Novels/Fiction
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Chapter Five Publishing the Private, Or the Economics of Experience
Chapter Five Publishing the Private, or The Economics of Experience Sometimes it has occurred to me that a man should not live more than he can record, as a farmer should not have a larger crop than he can gather in. – Boswell: The Hypochondriack Though the earth and all inferior creatures be common to all men, yet every man has a property in his own person; this nobody has any right to but himself – Locke: Second Treatise on Civil Government I In a finely tempered and persuasive record of her encounters with Strindberg in Switzerland in 1884, Hélène Welinder recalls a conversation in which his young compatriot’s sympathetic concern prompted the tired and harassed writer to describe the condition of almost permanent literary production in which he lived with unusual clarity. ‘I cannot rest, even if I would like to,’ he is reported as saying: I have to write for my daily bread, to maintain my wife and children, and in other respects, too, I cannot leave it alone. If I am travelling by train or whatever I’m doing, my mind works without ceasing, it grinds and grinds like a mill, and I cannot stop it. I get no peace before I have put it down on paper, but then I begin all over again, and so the misery goes on.1 Whether or not the image of the remorseless and insatiable mill reached this quotation as a direct transcription of Strindberg’s words is, of course, open to question. Nevertheless, even if it belongs entirely to Welinder’s reconstruction, it is apposite, for it not only features frequently in Strindberg’s later work as an image for the treadmill of conscience and the tenacity with which the past clings to the present;2 it also encompasses the suggestion that to write out what experience provides affords at best only temporary relief. -
Strindberg on International Stages/ Strindberg in Translation
Strindberg on International Stages/ Strindberg in Translation Strindberg on International Stages/ Strindberg in Translation Edited by Roland Lysell Strindberg on International Stages/Strindberg in Translation, Edited by Roland Lysell This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Roland Lysell and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5440-9, ISBN (13): 978-1-4438-5440-5 CONTENTS Contributors ............................................................................................... vii Introduction ................................................................................................. 1 Section I The Theatrical Ideas of August Strindberg Reflected in His Plays ........... 11 Katerina Petrovska–Kuzmanova Stockholm University Strindberg Corpus: Content and Possibilities ........ 21 Kristina Nilsson Björkenstam, Sofia Gustafsson-Vapková and Mats Wirén The Legacy of Strindberg Translations: Le Plaidoyer d'un fou as a Case in Point ....................................................................................... 41 Alexander Künzli and Gunnel Engwall Metatheatrical -
The Son of a Servant
THE SON OF A SERVANT BY AUGUST STRINDBERG AUTHOR OF "THE INFERNO," "ZONES OF THE SPIRIT," ETC. TRANSLATED BY CLAUD FIELD WITH AN INTRODUCTION BY HENRY VACHER-BURCH G.P. PUTNAM'S SONS NEW YORK AND LONDON The Knickerbocker Press 1913 CONTENTS I. FEAR AND HUNGER II. BREAKING-IN III. AWAY FROM HOME IV. INTERCOURSE WITH THE LOWER CLASSES V. CONTACT WITH THE UPPER CLASSES VI. THE SCHOOL OF THE CROSS VII. FIRST LOVE VIII. THE SPRING THAW IX. WITH STRANGERS X. CHARACTER AND DESTINY AUGUST STRINDBERG AS NOVELIST From the Publication of "The Son of a Servant" to "The Inferno" (1886-1896) A celebrated statesman is said to have described the biography of a cardinal as being like the Judgment Day. In reading August Strindberg's autobiographical writings, as, for example, his Inferno, and the book for which this study is a preface, we must remember that he portrays his own Judgment Day. And as his works have come but lately before the great British public, it may be well to consider what attitude should be adopted towards the amazing candour of his self-revelation. In most provinces of life other than the comprehension of our fellows, the art of understanding is making great progress. We comprehend new phenomena without the old strain upon our capacity for readjusting our point of view. But do we equally well understand our fellow-being whose way of life is not ours? We are patient towards new phases of philosophy, new discoveries in science, new sociological facts, observed in other lands; but in considering an abnormal type of man or woman, hasty judgment or a too contracted outlook is still liable to cloud the judgment. -
Jill Bilcock: Dancing the Invisible
JILL BILCOCK: DANCING THE INVISIBLE PRESS KIT Written and Directed by Axel Grigor Produced by Axel Grigor and Faramarz K-Rahber Executive Produced by Sue Maslin Distributed by Film Art Media Production Company: Distributor: Faraway Productions Pty Ltd FILM ART MEDIA PO Box 1602 PO Box 1312 Carindale QLD 4152 Collingwood VIC 3066 AUSTRALIA AUSTRALIA Email: [email protected] Phone: +61 3 9417 2155 faraway.com.au Email: [email protected] filmartmedia.com BILLING BLOCK FILM ART MEDIA, SOUNDFIRM, SCREEN QUEENSLAND and FILM VICTORIA in association with SCREEN AUSTRALIA, THE AUSTRALIAN BROADCASTING CORPORATION and GRIFFITH UNIVERSITY present JILL BILCOCK: DANCING THE INVISIBLE Featuring CATE BLANCHETT, BAZ LUHRMANN, SHEKHAR KAPUR and RACHEL GRIFFITHS in a FARAWAY PRODUCTIONS FILM FILM EDITORS SCOTT WALTON & AXEL GRIGOR DIRECTOR OF PHOTOGRAPHY FARAMARZ K-RAHBER PRODUCTION MANAGER TARA WARDROP PRODUCERS AXEL GRIGOR & FARAMARZ K-RAHBER EXECUTIVE PRODUCER SUE MASLIN © 2017 Faraway Productions Pty Ltd and Soundfirm Pty Ltd. TECHNICAL INFORMATION Format DCP, Pro Res File Genre Documentary Country of Production AUSTRALIA Year of Production 2017 Running Time 78mins Ratio 16 x 9 Language ENGLISH /2 LOGLINE The extraordinary life and artistry of internationally acclaimed film editor, Jill Bilcock. SHORT SYNOPSIS A documentary about internationally renowned film editor Jill Bilcock, that charts how an outspoken arts student in 1960s Melbourne became one of the world’s most acclaimed film artists. SYNOPSIS Jill Bilcock: Dancing The Invisible focuses on the life and work of one of the world’s leading film artists, Academy award nominated film editor Jill Bilcock. Iconic Australian films Strictly Ballroom, Muriel’s Wedding, Moulin Rouge!, Red Dog, and The Dressmaker bear the unmistakable look and sensibility of Bilcock’s visual inventiveness, but it was her brave editing choices in Baz Luhrmann’s Romeo+Juliet that changed the look of cinema the world over, inspiring one Hollywood critic to dub her editing style as that of a “Russian serial killer on crack”. -
Sydney Film Festival Award Winners Announced at Closing Night Gala 19/06/2016
MEDIA RELEASE EMBARGOED UNTIL 08:30PM SUNDAY 19 JUNE 2016 SYDNEY FILM FESTIVAL AWARD WINNERS ANNOUNCED AT CLOSING NIGHT GALA The 63rd Sydney Film Festival tonight awarded Aquarius, directed by Kleber Mendonça Filho, the prestigious Sydney Film Prize, out of a selection of 12 Official Competition films. The $63,000 cash prize was awarded at the Festival’s Closing Night Gala awards ceremony and event: the Australian premiere screening of Whit Stillman’s Love & Friendship, held at the State Theatre. Sydney filmmaker Dan Jackson was awarded the Documentary Australia Foundation Award for Australian Documentary, a $15,000 cash prize, for In the Shadow of the Hill; with a special mention going to Destination Arnold directed by Sascha Ettinger Epstein. The Dendy Awards for Australian Short Films were announced; awarding Slapper, directed and written by Luci Schroder, The Dendy Live Action Short Award; The Crossing, directed and written by Marieka Walsh, The Yoram Gross Animation Award; and Goran Stolevski, the Rouben Mamoulian Award for Best Director, for You Deserve Everything. The Event Cinema Australian Short Screenplay Award was awarded to Spice Sisters, written and directed by Sheila Jayadev, who received a $5,000 cash prize, with a special mention to Matthew Vesely for My Best Friend Is Stuck On The Ceiling. The new annual Sydney UNESCO City of Film Prize was awarded to Ms Lynette Wallworth, who received $10,000 prize awarded by Screen NSW, presented by Margaret Pomeranz AM. Sydney Film Festival CEO Leigh Small said, “Cinemas were full again this year with an average of 73% capacity across all sessions and more sellouts than ever before. -
'I'm a Devilish Fellow Who Can Do Many Tricks'
FACTS ABOUT SWEDEN | AUGUST STRINDBERG sweden.se P P H H O O T T O: O: S N T ORDI RIND S B K ER A MU GS MU S EE S T EE T August Strindberg: self-portrait from Gersau, Switzerland, 1886. Jealousy Night, painted by Strindberg in Berlin, Germany, 1893. AUGUST STRINDBERG: ‘I’M A DEVILISH FELLOW WHO CAN DO MANY TRICKS’ A hundred years after his death, August Strindberg (1849–1912) continues to fascinate. He was a trailblazer and innovator in his time and still manages to provoke audiences in theaters around the world. There is always an aspect of Strindberg’s everyday language, and today his texts led. His literary development largely fol- character – from the raging sociopoliti- feel remarkably modern. lowed the twists and turns of his private cal polemicist to the psychologically life, including the crises arising from his introspective writer – that fits the prevail- Man of many talents marriage break-ups and political contro- ing spirit and intellectual climate of the People are amazed by Strindberg’s ver- versies. times. His thoughts on morality, class, satility. He tackled most genres. Aside power structures and familial politics from being an innovator in drama and Upbringing and studies are still relevant today. The unflagging prose, he was a poet, a painter, a pho- Johan August Strindberg was born on struggle for free thinking and free speech tographer, even a sinologist. 22 January 1849. He would later claim that he waged throughout his life is more Strindberg’s stormy private life also that his childhood was one of poverty important than ever in a time when cen- explains his enduring appeal, especially and neglect but the family was not poor. -
All in the Family: Three Australian Female Directors Brian Mcfarlane
ALL IN THE FAMILY: THREE AUSTRALIAN FEMALE DIRECTORS BRIAN MCFARLANE y any standards, apart perhaps from box-office takings, 2009 was a banner year for Australian films. There were Balibo and Samson and Delilah, Disgrace and Last Ride, but what is really impressive is that three of the most memorable entries in this memorable year were directed by women, in an industry where Bdirection has long been dominated by men. I don’t want to make any special, essentialist point about what’s attracting female directors: male directors have been just as often drawn to the conflicts that rend families (think of such recent Australian films as Steve Jacobs’ Disgrace, Tony Ayres’ The Home Song Stories, Glendyn Ivin’s Last Ride, Dean Murphy’s Charlie & Boots). I just want to celebrate three very significant films by female directors. On the international scene, Kathryn Bigelow’s The Hurt Locker has won and been nominated for numerous awards, and neither in this nor her earlier films has the family been the site of her chief interest. Perhaps film directing is no longer a male preserve, and female directors are not to be confined by the parameters of what used to be patronisingly characterised as ‘the women’s picture’. With this sort of proviso understood, the three major films I want to highlight here—Sarah Watt’s My Year without Sex, Rachel Ward’s Beautiful Kate and Ana Kokkinos’s Blessed—indeed foreground family matters and do so with rigour and perception, but there the similarities end. 82 The three films are tonally distinct from each other. -
The Marrakech International Film Festival Unveils Its Official Selection
The 18th edition of the Marrakech International Film Festival runs from November 29th to December 7th, 2019. THE MARRAKECH INTERNATIONAL FILM FESTIVAL UNVEILS ITS OFFICIAL SELECTION Rabat, November 7th, 2019. Some 98 flms from 34 different countries have been selected for the 18th edition of the Marrakech International Film Festival, which runs from November 29th to December 7th, 2019. The flms have been programmed in various sections, including the Offcial Competition, Gala Screenings, a tribute to Australian Cinema, Special Screenings, the 11th Continent, a Moroccan Panorama, Cinema for Young Audiences, Jemaa El Fna open-air screenings, Audio-Described Cinema, and tributes to signifcant cinema personalities. The 18th edition of the Marrakech International Film Festival is a showcase of the diversity and creativity of world cinema. Across a wide range of sections, no fewer than 98 movies from 34 countries will be screened. The Ofcial Competition remains faithful to the Festival’s determination to screen frst or second feature-length movies to reveal and promote new talent in international cinema. The 14 flms in competition for the Étoile d’Or de Marrakech all bear witness to an astonishing sense of style and depth of thought, daring to explore new territories and establish personal and very original approaches to cinematographic creation. The Competition also represents an eclectic selection that showcases multiple cinematographic universes from different parts of the world, with three European flms from the UK, Italy, and Serbia; two flms from Latin America, hailing from Brazil and Colombia; one US flm; another from Australia; three Asian flms from China, India, and South Korea; and four flms from the Middle East and Africa, from Morocco, Tunisia, Saudi Arabia and Senegal. -
Country Towns in Australian Films: Trap and Comfort Zone
Country Towns in Australian Films: Trap or Comfort Zone? It was watching Strange Bedfellows (Dean Murphy, 2004) last year, with its patronizing view of country-town life, that set me to wonder about how Australian cinema has viewed these buffers between the metropolis and the bush, about what kinds of narratives it has spun around and inside them. BY BRIAN McFARLANE everal films of the last couple of years foregrounded, for me at least, the perception that the country town is neither one thing nor the other, and that it has rarely been subject to the scrutiny afforded the demographic extremes. What follows is more in the nature of reflection and speculation than orderly survey. To turn to Hollywood, glitzy capital of the filmmaking world, one finds paradox- ically that small-town Americana was practically a narrative staple, that there was almost a genre of films which took seriously what such towns had to offer. 46 • Metro Magazine 146/147 Metro Magazine 146 • 47 Genre, though, is perhaps not the best elty; and Cy Endfield’sImpulse (1954) re- word, as it suggests more similarity than moves its hero from the quotidian predict- these films are apt to exhibit. Think of ability of his solicitor’s office to the temp- Frank Capra’s It’s a Wonderful Life (1947) tations of the city and a dangerous wom- which so resonantly explores George Bai- an; while films such as Jack Clayton’s ley’s feeling of entrapment in Bedford Falls Room at the Top (1959) and Ken Loach’s and, then, his gratitude for the support it Kes (1969) relocate class, family and oth- offers him at the lowest point of his life. -
Blackballoonstudy Guide
A STUDY GUIDE BY MARGUERITE O’HARA www.metromagazine.com.au www.theeducationshop.com.au THE BLACK BALLOON Introduction wooden spoon and wailing on the front lawn. Charlie doesn’t The Black Balloon (Elissa Down, speak. He’s autistic and has 2007) is an Australian film ADD. He’s also unpredictable, about a family dealing with the sometimes unmanageable, and day-to-day challenges of living often disgusting. Thomas hates with an autistic son. Charlie his brother but wishes he didn’t. is seventeen and presents all kinds of embarrassing The Mollisons are an army situations for Thomas, his 15 family; but it’s not what you’d (going on 16)-year-old brother. call a regimented life, or even The film deals with a number a regular household. Thomas’s It’s hard to of issues about family life and cricket-obsessed father, Simon, the difficulties, challenges and talks to his teddy. Simon and fit in, when rewards faced by families in Maggie are openly intimate, and which one of the members has now Maggie is going to have you’re the a disability. another baby. The warmth, humour, love and One morning, the semi-naked generosity of the Mollison family Charlie escapes the house odd one out. makes for a very engaging film and leads Thomas on a chase that is neither sentimental nor across the neighbourhood. grim in its depiction of growing Charlie bursts into a stranger’s up with a family member with house to use the toilet; and autism. It is an inspiring story Thomas finds himself face to about the power of love, family face with Jackie Masters, his and friendship. -
Sy Ydney Y Fil M Fes Cl Stiva Losin Al Su Ng Ubmis Ssion Ns
MEDIA RELEASE 12 FEBRUARY 2014 SYDNEY FILM FESTIVAL SUBMISSIONS CLOSING Entries close Thursday February 27, 2014 Filmmakers across Australia and around the world have just over two weeks to finalise their submissions for the 61st annual Sydney Film Festival, which is set to offer up the best in world cinema from Wednesday June 4 until Sunday June 15, 2014. Entries across all submission categories will close at Close Of Business on Thursday February 27, 2014, and will need to be submitted through FilmFestivalLife. Festival Director Nashen Moodley said, "We are thrilled with the number of submissions that have come in so far and are looking forward to selecting the best of the best entries to screen at the 61st edition of the Festival.” “Entries have come from far and wide, with strong submission numbers being seen across all categories including features, short films and documentaries. We encourage all interested filmmakers to wrap‐up their projects over the coming week and submit their films for consideration.” Last year, out of the total entries submitted, 192 films were invited to the Festival, screening to more than 140,000 attendees over 12 jam‐packed days and nights. A highlight of the 2014 program will be the Australian short film competition which, in its 45th year, is the oldest short film competition in Australia. Since 1970, the competition has served as a unique spring board for acclaimed Australian film talent, launching the careers of multiple international award‐winners including Chris Noonan (Babe), Don McAlphine (Moulin Rouge), Jack Thompson (Sunday Too Far Away) and Phil Noyce (Rabbit‐Proof Fence), among others. -
Mother Earth. It Will Surely Prove Interesting Reading
Mother Earth VoL IX. MARCH, 1914 No. 1 CONTENTS Vm,, To Our Friends I The Feast of Belshazzar Voltairine de Cleyre 4 Observations and Comments 5 The Menace of the Unemployed Alexander Berkman ii The Paris Commune Voltairine de Cleyre 14 The Past of Social Democracy Jack Radclifte 10 August Strindberg Max Baginski 24 Emma Goldman Publisher Alexander Berkman .... Editor Office: 74 West 119th Street, New Yerh City TalephoM. HarUm 6194 Price 10 Cent* per Copy Oae Dollar per Year .1% Special M. E. Birthday Offers 1 I. Regular ¥ Price. WHAT IS PROPERTY? P. Proudhon $2.00 MY LIFE IN PRISON. Donald Lowrie 1.35 CONQUEST OF BREAD. Peter Kropotkin 75 FIELDS, FACTORIES AND WORKSHOPS. Peter Kropotkin 75 CHURCH AND STATE and OTHER ESSAYS. Leo Tolstoy .25 THE MESSAGE OF ANARCHY. Jethro Brown .25 SPEECHES OF THE CHICAGO ANARCHISTS. .25 REVOLUTIONARY ALMANAC 50 SELECTED PAMPHLETS ON VARIOUS TOPICS 1.00 SPECIAL OFFER, POST FREE. II. MUTUAL AID. Peter Kropotkin $2.< THE TWILIGHT OF THE IDOLS: THE ANTICHRIST. Friedrich Nietzsche 1.; PRISON MEMOIRS OF AN ANARCHIST. Alexander Berkman i.j NEWS FROM NOWHERE. William Morris GOD AND THE STATE. Michael Bakunin SELECTED PAMPHLETS ON VARIOUS TOPICS i.< " $7.00 SPECIAL OFFER, POST FREE $5.00 III. THE SMUG CITIZEN. Maxim Gorki $1.50 THE DAUGHTER OF JORIO. Gabriele D'An- nunzio . .j 1.50 AND PIPPA DANCES. Gerhart Hauptmai- : 1.50 FIRES OF ST. JOHN. Hermann Sudermam. ^.95 NOWADAYS. George Middleton as $7-0c t SPECIAL OFFER, POST FREE. •5-00 > OTHER IGARTH Monthly Magazine Devoted to Social Science and Literature Published Every 15th of the Month EMMA GOLDMAN, Proprietor, 74 West 119th Street, New York, N.