Anecdotes of Destiny Free
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JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress. -
ORSON WELLES (En El Centenario De Su Nacimiento) 2 Proyector “Marín” De 35Mm (Ca.1970)
cineclub universitario/aula de cine centro de cultura contemporánea - vicerrectorado de extensión universitaria Universidad de Granada P r o g r a m a c i ó n d e octubre 2 0 1 5 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) 2 Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto: Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2015-2016 cumplimos 62 (66) años. 2 OCTUBRE 2015 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) OCTOBER 2015 MASTERS OF CLASSIC CINEMA (VIII): ORSON WELLES (100 years since his birth) Martes 20 / Tuesday 20th • 21 h. EL EXTRAÑO (1946) ( THE STRANGER) v.o.s.e. / OV film with Spanish subtitles Viernes 23 / Friday 23th • 21 h. SED DE MAL (1958) ( TOUCH OF EVIL ) v.o.s.e. / OV film with Spanish subtitles Martes 27 / Tuesday 27th • 21 h. CAMPANADAS A MEDIANOCHE (1965) ( CHIMES AT MIDNIGHT / CAMPANADAS A MEDIANOCHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 30 / Friday 30th • 21 h. FRAUDE (1973) ( FAKE / QUESTION MARK / VÉRITÉS ET MENSONGES) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en el Aula Magna de la Facultad de Ciencias. All projections at the Assembly Hall in the Science College. Seminario “CAUTIVOS DEL CINE” Miércoles 21 octubre / 17 h. EL CINE DE ORSON WELLES Gabinete de Teatro & Cine del Palacio de la Madraza Entrada libre (hasta completar aforo) 3 4 “No creo que en el futuro se me recuerde. -
A Social History Since 1450. the Story of Orson
at least as Ackroyd tells it. Yet Ackroyd illustrated volume takes the next step, which does do many things right. One is to set is to give historical context to our under- forth the terms and trying conditions of standing of ornamental hierarchies and of Blake’s great project without explaining the rules shaping ornament’s private and away (or worse, psychologizing) his vision- public uses. Today’s postmodern designers ary genius. Such tact, though leaving us like to think they are beyond such consider- eager for more answers, turns us toward ations, but, as the authors wisely point out, the only reliable source—the works of the “If rules are broken, then people choose to artist himself. do that consciously; the very process of —Jay Tolson breaking rules emphasizes the fact that nor- mally they are there.” ORNAMENT: —Martha Bayles A Social History since 1450. By Michael Snodin and Maurice ROSEBUD: Howard. Yale Univ. Press and the The Story of Orson Welles. Victoria and Albert Museum. By David Thomson. Knopf. 448 pp. $30 232 pp. $45 Forget the aging, obese Orson Welles, Upper-class English ladies have never who promised to “sell no wine before its worn tattoos. Or have they? In 1901, Lady time” on television in the 1970s and ’80s. Randolph Churchill celebrated the corona- This biography begins with the golden, tion of Edward VII by having a tiny serpent whirling days of Welles’s early career, when tattooed on her forearm. Tattoos were all the the handsome boy out of Kenosha, rage at the time. By 1920 the traditional prej- Wisconsin, had boundless creative vitality— udice against tattooing had returned, and and the power to charm anyone, in the the- Lady Churchill was never seen in public ater or out. -
E-Romanticism Studies
e-romantikstudier e-romanticism studies Nr. 3, 2016 e-romantikstudier / e-romanticism studies Copyright © forfatteren / the author ISSN: 2445-7868 Redaktører / Editors: Karina Lykke Grand ([email protected]) Lis Møller ([email protected]) Adresse / Address: Nordisk Selskab for Romantikstudier / Nordic Association for Romantic Studies (NARS) Langelandsgade 139 DK-8000 Aarhus C e-romantikstudier / e-romanticism studies accepterer bidrag på skandinaviske sprog samt engelsk, tysk og fransk. Alle bidrag underkastes fagfællebedømmelse. e-romantikstudier / e-romanticism studies accepts contributions in Scandinavian languages as well as English, German, and French. All contributions are subject to peer review. 2 Matti Jatkola, Sverigefinska Folkhögskola Svefi In Paradise You Are not Alone: the Romantic Subject of Jacques-Henri Bernardin de Saint-Pierre and Karen Blixen 3 In Paradise You Are not Alone: the Romantic Subject of Jacques-Henri Bernardin de Saint-Pierre and Karen Blixen Nobody knows about my man. They think he's lost on some horizon. Kate Bush, ‘The Man with the Child in his Eyes’, 1978 In this article, I will examine romantic representations of the subject in Jacques-Henri Bernardin de Saint-Pierre’s novel Paul et Virginie (1788) and in Karen Blixen’s short story ‘The Immortal Story’(1958). Literary intertexts from the period of romanticism and after – Maria Edgeworth’s Belinda (1801), Charlotte Brontë’s Villette (1853), and William Hurrell Mallock’s The New Paul and Virginia (1878), and a much later novel Perillisen ominaisuudet (1963) by the Finnish author Pentti Holappa – will also be discussed. The starting point for my discussion of the intertextual recurrence of literary characters is Bernardin de Saint-Pierre’s highly successful novel Paul et Virginie.1 In the course of the nineteenth century, Paul and Virginie, the eponymous main couple of Bernardin’s novel, became a synonym for the romantic success stories avidly consumed by the reading public. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
Karen Blixen As the Female Colonizer in out of Africa
International Journal of Social Sciences ISSN: 2587-2591 DOI Number: http://dx.doi.org/10.30830/tobider.sayi.6.1 Volume 4/1 Spring 2020 p. 1-9 OUT OF AFRICA ROMANINDA BİR KADIN SÖMÜRGECİ: KAREN BLIXEN KAREN BLIXEN AS THE FEMALE COLONIZER IN OUT OF AFRICA Merve AYDOĞDU ÇELİK1 ÖZ Karen von Blixen-Finecke (1885-1962) ya da diğer ismi ile Isak Dinesen’in Out of Africa (1937) romanı gençliğinde Kenya’da bir kahve çiftliği kurarak sömürgeci bir yerleşmeci olarak geçirdiği hayatının bir belgesidir. Birinci şahıs anlatımıyla yazılan roman, kendisinin Kenya’da çiftlik sahibi olarak kazandığı on yedi yıllık deneyimi, Afrika insanını ve coğrafyasını anlatır. İçeriği ve anlatıcı-başkahramanı Out of Africa’yı sırasıyla hem sömürge sonrası hem de otobiyografik analiz için uygun kılsa da, bu çalışma anlatıcı-başkahramanı sömürgecilik sonrası çerçevede bir kadın sömürgeci olarak ele alır. Blixen’in romanı bir anı niteliği taşısa da, egzotik ve romantik bir Afrika görüntüsü sunarken söylemsel sömürgecilikten kaçınamaz. Yerli halka yardım ettiği zamanlarda hissettiği üstünlük duygusunu saklayamaz. Kenya’da işleyen sömürge sisteminden memnun görünmese de, sistemi değiştirmek için harekete geçmez. Bu nedenle, bu makale Karen Blixen’in Kenya’daki varlığını bir sömürgeci olarak kabul ettiğini ve sömürgecilik sürecini doğal bir olgu olarak varsaydığı sonucuna ulaşır. Anahtar Kelimeler: Isak Dinesen, Karen Blixen, sömürgecilik sonrası edebiyatı, sömürgecilik. 1 Dr., ORCID ID: 0000-0001-7354-9705, [email protected]. KAREN BLIXEN AS THE FEMALE COLONIZER IN OUT OF AFRICA 2 ABSTRACT Karen von Blixen-Finecke (1885-1962) aka Isak Dinesen’s Out of Africa (1937) is a document of her life as a colonial settler in Kenya where she establishes a coffee plantation in her prime. -
A Study of the Life of Denys Finch Hatton and His Relationship With
characters almost all die; as Seton observes dramatic effect. Nevertheless, this volume in the story "Silverspot," "there are no should still engage the attention of adults hospitals for sick crows." Morley, however, who remember Seton only as a writer for should be applauded for squelching the children. Polk-Atwood myth that Seton's stories therefore support their theory that Cana dians are victims or losers. As she points Winnifred M. Bogaards out, "Seton's consuming interest in his stories lies in the individual hero," in animals "of unusual gifts and achievements," in "the real personality of the animal and its view of life rather than the ways of the species," in creatures "who excite our ad miration in the highest degree." A hero, whether dead or alive, is neither victim ERROL TRZEBINSKI nor loser. Silence Will Speak: A Study of the Life of Denys Finch Hatton and his The stories, selected because she re gards them as among Seton's best with a Relationship with Karen Blixen Canadian setting, amply prove her point. Chicago: University of Chicago The first five are from Seton's first col Press, 1977. Pp. 348. $15.00. lection, Wild Animals I Have Known. Silver- spot the crow, Raggylug the Cottontail rabbit, Bingo the dog, the Springfield fox and Redruff the partridge all engage our There can be no pretending that this admiration for their exceptional courage, is a well-written book, or even a necessary cleverness, and beauty. With the deaths one; but to admirers of Isak Dinesen it is of these heroic leaders, often through the unquestionably an irresistible one. -
Babette's Feast
“PLENTY OF FOOD FOR EVERYONE”: A BALTHASARIAN LOOK AT BABETTE’S FEAST JACQUES SERVA IS “Grace is not external to created being as love.” “Like at the wedding at Cana,” affirms an old man at the extrava- gant French dinner in Babette’s Feast, “the food is not important.”1 Yes, surely something more than drinking and eating is at stake in John 2:1–11. The same holds for the film itself, which, though it revolves around a seven-course meal offered to poor villagers, “is not a film about cooking,” nor is the dinner whatsoever “an end in itself,” as the Danish director Gabriel Axel makes clear in an interview.2 But does all this make food and wine irrelevant? 1. Hereafter, where quotations in this essay are not footnoted, they are tak- en from the English subtitles of Babette’s Feast, directed by Gabriel Axel (2007, Twentieth Century Fox Home Entertainment), DVD. Unless otherwise in- dicated, all citations in this essay are to works by Hans Urs von Balthasar (Freiburg: Johannes Verlag Einsiedeln), published in English by Ignatius Press (San Francisco). All citations to Balthasar’s books from Johannes Verlag are from the most recent editions. 2. Gabriel Axel, interview by Jill Forbes, “Axel’s Feast,” Sight and Sound 57, no. 2 (Spring 1988): 106–07. Communio 44 (Fall 2017). © 2017 by Communio: International Catholic Review 416 JACQUES SERVAIS If they point beyond themselves, do they therefore disappear? At Cana, the Lord uses them as “signs” to reveal “his glory” (Jn 2:11), but this glory appears less as a scalding light, as it were, than a flickering candle, almost hidden. -
Babettes-Feast.Pdf
Center for Faith & Learning Scholar Program Reading for Dinner Dialogue #2 Late Fall 2019 "Babette'sby Isak Dinesen Feast" Isak Dinesen (Karen Blixen) Babette’s Feast I Two Ladies of Berlevaag In Norway there is a fjord – a long narrow arm of the sea between tall mountains – named Berlevaag Fjord. At the foot of the mountains the small town of Berlevaag looks like a child’s toy‐town of little wooden pieces painted gray, yellow, pink and many other colors. Sixty‐five years ago two elderly ladies lived in one of the yellow houses. Other ladies at that time wore a bustle, and the two sisters might have worn it as gracefully as any of them, for they were tall and willowy. But they had never possessed any article of fashion; they had dressed demurely in gray or black all their lives. They were christened Martine and Philippa, after Martin Luther and his friend Philip Melanchton. Their father had been a Dean and a prophet, the founder of a pious ecclesiastic party or sect, which was known and looked up to in all the country of Norway. Its members renounced the pleasures of [2] this world, for the earth and all that it held to them was but a kind of illusion, and the true reality was the New Jerusalem toward which they were longing. They swore not at all, but their communication was yea yea and nay nay, and they called one another Brother and Sister. The Dean had married late in life and by now had long been dead. -
Reading the Surface: the Danish Gothic of B.S. Ingemann, H.C
Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond Kirstine Marie Kastbjerg A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Marianne Stecher. Chair Jan Sjaavik Marshall Brown Program Authorized to Offer Degree: Scandinavian Studies ©Copyright 2013 Kirstine Marie Kastbjerg Parts of chapter 7 are reprinted by permission of the publishers from “The Aesthetics of Surface: the Danish Gothic 1820-2000,” in Gothic Topographies ed. P.M. Mehtonen and Matti Savolainen (Farnham: Ashgate, 2013), pp. 153–167. Copyright © 2013 University of Washington Abstract Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond Kirstine Marie Kastbjerg Chair of the Supervisory Committee: Professor in Danish Studies Marianne Stecher Department of Scandinavian Studies Despite growing ubiquitous in both the popular and academic mind in recent years, the Gothic has, perhaps not surprisingly, yet to be examined within the notoriously realism-prone literary canon of Denmark. This dissertation fills that void by demonstrating an ongoing negotiation of Gothic conventions in select works by canonical Danish writers such as B.S. Ingemann, Hans Christian Andersen, and Karen Blixen (Isak Dinesen), as well as contemporary writers such as Peter Høeg and Leonora Christina Skov. This examination does not only broaden our understanding of these culturally significant writers and the discourses they write within and against, it also adds to our understanding of the Gothic – an infamously malleable and indefinable literary mode – by redirecting attention to a central feature of the Gothic that has not received much critical attention: the emphasis on excess, spectacle, clichéd conventions, histrionic performances, its hyperbolic rhetorical style, and hyper-visual theatricality. -
Nanna Debois Buhl & Brendan Fernandes KAREN BLIXEN MUSEET 29.04–04.09.2011
Nanna Debois Buhl & Brendan Fernandes KAREN BLIXEN MUSEET 29.04–04.09.2011 IN YOUR WORDS Hvilket sprog drømmer du på? What language do you dream in? Det er en stor glæde for Karen Blixen Museet at It is a great pleasure for us at the Karen Blixen Mu- byde velkommen til billedkunstnerne Nanna Debois se um to bid welcome to the visual artists, Nanna Debois Buhl og Brendan Fernandes. Udstillingen In Your Buhl and Brendan Fernandes. The exhibition entitled Words er blevet til hen over en længere tids periode, In Your Words has come into being over an extended som har givet kunstværkerne god tid til at modnes. period of time. The consequence of this is that the artworks Til udstillingen har kunstnerne i fællesskab skabt have had sufficient chance to ripen. For the exhibition, en serie helt nye værker, der tager afsæt i Blixens the artists have been working together to create a series of hjem og forfatterskab. Flere besøg på museet og i completely new works that take their point of departure fuglereservatet i parken er det blevet til, og denne in Blixen’s home and authorship. The artists have made udveksling med stedet og det nære kendskab, som several visits to the museum and to the bird sanctuary in kunstnerne har opnået med det lokale og detaljerede the park. This exchange with the place and the intimate på Rungstedlund, afspejler sig i værkerne. knowledge of the premises and the appurtenant details at Når et sted pludselig bliver udsat for nye øjne, Rungstedlund that the artists have managed to acquire er resultatet ofte overraskende og tankevæk ken de, og are reflected in the works. -
Karen Blixen's Humor Ivan Z. Sørensen*
Israeli Journal of Humor Research, December 2020, Vol. 9 Issue No. 2 31 Karen Blixen’s Humor Ivan Z. Sørensen* Abstract It is curious that practically no critic nor reviewer in either America or England or Denmark has pointed out the humor in the works of the Danish storyteller Karen Blixen / Isak Dinesen. Not least because she actually wanted to be perceived as a humorist herself. In this paper I intend to demonstrate the humor in her tales as a combination of the small and the great humor, using a concept pair introduced by the Danish philosopher Harald Høffding––and with references also to Søren Kierkegaard. The great humor is an overall view of life, while the small humor is fun – also in the sense of oblique angles and norm-breaking views. Key Words: Blixen, great and small humor, irony, audacity, view of life, secularization, distance, Kierkegaard, Arendt Eugene Walter asks the Danish author Karen Blixen / Isak Dinesen about the comic spirit in her tales. “Isak Dinesen: Oh, I’m glad you mentioned that! I do often intend a comic sense, I love a joke, I love the humorous. The name “Isak” means “laughter.” I often think that what we most need now is a great humorist.”1 In 1931, after 17 years as a farmer or colonialist in Kenya, Blixen returned to her childhood home, Rungstedlund, some 30 kilometers north of Copenhagen. Here she dedicated herself to writing stories. In 1934, when she was 40 years old, her Seven Gothic Tales was published in the USA. It was immediately a big success.