Die Macht Der Dummheit
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The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Moma More Cruel and Unusual Comedy Social Commentary in The
MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active. -
Nyau Philosophy
Title Nyau Philosophy: Contemporary Art and the Problematic of the Gift – a Panegyric Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12398/ Dat e 2 0 1 6 Citation Kambalu, Samson (2016) Nyau Philosophy: Contemporary Art and the Problematic of the Gift – a Panegyric. PhD thesis, University of the Arts London. Cr e a to rs Kambalu, Samson Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Nyau Philosophy: Contemporary Art and the Problematic of the Gift – a Panegyric Samson Kambalu A thesis submitted in partial fulfilment of the requirements for the practice-led degree of PhD in Fine Art at the University of the Arts London August 2016 Director of Studies: Professor Neil Cummings Second Supervisor: Dr Michael Asbury Abstract Societies in Southern Africa remain largely gift economies, their art conceived as an infrastructure within everyday life, and yet art from the region continues to be read within the values of mimetic art where art is conceived as part of the superstructure of restricted Western economic and social thinking. My research on how the problematic of the gift and Bataille’s theory of the gift, the ‘general economy’, animates various aspects of my art praxis has set out to correct this discrepancy. It includes a re-examination of the general economy of the modern African society, which Achille Mbembe has described as the ‘postcolony’, and how it has impacted on the development of my work as an artist. -
Absurd Black Humour As Social Criticism in Contemporary European Cinema
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Absurd Black Humour as Social Criticism in Contemporary European Cinema Eszter Simor Doctor of Philosophy The University of Edinburgh 2019 Submitted in satisfaction of the requirements for the degree of PhD in Film Studies at the University of Edinburgh This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (PhD) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. -
Visual and Performing Arts Framework-Complete
Visual and Performing Arts Framework for California Public Schools • Kindergarten Through Grade Twelve Adopted by the California State Board of Education Published by the California Department of Education Sacramento, 2004 Visual and Performing Arts Framework for California Public Schools Kindergarten Through Grade Twelve Developed by the Curriculum Development and Supplemental Materials Commission Adopted by the California State Board of Education Published by the California Department of Education ii Publishing Information When the Visual and Performing Arts Framework for California Public Schools, Kindergarten Through Grade Twelve was adopted by the California State Board of Education on January 7, 2004, the members of the State Board were as follows: Reed Hastings, President; Joe Nuñez, Vice President; Robert Abernethy; Donald G. Fisher; Nancy Ichinaga; and Suzanne Tacheny. The framework was developed by the Curriculum Development and Supplemental Materials Commission. (See pages vii–ix for the names of the members of the commission and the names of the principal writer and others who made significant contributions to the framework.) This publication was edited by Edward O’Malley, working in cooperation with Director Thomas Adams, Administrator Don Kairott, and consultants Christopher Dowell, Martha Rowland, and Mary Sprague, Curriculum Frameworks and Instructional Resources Division; and consultants Nancy Carr and Don Doyle, Professional Development and Curriculum Support Division, California Department of Education. The framework was designed and prepared for printing by the staff of CDE Press, with the cover designed by Paul Lee and the interior design created and prepared by Paul Lee and Cheryl McDonald. Typesetting was done by Jeannette Reyes. The framework was published by the Department of Education, 1430 N Street, Sacramento, CA 95814-5901. -
Sex, Politics, and Comedy
SEX, POLITICS, AND COMEDY GERMAN JEWISH CULTURES Editorial Board: Matthew Handelman, Michigan State University Iris Idelson-Shein, Goethe Universitat Frankfurt am Main Samuel Spinner, Johns Hopkins University Joshua Teplitsky, Stony Brook University Kerry Wallach, Gettysburg College Sponsored by the Leo Baeck Institute London SEX, POLITICS, AND COMEDY The Transnational Cinema of Ernst Lubitsch Rick McCormick Indiana University Press This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress.indiana.edu Supported by the Axel Springer Stiftung This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Minnesota. Learn more at the TOME website, which can be found at the following web address: openmonographs.org. © 2020 by Richard W. McCormick All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. -
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film by Paul Michael Walter Babiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto ©Copyright by Paul Michael Walter Babiak, 2015 Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film Paul Michael Walter Babiak Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2015 Abstract This thesis examines laughter that attends violent physical comedy: the knockabout acts of the nineteenth-century variety theatres, and their putative descendants, the slapstick films of the early twentieth-century cinema. It attempts a comparative functional analysis of knockabout acts and their counterparts in slapstick film. In Chapter 1 of this thesis I outline the obstacles to this inquiry and the means I took to overcome them; in Chapter 2, I distinguish the periods when knockabout and slapstick each formed the dominant paradigm for physical comedy, and give an overview of the critical changes in the social context that separate them. In Chapter 3, I trace the gradual development of comedy films throughout the early cinema period, from the “comics” of 1900 to 1907, through the “rough house” films of the transitional era, to the emergence of the new genre in 1911-1914. ii Chapters 4, 5, 6 and 7 present my comparative analyses of the workings of four representative -
Shakespeare's Romantic Comedies on Film
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Not for an age, but for all time": Shakespeare's Romantic Comedies on Film Kelly A. Rivers University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Film and Media Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Rivers, Kelly A., ""Not for an age, but for all time": Shakespeare's Romantic Comedies on Film. " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/744 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelly A. Rivers entitled ""Not for an age, but for all time": Shakespeare's Romantic Comedies on Film." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Robert E. Stillman, Major Professor We have read this dissertation and recommend its acceptance: Charles J. Maland, Heather A. Hirschfeld, H. Phillip Hamlin Accepted -
Charlie Chaplin. the Circus. 1928. Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy
Charlie Chaplin. The Circus. 1928. Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy STEVEN JACOBS AND HILDE D’HAEYERE It has long been noted that key figures of the European avant-garde of the interwar years, including many leading Dadaist, Surrealist, and Constructivist artists, greatly admired American slapstick comedies of the 1910s and ’20s.1 Although these artists had diverse artistic agendas, their fascination with slapstick comedy tended to spring from similar preoccupations. First, the films of Mack Sennett, Charlie Chaplin, Buster Keaton, Harold Lloyd, and Harry Langdon, among others, were seen as examples of a pure cinema founded on essential cine- matic qualities such as speed, motion, and rhythm. Second, for many members of the avant-garde, slapstick cinema responded adequately to the logic of mechaniza- tion, which they, too, sought to engage. Slapstick films not only reflected the keen interest in (absurd or unruly) machines, trains, motorcycles, airplanes, and cars; they were themselves products of industrial modernity. Mack Sennett’s Keystone Film Company, for example, was one of the first to produce films according to the logic of serial manufacture, industry standards, and efficiency-induced division of labor.2 Third, the slapstick tradition brought an absurd reality to the fore, in which the laws of gravity, inertia, logic, and commerce were suspended and every- day objects mysteriously came to life, shifted shapes, and were transformed. Precisely these aspects of slapstick cinema also attracted Walter Benjamin, Siegfried Kracauer, and Theodor W. Adorno in their investigations of the rela- tionships between industrial capitalism and visual culture. As Miriam Bratu Hansen has demonstrated in detail, Frankfurt critical theory developed a philo- 1. -
European Journal of American Studies , Reviews 2015-1 Alan Bilton, Silent Film Comedy and American Culture
European journal of American studies Reviews 2015-1 Alan Bilton, Silent Film Comedy and American Culture. Melenia Arouh Electronic version URL: https://journals.openedition.org/ejas/10450 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Melenia Arouh, “Alan Bilton, Silent Film Comedy and American Culture.”, European journal of American studies [Online], Reviews 2015-1, document 1, Online since 10 February 2015, connection on 09 July 2021. URL: http://journals.openedition.org/ejas/10450 This text was automatically generated on 9 July 2021. Creative Commons License Alan Bilton, Silent Film Comedy and American Culture. 1 Alan Bilton, Silent Film Comedy and American Culture. Melenia Arouh 1 Alan Bilton’s recent book Silent Film Comedy and American Culture examines how film comedy emerged at a time of social and moral transition in the United States, and established itself both as escapist entertainment but also as an expression of the American collective unconscious. Bilton analyses the work of several important comedians of the silent era, relating their biographies and work to the American culture of the period. In this way he weaves a narrative of the times, the myths, the norms, and symbols of the American psyche. His tone of inquiry is engaging and the way he synthesises historical facts, film techniques, industry practices, and theoretical concepts allows him to survey an era that would come to define Hollywood, and our perceptions of comedic films. 2 It is interesting to note that Bilton introduces his inquiry by way of Edward Bernays, the father of public relations. For Bernays, the masses, following the psychoanalytic school of thought he revered, are irrational and barbaric. -
The Promise of Chaplin PAUL FLAIG
The Promise of Cinema (http://www.thepromiseofcinema.com/) The Promise of Chaplin PAUL FLAIG The fifth and final act of Walter Ruttmann’s Berlin: Symphony of a Great City (1927) begins at the close of day, as electric lights stream from apartment windows, film palaces and car headlights. Ruttmann shifts from rain-swept, glistening streets to crowded sidewalks, as people go up and down one of Berlin’s most fashionable thorough-fairs, Tauentzienstrasse, looking for an evening’s entertainment. Such entertainment is represented first and foremost by the cinema, as we see the impressive facades of the Berliner Kino and the Atrium, the latter’s awning advertising in dazzling lights the New Woman-themed romantic comedy, Venus im Frack (Land, 1927). Outside a series of smaller, storefront cinemas, so-called Ladenkino, a placard for American cowboy Tom Mix and photographs of other movie stars surround a box office busy with customers queuing for tickets or waiting for their film-going companions. For Berlin’s own audience, a sense of expectation builds as we wonder what film and which stars these surrogates for ourselves are seeking inside the cinema. Concluding the film-themed introduction to his final act, Ruttmann shows, in a quick glimpse lasting no more than five seconds, the interior of a cramped Ladenkino to give an answer: a pair of all too familiar, ragged and over-sized shoes gambol forward, accompanied by equally iconic bamboo cane and baggy trousers. Berlín. Die Sinfonie der Großstadt |… This synechdochal flash of Charlie Chaplin’s Tramp, as instantly recognizable to viewers in 1927 as in 2016, is a brilliant stroke on Ruttmann’s part. -
The Chaplin Craze: Charlie Chaplin and the Emergence of Mass-Amusement Culture
THE CHAPLIN CRAZE: CHARLIE CHAPLIN AND THE EMERGENCE OF MASS-AMUSEMENT CULTURE JACK RUNDELL PhD UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE AUGUST 2014 Abstract This thesis explores the relationship between Charlie Chaplin’s early career and films (1914-1916) and the emergent mass-amusement culture of the late nineteenth and early twentieth centuries in America. It combines empirical research into mass- amusement history with close readings of Chaplin’s early films in order to illuminate the close and previously minimally explored relationship between Chaplin’s film- making and popularity on the one hand, and the broader early twentieth-century history of mass-amusement culture on the other. The thesis approaches its subject through the specific phenomenon of amusement ‘crazes’. It takes three selectively illustrative examples – roller skating, popular dance forms and moving pictures – through which to explore the specific debates and controversies these amusements generated and the social and cultural aspirations and concerns that drove them. This cultural-historical research is used to re-read Chaplin films, enabling topical allusions and cultural subtexts to come newly into focus. It also provides the context for a fresh interpretation of Chaplin’s sensational rise to fame in the mid-1910s as a cultural phenomenon symptomatic of a wider landscape of contemporary frenetic and popular crazes. The thesis challenges two principal assumptions that underlie prevailing critical approaches to Chaplin’s early career, unquestioningly grounded, as they are, in the privileged status conventionally ascribed to his later, and better-known feature films. These assumptions are: (1) that Chaplin’s early films are chiefly of interest for the ways in which they teleologically anticipate later developments in his film- making; and (2) that Chaplin’s distinctive qualities and cultural value are always to be understood in qualitative contrast to the dominant imperatives of contemporary slapstick and the larger mass-amusement culture to which slapstick belonged.