Chapter 7. in the Closet of Sir Arthur Conan Doyle
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A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Tornado Can't Defeat Spirit of West Liberty
THE STATE JOURNAL n FRANKFORT, KENTUCKY n mRCH A 11, 2012 n PAGE D3 Tornado can’t defeat spirit of West Liberty ust when man believes them again before the sun rose homes that once stood on those so vivid that I felt like I was living he has gained some con- the next day. shady hills in Morgan County. there with them in that little log trol, amassed some power, My grandfather moved his They waded in the creek where my house or playing in the yard with JMother Nature quickly puts family in the 1920s to Ashland grandmother had drawn water, the children. Though I am sure him in his place as she did re- where he used his talent as a car- and they found a tree with the ini- they had hardships, they focused cently through the tornadoes that penter to help construct what was tials JLE, ones my grandfather had only on the good times, those pounded our area. Particularly once called Armco Steel Corpora- carved there decades before. hard hit was West Liberty, a town tion. My mother recalled the day My grandfather was actually memories of a loving family in a which, although I have never lived the family boarded the train in one of the most intelligent hu- world that now seems so far away. there, still holds a special place in West Liberty, saying goodbye to man beings I have ever known, Yes, the storm took its toll, my heart, for it is the birthplace Nancy Farley grandparents, aunts, uncles and not to mention a man of great hu- demonstrating to us once again of my maternal grandparents, STATE JOURNAL COLUmNIST cousins, making what seemed mor and wit. -
Sometimes Shocking but Always Hilarious
The Sound of Hammers Must Never Cease: The Collected Short Stories of Tim Fulmer Party Crasher Press ©2009, 2010, 2014, Tim Fulmer. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of Tim Fulmer. This book is a work of fiction. Any resemblance to actual events or persons, living or dead, is entirely coincidental and perhaps the result of a psychotic breakdown on the reader’s part. This definitive collection of Tim Fulmer’s highly entertaining short work includes an introduction by the author and sixty-one stories that chronicle the restless lives of what have been called Gen X and Gen Y. From the psychotic disillusionment of inner city life in “Chicago, Sir" and “Mogz & Peeting” to the shocking and disturbing discoveries of suburban dysfunction in “It’s Pleonexia” and “Yankee Sierra,” Tim Fulmer tells us everything we need to know about growing up and living in North America after 1967. His characters are very scary people -- people with too much education, too much time on their hands, and too much insight ever to hold down a real job long enough to buy a house and support a family -- in short, people just like how you and I ought to be all the time. These are stories of concealed poets, enemies of the people, awful bony hands, pink pills, sharp inner pains, Jersey barriers, and exquisite corpses. The language throughout is unadorned, accurate, highly crafted, ecstatic, even grammatically desperate. -
Nostromo a Tale of the Seaboard
NOSTROMO A TALE OF THE SEABOARD By Joseph Conrad "So foul a sky clears not without a storm." —SHAKESPEARE TO JOHN GALSWORTHY Prepared and Published by: Ebd E-BooksDirectory.com AUTHOR'S NOTE "Nostromo" is the most anxiously meditated of the longer novels which belong to the period following upon the publication of the "Typhoon" volume of short stories. I don't mean to say that I became then conscious of any impending change in my mentality and in my attitude towards the tasks of my writing life. And perhaps there was never any change, except in that mysterious, extraneous thing which has nothing to do with the theories of art; a subtle change in the nature of the inspiration; a phenomenon for which I can not in any way be held responsible. What, however, did cause me some concern was that after finishing the last story of the "Typhoon" volume it seemed somehow that there was nothing more in the world to write about. This so strangely negative but disturbing mood lasted some little time; and then, as with many of my longer stories, the first hint for "Nostromo" came to me in the shape of a vagrant anecdote completely destitute of valuable details. As a matter of fact in 1875 or '6, when very young, in the West Indies or rather in the Gulf of Mexico, for my contacts with land were short, few, and fleeting, I heard the story of some man who was supposed to have stolen single-handed a whole lighter-full of silver, somewhere on the Tierra Firme seaboard during the troubles of a revolution. -
Apocalypse Now
Sabrina Baiguera Università degli Studi di Bergamo Letteratura Anglo-americana LMI A.A. 2011/2012 Paolo Jachia’s Francis Ford Coppola: Apocalypse Now. Un’analisi semiotica , an intertextual reconstruction of the texts, of the cultural references that lie behind the film. Apocalypse Now (1979) Two versions: the orginal version (1979) and the extended version ( Apocalypse Now Redux: 2001 ), released in 2001. The film is set during the Vietnam war (the action takes place approximately in 1970) It tells the story of U.S. Army Captain Benjamin L. Willard who has the mission to proceed up the Nung river into Cambodia, find Colonel Kurtz and “terminate” his command, by whatever means available. Willard starts a journey up the Nung river on a PBR (Petrol Boat) with a four- man crew (Chef – a saucier; Chief – the chief of the boat; Clean – a 17 year- old young from Bronx; Lance – a professional surfer). Kurtz had deserted the U.S. Army to start his own private war in the middle of the jungle. There he is worshipped as a god by his own Montagnard army, but he has gone insane and his methods are “unsound”. The artistic dimension Source texts of Apocalypse Now : 1. Joseph Conrad’s novella Heart of Darkness (1899) 2. James G. Frazer’s The Golden Bough (1890) 3. Jessie Weston’s From ritual to romance (1920) 4. Goethe’s Faust (1808) 5. The Holy Bible 6. T.S.Eliot’s The Waste Land (1922) and The Hollow Men (1925) 7. Baudelaire’s The Albatross (1861) 8. The Doors’ The End Heart of Darkness (1899) “In the case of “Apocalypse,” there was a script written by the great John Milius, but, I must say, what I really made the film from was the little green copy of Heart of Darkness that I had done all those lines in.” (Coppola) Heart of Darkness was not credited as a source text when the film first came out. -
WORKPACK Sherlock.Pdf
Music: Marcelo Andino Workpack: Eugenia Dell’Osa - Mariela Salto - Silvia Montimurro - Ana Laura Zanfranceschi Directed by Gonzalo Berón OBRA REGISTRADA LEVEL “Sherlock” is aimed at A2 and B1 levels. Teatro Ludé (ex Santa María) Montevideo 842 - CABA Main Office: Marcelo T. de Alvear 1252 (C1058AAT) 3rd floor 303 - CABA Tels.: 0810-6666-BAP (227) / (011) 5246-6017 / (011) 15-3477-5206 www.baplayers.com [email protected] /baplayers @buenosairesplayers 1 A note to teachers Our dear fellow teachers, In the workpack you are about to start using you will find a series of activities to be used with your students both before and after watching the BAP play of your choice. You will find that most of the activities have been graded according to levels, which might imply age or language development or both. You will also come across different types of activities, which in most cases we have decided to categorize as follows: The Story; Characters; Words, Words, Words!; Grammar & Structures; Drama Games & Activities. In many cases, however, as in the classroom and in life, categories tend to merge and combine and evolve, so that one activity may lend itself to something else. Towards the end of the pack you will see the Teacher’s Corner, where we have grouped some ideas we felt like sharing with you alone, and not with all your students. All these are simply suggestions. You are the one who knows your students, so please feel free to play around with this workpack as much as you want to. Have a magical BAP experience, and do let us know what worked best for you and your students! All our love, The Teachers Team www.baplayers.com [email protected] /baplayers @buenosairesplayers 2 CHARACTERSCHARACTERS SHERLOCK HOLMES JOAN WATSON JAMES martin IRENE ADLER MR.MR. -
1948-06-25, [P ]
’ 'J TOLEDO UNION JOURNAL Page Tiv, Friday, June 25, 1948 The ft *?■ Mi Gossip of Stagerand Screen STAGE SCREEN RADIO By INEZ GERHARD JEAN ARTHUR has a way of ‘Salome9 Director “Emperor Waltz” Is stamping a role as her own To so definitely that is is impossible Do rangier HOLLYWOOD — Charles ? \ J to imagine anyone else playing < * A J* a' <■* * it as well. Returning to the Lamont, formerly under Coming To Princess screen in “A Foreign Affair,” contract to Universal-Inter she has taken on an assignment national, where he directed such pictures as “Salome, In these days of the quiz program, almost anyone within ear Where She Danced,” “Fron shot of a radio knows all about the Hanging Gardens of Babylon, A’8* tier Gal” and “Slave Girl,** one of the seven wonders of the ancient world. has ben signed by Colum i*- bia to direct “The Wrang It was Nebuchadnezzar who custom-built the lavish gardens ler,” Harry Joe Brown pro around the family hideaway in order to keep his brand new duction which will have bride from pinin for her native Sonny Tufffs, Barbara Brit land, where flowers ran riot. gerg. in *he person of lovely ton and Gabby Hayes in Today, Hollywood goes in for Joan Fontaine. pri ncipal roles. such massive re-orderings of the Soup To Nuts earth s surface on almost an The technical experts were in assembly-line basis. full cry on ’The Emperor One^iM inute Interviews Take Paramount’s newest Waltz” lot. reproducing just I morsel for the eye and ear, about everything from Franz From Hollywood The Emperor Waltz,” a tongue- VAN JOHNSON (on the set o( Josef’s antique Mercedes to in-cheek musical bow to the much of the marble, the murals M G-M’s “Command Decision”): royal house of Hapsburg. -
The Ballyhooed Art of Governing Romance
5 The Ballyhooed Art of Governing Romance Interest in The Sheik continued to build and a studio press agent was assigned as a buffer between Valentino and the press. Irving Shulman, Valentino, 19671 One of the striking characteristics of the era of Coolidge Prosperity was the unparalleled rapidity and unanimity with which millions of men and women turned their attention, their talk, and their emotional interests upon a series of tremendous trifles—a heavyweight boxing-match, a murder trial, a new automobile model, a transatlantic flight. Frederick Lewis Allen, Only Yesterday, 19312 A “POISONOUSLY SALACIOUS” BESTSELLER The year 1921 turned out to be magical for Valentino even though the aftermath of the success of The Four Horsemen was anything but rosy. After Camille, he and Mathis left Metro Pictures to join Famous Players–Lasky. It was an ambitious move for both of them, but Valentino was also motivated by his frustrations with Metro’s unwillingness to raise his salary and public profile substantially despite the success of The Four Horsemen. Upon learning that Metro underappreciated Valentino’s star potential, Jesse Lasky hired him and then paired him with Mathis, whom he had just lured away from the same company, to work on The Sheik. Before their move, Lasky had acquired the filming rights to the eponymous British best-selling novel and for a while remained unsure whether to turn it into a film.The Sheik had first become a smashing success in the United Kingdom, eventually going through 108 printings between its release in 1919 and 1923, but as overwhelming as the novel’s British popularity was, it “could not compare with its bedazzling success in the United States.”3 The novel had something mysterious about it: the gender of the unknown author, E. -
Young Sherlock Holmes (1985)
Young Sherlock Holmes (1985) Young Sherlock Holmes is a 1985 American mystery adventure film directed by Barry Levinson and written by Chris Columbus, based on the characters created by Sir Arthur Conan Doyle. Friendship is at the core of Young Sherlock Holmes, an imaginative recreation of how Sherlock Holmes and John Watson became friends. Their personalities are diametrically opposed. Holmes is independent and daring, and Watson is a “play it by the book” medical student, staunchly averse to risk, always worried about jeopardizing his academic future. However, he admires Holmes’s adventurous spirit. Despite their differences, their affection for one another grows and is celebrated in the many detective novels of Sir Arthur Conan Doyle. The film begins in Victorian England on a dark night when we see a hooded assassin use a blowpipe to shoot a dart into an unsuspecting man. The dart causes the man to hallucinate and commit suicide. Two more people die under similar circumstances; and Holmes, a friend of one of the victims, tries to piece together clues to find the murderer. This leads to all sorts of escapades in which he and Watson put themselves in danger as they discover an Egyptian cult bent on taking revenge for a wrong committed many years earlier. At the end of their adventure, Holmes and Watson take leave of one another, and Watson realizes he forgot to thank him. Watson reflects: “He had taken a weak, frightened boy and made him into a courageous, strong man. My heart soared.” The friendship has transformed Watson and for that he is eternally grateful. -
Review: a Foreign Affair: Billy Wilder's American Films
Gerd Gemünden: A Foreign Affair: Billy Wilder’s American Films. New York: Berghahn Books, 2008. Prefacing Gerd Gemünden’s book A Foreign Affair: Billy Wilder’s American Films is Wilder’s own quote: “I am a mélange.” The reader will soon discover that this cryptic statement characterizes the essence of Gemünden’s analysis of Wilder’s films. The aforementioned work is only one facet of the author’s contribution to the topic of German/Austrian exile and artistic productions. Gemünden is currently conducting an examination of exiled artists in 1933-1948 Hollywood and also functioned as a consultant for the film Cinema’s Exiles From Hitler to Hollywood, which aired on PBS. In A Foreign Affair: Billy Wilder’s American Films Gemünden refrains from taking a broader look at the topic of the émigrés and their creative production during World War II and instead chooses a close study of the works of one particular exiled artist, Billy Wilder. Although Wilder is often strongly associated with American cinema, Gemünden underscores the significance and influence of Wilder’s Austrian back- ground, his perspective as a Jew and even more, his experience of exile, on his American films. Tracing Wilder’s career from his early work in Vienna and Berlin to his vastly popular American cinematic oeuvre, Gemünden emphasizes and strives to demonstrate the nuanced presence of Wilder’s complex personal and artistic back- ground, as well as the social critique and trenchant observations of modern life in America generated from his position as an outsider, all embedded within the glossy surface and commercial appeal of his most famous American films. -
Dennis Potter: an Unconventional Dramatist
Dennis Potter: An Unconventional Dramatist Dennis Potter (1935–1994), graduate of New College, was one of the most innovative and influential television dramatists of the twentieth century, known for works such as single plays Son of Man (1969), Brimstone and Treacle (1976) and Blue Remembered Hills (1979), and serials Pennies from Heaven (1978), The Singing Detective (1986) and Blackeyes (1989). Often controversial, he pioneered non-naturalistic techniques of drama presentation and explored themes which were to recur throughout his work. I. Early Life and Background He was born Dennis Christopher George Potter in Berry Hill in the Forest of Dean, Gloucestershire on 17 May 1935, the son of a coal miner. He would later describe the area as quite isolated from everywhere else (‘even Wales’).1 As a child he was an unusually bright pupil at the village primary school (which actually features as a location in ‘Pennies From Heaven’) as well as a strict attender of the local chapel (‘Up the hill . usually on a Sunday, sometimes three times to Salem Chapel . .’).2 Even at a young age he was writing: I knew that the words were chariots in some way. I didn’t know where it was going … but it was so inevitable … I cannot think of the time really when I wasn’t [a writer].3 The language of the Bible, the images it created, resonated with him; he described how the local area ‘became’ places from the Bible: Cannop Ponds by the pit where Dad worked, I knew that was where Jesus walked on the water … the Valley of the Shadow of Death was that lane where the overhanging trees were.4 I always fall back into biblical language, but that’s … part of my heritage, which I in a sense am grateful for.5 He was also a ‘physically cowardly’6 and ‘cripplingly shy’7 child who felt different from the other children at school, a feeling heightened by his being academically more advanced.