thing that is summed up for him by the sound of his own name on his own ears. -
Image to Infinity: Rethinking Description and Detail in the Cinema
IMAGE TO INFINITY: RETHINKING DESCRIPTION AND DETAIL IN THE CINEMA by Alison L. Patterson BS, University of Pittsburgh, 1997 MA, Cinema Studies New York University, 2001 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Critical and Cultural Studies University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Alison L. Patterson It was defended on February 23, 2011 and approved by Troy Boone, PhD, Associate Professor, English Adam Lowenstein, PhD, Associate Professor, English Colin MacCabe, PhD, Distinguished University Professor, English Randall Halle, PhD, Klaus W. Jonas Professor of German and Film Studies Dissertation Director: Marcia Landy, PhD, Distinguished Professor, English ii Copyright © Alison L. Patterson 2011 All Rights Reserved iii IMAGE TO INFINITY: RETHINKING DESCRIPTION AND DETAIL IN THE CINEMA Alison L. Patterson, PhD University of Pittsburgh, 2011 In the late 1980s, historian Hayden White suggested the possibility of forms of historical thought unique to filmed history. White proposed the study of “historiophoty,” an imagistic alternative to written history. Subsequently, much scholarly attention has been paid to the category of History Film. Yet popular concerns for historical re‐presentation and heritage have not fully addressed aesthetic effects of prior history films and emergent imagistic‐historiographic practices. This dissertation identifies and elaborates one such alternative historiographic practice on film, via inter‐medial study attending to British and American history films, an instance of multi‐platform digital historiography, and an animated film – a category of film often overlooked in history film studies. -
No Fond Return of Love:|
No Fond Return of Love:| The Birth of the ‘Angry’ Young Excellent Woman Gloria Nakamura Paper presented at the 13th North American Conference of the Barbara Pym Society Cambridge, Massachusetts, 19-20 March 2011 As a title, ‘No Fond Return of Love: The Birth of the ‘Angry’ Young Excellent Woman’ is even more tongue-in-cheek than it might seem, since, if there is one emotion absent in Pym, it is anger. Pique, frustration, indignation, umbrage, yes, but not anger. This paper will cover the massive influence of a literary school completely at odds with Pym’s own sensibilities, as well as other societal factors which led to the writing of No Fond Return of Love – a book radically different than any she had previously written. Most of us probably know the ‘Angry Young Man’ movement from the films of the late 1950s which seemed to give rise to all of the great British actors of the 1960s and 70s, actors who today are either dead or on the staff at Hogwart’s. But the literary genesis is quite a bit different. In 1984, our fellow Pymian Dale Salwak published Interviews with Britain’s Angry Young Men (Wildside Press, 1984). The introduction is written by Colin Wilson, one of the authors interviewed. According to Wilson, ‘It seems to be generally agreed that, as far as England was concerned, the new post-WWII literary generation didn’t make its appearance until the autumn of 1953 with the publication of Hurry on Down by John Wain. It is a “picaresque” (a genre of satiric fiction involving rogues or adventurers) novel about a young man who “has been given the educational treatment and then pitchforked into the world” to find his place.’ Then came Lucky Jim by Kingsley Amis, in which a bored young man gets pitchforked in to an establishment job as a university lecturer and finds it irritating and boring. -
From a Genre Film to a Genre Film
Lauri K rk From a Genre Film to a Genre Film The given title actually summarises a vast ma- also result from representational devices—for jority of issues that are connected with Grigori instance, a melodrama or an action film. Genre Kromanov’s The Last Relic (Viimne reliikvia, inherently involves tradition. Tradition can be 1969), as well as pointing to the position the tied to cultural memory; it can act as its bearer. legendary film holds in Estonian film history. To A genre is nothing more than a means of imple- some extent, we are dealing with almost the first menting a rather significant cultural function. film that, after a couple of comedies in our cin- On the other hand, (genre) tradition stands for ematography of that time, was consciously de- a set of certain rules and conventions. signed as a genre film (a historical-romantic ad- Here we have come to the characteristics venture). On the other hand, it is a film that, in in the aspect which most interest us, and which the shadow of its historical scenery, from within solely belong to genre and the genre film. The the conditional regulations of a genre film, was rules of a genre dictate that there has to be able to address and affect its contemporaries. It laughter in a comedy and, similarly, song and also had enormous popularity among the view- dance is required in a musical. The rules are ers both in Estonia and in the Soviet Union as a set not only for the action taking place on the whole, as well as being distributed to more than screen but also for the audience. -
Look Back in Anger by John Osborne
PILOT THEATRE LOOK BACK IN ANGER RESOURCES Introduction On May 8th 1956, Look Back in Anger opened at the Royal Court Theatre as the third production of the newly formed English Stage Company. The English Stage Company had been founded in 1955 to promote the production of new plays by contemporary authors that might not find production in the commercial West End theatre (London's equivalent of Broadway in New York City). West End theatre provided quality acting and high standards of production, but very little drama that related to life in contemporary England. Most plays of the time were generally innocuous light comedies, thrillers, and foreign imports—fourteen American shows in 1955 alone. Osborne had submitted copies of Look Back in Anger to every agent in London and to many West End producers and had been rejected by all. When the script arrived at the Royal Court, the Artistic Director George Devine and his young assistant director Tony Richardson knew it was exactly what they were looking for. Look Back in Anger was viewed as a play that would, as Devine later put it, "blow a hole in the old theatre." Critical reception was strongly mixed: some detested the play and the central character, but most recognized Osborne as an important new talent and the play as emotionally powerful. They also recognized the play as one that fervently spoke of the concerns of the young in post-war England. The first production of Look Back in Anger was not initially financially successful, although after an excerpt was shown on BBC the box office was overwhelmed.