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Missions and Film Jamie S
Missions and Film Jamie S. Scott e are all familiar with the phenomenon of the “Jesus” city children like the film’s abused New York newsboy, Little Wfilm, but various kinds of movies—some adapted from Joe. In Susan Rocks the Boat (1916; dir. Paul Powell) a society girl literature or life, some original in conception—have portrayed a discovers meaning in life after founding the Joan of Arc Mission, variety of Christian missions and missionaries. If “Jesus” films while a disgraced seminarian finds redemption serving in an give us different readings of the kerygmatic paradox of divine urban mission in The Waifs (1916; dir. Scott Sidney). New York’s incarnation, pictures about missions and missionaries explore the East Side mission anchors tales of betrayal and fidelity inTo Him entirely human question: Who is or is not the model Christian? That Hath (1918; dir. Oscar Apfel), and bankrolling a mission Silent movies featured various forms of evangelism, usually rekindles a wealthy couple’s weary marriage in Playthings of Pas- Protestant. The trope of evangelism continued in big-screen and sion (1919; dir. Wallace Worsley). Luckless lovers from different later made-for-television “talkies,” social strata find a fresh start together including musicals. Biographical at the End of the Trail mission in pictures and documentaries have Virtuous Sinners (1919; dir. Emmett depicted evangelists in feature films J. Flynn), and a Salvation Army mis- and television productions, and sion worker in New York’s Bowery recent years have seen the burgeon- district reconciles with the son of the ing of Christian cinema as a distinct wealthy businessman who stole her genre. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/58603 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. A Special Relationship: The British Empire in British and American Cinema, 1930-1960 Sara Rose Johnstone For Doctorate of Philosophy in Film and Television Studies University of Warwick Film and Television Studies April 2013 ii Contents List of figures iii Acknowledgments iv Declaration v Thesis Abstract vi Introduction: Imperial Film Scholarship: A Critical Review 1 1. The Jewel in the Crown in Cinema of the 1930s 34 2. The Dark Continent: The Screen Representation of Colonial Africa in the 1930s 65 3. Wartime Imperialism, Reinventing the Empire 107 4. Post-Colonial India in the New World Order 151 5. Modern Africa according to Hollywood and British Filmmakers 185 6. Hollywood, Britain and the IRA 218 Conclusion 255 Filmography 261 Bibliography 265 iii Figures 2.1 Wee Willie Winkie and Susannah of the Mounties Press Book Adverts 52 3.1 Argentinian poster, American poster, Hungarian poster and British poster for Sanders of the River 86 3.2 Paul Robeson and Elizabeth Welch arriving in Africa in Song of Freedom 92 3.3 Cedric Hardwicke and un-credited actor in Stanley and Livingstone -
White Man's Country: the Image of Africa in the American Century By
White Man’s Country: The Image of Africa in the American Century By Aaron John Bady A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Bryan Wagner, Chair Professor Donna Jones Professor Scott Saul Professor Michael Watts Fall 2013 Abstract White Men’s Country: The Image of Africa in the American Century By Aaron John Bady Doctor of Philosophy in English University of California, Berkeley Professor Bryan Wagner, Chair It is often taken for granted that “the West’s image of Africa” is a dark and savage jungle, the “white man’s grave” which formed the backdrop for Joseph Conrad’s hyper-canonical Heart of Darkness. In the wake of decolonization and independence, African writers like Chinua Achebe and Ngugi wa Thiong’o provided alternate accounts of the continent, at a moment when doing so was rightly seen to be “The Empire Writes Back.” Yet in the years since then, “going beyond the clichés” has itself become a kind of cliché. In the last decade in particular, the global investment class has taken up the appeal to “Re-brand Africa” with a vengeance. Providing positive images of Africa is not necessarily a radical critique of empire’s enduring legacies, in other words; it can also be an effort to brand and market “Africa” as a product for capital speculation. In White Men’s Country: The Image of Africa in the American Century, I describe how American literary investments in Africa grew, alongside the slow decline of European cultural imperialism. -
July 1978 Scv^ Monthly for the Press && the Museum of Modern Art Frl 11 West 53 Street, New York, N.Y
d^c July 1978 ScV^ Monthly for the Press && The Museum of Modern Art frl 11 West 53 Street, New York, N.Y. 10019 Department of Public Information, (212)956-2648 What' s New Page 1 What's Coming Up Page 2 Current Exhibitions Page 3-4 Gallery Talks, Special Events Page 4-5 Ongoing Page Museum Hours, Admission Fees Page 6 Events for Children , Page 6 WHAT'S NEW DRAWINGS Artists and Writers Jul 10—Sep 24 An exhibition of 75 drawings from the Museum Collection ranging in date from 1889 to 1976. These drawings are portraits of 20th- century American and European painters and sculptors, poets and philosophers, novelists and critics. Portraits of writers in clude those of John Ashbery, Joe Bousquet, Bertolt Brecht, John Dewey, Iwan Goll, Max Jacob, James Joyce, Frank O'Hara, Kenneth Koch, Katherine Anne Porter, Albert Schweitzer, Gertrude Stein, Tristan Tzara, and Glenway Wescott. Among the artists represent ed by self-portraits are Botero, Chagall, Duchamp, Hartley, Kirchner, Laurencin, Matisse, Orozco, Samaras, Shahn, Sheeler, and Spilliaert. Directed by William S. Lieberman, Director, De partment of Drawings. (Sachs Galleries, 3rd floor) VARIETY OF MEDIA Selections from the Art Lending Service Jul 10—Sep 5 An exhibition/sale of works in a variety of media. (Penthouse, 6th floor) PHOTOGRAPHY Mirrors and Windows: American Photography Since 1960 Jul 28—Oct 2 This exhibition of approximately 200 prints attempts to provide a critical overview of the new American photography of the past Press Preview two decades. The central thesis of the exhibition claims that Jul 26 the basic dichotomy in contemporary photography distinguishes llam-4pm those who think of photography fundamentally as a means of self- expnession from those who think of it as a method of exploration. -
Inventory of the Henry M. Stanley Archives Revised Edition - 2005
Inventory of the Henry M. Stanley Archives Revised Edition - 2005 Peter Daerden Maurits Wynants Royal Museum for Central Africa Tervuren Contents Foreword 7 List of abbrevations 10 P A R T O N E : H E N R Y M O R T O N S T A N L E Y 11 JOURNALS AND NOTEBOOKS 11 1. Early travels, 1867-70 11 2. The Search for Livingstone, 1871-2 12 3. The Anglo-American Expedition, 1874-7 13 3.1. Journals and Diaries 13 3.2. Surveying Notebooks 14 3.3. Copy-books 15 4. The Congo Free State, 1878-85 16 4.1. Journals 16 4.2. Letter-books 17 5. The Emin Pasha Relief Expedition, 1886-90 19 5.1. Autograph journals 19 5.2. Letter book 20 5.3. Journals of Stanley’s Officers 21 6. Miscellaneous and Later Journals 22 CORRESPONDENCE 26 1. Relatives 26 1.1. Family 26 1.2. Schoolmates 27 1.3. “Claimants” 28 1 1.4. American acquaintances 29 2. Personal letters 30 2.1. Annie Ward 30 2.2. Virginia Ambella 30 2.3. Katie Roberts 30 2.4. Alice Pike 30 2.5. Dorothy Tennant 30 2.6. Relatives of Dorothy Tennant 49 2.6.1. Gertrude Tennant 49 2.6.2. Charles Coombe Tennant 50 2.6.3. Myers family 50 2.6.4. Other 52 3. Lewis Hulse Noe and William Harlow Cook 52 3.1. Lewis Hulse Noe 52 3.2. William Harlow Cook 52 4. David Livingstone and his family 53 4.1. David Livingstone 53 4.2. -
Pioneer Film Director Honored / HENRY KING
The Museum of Modern Art 'iWest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart NO. 57 FOR IMMEDIATE RELEASE PIONEER FILM DIRECTOR HONORED SEVEN WEEK RETROSPECTIVE FOR HENRY KING CO-SPONSORED BY MUSEUM AND DIRECTORS GUILD OF AMERICA "...the most underpublicized filmmaker in Hollywood. This tall, lean, handsome, urbane, but unflamboyant model of a corporation president makes film hits so easily, so efficiently, and so calmly that he is not news in a community of blaring trumpets, crashing cymbals and screaming egos." -Frank Capra Henry King, one of the founding fathers of American film, who began his career early in the century, remains today one of the legendary figures in Hollywood, and though he preserves his privacy, his films such as "The Song of Bernadette," "Twelve O'clock High" and "The Gunfighter" speak for themselves, and these and other major works will be part of a seven week retrospective given in King's honor by New York's Museum of Modern Art in association with the Directors Guild of America. The Virginia-born director, who has specialized, like D.W. Griffith and John Ford, in Americana themes since his first classic, "Tol'able David," and later with "State Fair", "In Old Chicago," "Jesse James" and "Alexander's Ragtime Band," will make a trip from the West Coast to New York to participate in the opening of this program. On June 29 and 30, he will address the Museum audiences, although he seldom makes public appearances. While he contributed to Hollywood's worldwide reputation, King, who recognized such early superstars as Richard Barthelmess, Ronald Colman and Gary Cooper and gave them their first leading roles on the screen, has managed to retain his relative anonymity in an ostentatious environment. -
Exhibition Catalogue Hidden Histories of Exploration
Hidden Histories of Exploration Hidden Histories of Exploration Researching the RGS-IBG Collections Felix Driver & Lowri Jones Royal Holloway, University of London Published for the exhibition Hidden Histories of Exploration held at the Royal Geographical Society (with IBG) from 15 October to 10 December 2009 1 A companion volume and catalogue to the exhibition Introduction: hidden histories 5 Hidden Histories of Exploration , held at the Royal Geographical Society (with IBG), from 15 October to 10 December 2009, supported by the Arts & Humanities Research Council. The work of exploration 11 Published by Royal Holloway, University of London, in association with the Royal Geographical Society The art of encounter 25 (with IBG), Kensington Gore, London, SW7 2AR Copyright © 2009 Royal Holloway, University of London, Exploration on camera 37 and RGS-IBG All images copyright © RGS-IBG unless otherwise stated Recognition & responsibility 43 The authors have asserted their moral rights. Conclusions: visible histories 49 First edition ISBN 978-1-905846-30-6 Notes and further reading 50 Designed by Joe Madeira Printed in England by Gavin Martin Exhibition catalogue 52 Front cover: 'A Malay native from Batavia at Coepang', Acknowledgements 64 by Thomas Baines, 1856 (cat. no. 40) Note: the catalogue (pp. 52-63) provides a full list of exhibited items. These are referred to in the text by number (cat. no.) 2 3 Introduction: hidden histories When we think about the history of exploration, we Thinking about exploration as an act of work, often imagine it as the work of exceptional individuals often monotonous and rarely glamorous, inevitably in extraordinary circumstances. Men and women prompts us to think of it as a shared experience. -
Hollywood's Africa After 1994
HOLLYWOOD’S AFRICA AFTER 1994 EDITED BY MARYELLEN HIGGINS Ohio University Press • Athens CONTENTS Introduction: African Blood, Hollywood’s Diamonds? Hollywood’s Africa after 1994 MARYELLEN HIGGINS 1 1 The Cited and the Uncited: Toward an Emancipatory Reading of Representations of Africa HARRY GARUBA AND NATASHA HIMMELMAN 15 2 The Troubled Terrain of Human Rights Films: Blood Diamond, The Last King of Scotland, and The Devil Came on Horseback MARGARET R. HIGONNET, WITH ETHEL R. HIGONNET 35 3 Hollywood’s Representations of Human Rights: The Case of Terry George’s Hotel Rwanda JOYCE B. ASHUNTANTANG 54 4 Hollywood’s Cowboy Humanitarianism in Black Hawk Down and Tears of the Sun MARYELLEN HIGGINS 68 5 Again, the Darkness: Shake Hands with the Devil KENNETH W. HARROW 83 6 Ambiguities and Paradoxes: Framing Northern Intervention in The Constant Gardener CHRISTOPHER ODHIAMBO JOSEPH 96 7 Minstrelsy and Mythic Appetites: The Last King of Scotland’s Heart of Darkness in the Jubilee Year of African Independence RICARDO GUTHRIE 110 8 “An Image of Africa”: Representations of Modern Colonialism in Africa in Peter Jackson’s King Kong CLIFFORD T. MANLOVE 125 9 Plus Ça Change, Plus C’est la Même Chose: Hollywood’s Constructions of Africa in Lord of War EARL CONTEH-MORGAN 143 10 New Jack African Cinema: Dangerous Ground; Cry, the Beloved Country; and Blood Diamond BENNETTA JULES-ROSETTE, J.R. OSBORN, AND LEA MARIE RUIZ-ADE 157 11 “It Is a Very Rough Game, Almost as Rough as Politics”: Rugby as Visual Metaphor and the Future of the New South Africa in Invictus -
Literature, Geography, and Poetics
The Pennsylvania State University The Graduate School College of the Liberal Arts AFRICAN GENRES: LITERATURE, GEOGRAPHY, AND POETICS IN THE LONG EAST COAST A Dissertation in Comparative Literature by Michelle G. Decker © 2014 Michelle G. Decker Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2014 The dissertation of Michelle G. Decker was reviewed and approved* by the following: Eric Hayot Distinguished Professor of Comparative Literature and Asian Studies Dissertation Adviser Chair of Committee Head of the Department of Comparative Literature Gabeba Baderoon Assistant Professor of Women’s Studies and African Studies Jonathan P. Eburne Associate Professor of Comparative Literature and English Nergis Ertürk Associate Professor of Comparative Literature Christopher Reed Professor of English and Visual Culture *Signatures are on file in the Graduate School. ABSTRACT African Genres enacts a broad reassessment of academic and popular conceptions of “Africa” through analyzing written literatures from the Long East Coast. It demonstrates how geography, literary form, and interpretive practices interplay to formulate these broad conceptions. As a whole, the work demonstrates how interpretations of African geography affected its place in world history; discusses how the heuristic of genre shapes how Western readers read non-Western texts; and finally, calls for a reimagining of the limits and characteristics of an African poetics. In respective chapters, African Genres enacts close-readings of the form, content, and style of texts written between 1860 and 1970, a time period that intentionally bridges multiple colonialisms (Arab, European, and internal) and postcolonialisms. In this work, Zanzibar (along with the Swahili coast and East African interior), Egypt, and South Africa are the representative locations of the Long East Coast. -
History Department Video Catalog
1 HISTORY DEPARTMENT VIDEO CATALOG A ADVENTURES OF THE VIKINGS / 1996, 83 Minutes, 1 Videocassette. Covers the 300 year period commonly called the "Viking Era." Discusses the journeys of the Norwegians, Danes, and Swedes. Special attention given to the Viking discovery of North America. AFRICA Course: 1111, 1112, 1140, 4750, 4760, 4770, 4774 Basil Davidson series, 8 parts; 60 min. each) shelved by series; 2 parts per video; Filmed on various locations all over Africa, showing life as it is today, plus archival film and dramatized reconstruction of earlier times. Produced in England, in association with Nigerian Television. "Basil Davidson is one of the major world authorities on African history, and this series is very well done. In some places he is presenting personal interpretations for which there is not as yet a scholarly consensus. He is generally sympathetic to African reinterpretations of world history." ‐‐ Reid Part 1: "Different but Equal." Davidson goes back to Africa's origins to show that, far from having no great art or technology, Africa gave rise to some of the world's greatest early civilizations. Part 2: "Mastering a Continent." Looking closely at three different communities, this program examines the way African peoples carve out an existence in an often hostile environment. Two very different farming villages show how, in Africa, spiritual development goes hand in hand with technological advance. Part 3: "Caravans of Gold." Davidson traces the routes of the medieval gold trade, which reached from Africa to India and China in the east and westward to the city‐states of Italy. African rulers grew rich and powerful ‐ the King of Ghana was described by an Arab traveler in 951 as the wealthiest of all kings on earth. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
Castro Agrees Tractors Swap
■ \, - N. FRTOAY, JUNE f , IM l Averege Deily Net Frees Run W' FAGB TWENTT-FOUR ver ttw W e^ b m m The Weether dlattrlfPBter !Et>raf|tg litra ld J nM t, ISSl ForMasI et O. 8. WeatlMr neime MoMly cloudy, warm. ‘kaaiMI, The Manrhaatar Junior Bqaara pmrt Nsfsni Bhlpbulldlag aad Dry* Mre. Barbara Xlato oC BeMM- psranee Vako wiU msst in ths 13,330 Earie A. Howard Jr„ sen of Mr. ln*^*toS^S afTe’dloek^ LT.WOODCO., •howera or HSraadorolioworli toalsht Dance will bold a daaea os the and Mrs. Karla A. Howard. 61 8. dock Oo., Newport NewK Vo. berg, aermany. is vMttog hsr aoa- South MstliodlM Chunfli at 1 i».m. MMHbar «f the . and Saaday. Low toalslit la SSik About Toivn Weat Bide Recraatkai tannla to-law and damfiitor, Mr.'and Mrs. night Thhi wtil be tho final aaat- B m w «f I oourta from 7:90 to 10 tanlibt. Adams Btn recently was promoted Hsnry Bsran, 193 Hhwthonia 8t, MMday toi tta ngulaf msottog. Ing for tha gimiMr. IC E P U N T Hlfh Snaday 75 to 80. Ito ^ card*, Klaga Dkustiten, Stan Best will be caller. In caae of to quartam snter second dase, Robert Whiter AaderaoB, son of aftor a Jst flight to this opontry. Members are asked to have thw Manch0Bter--—A City o f VilUme Charm aleet orioen at ita final meet- USN, while serving with the pre- Mr. and M n. Walter-A. Ajadwraon. flowera anrongad to oentainsrs for tain, the dance will take dh^e fibs plans .to remain hsre for a the annual flower mlaolon a t 3 Intermedlato Hoop 15, ftfl 81 B n n u .