DOCSLIB.ORG

Post-Defense

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Post-Defense Containment Narratives: Legal and Literary Treatments of Pollution During the Victorian Fin de Siècle Kamila Maria Lis Arlington, Virginia B.A., Harvard University, 2005 M.A., University of Virginia, 2008 J.D., Yale Law School, 2011 A Dissertation Presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia May, 2014 © 2014 by Kamila Lis All Rights Reserved ABSTRACT “Containment Narratives: Legal and Literary Treatments of Pollution During the Victorian Fin de Siècle” argues that smoke for the late Victorians was a proxy for an unarticulated anxiety about entropic degeneracy; this underlying unease, and not any direct reaction to the phenomenon as it was actually experienced by the senses, was what shaped legal and literary reactions to airborne pollution. In replacing miasma theory, which attributed disease to vapors emanating from discrete and ultimately containable sources of organic decay, the idea of pollution disrupted the longstanding view that airborne waste could be controlled with the suggestion that it was indefatigably expansive. This shift, and the disruption it occasioned, happened at a time rife with such analogous disruptions as advances in industry and biology, as well as the sudden emergence of new areas of inquiry within the social and natural sciences, which collectively destabilized numerous conceptual categories that had previously been relied upon for their immutability. The longing for permanence that resulted surfaced in both legal and literary discussions of smoke as a move toward narrative containment. iii ACKNOWLEDGMENTS I am deeply grateful to the many whose wise counsel guided me in this endeavor. My first debt is to my committee. I could have wished for no better advisor than Alison Booth, whose kind encouragement and intellectual probity over the years have been invaluable to my growth as a scholar. Stephen Arata and Paul Cantor offered indispensable insights on various iterations of the project, helping me to hone both its argument and its prose. Further thanks go to Douglas Kysar, who first encouraged me to explore the relationship between environmental law and popular literature, and to the late Gregory Colomb, without whose strategic advice the path between New Haven and Charlottesville would have been impossible to chart. The communities of scholars I had the good fortune to join along the way have been wells of not only inspiration but also friendship. Mieszko Lis and Andrew Karas have been more patient editors, more steadfast confidants, and in all things far better friends than I deserve. For their enthusiastic support and good cheer, I also thank Sue Bai, Jessica Barrett, Catherine Bode, Anna Glinia!ska, Allison Hibbitt, Jonathan Kandelshein, Agnieszka Rafalska, and Seth Rokosky. And my deepest gratitude, as ever, I owe to my brother Mieszko and our parents, Wies"awa and Norbert Lis. This dissertation is dedicated to them. iv TABLE OF CONTENTS Abstract .........................................................................................................................iii Acknowledgments.......................................................................................................... iv Note on Citations ........................................................................................................... vi Introduction .................................................................................................................... 1 Chapter One: Redefining Airborne Emissions From Static Waste to Entropic Pollutant ...................... 15 Chapter Two: Making Sense of Pollution Through Holmesian Logic................................................... 55 Chapter Three: Framing a Narrative of Containment Through Environmental Nuisance Law ................ 95 Chapter Four: Making Sense of Holmesian Logic Through Contagious Vampirism........................... 139 Afterword ................................................................................................................... 181 Works Cited................................................................................................................ 186 v NOTE ON CITATIONS In an attempt to declutter my prose, I have adopted the conventional abbreviations proposed in 1947 by Jay Finley Christ in An Irregular Guide to Sherlock Holmes of Baker Street: BLUE “The Adventure of the Blue Carbuncle” BRUC “The Adventure of the Bruce-Partington Plans” CARD “The Cardboard Box” COPP “The Adventure of the Copper Beeches” HOUN The Hound of the Baskervilles LAST “His Last Bow” MISS “The Adventure of the Missing Three-Quarter” NAVA “The Naval Treaty” REDH “The Red-Headed League” REIG “The Reigate Squires” RESI “The Resident Patient” SIGN The Sign of Four SPEC “The Adventure of the Speckled Band” STUD A Study in Scarlet 3GAB “The Adventure of the Three Gables” vi INTRODUCTION When, in what would prove to be the last chronological installment in the Holmes canon, Arthur Conan Doyle has his otherwise impassive protagonist ardently compliment “good old” Watson for being “the one fixed point in a changing age,” he betrays a late- Victorian longing for stability that by 1917 proved to be little more than a pipe-dream (LAST, Vol. 2, 1443). During the final decades of the nineteenth century, however, the myth that stability could be regained was very much alive. This longing for permanence surfaced in both law and popular literature as a move toward narrative containment, and especially so in discussions about airborne pollutants. Late Victorian society responded in telling ways, both legal and cultural, to the specter of airborne pollutants. While this preoccupation can partially be explained as a reaction to the sensory impact that airborne pollutants had on the Victorians—the plumes of smoke spreading above England would have been difficult to ignore—the character of the legislative and literary expressions of that preoccupation give rise to at least two additional questions. First, how did legislators address the problem of airborne pollution, and why did the laws they wrote so clearly miss the mark? Second, how might these anxieties have contributed to the popularity of late-Victorian detective and Gothic fiction, two genres especially preoccupied with representations of pollution as a contagion? Because, concerned as they are with methodologies that are often applied in isolation, these two questions have not yet been asked in concert, doing so can prove uniquely informative. Indeed, exploring them in tandem, as I will do in the following chapters, suggests a common answer: 1 namely, that pollution for the late Victorians was a proxy for some unarticulated anxiety and that this underlying unease, and not any reaction to pollutants as they were actually experienced by the senses, was what shaped legal and literary treatments of pollution during the fin de siècle. Articulating that anxiety as a concern about entropic degeneracy—and demonstrating the usefulness of tracing its expression in Victorian popular literature, legislation, and public policy—is the broad purpose of this project. To that end, it is helpful to first define entropic degeneracy, a term I use as shorthand for a particular species of conceptual disruption. In replacing miasma theory, which attributed disease to vapors emanating from discrete and ultimately containable sources of organic decay, the idea of pollution disrupted the longstanding view that waste could be controlled with the suggestion that it was indefatigably expansive. This shift and the disruption it occasioned happened at a time rife with other such disruptions. During Doyle’s fin de siècle, contemporaneous advances in industry and biology, as well as the sudden emergence of new areas of inquiry within the social and natural sciences, led to the expansion and destabilization of numerous conceptual categories that had previously been relied upon for their immutability: psychoanalysis broadened the notion of the self to include the murky subconscious, orderly historical time was replaced by seemingly impenetrable geological time, and human biological exceptionalism was challenged by the suggestion of evolutionary commonality with lower species. The conceptual relationship between entropy and degeneracy can be traced to the 2 earliest discussions about the former. While a number of scientists independently arrived at the first law of thermodynamics throughout the 1830s and 1840s, it was not until Rudolf Clausius articulated the law in 1850 that the idea began to gain traction beyond scientific circles. Clausius explained that, “[i]n all cases in which work is produced by the agency of heat, a quantity of heat is consumed which is proportional to the work done; and conversely, by the expenditure of an equal quantity of work an equal quantity of heat is produced” (qtd. in Sullivan 78). But while Clausius’s adaptation of the law of conservation of energy to thermodynamic systems—the argument being that the total amount of energy in a closed system remains constant—was relatively straightforward, the second law of thermodynamics complicated the issue in a conceptually threatening way. As early as 1824, Sadi Carnot suggested that some calories available for generating work would be lost in any real process. Thirty years later, Lord Kelvin speculated that this loss was one of heat, leading Clausius to articulate a rudimentary understanding of entropy in 1865. Clausius dubbed this irreversible
Load more

Recommended publications
  • Hamilton's Forgotten Epidemics
    Library and Archives Canada Cataloguing in Publication Ch2olera: Hamilton’s Forgotten Epidemics / D. Ann Herring and Heather T. Battles, editors. Includes bibliographical references and index. ISBN 978-0-9782417-4-2 Print catalogue data is available from Library and Archives Canada, at www.collectionscanada.gc.ca Cover Image: Historical City of Hamilton. Published by Rice & Duncan in 1859, drawn by G. Rice. http://map.hamilton.ca/old hamilton.jpg Cover Design: Robert Huang Group Photo: Temara Brown Ch2olera Hamilton’s Forgotten Epidemics D. Ann Herring and Heather T. Battles, editors DEPARTMENT OF ANTHROPOLOGY McMASTER UNIVERSITY Hamilton, Ontario, Canada Contents FIGURES AND TABLES vii Introduction Ch2olera: Hamilton’s Forgotten Epidemics D. Ann Herring and Heather T. Battles 2 2 “From Time Immemorial”: British Imperialism and Cholera in India Diedre Beintema 8 3 Miasma Theory and Medical Paradigms: Shift Happens? Ayla Mykytey 18 4 ‘A Rose by Any Other Name’: Types of Cholera in the 19th Century Thomas Siek 24 5 Doesn’t Anyone Care About the Children? Katlyn Ferrusi 32 6 Changing Waves: The Epidemics of 1832 and 1854 Brianna K. Johns 42 7 Charcoal, Lard, and Maple Sugar: Treating Cholera in the 19th Century S. Lawrence-Nametka 52 iii 8 How Disease Instills Fear into a Population Jacqueline Le 62 9 The Blame Game Andrew Turner 72 10 Virulence Victims in Victorian Hamilton Jodi E. Smillie 80 11 On the Edge of Death: Cholera’s Impact on Surrounding Towns and Hamlets Mackenzie Armstrong 90 12 Avoid Cholera: Practice Cleanliness and Temperance Karolina Grzeszczuk 100 13 New Rules to Battle the Cholera Outbreak Alexandra Saly 108 14 Sanitation in Early Hamilton Nathan G.
    [Show full text]
  • Radical Failure. the Reinvention of German Identity in the Films of Christian Schlingensief
    XVI Jornadas Interescuelas/Departamentos de Historia. Departamento de Historia. Facultad Humanidades. Universidad Nacional de Mar del Plata, Mar del Plata, 2017. Radical Failure. The Reinvention of German Identity in the Films of Christian Schlingensief. Tindemans, Klass. Cita: Tindemans, Klass (2017). Radical Failure. The Reinvention of German Identity in the Films of Christian Schlingensief. XVI Jornadas Interescuelas/Departamentos de Historia. Departamento de Historia. Facultad Humanidades. Universidad Nacional de Mar del Plata, Mar del Plata. Dirección estable: https://www.aacademica.org/000-019/621 Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: https://www.aacademica.org. para publicar en actas Radical Failure. German Identity and (Re)unification in the Films of Christian Schlingensief. Bertolt Brecht, the German playwright, made a note about his play The Resistible Rise of Arturo Ui, written in 1941. The play depicts a Chicago gangster boss, clearly recognizable as a persiflage of Adolf Hitler. Brecht writes: “The big political criminals should be sacrificed, and first of all to ridicule. Because they are not big political criminals, they are perpetrators of big political crimes, which is something completely different.” (Brecht 1967, 1177). In 1997 the German filmmaker, theatre director and professional provocateur Christoph Schlingensief created the performance Mein Filz, mein Fett, mein Hase at the Documenta X – the notoriously political episode of the art manifestation in Kassel, Germany – as a tribute to Fluxus-artist Joseph Beuys.
    [Show full text]
  • Zeughauskino: Hommage an Max Schreck
    52 WIEDERENTDECKT WIEDERENTDECKT 53 Der Favorit der Königin restaurierte Fassung Hommage an Max Schreck SA 12.14. 54 Uhr An der Harfe: Merit Zloch + Einführung: Stefan Eickhoff Der am 6. September 1879 in Berlin geborene Darsteller Max D "#$$, R: Franz Seitz, B: Alfred Schirokauer, Franz Seitz, K: Karl Attenberger, Franz Planer, D: Hanna Ralph, Maria Mindszenty, Alf Blütecher, Max Schreck, Schreck schuf mit dem „Nosferatu“ eine der einprägsamsten ECƘƐ Ő DE mm, dt. ZT Kinofiguren. Als wandlungsfähiger Charakterdarsteller der Die 1922 auf dem Geiselgasteiger Filmgelände gedrehte Großpro- Bühne wurde Schreck zu Lebzeiten nicht auf diese Rolle festge- duktion Der Favorit der Königin lehnt sich an Ernst Lubitschs legt. Vielmehr profilierte er sich an literarisch fortschrittlichen Historienfilme Anna Boleyn und Madame Dubarry an. Der Film sollte Bühnen wie den Münchner Kammerspielen und dem Berliner helfen, die Münchner Lichtspielgesellschaft Emelka neben der Ufa Staatstheater in grotesken Nebenrollen, sorgfältig ausgestal- und München als Filmstadt neben der Filmmetropole Berlin zu teten Chargen und auch gelegentlichen Hauptrollen, wie z.B. etablieren. Der Favorit der Königin entwickelt seine Schauwerte vor in Molières Der Geizige . Nach seinem plötzlichen Tod im Febru- allem aus der makabren SuJet-Verortung. Ärzte versuchen einer ar 1936 geriet sein Name vorübergehend in Vergessenheit. Erst todesähnlichen Krankheit Herr zu werden und sezieren dazu trotz durch die Aufarbeitung des Stummfilmerbes nach dem Zweiten eines Verbots der Königin Leichen. Sie beschaffen sich die Leichen Weltkrieg wurde Schreck als „Nosferatu“ wiederentdeckt. illegal und werden angezeigt. Der verantwortliche Arzt wird Seine umfangreiche Arbeit an deutschen Theatern und im hingerichtet, doch sein Schüler führt dessen Werk fort. Erst als die Film verschwand dabei jedoch hinter dieser emblematischen Krankheit auch den Hof erreicht, lenkt die Königin ein.
    [Show full text]
  • 02Bodyetd.Pdf (193.2Kb)
    Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years.
    [Show full text]
  • Miasma Vs Germ Theory Nina Kokayeff College of Dupage
    ESSAI Volume 10 Article 24 4-1-2012 Dying to be Discovered: Miasma vs Germ Theory Nina Kokayeff College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Kokayeff, Nina (2013) "Dying to be Discovered: Miasma vs Germ Theory," ESSAI: Vol. 10, Article 24. Available at: http://dc.cod.edu/essai/vol10/iss1/24 This Selection is brought to you for free and open access by the College Publications at [email protected].. It has been accepted for inclusion in ESSAI by an authorized administrator of [email protected].. For more information, please contact [email protected]. Kokayeff: Dying to be Discovered: Miasma vs Germ Theory Dying to be Discovered: Miasma vs Germ Theory by Nina Kokayeff (Chemistry 1551) n 1832, Mozart‘s librettist Lorenzo da Ponte arranged for the visit of an Italian opera troupe to cholera-stricken Manhattan. They arrived to find the streets empty and silent except for ―I the ringing of church bells and the rattle of carts taking corpses to graveyards. Every resident who could had fled…‖ (Karlen, 1995). The cholera outbreak across many countries in the 19th century was the last of the great pandemics in which the miasma theory about the origin of disease was considered. New practices were developed to reduce the spread of the disease and a new picture of disease transmission emerged. The efficacy of these measures inspired other countries to follow suit, and soon encouraged some of the most groundbreaking biomedical research in history. Miasma Theory of disease contagion was popular for centuries in Western cultures.
    [Show full text]
  • Catriona Helen Miller
    Vlood Spirits A cjungian Approach to the Vampire JKyth Catriona Helen Miller Submitted for the degree of Doctor of Philosophy University of Stirling Stirling Scotland December 1998 r., 4. , Dedication To my parents, Irene and Jack Miller, without whom.... For all the support, guidance and encouragement above and beyond the call of parental duty. Your many favours can never be repaid. Acknowledgements I would like to thank Dr. John Izod for the skillful and unfailingly tactful supervision of this thesis, and for the companionshipon the j ourney. To Lari, for the chair; the commas and comments;the perpetual phone calls; and for going to Santa Cruz with me all those years ago. To everybody in the Late Late Service for sustenanceof various kinds. And everyone else who asked about my thesis and then listened to the answer without flinching. I also acknowledge the kind financial support of the Glasgow Society for Sons and Daughters of Ministers of the Church of Scotland, and, of course, my parents. Contents Page Acknowlegements i Abstract .v INTRODUCTION PART ONE APPROACH & CONTEXT 10 " The Study of Myth & the Cartesian/Newtonian Framework 11 " The Advent of Psychology 13 " Freud & the Vampire Myth 17 " Beyond Descartes & Newton: the New Paradigm 21 " Jung & the New Model 24 " Archetypes & the Collective Unconscious 31 " The Study of Myth After Freud & Jung 35 The Vampire Myth 40 " I " Jung & the Vampire Myth 41 " Symbols: A Jungian Definition 44 PART TWO ENCOUNTERS WITH SHADOW VAMPIRES 49 " Folklore & Fiction 49 " The Vampire in Folklore 51 " Vampirý Epidemics? 54 " The Shadow Archetype 57 " The Dead 58 " The Living Dead 61 " The Shadow Vampire in the Twentieth Century 65 " Nosferatu: A Symphony of Horror (Dir: F.
    [Show full text]
  • V Sir Ronald Ross and the Significance of His Work
    V SIR RONALD ROSS AND THE SIGNIFICANCE OF HIS WORK T WAS my pleasure in January, 1927, to be present at the I unveiling of a bronze tablet on a gateway in front of the Presidency General Hospital in Calcutta, leading to the un- pretentious little brick building in the hospital compound which Sir Ronald Ross used as a laboratory twenty-nine years earlier. That spot deserves to rank among the first in the world in historic interest, yet I had lived in Calcutta for almost three years and had passed that very gateway hun- dreds of times, without knowing of its existence. In an ad- dress made at the time, Colonel Megaw, then Director of the School of Tropical Medicine in Calcutta, remarked that it was astonishing that so few of the inhabitants of Calcutta knew of the existence of the little laboratory where one of the greatest discoveries in the history of the world was made. He added that although over twenty-eight years had passed, we had only begun to scratch the surface of the vast mine of wealth which that discovery had placed in our hands. “A prophet,” said Col. Megaw, “is not without honor save in his own country. Sir Ronald’s offense did not consist merely in being a prophet; he added to it by being a poet and a scientist, and so trebly earned the indifference with which his great work was received in India.” This same Sir Ronald Ross, at the age of seventy-five, died at his modest home in Putney, England, barely six months ago.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Sagar-XIX.Pdf
    Editorial Board Ishan Chakrabarti – Co-Editor-in-Chief, The University of Texas at Austin Matthew D. Milligan – Co-Editor-in-Chief, The University of Texas at Austin Dan Rudmann – Co-Editor-in-Chief, The University of Texas at Austin Kaitlin Althen – Editor, The University of Texas at Austin Reed Burman – Editor, The University of Texas at Austin Christian Current – Editor, The University of Texas at Austin Cary Curtis – Editor, The University of Texas at Austin Christopher Holland – Editor, The University of Texas at Austin Priya Nelson – Editor, The University of Texas at Austin Natasha Raheja – Editor, The University of Texas at Austin Keely Sutton – Editor, The University of Texas at Austin Faculty Advisor Syed Akbar Hyder, Department of Asian Studies Editorial Advisory Board Richard Barnett, The University of Virginia Manu Bhagavan, Hunter College-CUNY Nandi Bhatia, The University of Western Ontario Purnima Bose, Indiana University Raza Mir, Monmouth University Gyan Prakash, Princeton University Paula Richman, Oberlin College Eleanor Zelliot, Carleton College The University of Texas Editorial Advisory Board Kamran Ali, Department of Anthropology James Brow, Department of Anthropology Barbara Harlow, Department of English Janice Leoshko, Department of Art and Art History W. Roger Louis, Department of History Gail Minault, Department of History Veena Naregal, Department of Radio-Television-Film Sharmila Rudrappa, Department of Sociology Martha Selby, Department of Asian Studies Kamala Visweswaran, Department of Anthropology SAGAR A SOUTH ASIA GRADUATE RESEARCH JOURNAL Sponsored by South Asia Institute Itty Abraham, Director The University of Texas at Austin Volume 19, Spring 2010 Sagar is published biannually in the fall and spring of each year.
    [Show full text]
  • Hollywood in Hell –
    Hollywood in Hell – SIN CITY, religiöse Motive und die Darstellung des Bösen Masterarbeit zur Erlangung des Grades Master of Arts (M.A.) an der Philosophisch-Sozialwissenschaftlichen Fakultät der Universität Augsburg Betreuer: Prof. Dr. Thomas Hausmanninger Michaela Strasser An der Brühlbrücke 1 86152 Augsburg Matr. Nr. 801231 Augsburg, 26. Juli 2007 Für die Filmanalyse wurde auf die amerikanische Originalversion zurückgegriffen. FRANK MILLER’S SIN CITY. Recut – Extreme XXL-Edition (USA 2005) 119 min 136 min extended-Version Produktion: Dimension Film, Troublemaker Studios Produzenten: Elizabeth Avellan, Robert Rodriguez, Frank Miller, Harvey und Bob Weinstein Regie: Robert Rodriguez, Frank Miller Drehbuch: Frank Miller (Comics) Kamera: Robert Rodriguez Musik: John Debney, Graeme Revell, Robert Rodriguez Schnitt: Robert Rodriguez Darsteller: Mickey Rourke (Marv), Jaime King (Goldie/Wendy), Elijah Wood (Kevin), Rutger Hauer (Cardinal Roark), Clive Owen (Dwight), Benicio Del Toro (Jackie Boy), Rosario Dawson (Gail), Michael Clarke Duncan (Manute), Alexis Bledel (Becky), Devon Aoki (Miho), Brittany Murphy (Shellie), Bruce Willis (Hartigan), Jessica Alba (Nancy Callahan), Nick Stahl (Roark Junior/Yellow Bastard), Michael Madsen (Bob), Powers Boothe (Senator Roark), Nicky Katt (Stuka), Carla Gugino (Lucille), Josh Hartnett (The Salesman), Marley Shelton (The Customer) FSK: Keine Jugendfreigabe Start: 1. April 2005 (USA), 11. August 2003 (Deutschland) Budget: 40 Mio US $ Einspielergebnis 159.098.862 US $ (weltweit) Für die Comics wurde die amerikanische Version von Millers Sin City Reihe verwendet (2. Auflage). Frank Miller’s Sin City Volume 1 (2005): The Hard Goodbye. Dark Horse Books. Oregon. Frank Miller’s Sin City Volume 3 (2005): The Big Fat Kill. Dark Horse Books. Oregon. Frank Miller’s Sin City Volume 4 (2005): That Yellow Bastard.
    [Show full text]
  • PRESS RELEASE Classic Horror Film, Nosferatu, Being Shown at Stambaugh Auditorium with Live Organ Accompaniment
    PRESS RELEASE Classic horror film, Nosferatu, being shown at Stambaugh Auditorium with live organ accompaniment Contact: Kelly Fertig Secondary Contact: Matt Pagac Director of Marketing & Advertising General Manager Stambaugh Auditorium Stambaugh Auditorium [email protected] [email protected] Telephone: 330-747-5175 Telephone: 330-747-5175 For Immediate Release: On Sunday, October 23rd at 4pm, Stambaugh Auditorium will present the classic, silent, horror film, Nosferatu featuring live organ accompaniment by Peter Richard Conte. While the film is free to the public, tickets are required. Tickets are available now through the Florence and Ward Beecher Box Office at Stambaugh Auditorium. This classic, silent film follows the tale of Thomas Hutter as he tries to sell a house across from his own to the mysterious Count Orlok who lives in a remote Transylvania castle. During his visit with the Count, Hutter discovers strange behaviors by Orlok and begins to suspect that he may in fact be Nosferatu, a vampire. Orlok becomes fascinated by Hutter’s wife after seeing a photo of her, and Hutter is hurt as he escapes returning to save his wife. Shot in 1921 and originally released in 1922, Nosferatu was directed by F.W. Murnau. Unable to attain the rights to Bram Stoker’s version of Dracula, the names and titles of characters were changed while the story’s vampire premise remained. Stoker’s family successfully sued and the ruling was that all copies of the film be destroyed. A few copies managed to survive. The film stars Max Schreck as Count Orlok, Gustav von Wangenheim as Thomas Hutter, and Greta Schroder as Ellen Hutter.
    [Show full text]
  • Murnau, Friedrich Wilhelm (1888-1931) by Daryl Chin
    Murnau, Friedrich Wilhelm (1888-1931) by Daryl Chin Encyclopedia Copyright © 2015, glbtq, Inc. A publicity portrait of F. Entry Copyright © 2002, glbtq, Inc. W. Murnau (1929). Reprinted from http://www.glbtq.com Acclaimed as the greatest director of the German Expressionist period (1919-1933), F.W. Murnau created the first masterpiece of the horror film, his exquisitely stylized Nosferatu, eine Symphonie des Grauens (1921). Shooting on location, Murnau employed the limited special effects available at that time to create an atmosphere of genuine disquiet. The performance of Max Schreck remains unparalleled in its eerie malevolence. Because of copyright difficulties with the Bram Stoker estate, Nosferatu had limited release worldwide. No such problems impeded the release of Der letzte Mann (1924; American title: The Last Laugh), universally acclaimed as possibly the greatest film yet made upon its worldwide release. What is remarkable about Der letzte Mann is that the story is told without titles: this tale of an elderly man's fall from his position as doorman (epitomized by the elaborate uniform he wears for his job) to a subsidiary position as lavatory attendant (symbolized by the stripping of his uniform) is told with brilliant incisiveness through camera movement, visual composition, and lighting, all employed to provide a subjective perspective to the narrative. This film established its star, Emil Jannings, as a major international film actor, and led to his coming to America (where he would win the first Academy Award for Best Actor). Jannings' status was further established in Murnau's film of Tartuffe (1925), a fluid but somber version of the Molière play.
    [Show full text]