Occult Digest V2 N2 Feb 1926
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Andrew Sarris and Pauline Kael: the Duel for the Soul of American Film Criticism
1 Andrew Sarris and Pauline Kael: The Duel For the Soul of American Film Criticism By Inge Fossen Høgskolen i Lillehammer / Lillehammer University College Avdeling for TV-utdanning og Filmvitenskap / Department of Television and Film Studies (TVF) Spring 2009 1 2 For My Parents 2 3 ”When we think about art and how it is thought about […] we refer both to the practice of art and the deliberations of criticism.” ―Charles Harrison & Paul Wood “[H]abits of liking and disliking are lodged in the mind.” ―Bernard Berenson “The motion picture is unique […] it is the one medium of expression where America has influenced the rest of the world” ―Iris Barry “[I]f you want to practice something that isn’t a mass art, heaven knows there are plenty of other ways of expressing yourself.” ―Jean Renoir “If it's all in the script, why shoot the film?” ―Nicholas Ray “Author + Subject = Work” ―Andrè Bazin 3 4 Table of Contents Preface and Acknowledgements p. 6. Introduction p. 8. Defining Art in Relation to Criticism p. 14. The Popular As a Common Ground– And an Outline of Study p. 19. Career Overview – Andrew Sarris p. 29. Career Overview – Pauline Kael p. 32. American Film Criticism From its Beginnings to the 1950s – And a Note on Present Challenges p. 35. Notes on Axiological Criticism, With Sarris and Kael as Examples p. 41. Movies: The Desperate Art p. 72. Auteurism – French and American p. 82. Notes on the Auteur Theory 1962 p. 87. "Circles and Squares: Joys and Sarris" – Kael's Rebuttal p. 93. -
Deep Time of the Media ELECTRONIC CULTURE: HISTORY, THEORY, and PRACTICE
Deep Time of the Media ELECTRONIC CULTURE: HISTORY, THEORY, AND PRACTICE Ars Electronica: Facing the Future: A Survey of Two Decades edited by Timothy Druckrey net_condition: art and global media edited by Peter Weibel and Timothy Druckrey Dark Fiber: Tracking Critical Internet Culture by Geert Lovink Future Cinema: The Cinematic Imaginary after Film edited by Jeffrey Shaw and Peter Weibel Stelarc: The Monograph edited by Marquard Smith Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski Deep Time of the Media Toward an Archaeology of Hearing and Seeing by Technical Means Siegfried Zielinski translated by Gloria Custance The MIT Press Cambridge, Massachusetts London, England © 2006 Massachusetts Institute of Technology Originally published as Archäologie der Medien: Zur Tiefenzeit des technischen Hörens und Sehens, © Rowohlt Taschenbuch Verlag, Reinbek bei Hamburg, 2002 The publication of this work was supported by a grant from the Goethe-Institut. All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. I have made every effort to provide proper credits and trace the copyright holders of images and texts included in this work, but if I have inadvertently overlooked any, I would be happy to make the necessary adjustments at the first opportunity.—The author MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please e-mail [email protected] or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. -
Historical Dictionary of German Cinema
07_677 (01) FM.qxd 1/15/08 6:20 PM Page i HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Er- rol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old-Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 07_677 (01) FM.qxd 1/15/08 6:20 PM Page ii 07_677 (01) FM.qxd 1/15/08 6:20 PM Page iii Historical Dictionary of German Cinema Robert C. -
Hans J. Wulff Psychiatrie Im Film 9. Filmographie
Hans J. Wulff Psychiatrie im Film 9. Filmographie Die folgende Liste erschien zuerst als Appendix zu dem Buch Konzeptionen der psychischen Krankheit im Film. Ein Beitrag zur "strukturalen Lerngeschichte" (Münster: MAkS Publikationen 1985, 219 S. [= Studien zur Populärkultur. 2.]. Eine zweite, durchges. Aufl. erschien unter dem Titel Psychiatrie im Film (Münster: MakS Publikationen 1985, S. 209-219 [= Film- und Fernsehwissenschaftliche Arbeiten.]). Auf ein Literaturverzeichnis habe ich hier verzichtet. Es liegt inzwischen eine umfangreiche annotierte Bibliographie zum Problem "Psychiatrie und psychische Krankheit als Gegenstände des Films" vor. [Aktualisiert: „Psychiatrie und psychische Krankheit als Themen des Films: Eine annotierte Bibliographie“. In: Medienwissenschaft / Hamburg: Berichte und Papiere 1, 2003. URL: http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0001_03.html. URL der Online-Fassung: http://www.derwulff.de/1-4-9. Filmographie L'AVVENTURIERO (Ich komme vom Ende der Welt), Italien 1967, Terence Young BABY FACE NELSON (So enden sie alle), USA ADEMLOOS, Niederlande 1982, Mady Saks 1957, Don Siegel ALBERT - WARUM?, BRD 1977, Josef Rödl BADLANDS (Badlands - Zerschossene Träume), DIE ALPTRAUMFRAU, BRD 1980, Lothar Lambert USA 1973, Terrence Malick ALTERED STATES (Der Höllentrip), USA 1980, Ken THE BED-SITTING ROOM (Danach), Großbritan- Russell nien 1968, Richard Lester Die amerikanische Nacht, s. LA NUIT AMERICAINE BEHINDERTE LIEBE, Schweiz 1979, Marlies Graf ... AND JUSTICE FOR ALL (und Gerechtigkeit für Bei Anruf Mord s. DIAL M FOR MURDER alle), USA 1979, Norman Jewison Beliast 1920 s. ASCENDENCY DAS ANDERE LÄCHELN, BRD 1978, Robert van THE BELL MR, USA 1978, Larry Peerce Ackeren DIE BERÜHRTE, BRD 1980/81, Helma Sanders- Die andere Seite der Hölle, s. -
German Expressionist Film and Freud's Dream Theory
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 6-4-2013 “Citizenship in a Nightmare Country:” German Expressionist Film and Freud’s Dream Theory Erica Tortolani Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Film and Media Studies Commons Recommended Citation Tortolani, Erica, "“Citizenship in a Nightmare Country:” German Expressionist Film and Freud’s Dream Theory" (2013). Honors Projects Overview. 73. https://digitalcommons.ric.edu/honors_projects/73 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. “Citizenship in a Nightmare Country:” German Expressionist Film and Freud’s Dream Theory Erica Tortolani DIGITAL INITIATIVES PRESS “Citizenship in a Night- mare Country:” German Expressionist Film and Freud’s Dream Theory Erica Tortolani Digital Initiatives Press: Rhode Island College Providence “Citizenship in a Nightmare Country:” German Expressionist Film by Erica Tortolani is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unport- ed License. Part I: Introduction German Expressionist cinema is a movement that began in 1919 after the devastation of World War I in Weimar Germany. Before the outbreak of the war, artists across Europe were eager to stray from realistic, everyday imagery found in realist art forms and aimed to work towards distortion, shock, and rebellion. In Germany, this translated into Expres- sionism, where beginning in 1910 media such as literature, music, and paintings aimed to counteract the bourgeois and falsely optimistic sentiment found during the latter half of nineteenth-century Wilhelmine society (Barlow 16-17). -
Alfred Hitchcock: the Master of Adaptation a Thesis Submitted For
Alfred Hitchcock: The Master of Adaptation A thesis submitted for the degree of Doctor of Philosophy by Thomas William Bass School of Arts Brunel University August 2015 2 Table of Contents Abstract 4 Acknowledgments 5 Chapter 1: Introduction 7 1.1 Adapting Hitchcock 7 1.2 Auteur Theory and Hitchcock Studies 15 1.3 Auteur-structuralism 22 1.4 Adaptation Theory 24 1.5 Problems & Differences 25 1.6 A ‘Successful Adaptation’ 29 1.7 Classifying Adaptation and Adapting the Narrative 30 1.8 Historical Adaptation and the ‘Meta-Text’ 35 1.9 Cultural Adaptation 39 1.10 Adaptation: What has been gained? 41 1.11 Outside Factors and Hitchcock Adapted 43 Chapter 2: Theatrical Adaptation: Part 1 – The British Plays 46 2.1 Silent Cinema and Early Hitchcock 46 2.2 Easy Virtue – The Play 54 2.3 Easy Virtue – The Film 58 2.4 The Farmer’s Wife – The Play 79 2.5 The Farmer’s Wife – The Film 84 2.6 The Talkies 98 2.7 The Lasting Success of Blackmail 100 2.8 Juno and the Paycock – The Play 103 2.9 Juno and the Paycock – The Film 107 2.10 The Skin Game – The Play 114 2.11 The Skin Game – The Film 119 3 Chapter 3: Theatrical Adaptation: Part 2 - Hitchcock’s American Theatre 133 3.1 The Evolution of Rope 133 3.2 Looking for the Theatrical in Dial M for Murder 156 Chapter 4: The Adaptation of an Author 174 4.1 Du Maurier and Hitchcock 174 4.2 The Texts 180 4.3 Adaptation of the Blind Space 184 4.4 Make Way For Pengallen 189 4.5 East Wind, Don’t Look Now and the Psychosexual Narrative 195 4.6 Powerless Protagonists 200 4.7 Psychoanalytical Theories at War Within The Birds 203 4.8 The Absence and Presence of Sound Within the Du Maurier Adaptations 211 4.9 Unresolved Complexes, Possession and The Camera Within Rebecca 214 Chapter 5: The ‘Psycho-Meta-Text’ 225 5.1 What to do with Psycho? 225 5.2 Les Diaboliques and the Psycho Narrative 229 5.3 Use of Camera and Sound, The Infamous Shower Scene and B. -
Fall Books 2016
CHICAGO FALL BOOKS C FALL B 2016 H OO KS INTERNATIONAL 2016 EDITION I INTERNATIONAL C AGO PRESS C A AGO, ILLINOIS 60637 C HI ED C ITION STREET TH G UNIVERSITY OF CHI 60 EAST 1427 O Recently Published Fall 2016 Contents General Interest 1 Special Interest 43 Paperbacks 109 America’s Snake Run, Spot, Run Distributed Books 126 The Rise and Fall of the The Ethics of Keeping Pets Timber Rattlesnake Jessica Pierce Ted Levin ISBN-13: 978-0-226-20989-0 Author Index 216 ISBN-13: 978-0-226-04064-6 Cloth $26.00/£18.00 Cloth $35.00/£24.50 E-book ISBN-13: 978-0-226-20992-0 Title Index 218 E-book ISBN-13: 978-0-226-04078-3 Subject Index 220 Ordering Inside Information back cover The Dancing Bees Wattana Karl von Frisch and the Discovery of An Orangutan in Paris the Honeybee Language Chris Herzfeld Tania Munz ISBN-13: 978-0-226-16859-3 ISBN-13: 978-0-226-02086-0 Cloth $26.00/£18.00 Cloth $30.00/£21.00 E-book ISBN-13: 978-0-226-16862-3 E-book ISBN-13: 978-0-226-02105-8 Edge of Irony But Can I Start a Modernism in the Shadow of the Sentence with “But”? Cover design by Mary Shanahan Habsburg Empire Advice from the Chicago Style Q&A Catalog design by Brian Beerman and Mary Shanahan Marjorie Perloff University of Chicago Press ISBN-13: 978-0-226-05442-1 Editorial Staff Cloth $30.00/£21.00 With a Foreword by Carol Fisher Saller E-book ISBN-13: 978-0-226-32849-2 ISBN-13: 978-0-226-37064-4 Cloth $15.00/£10.50 E-book ISBN-13: 978-0-226-37078-1 SIMON GOLDHILL A Very Queer Family Indeed Sex, Religion, and the Bensons in Victorian Britain “We can begin with a kiss, though this will not turn out to be a love story, at least not a love story of anything like the usual kind.” o begins A Very Queer Family Indeed, which introduces us to the extraordinary Benson family. -
A Psychological History of the Modern Horror Film from the 1950S to the 21St Century
Dark Dreams 2.0 ALSO BY CHARLES DERRY The Suspense Thriller: Films in the Shadow of Alfred Hitchcock (McFarland, 1988; paperback 2001) Dark Dreams 2.0 A Psychological History of the Modern Horror Film from the 1950s to the 21st Century CHARLES DERRY Foreword by JOHN RUSSELL TAYLOR McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Derry, Charles, 1951– Dark dreams 2.0 : a psychological history of the modern horror film from the 1950s to the 21st century / Charles Derry ; foreword by John Russell Taylor. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-3397-1 illustrated case binding : 50# alkaline paper 1. Horror films—History and criticism. 2. Motion pictures— Psychological aspects. I. Title. PN1995.9.H6D38 2009 791.43'6164—dc22 2009025183 British Library cataloguing data are available ©2009 Charles Derry. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: Ralph Fiennes in a scene from the 2002 film Spider. Front cover design by Chase Whiteside Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com To Thomas G. Kohn and again to the memory of Charles Homer Derry, my father, who loved a good story This page intentionally left blank -
Convert Finding Aid To
Hoblitzelle Interstate Theatre Circuit: A Container List of the Advertising Collection at the Harry Ransom Center Descriptive Summary Creator: Hoblitzelle Interstate Theatre Circuit Title: Hoblitzelle Interstate Theatre Circuit Advertising Collection Dates: 1930s-1970s Extent: 85 document boxes (35.70 linear feet) Abstract: This collection features movie stills, posters, lobby cards, and other advertising ephemera from the Hoblitzelle Interstate Theatre Circuit dating from the 1930s-1970s. Call Number: Film Collection FI-00015 Language: English Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Part or all of this collection is housed off-site and may require up to three business days’ notice for access in the Ransom Center’s Reading and Viewing Room. Please contact the Center before requesting this material: [email protected] Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. Restrictions on Certain restrictions apply to the use of electronic files. Researchers Use: must agree to the Materials Use Policy for Electronic Files before accessing them. -
The Representation of Masculinity in Crisis: an Interrogation of Its Roots and Reasons
THE REPRESENTATION OF MASCULINITY IN CRISIS: AN INTERROGATION OF ITS ROOTS AND REASONS by Jason Stefan Lieblang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Germanic Languages and Literatures University of Toronto Copyright by Jason Stefan Lieblang 2015 The Representation of Masculinity in Crisis: An Interrogation of Its Roots and Reasons Jason Stefan Lieblang Doctor of Philosophy Graduate Department of Germanic Languages and Literatures University of Toronto 2015 Abstract This dissertation develops out of the disturbing realization that masculinity is pervasively represented as ‘in crisis.’ It argues that both ‘masculinity’ and ‘crisis’ are discursive constructs, which have been functioning in unison since the late nineteenth century to bolster male hegemony. My introductory chapter offers an explication of how discursive domination functions at the level of signification. It explains, and applies to numerous examples, the method of discourse analysis developed by Ernesto Laclau and Chantal Mouffe, and also engages with Reinhardt Koselleck’s critical history of the concept ‘crisis,’ which has recently been further developed in the work of Janet Roitman. In chapter two I examine the roots of the ‘masculinity in crisis’ discourse in the European fin de siècle. This search proceeds by way of readings of Rémy de Gourmont’s La Dissociation des Idées, Daniel Paul Schreber’s Denkwürdigkeiten eines Nervenkranken, and Otto Weininger’s Geschlecht und Charakter. Chapter two also examines the crucial role that the representation of -ii- women played in defining masculinity as ‘in crisis’ during the period. My third and fourth chapters offer in-depth readings of several literary and cinematic works, these showing that while ‘masculinity’ being represented as ‘in crisis’ is a constant, the forms and tropes employed in this representation vary over time and are geographically contingent. -
What Is Film Atmosphere?
QUARTERLY REVIEW OF FILM AND VIDEO 2020, VOL. 37, NO. 1, 48–75 https://doi.org/10.1080/10509208.2019.1606558 What is Film Atmosphere? Robert Spadoni There is no direct training in atmospherics in schools of architecture. It appears on no syllabus. —Mark Wigley, “The Architecture of Atmosphere”1 Many kinds of writing across the history of cinema exemplify the best and worst tendencies in thinking about film atmosphere. This might seem like the emptiest statement that could be made about any subject that has been written about over such a long period, but I suggest that it holds especially true for this topic. The number of times the word atmosphere appears, in sources ranging from industry trade journals published at the start of the previous century to works of theory published this year, attests to the importance that film writers continuously attach to it—yet few have paused to spell out why atmosphere matters or even to articulate what they mean by the word. This has started to change in recent years as scholars have begun taking up atmosphere more directly as a topic of inquiry.2 This work shares with older writing a tendency to view the phenomenon as primarily or exclu- sively associated with an artwork’s environmental character—specifically, in the case of a film, its settings, sounds, and depictions of weather.3 I chal- lenge that view in this essay, and argue that film writing, even when it has applied the concept unreflectively, hints at a much broader understanding of what atmosphere consists of and what has been missed about its import- ance. -
German Culture Through Film an Introduction to German Cinema
GERMAN CULTURE THROUGH FILM An Introduction to German Cinema Second Edition GERMAN CULTURE THROUGH FILM An Introduction to German Cinema Second Edition Robert Reimer Reinhard Zachau with contributions by Margit Sinka an imprint of Hackett Publishing Company, Inc. Indianapolis/Cambridge Focus A Focus book an imprint of Hackett Publishing Company Copyright © 2017 by Hackett Publishing Company, Inc. AllFocus rights reserved Printed in the United States of America 20 19 18 17 1 2 3 4 5 6 7 For further information, please address Hackett Publishing Company, Inc. P.O. Box 44937 Indianapolis, Indiana 46244-0937 www.hackettpublishing.com Cover design by <B>INSERT<B> Composition by Integrated Composition Services Library of Congress Cataloging-in-Publication Data Names: Reimer, Robert C. (Robert Charles), 1943– author. | Zachau, Reinhard K. (Reinhard Konrad) co-author. | Sinka, Margit M. author. Title: German culture through film : an introduction to German cinema / Robert Reimer, Reinhard Zachau with contributions by Margit Sinka. Description: Second edition. | Indianapolis : Focus, 2017. | Includes bibliographical references. Identifiers: LCCN 2017003853 | ISBN 9781585108565 (pbk.) Subjects: LCSH: Motion pictures—Germany—History and criticism. Classification: LCC PN1993.5.G3 R415 2017 | DDC 791.430943—dc23 LC record available at https://lccn.loc.gov/2017003853 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1984.