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A Transcultural Perspective on the Casting of the Rose Tattoo
RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach. -
Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
English Manns
CHRONOLOGICAL RECORD OF THE ENGLISH MANNS, BY J. B. MANN. ROCHESTER, N. Y. E. R. ANDREWS' BOOK AND JOB PRINTING HOUSE. 1874. Ju. _/,Jn.12.£L ~ CA,i ~.!'-~-'; ~ /4~,. ~ (!,n.d, //t·LL i¼,, ':": ~ti ~U,~~ <hz~V~~ ~{ -~~} C~t--~r ~4 ~ /~ ~ ~ J~ £--.!,J _ ~o/y/._ /J, ,.. fl.4-u.,, .. uJ--CL-;.1 6-vz_,__ ju--,,u f, lf¥1 a~L.J. t/fu ~ ~few w~Gh, '1t,, ~ -~ /f7t_ &~ /~i,..,,,tla,u~ u~ t : ' !hM/i!t?~ ~- 2S-, 1/y,4:Q , PREFACE. In this volume I have striven to give the most im portant facts concerning our ance8try. When Charles H_ Mann, of Concord, Michigan, suggP,sted to me that I write a history of the Mann family, I quickly replied that such a work was im possible, but I would like a history of them. At that time my knowledge of the Mann family was very limited. After giving the subject a little thought, I at once sa.w that it would-be impost--ible to write a history of thPm, and the most I could hope to do would be to prP-pare a record of them. Accord ingly, in 1871 I began gathering information, pre paratory to writing a record of the Mann family. This book is the result of my efforts. It would be impossible, within the compass of so Emall a work, to give all the facts concerning each family; but it is believed that the most important ones are men tioned. Where a birth, or a deS1.th, or if all of these are omitted and only the name is mentionedJ such omissions are always for want of information. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
MODERN ARCHITECTURE INTERNATIONAL EXHIBITION I, Momaexh 0015 Masterchecklist
BaM-- fu-- ~~{S~ MODERN ARCHITECTURE INTERNATIONAL EXHIBITION I, MoMAExh_0015_MasterChecklist NEW YORK FEB. 10 TO MARCH 23,1932 MUSEUM OF MODERN ART PHOTOGRAPHS IN THE EXHIBITION ILLUSTRATING THE EXTENT OF MODERN ARCHITECTURE AUSTRIA LOIS WELZENBACHER:Apartment House, Innsbruck. 1930. BELGIUM H. L. DEKONINCK:Lenglet House, Uccle, near Brussels. 1926. MoMAExh_0015_MasterChecklist CZECHOSLOVAKIA I OTTO EISLER:House for Two Brothers, Brno, 1931. BOHUSLAVFucns: Students' Clubhouse, Brno. 1931. I I LUDVIKKYSELA:Bata Store, Prague. 1929. ENGLAND AMYAS CONNELL:House in Amersham, Buckinghamshire. 193I. JOSEPHEMBERTON:Royal Corinthian Yacht Club, Burnham-an-Crouch. 1931. FINLAND o ALVAR AALTO: Turun Sanomat Building, Abo. 1930. FRANCE Gabriel Guevrekian: Villa Heim, Neuilly-sur-Seine. 1928. ANDRE LURyAT:Froriep de Salis House, Boulogne-sur-Seine. 1927. ANDRE LURCAT:Hotel Nord-Sud, Calvi, Corsica. 1931. 2!j ,I I I I I I FRANCE (continued) ROBMALLET-STEVENS:de Noailles Villa, Hyeres. "925. PAULNELSON: Pharmacy, Paris. 1931. GERMANY OTTOHAESLER: Old People's Home, Kassel. 1931. LUCKHARDT&' ANKER: Row of Houses, Berlin. "929. ERNSTMAY &' ASSOCIATES:Friedrich Ebert School, Frankfort-on-Main. 1931. 28 0 MoMAExh_0015_MasterChecklist ERICHMENDELSOHN:Schocken Department Store, Chemnitz. "9 -3 . ERICHMENDELSOHN:House of the Architect, Berlin. "930. HANSSCHAROUN: "Wohnheim;" Breslau. 1930. KARLSCHNEIDER:Kunstverein, Hamburg. "930. HOLLAND BRINKMAN&' VAN DERVLUGT: Van Nelle Factory, Rotterdam. 1928-30. I I W, J. DUIKER: Open Air School, Amsterdam. "931. G. RIETVELD:House at Utrecht. "924. ITALY 1. FIGINI &' G. POLLIN!:Electrical House at the Monza Exposition. "930. I' JAPAN ISABUROUENO: Star Bar, Kioto. "931. MAMORU YAMADA: Electrical Laboratory, Tokio. "930. SPAIN LABAYEN&' AIZPUR1JA:Club House, San Sebastian. "930. 26 SWEDEN SVEN MARKELlus &' UNO AHREN: Students' Clubhouse, Stockholm. -
Daniel Mann Papers
http://oac.cdlib.org/findaid/ark:/13030/c8fb549k No online items Daniel Mann papers Special Collections Margaret Herrick Library© 2013 Daniel Mann papers 209 1 Descriptive Summary Title: Daniel Mann papers Date (inclusive): 1919-1992 Date (bulk): 1945-1985 Collection number: 209 Creator: Mann, Daniel Extent: 18 linear feet of papers.2 linear feet of photographs. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Daniel Mann papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Erica Mann Ramis, Michael Mann, and Alex Mann, 1996 Biography Daniel Mann was an American director active in film from 1952 to 1978. Mann arrived in Hollywood in the early 1950s. His directing credits include COME BACK, LITTLE SHEBA (1952), THE ROSE TATTOO (1955), and BUTTERFIELD 8 (1960). Collection Scope and Content Summary The Daniel Mann papers span the years 1919-1992 (bulk 1945-1985) and encompass 20 linear feet. The collection consists of production files, scripts, and film-related correspondence for some 20 of Mann's films. There are also clippings, casting requests from actors, teaching projects, and fan mail from around the world. The photograph series consists of 1,798 items, and contains primarily scenes and off- camera photographs from films directed by Mann. -
MANN Was Born on 7 Aug 1734 in Hebron, Tolland Co., CT
I. Abijah MANN was born on 7 Aug 1734 in Hebron, Tolland Co., CT. He Served in the military (French & Indian War, 12th Regiment) in 1755–62(about) from in Hebron, Tolland Co., CT. Given Name: Abijah Surname: Man Page #: 162 Location: Hebron Regiment: Twelfth Regt.Command: Trumbull, Jonathan Col. Comments: Part of quota ordered raised in October. He served in the military Civil Service-Serveyer of highways in 1779 in Hebron, Tolland Co., CT. (DAR ancestor #A073403) Abijah died in 1809 at the age of 75 in Hebron, Tolland Co., CT. Abijah Mann was descended from Richard Mann from Norfolk, England who settled in Scituate, MA about 1644. It was originally thought, though later disproved, that Richard was on the first Mayflower. Abijah served the American cause in the Revolutionary War as a serveyer of roads and therefore his descendants are eligible for DAR or SAR. Abijah MANN and Sarah PORTER were married on 17 Nov 1757 in Hebron, Tolland Co., CT. Sarah PORTER, daughter of John PORTER and Sarah HEATON, was born on 2 Nov 1731 in Hebron, Tolland Co., CT. Abijah MANN and Sarah PORTER had the following children: A. Abijah MANN was born on 21 Dec 1761 in Hebron, Tolland Co., CT. He was living in May 1785 in Fairfield, Herkimer Co., NY. "He Emigrated from CT, to Fairfield, Herkimer County, N.Y. when about twenty-one or twenty- two years old. He was a farmer and had at his death a well cultivated and large farm of about two hundred acres. He was one of the first trustees, and helped build the Academy at Fairfield, N.Y., which is now known as Fairfield Seminary." He lived Herkimer Co., NY in 1810. -
United States Courthouse: Brooklyn, New York
UNITED STATES COURTHOUSE Brooklyn, New York 6 Elevating Urban Tradition 16 Capturing the Light 24 Art in Architecture 26 General Facts About the Courthouse 30 Biographies: The Architect and the Artist 32 The Design and Construction Team 35 U.S. General Services Administration and the Design Excellence Program The new courthouse redefines the Brooklyn skyline. Its design is sympathetic to the original courthouse which it adjoins. It also provides a new landmark for the Civic Center of downtown Brooklyn. Cesar Pelli, architect 3 4 ELEVATING URBAN TRADITION Brooklyn, the largest of New York City’s building. Designed to complement nearby five boroughs, has witnessed more than historic government buildings, its new four centuries of growth and change tower serves as a beacon of civic pride that spurred by successive waves of immigrants. is visible within Brooklyn as well as from One out of every seven Americans can lower Manhattan. trace their family roots through its streets. Like other structures in the borough’s civic First populated in the 1600s by the Dutch, core, the new courthouse fronts an avenue who called it Breuckelen, the area remained and pedestrian promenade called Cadman sparsely inhabited until 1814, when Robert Plaza, named for Brooklyn Congregational Fulton’s new steam ferry began to offer minister and famed orator Samuel Parkes an easy commute to and from Manhattan. Cadman, that was created in the 1950s Brooklyn Heights became Manhattan’s first and 60s on land once occupied by elevated suburb and downtown Brooklyn soon grew train tracks. The plaza and adjacent avenue to become a center of commerce. -
Lecture Handouts, 2013
Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #1 INTRODUCTION & OVERVIEW Introductions Expectations Textbooks Assignments Electronic reserves Research Project Sources History-Theory-Criticism Methods & questions of Architectural History Assignments: Initial Paper Topic form Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #2 ARCHITECTURE OF WWII The World at War (1939-45) Nazi War Machine - Rearming Germany after WWI Albert Speer, Hitler’s architect & responsible for Nazi armaments Autobahn & Volkswagen Air-raid Bunkers, the “Atlantic Wall”, “Sigfried Line”, by Fritz Todt, 1941ff Concentration Camps, Labor Camps, POW Camps Luftwaffe Industrial Research London Blitz, 1940-41 by Germany Bombing of Japan, 1944-45 by US Bombing of Germany, 1941-45 by Allies Europe after WWII: Reconstruction, Memory, the “Blank Slate” The American Scene: Pearl Harbor, Dec. 7, 1941 Pentagon, by Berman, DC, 1941-43 “German Village,” Utah, planned by US Army & Erich Mendelsohn Military production in Los Angeles, Pittsburgh, Detroit, Akron, Cleveland, Gary, KC, etc. Albert Kahn, Detroit, “Producer of Production Lines” * Willow Run B-24 Bomber Plant (Ford; then Kaiser Autos, now GM), Ypsilanti, MI, 1941 Oak Ridge, TN, K-25 uranium enrichment factory; town by S.O.M., 1943 Midwest City, OK, near Midwest Airfield, laid out by Seward Mott, Fed. Housing Authortiy, 1942ff Wartime Housing by Vernon Demars, Louis Kahn, Oscar Stonorov, William Wurster, Richard Neutra, Walter Gropius, Skidmore-Owings-Merrill, et al * Aluminum Terrace, Gropius, Natrona Heights, PA, 1941 Women’s role in the war production, “Rosie the Riverter” War time production transitions to peacetime: new materials, new design, new products Plywod Splint, Charles Eames, 1941 / Saran Wrap / Fiberglass, etc. -
Cornelia Hahn Oberlander Oral History Transcript
The Cultural Landscape Foundation® Pioneers of American Landscape Design® ___________________________________ CORNELIA HAHN OBERLANDER ORAL HISTORY INTERVIEW TRANSCRIPT ___________________________________ Interview conducted August 3-5, 2008 Charles A. Birnbaum, FASLA, FAAR Tom Fox, FASLA, videographer The Cultural Landscape Foundation® Pioneers of American Landscape Design® Oral History Series: Cornelia Hahn Oberlander Interview Transcript Table of Contents Cornelia Hahn Oberlander Interview Transcript ............................................................. 4 Introduction .................................................................................................................. 4 Childhood and Education ............................................................................................... 5 Memories of Family Life in Europe .................................................................................... 5 Coming to America ............................................................................................................ 6 Smith College ..................................................................................................................... 7 Smith Professors Made a Difference ................................................................................. 8 Lessons from Harvard ........................................................................................................ 9 Meeting Larry Halprin ..................................................................................................... -
Organic Design in Home Furnishings by Eliot F
Organic design in home furnishings By Eliot F. Noyes Author Noyes, Eliot Date 1941 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1803 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modernart newyork S/. f % 5"AieKn«oht K&uf Per LIBRARY Museumof ModernArt ARCHIVE WHESlfcP- A design may be called organic when there is an harmonious organization of the parts within the whole, according to structure, material, and purpose. Within this defini tion there can be no vain ornamentation or ORGANICDESIGN: superfluity, but the part of beauty is none the less great — in ideal choice of material, in visual refinement, and in the rational elegance of things intended for use. "By the beauty of shapes I do not mean, as most "To find beauty in form instead of making it de people would suppose, the beauty of living fig pend on ornament is the goal towards which ures or of pictures, but, to make my point clear, humanity is aspiring." I mean straight lines and circles, and shapes, ADOLF LOOS 1898 plane or solid, made from them by lathe, ruler Ins Leere Gesprochen and square. These are not, like other things, "Our capacity to go beyond the machine rests in beautiful relatively, but always and absolutely." our power to assimilate the machine. Until we PLATO Philebus have absorbed the lessons of objectivity, imper "For beauty three things are required. -
Appendix 1: Selected Films
Appendix 1: Selected Films The very random selection of films in this appendix may appear to be arbitrary, but it is an attempt to suggest, from a varied collection of titles not otherwise fully covered in this volume, that approaches to the treatment of sex in the cinema can represent a broad church indeed. Not all the films listed below are accomplished – and some are frankly maladroit – but they all have areas of interest in the ways in which they utilise some form of erotic expression. Barbarella (1968, directed by Roger Vadim) This French/Italian adaptation of the witty and transgressive science fiction comic strip embraces its own trash ethos with gusto, and creates an eccentric, utterly arti- ficial world for its foolhardy female astronaut, who Jane Fonda plays as basically a female Candide in space. The film is full of off- kilter sexuality, such as the evil Black Queen played by Anita Pallenberg as a predatory lesbian, while the opening scene features a space- suited figure stripping in zero gravity under the credits to reveal a naked Jane Fonda. Her peekaboo outfits in the film are cleverly designed, but belong firmly to the actress’s pre- feminist persona – although it might be argued that Barbarella herself, rather than being the sexual plaything for men one might imagine, in fact uses men to grant herself sexual gratification. The Blood Rose/La Rose Écorchée (aka Ravaged, 1970, directed by Claude Mulot) The delirious The Blood Rose was trumpeted as ‘The First Sex Horror Film Ever Made’. In its uncut European version, Claude Mulot’s film begins very much like an arthouse movie of the kind made by such directors as Alain Resnais: unortho- dox editing and tricks with time and the film’s chronology are used to destabilise the viewer.