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Celebrating library power Issue No. 292, September 2013 September Schedule The library will be closed Labor Day “A young piano visionary” Weekend. Sunday hours resume after — The New York Times Labor Day. The library will close at 1 p.m. on Saturday, September 28 so that we may transform the building for our The New York Times praised liard Orchestra under New York Foundation Gala. Michael Brown for “a magnificent Philharmonic Music Director Alan performance,” “powerful technique Gilbert and in a solo recital as win- and a vivid imagination.” Noted for ner of the 2012 Juilliard William Wii U Wednesdays for his “great confidence and rhythmic Petschek Piano Debut Recital Award. flair” byGramophone , he is the First He has appeared on four continents Teens Prize Winner of the 2010 Concert and at other major venues such as Teens in grade 7 through 12 are invited Artists Guild Victor Elmaleh Com- Carnegie Hall, Avery Fisher Hall and to join us after school on Wednesdays petition. An equally committed the Metropolitan Museum of Art. in September from 3:30 to 5 p.m. to composer, Brown’s unique artistry A native New Yorker, Brown play your favorite video games on the stems from this duality and is re- earned dual Bachelor and Master of big screen. No registration required. flected in his creative approach. He Music degrees in Piano and Com- often interweaves the classics with position from the Juilliard School, contemporary works and his own where he studied with pianists Library at the LIRR The library will be at the Port Wash- compositions. Jerome Lowenthal and Robert Mc- ington station on Wednesdays from 7 The Music Advisory Council Donald and composers Samuel Adler to 9 a.m. through September 5 with opens its fall concert season on and Robert Beaser. He is a two-time a collection of popular paperbacks. Sunday, September 15 at 3 p.m. winner of Juilliard’s Gina Bachauer Sponsored by the FOL. with a return engagement by Piano Competition, a prize-winner Brown, who will play selections in the New York Piano Competition from Beethoven, Schubert and and recipient of the Raeburn Award Copland. for Artist of Special Promise from Love, Lust & Crime in Brown performed at Alice the 2009 Honens International Piano Italian Cinema Tully Hall as a soloist with the Juil- Competition. Join Professor Valerie Franco for six programs in September and October. These comedies, dramas and thrill- ers cover such diverse topics as the exploitation of women, the destructive Jewelry fashion show & theatrical forces of the Mafia, and the way that love compels us to change our lives. readings add sparkle to Gala See the Calendar of Events for details. On Saturday, September 28, About Our Performers Borrow an E-Reader the Port Washington Library Foun- A graduate of Rhode Island Nooks pre-loaded with New York Times dation hosts its Tenth Inspiration College with an MFA in theatre, and bestsellers are available at the front Gala. In keeping with this year’s Portland State University with a BA desk! First-come, first-served. For Port theme, “The Library is the Jewel of in Music, Ryan Morey is a playwright library card holders only. the Community,” the evening will in- as well as an actor. He has performed clude a reading of Guy De Maupas- in One for the Road; The Seagull; Oh! Downloadables sant’s short story “The Necklace,” What a Lovely War; The Rocky Horror Access downloadable audiobooks and adapted for the stage by Foundation Show; and Lysistrata at venues across e-books from the library. Library staff board member Judy Sloan and per- the country. can assist with downloads to your tab- formed by actors Ryan Morey and Sarah Arikian completed her let or smart phone. Sarah Arikian (photo inside). undergraduate work at the Manhat- London Jewelers Americana tan School of Music and received Manhasset will provide a jewelry an MA from New York University FOL Bookswap fashion show with models. This in Classical Voice. She has been in Save the date. The Friends of the Li- generous donation adds an incred- The Merry Widow, Seven Brides for brary hosts another paperback swap ible level of glamour to the evening. Seven Brothers, The Three Penny on Saturday, October 19. Details in A silent auction of high-end jewelry, Opera, Ragtime, The Mikado and next month’s issue. and a cocktail extravaganza featur- many others. ing signature drinks, food stations Since its inception, the Port and desserts catered by H on the Washington Library Foundation has Harbor will complete the event. given over $1,500,000 to the library Our outstanding honorees are to fund projects not covered by tax National Grid (with National Grid dollars. Tickets to this event are New York President Kenneth D. $250 and sponsorship opportunities AMERICANA MANHASSETLondon Jewelers : 2046 NOR presentsTHERN BLV aD, jewelyMANHASSET fashion NY : 516.627.7475 Daly accepting); Lucy Mazany, se- are available. For more information, show at the September 28 Gala. This generous LONDONJEWELERS.COM nior vice president and Long Island call 883-4400, Ext. 180 or go to the donation adds an incredible level of glamour to division manager of Valley National Foundation’s website at pwpl.org/ the evening. Bank; and Georgia DeYoung. foundation. ESOL celebrates a year of success Photos by Peter Bengelsdorf, Nuran Mirdha and Tetsuya Suzuki Our English for Speakers of Other Languanges Program recently celebrated a year of successes large and small with an end of the year certificate ceremony and party. Students earned certificates for 25 hours of English study, and tutors were presented with certificates that recognized their hard work and dedication to the program. The happy faces say it all . better than we ever could!! Tutor Photo (bottom left): First row – Mike Duffy, Peggy O’Hanlon (ESOL Coordinator),Linda Lerner, Peter Bengelsdorf. 2nd row – Mary Justin, Jennifer Rojas, Ted Goldsmith, Jane Thomas, Su- san Nekota, Tiffany Wollin, Lisa Idol, Barbara Kaim, Helen Donenfeld, Martha Tirrell and Joyce Shapiro. 3rd row – Haydee Buitron (ESOL Assistant Coordinator), Jennifer Heinlein, Robert Soloff, Stephanie Teff, Phyllis Sickerman, Jude Maher, Ilse Sander, Barbara Russell, Maria Scotti, Ann Latner, Toby Latner, Judy Goldsmith, Janet Wagner, Barbara Arnold, Kevin Sheffler and Harriet Englander. Tutors not pictured: Ellen Schaier, Barbara Sonnenfeldt, Joyce Bruno, Arline Walzer, Nancy Wadler, Bill Betz, Ira Slutzky, Elisha Huang, Rhoda Garbo, Jane Harding, Ron Kipp, Barbara Kass, Anneliese Spiekermann, Bob Wagner, Susan Lerner, Barbara Laurence and Paola Diaz (ESOL Assistant Coordinator). MAC Fall 2013 Concert Season Sundays at 3 p.m. October 13 Hermes String Quartet Selections from Debussy, Verdi and others Presented in memory of Lucretia Harrison November 3 Ji-Yong, pianist Selections from Bach-Busoni, Brahms and others December 22 Atwater-Donnelly SoundSwap: Glenn McCready Jean Ritchie Folk Concert Glenn McCready returns to SoundSwap on Thursday, September 26 at 7:30 p.m. McCready is a Port Washington-based musician who has performed professionally for the better part of Music Council programs are funded by donations to the Port Washington Library Foundation. twenty-five years in and around New York City and Long Island. In an effort to get back to his “roots” — the singer/songwriter genre that first brought him to writing and performing — he All concerts are free; priority seating is given to Port Washington residents and cardholders. began recording and releasing original music under the name Glenn Squared. Come listen! The Library’s Jobs & Careers Information Center presents Job Search Boot Camp An 8-Week Intensive Workshop Designed to Help Participants Obtain Employment through Networking September 12, 19, 26 & October 3, 10, 17, 24, 31 from 9 a.m. to noon Registration in progress, in person or by calling 516-883-4400, Ext. 136 Job Search Boot Camp will be taught by Maria Themistocleous-Frey, President and Founder of Executive Consultants of New York, a business that specializes in career coaching and professional development. This program is hosted by the Port Washington Public Library and funded by a grant received by the Port Washington Library Foundation from the Helen Matchett Demario Foundation. Debra Goertz exhibits Memory & Myth this month In referring to her Memory & the 1950s notion of achieving the Myth series, Debra Goertz writes, American Dream: the uprooting “Based on photographs of my of families to chase that dream, immediate and extended family the constant effort to adapt to a collected over many years, these foreign landscape, the loss of roots paintings began as an investigation and longing for extended family, into the memories and mythologies and the ever present nostalgia, not of my childhood as a ‘military brat.’ only for a time that may or may not Originally I conceived the work as a have existed, but for a place called personal exploration into the stories ‘home’.” from my own childhood and the After a lifetime of moving influence of family photographs on every two or three years, Debra pwpl@120 exhibit is online the perceived clarity of my memo- Goertz has lived and maintained Revisit our anniversary year exhibit. It’s spectacular! Go to pwpl.org and click on the image. ries, concentrating on subtexts of a studio in Brooklyn for thirteen gender roles, sibling relationships years. She has taught at the New and the fragility of family. York Academy of Art and the Lyme “Landscape imagery gathered Academy College of Fine Art, and during my travels provided the currently teaches at Parsons The Hal Spielman brings Suddenly environments into which I tried New School of Design, where she to adapt subjects from the vintage is a part-time assistant professor Solo to the library photography. As this body of work of Drawing and Imaging.
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  • Xx:2 Dr. Mabuse 1933

    Xx:2 Dr. Mabuse 1933

    January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/.
  • The Broken Ideals of Love and Family in Film Noir

    The Broken Ideals of Love and Family in Film Noir

    1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs.
  • Fritz Lang © 2008 AGI-Information Management Consultants May Be Used for Personal Purporses Only Or by Reihe Filmlibraries 7 Associated to Dandelon.Com Network

    Fritz Lang © 2008 AGI-Information Management Consultants May Be Used for Personal Purporses Only Or by Reihe Filmlibraries 7 Associated to Dandelon.Com Network

    Fritz Lang © 2008 AGI-Information Management Consultants May be used for personal purporses only or by Reihe Filmlibraries 7 associated to dandelon.com network. Mit Beiträgen von Frieda Grafe Enno Patalas Hans Helmut Prinzler Peter Syr (Fotos) Carl Hanser Verlag Inhalt Für Fritz Lang Einen Platz, kein Denkmal Von Frieda Grafe 7 Kommentierte Filmografie Von Enno Patalas 83 Halbblut 83 Der Herr der Liebe 83 Der goldene See. (Die Spinnen, Teil 1) 83 Harakiri 84 Das Brillantenschiff. (Die Spinnen, Teil 2) 84 Das wandernde Bild 86 Kämpfende Herzen (Die Vier um die Frau) 86 Der müde Tod 87 Dr. Mabuse, der Spieler 88 Die Nibelungen 91 Metropolis 94 Spione 96 Frau im Mond 98 M 100 Das Testament des Dr. Mabuse 102 Liliom 104 Fury 105 You Only Live Once. Gehetzt 106 You and Me [Du und ich] 108 The Return of Frank James. Rache für Jesse James 110 Western Union. Überfall der Ogalalla 111 Man Hunt. Menschenjagd 112 Hangmen Also Die. Auch Henker sterben 113 Ministry of Fear. Ministerium der Angst 115 The Woman in the Window. Gefährliche Begegnung 117 Scarlet Street. Straße der Versuchung 118 Cloak and Dagger. Im Geheimdienst 120 Secret Beyond the Door. Geheimnis hinter der Tür 121 House by the River [Haus am Fluß] 123 American Guerrilla in the Philippines. Der Held von Mindanao 124 Rancho Notorious. Engel der Gejagten 125 Clash by Night. Vor dem neuen Tag 126 The Blue Gardenia. Gardenia - Eine Frau will vergessen 128 The Big Heat. Heißes Eisen 130 Human Desire. Lebensgier 133 Moonfleet. Das Schloß im Schatten 134 While the City Sleeps.
  • Case Study: Fritz Lang and Scarlet Street*

    Case Study: Fritz Lang and Scarlet Street*

    Studia Filmoznawcze 31 Wroc³aw 2010 Barry Keith Grant Brock University (Canada) CASE STUDY: FRITZ LANG AND SCARLET STREET* Fritz Lang’s work in film spans the silent era almost from its beginnings through the golden era of German Expressionism in the 1920s and the classic studio sys- tem in Hollywood to the rise of the international co-production. In the course of his career Lang directed more acknowledged classics of the German silent cinema than any other director, made the first important German sound film (M, 1932), and dir ected some of the most important crime films and film noirs of the American studio era, including You Only Live Once (1937), The Big Heat (1953), and Scarlet Street (1945). Critics have commonly divided Lang’s extensive filmography into two major periods, the silent German films and the American studio movies. In the former he had considerable artistic freedom, while in Hollywood he worked against the greater constraints of the studio system and B-picture budgets; yet the thematic and stylistic consistency in Lang’s work across decades, countries, and different production contexts is truly remarkable. Consistently Lang’s films depict an entrapping, claustrophobic, deterministic world in which the characters are controlled by larger forces and internal desires beyond their understanding. In this cruelly indifferent world, people struggle vainly against fate and their own repressed inclinations toward violence. As in Hitchcock’s films, Lang’s often deal with the violent potential lurking within the respectable citizen and suggest that social order requires controlling the beast within. M (1932), Lang’s first sound film, is about a serial child killer (Peter Lorre) who explains to the kangaroo court of criminals about to execute him that he is possessed by a murder- * The text is taken, with the agreement of its author, from his book Film Genre: From Iconog- raphy to Ideology, London 2007, pp.
  • Ronald Davis Oral History Collection on the Performing Arts

    Ronald Davis Oral History Collection on the Performing Arts

    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
  • Jack Oakie & Victoria Horne-Oakie Films

    Jack Oakie & Victoria Horne-Oakie Films

    JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives.
  • Complete Film Noir

    Complete Film Noir

    COMPLETE FILM NOIR (1940 thru 1965) Page 1 of 18 CONSENSUS FILM NOIR (1940 thru 1959) (1960-1965) dThe idea for a COMPLETE FILM NOIR LIST came to me when I realized that I was “wearing out” a then recently purchased copy of the Film Noir Encyclopedia, 3rd edition. My initial plan was to make just a list of the titles listed in this reference so I could better plan my film noir viewing on AMC (American Movie Classics). Realizing that this plan was going to take some keyboard time, I thought of doing a search on the Internet Movie DataBase (here after referred to as the IMDB). By using the extended search with selected criteria, I could produce a list for importing to a text editor. Since that initial list was compiled almost twenty years ago, I have added additional reference sources, marked titles released on NTSC laserdisc and NTSC Region 1 DVD formats. When a close friend complained about the length of the list as it passed 600 titles, the idea of producing a subset list of CONSENSUS FILM NOIR was born. Several years ago, a DVD producer wrote me as follows: “I'd caution you not to put too much faith in the film noir guides, since it's not as if there's some Film Noir Licensing Board that reviews films and hands out Certificates of Authenticity. The authors of those books are just people, limited by their own knowledge of and access to films for review, so guidebooks on noir are naturally weighted towards the more readily available studio pictures, like Double Indemnity or Kiss Me Deadly or The Big Sleep, since the many low-budget B noirs from indie producers or overseas have mostly fallen into obscurity.” There is truth in what the producer says, but if writers of (film noir) guides haven’t seen the films, what chance does an ordinary enthusiast have.
  • Le Mépris and Its Story of Cinema: a Fabric of Quotations*

    Le Mépris and Its Story of Cinema: a Fabric of Quotations*

    Laura Mulvey LE MÉPRIS AND ITS STORY OF CINEMA: A FABRIC OF QUOTATIONS* In Le Mépris (Jean-Luc Godard, 1963) and quotation the world of cinéphilia the cinema has a central presence on seeps into Le Mépris mediating bet- various different levels. The making ween past and present. As quotation of a film has brought the central cha- necessarily refers backwards in time, racters together and the dramatic pro- Godard evokes a now ended era with cesses of film-making are often shown an aesthetic device that always comes on screen, as a backdrop to the hu- out of the past. Thus, in Le Mépris, man drama. But woven into this overt form (quotation) is appropriate to its presence is another story about the content (history). cinema: its histories and its contem- But, on the other hand, quotation is a porary crises. Only occasionally expli- key modernist formal device, fragmen- citly reaching the surface of the film, ting a text’s cohesion, disrupting tradi- this story is concealed in signs, images tional forms of reading by introducing and allusions. The unifying thread that other layers to a linear structure. As ties these oblique references together Peter Wollen puts it in his discussion is the world of cinéphilia, Godard’s of quotation in Godard’s Le Vent d’Est formative years as a critic for the Ca- (1970): hiers du Cinéma and the films and di- One of the main characteristics of moder- rectors he had written about and loved nism […] was the play of allusion within during the 1950s. That world had, by and between texts… The effects to break 1963, moved into a past tense: the Ho- up the heterogeneity of the work, to open llywood studio system that had produ- up spaces between different texts and ty- ced the politique des auteurs had aged pes of discourses… The space between the and had been overtaken by industrial texts is not only semantic but historical changes; Godard was no longer a ci- too, the different textual strata being re- néphile critic but a successful New sidues of different epochs and different Wave director.
  • A Tragic View

    A Tragic View

    VICENTE SANCHEZ-BIOSCA A TRAGIC VIEW Fritz Lang's American films start off as if they had no beginning, as if something had been decided on and launched inexorably, in our absence, and we were astonished witnesses to its final explosion. In medias res, the expression used in narrative theory to describe the entrance of the reader or spectator in fictions that are underway is, to all intents and purposes, insufficie~ and imprecise since the point here is not that actions are activated, but rather that the end is imminent. Thus, the furious pace, the climax, the intensity that the first Langian scenes often have. As if we were at the same time expelled from comprehending and plunged into the maelstrom of events. The content of these actions is, in addition, terminal: violent murders, accidental deaths, hdpeless traumas and, as a result, their staccato pace has little to do with the gtadual, calm introits in the American films of the classical period. Some random 0\)xamples illustrate such comments. Rancho Notorious (1952) starts off as the harmonious finale of a classical film, with the kiss between a couple in love - an illusion that will barely put off the ephemeral nature of the farewell between these two young people. The lethal chain is immediately unleashed: some bank robbers enter the shop that 298 THE SCULPTURE IN FRITZ LANG VICENTE SANCHEZ-SIOSCA the young girl is looking after, they rape and kill her: "Nothing has been saved from her'', the doctor chastely tells her premature widower. Incredulity becomes a rictus, a grimace of violence flashes across the needy lover's face, and from such a beartrending gesture the urge to wreak vengeance will arise, enough to string together the entire film around a tragic rage.
  • Fritz Lang, Allegory, and the Holocaust Walter C

    Fritz Lang, Allegory, and the Holocaust Walter C

    Southern Illinois University Carbondale OpenSIUC Articles Department of Cinema and Photography Summer 2001 A Very Notorious Ranch, Indeed: Fritz Lang, Allegory, and the Holocaust Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "A Very Notorious Ranch, Indeed: Fritz Lang, Allegory, and the Holocaust." The Journal of Contemporary Thought 13 (Summer 2001): 71-86. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Articles by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A Very Notorious Ranch, Indeed: Fritz Lang, Allegory, and the Holocaust By Walter Metz Published in: Journal of Contemporary Thought. Vol. 13 [Summer 2001]. 71-86. Introduction In a recent review of the Stephen Spielberg blockbuster, Jurassic Park: The Lost World (1997), critic Stuart Klawans of The Nation presents the film as an allegory for the Holocaust.i Feigning to merely be repeating the interpretation of his “spiritual adviser,” Rabbi Simcha Fefferman, Klawans argues that the film continues the story of Schindler’s List (Stephen Spielberg, 1993) as much as it does Jurassic Park (Stephen Spielberg, 1993). Engaging in a bravura reading, Klawans argues, for instance, that the dinosaurs represented are stand-ins for the Jews, and that those who hunt them down are coded as Nazis: “There
  • University of Florida Thesis Or Dissertation Formatting

    University of Florida Thesis Or Dissertation Formatting

    REJECTED WOMEN IN FILM NOIR By CAROLYN A. KELLEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Carolyn A. Kelley 2 To my mother and father, Elaine and Thomas Kelley 3 ACKNOWLEDGMENTS I want to thank my parents, Thomas and Elaine Kelley, for their unwavering love and support. You are the kindest, most generous people I know. I am proud to be your daughter. To my sister, Christine Kelley-Connors, thank you for always making me laugh and for helping me keep my perspective. I thank my ―second parents,‖ Madeline and Stuart Sheets, for always listening to me and for giving me excellent advice. I thank Ted Kingsbury for introducing me to classic Hollywood films through his Thursday night screenings at the Wellesley library. To Professors Patrick Murphy, Edward O‘Shea, Jean Chambers, and Steven Abraham of Oswego State University, and Julian Wolfreys of Loughborough University, I thank you for your support, friendship, advice and generosity in sharing your knowledge. Thanks also go out to Professors Pamela Gilbert, Kenneth Kidd, and Chris Snodgrass of the University of Florida for your thoughtful guidance, wisdom and patience. To my dissertation committee members, Robert Ray, Marsha Bryant, and Louise Newman, I appreciate your generous devotion to helping me shape this project and your helpful, insightful input. And, to my Dissertation Director, Maureen Turim, I thank you for your guidance, patience, intelligence, and kindness. Finally, to everyone listed on this page, please know this project would not have been possible without you, and I am extremely grateful to you all.
  • NEWSLETTER No. 21 February, 9Th 2001

    NEWSLETTER No. 21 February, 9Th 2001

    NEWSLETTER No. 21 February, 9th 2001 Marlene Dietrich Collection Berlin is a division of Filmmuseum Berlin - Deutsche Kinemathek If you want your fellow fans to receive this newsletter or if you just want to add informations write to [email protected]. If you want to support the work of the Filmmuseum Berlin-Deutsche Kinemathek of which Marlene Dietrich Collection Berlin is a division you can do so by joining the "Friends and Supporters of Filmmuseum Berlin". Just go to http://www.fffb.de Dear Friends, This is Jean-Pierre Aumont introduction to his this newsletter is focused on Fritz Lang's seven chapters on Dietrich: "Rancho Notorious". As you may know Une femme fascinante! Que dis-je? Dix, vingt, Filmmuseum Berlin is currently doing a trente femmes fascinantes. Il y a, bien sûr, la retrospective and an exhibit on Fritz Lang and it star. Elle brillait d’un tel éclat qu’elle faisait seems quite appropriate that we not only pay passer au second plan ses talents d’actrice. Et our tribute to this major event but also benefit pourtant, dans certain films, tels «Femme au from the research of our colleagues. Thus we Demon» ou «Témoin à charge», elle réussit have the priviliege of reprinting the "Rancho des performances qui ne devaient rien Notorious" section of the Fritz Lang book just a sa beauté. Il y a l’astrologue, qui établit avec published by our colleagues. soin l’horoscope détaillé de ses amis, afin de "Rancho Notorious" will be shown during the leur signaler les dangers á eviter.