DOCSLIB.ORG

Director James Ivory to Present Truffaut's the Wild Child for 10Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Director James Ivory to Present Truffaut’s The Wild Child for 10th Anniversary of Films on the Green NEW YORK, August 17, 2017— On September 7th, 2017, the free outdoor French film festival Films on the Green will screen François Truffaut’s 1970 drama The Wild Child (L’Enfant sauvage). The Wild Child was selected for the festival by guest curator James Ivory. The screening will take place at 7:30 PM at Columbia University at 116th Street, and is presented in partnership with the Columbia Maison Française. James Ivory will be present to introduce the film. In the film, a scantily clothed and dirty young boy is admitted to the National Institute for the Deaf and Dumb in Paris. Having been found in the forest, the child is unable to speak, communicate or function in society. His case is taken up by Doctor Itard, a lone physician who has unyielding dedication to re- integrating the lad into society. But the road to tame the beast is a rocky one. Starring Jean-Pierre Cargol and François Truffaut himself, the film is based on the true story of a feral child named Victor of Aveyron, found in the woods near Saint-Sernin-sur-Rance, France in 1800. In 1971, the film received awards from the National Board of Review, the National Society of Film Critics, and the French Syndicate of Cinema Critics. James Ivory on his selected film, The Wild Child: “This film is a favorite of mine, and its subject—the story of a wild child discovered in a forest, then coaxed out and ‘civilized’—is a favorite in many cultures. But one might think of how Post-War French cinema was perceived by Truffaut and his fellow directors of the New Wave—as being a kind of wild child, out of control and disordered, and of Truffaut, playing the patient teacher in the film, who in time masters the wild child of French cinema.” James Ivory is a celebrated American director and writer who made twenty-four feature films over his forty-four-year partnership with the late Ismail Merchant, best known for a trio of English films, A Room With a View, Howards End, and The Remains of the Day, winner of thirty-one Academy Award® nominations, including three for Best Picture and Best Director. Ivory marks his seventh produced screenplay with Call Me By Your Name (directed by Luca Guadagnino), following five films with two-time Oscar winner Ruth Prawer Jhabvala (Shakespeare Wallah, The Guru, Bombay Talkie, A Soldier’s Daughter Never Cries, and The Divorce); and one with Kit Hesketh-Harvey (Maurice). Ivory began his filmmaking career in India with Merchant and Ruth Prawer Jhabvala, his long-time screenwriter, in 1962 when they made classics Shakespeare Wallah and Heat and Dust. In 1995, Ivory received the D.W. Griffith Award from the Directors Guild of America, their highest lifetime achievement prize. The screening of The Wild Child (1h23) is free and open to the public and will take place on the steps of Columbia University’s Low Memorial Library at 116th Street on Thursday, September 7th, 2017 at 7:30 p.m in presence of James Ivory. The film will be shown in French with English subtitles. 2017 Films on the Green Festival In its landmark 10th year, Films on the Green invited 10 guest curators—some of the most creative and compelling filmmakers, actors, and artists of our time–to select one film each for the summer’s program. The guest curators include: Wes Anderson, Jim Jarmusch, James Ivory, Saul Williams, Isabella Rossellini, Wanda Sykes, Laurie Anderson, Matthew Weiner, Matías Piñeiro, and Amy Hargreaves. More information: http://frenchculture.org/film-tv-and-new-media/festivals/films-green-2017 Films on the Green is organized by the Cultural Services of the French Embassy, FACE Foundation and NYC Parks, thanks to 2017 lead sponsor, Le Petit Marseillais™, and the festival’s 2017 official sponsors, Air France, Atout France-France Tourism Development Agency, BNP Paribas, JC Decaux, and TV5 Monde. ABOUT The Cultural Services of the French Embassy promotes the best of French arts, literature, cinema, digital innovation, language, and higher education across the US. Based in New York City, Washington D.C., and eight other cities across the country, the Cultural Services brings artists, authors, intellectuals and innovators to cities nationwide. It also builds partnerships between French and American artists, institutions and universities on both sides of the Atlantic. In New York, through its bookshop Albertine, it fosters French-American exchange around literature and the arts. www.frenchculture.org FACE Foundation is an American nonprofit organization dedicated to supporting French-American relations through innovative cultural and educational projects. In partnership with the Cultural Services of the French Embassy, FACE promotes artistic, literary and educational exchange and collaboration between creative professionals from both countries. With additional corporate, foundation, and individual support, FACE administers grant programs in the performing and visual arts, cinema, translation, and secondary and higher education, while providing financial sponsorship to French-American festivals and other cultural initiatives. FACE focuses on new and recent work of living artists and the promotion of bilingualism and the French language. FACE Foundation (French-American Cultural Exchange) is a 501(c)(3) organization chartered by the state of New York. www.face-foundation.org NYC Parks is the steward of approximately 29,000 acres of land — 14 percent of New York City — including more than 5,000 individual properties ranging from Coney Island Beach and Central Park to community gardens and Greenstreets. We operate more than 800 athletic fields and nearly 1,000 playgrounds, 550 tennis courts, 66 public pools, 48 recreational facilities, 17 nature centers, 13 golf courses, and 14 miles of beaches. We care for 1,200 monuments and 23 historic house museums. We look after 650,000 street trees, and two million more in parks. We are New York City's principal providers of recreational and athletic facilities and programs. We are home to free concerts, world-class sports events, and cultural festivals. www.nycgovparks.org The Columbia Maison Française, founded in 1913, organizes a variety of events and activities at Columbia for the university community and members of the general public interested in learning more about France, Europe, and the French-speaking world. More information at www.maisonfrancaise.org. ### Media Contact: Camille Desprez - + 1 (212) 439-1417, [email protected] Frenchculture.org - @franceinnyc - facebook.com/frenchculture Follow Films on the Green on Facebook, Twitter, and Instagram #filmsonthegreen .
Recommended publications
  • Ruth Prawer Jhabvala's Adapted Screenplays

    Ruth Prawer Jhabvala's Adapted Screenplays

    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
  • The Case of the Puella Trans-Isalana Or the Kranenburg Girl (1717)

    The Case of the Puella Trans-Isalana Or the Kranenburg Girl (1717)

    Marijke J. van der Wal Feral Children and the Origin of Language Debate: the Case of the Puella Trans-Isalana or the Kranenburg Girl (1717) La parole distingue I'homme entre les animaux: le langage distingue les nations entre elles; on ne connoit d'ol! est un homme qu'après qu'il a parlé. (J.J. Rousseau, Essai sur ['origine des [angues, ed. eh. Porset, Paris 1969: 26; p.1 of Essai) 1. Introduction When, at the beginning of the seventeenth century, the brilliant young scholar Hugo Grotius (1583-1645) presented his early linguistic ideas, he did not fail to give his view on the origin of language.l He maintained that both languages and nation states, the two bonds ofhuman society, were bom at the same time. Language was a human product, resulting from the need to have a language; the possibility of a divine gift is not even mentioned. Grotius was not the only one at the time who discussed the origin of language and his view on the mat• ter was not new. The view that language is a product of human ingenuity and related to the development of societies is found as early as in Plato' s Protago• ras. The origin of language debate, in which Grotius was involved, had been going on for centuries, and interest in the subject did not wane in the eight• eenth century. 1) These ideas are to be found in his Latin treatise Parallelon ReTUrn Publicarurn. Cf. Van der Wal (1997) and Van der Wal (fortheaming). G. HafJler, P. Sehmitter (Hrsg.): Spraehdiskussion und Besehreibung von Spraehen im 17.
  • February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 Minutes)

    February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 Minutes)

    February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 minutes) Directed by Satyajit Ray Written byRabindranath Tagore ... (from the story "Nastaneer") Cinematography by Subrata Mitra Soumitra Chatterjee ... Amal Madhabi Mukherjee ... Charulata Shailen Mukherjee ... Bhupati Dutta SATYAJIT RAY (director) (b. May 2, 1921 in Calcutta, West Bengal, British India [now India]—d. April 23, 1992 (age 70) in Calcutta, West Bengal, India) directed 37 films and TV shows, including 1991 The Stranger, 1990 Branches of the Tree, 1989 An Enemy of the People, 1987 Sukumar Ray (Short documentary), 1984 The Home and the World, 1984 (novel), 1979 Naukadubi (story), 1974 Jadu Bansha (lyrics), “Deliverance” (TV Movie), 1981 “Pikoor Diary” (TV Short), 1974 Bisarjan (story - as Kaviguru Rabindranath), 1969 Atithi 1980 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The (story), 1964 Charulata (from the story "Nastaneer"), 1961 Elephant God, 1977 The Chess Players, 1976 Bala, 1976 The Kabuliwala (story), 1961 Teen Kanya (stories), 1960 Khoka Middleman, 1974 The Golden Fortress, 1973 Distant Thunder, Babur Pratyabartan (story - as Kabiguru Rabindranath), 1960 1972 The Inner Eye, 1972 Company Limited, 1971 Sikkim Kshudhita Pashan (story), 1957 Kabuliwala (story), 1956 (Documentary), 1970 The Adversary, 1970 Days and Nights in Charana Daasi (novel "Nauka Doobi" - uncredited), 1947 the Forest, 1969 The Adventures of Goopy and Bagha, 1967 The Naukadubi (story), 1938 Gora (story), 1938 Chokher Bali Zoo, 1966 Nayak: The Hero, 1965 “Two” (TV Short), 1965 The (novel), 1932 Naukadubi (novel), 1932 Chirakumar Sabha, 1929 Holy Man, 1965 The Coward, 1964 Charulata, 1963 The Big Giribala (writer), 1927 Balidan (play), and 1923 Maanbhanjan City, 1962 The Expedition, 1962 Kanchenjungha, 1961 (story).
  • Please Turn Off Cellphones During Screening March 6, 2012 (XXIV:8) Satyajit Ray, the MUSIC ROOM (1958, 96 Min.)

    Please Turn Off Cellphones During Screening March 6, 2012 (XXIV:8) Satyajit Ray, the MUSIC ROOM (1958, 96 Min.)

    Please turn off cellphones during screening March 6, 2012 (XXIV:8) Satyajit Ray, THE MUSIC ROOM (1958, 96 min.) Directed, produced and written by Satyajit Ray Based on the novel by Tarashankar Banerjee Original Music by Ustad Vilayat Khan, Asis Kumar , Robin Majumder and Dakhin Mohan Takhur Cinematography by Subrata Mitra Film Editing by Dulal Dutta Chhabi Biswas…Huzur Biswambhar Roy Padmadevi…Mahamaya, Roy's wife Pinaki Sengupta…Khoka, Roy's Son Gangapada Basu…Mahim Ganguly Tulsi Lahiri…Manager of Roy's Estate Kali Sarkar…Roy's Servant Waheed Khan…Ujir Khan Roshan Kumari…Krishna Bai, dancer SATYAJIT RAY (May 2, 1921, Calcutta, West Bengal, British India – April 23, 1992, Calcutta, West Bengal, India) directed 37 films: 1991 The Visitor, 1990 Branches of the Tree, 1989 An Elephant God (novel / screenplay), 1977 The Chess Players, Enemy of the People, 1987 Sukumar Ray, 1984 The Home and 1976 The Middleman, 1974 The Golden Fortress, 1974 Company the World, 1984 “Deliverance”, 1981 “Pikoor Diary”, 1980 The Limited, 1973 Distant Thunder, 1972 The Inner Eye, 1971 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The Elephant Adversary, 1971 Sikkim, 1970 Days and Nights in the Forest, God, 1977 The Chess Players, 1976 The Middleman, 1976 Bala, 1970 Baksa Badal, 1969 The Adventures of Goopy and Bagha, 1974 The Golden Fortress, 1974 Company Limited, 1973 Distant 1967 The Zoo, 1966 Nayak: The Hero, 1965 Kapurush: The Thunder, 1972 The Inner Eye, 1971 The Adversary, 1971 Sikkim, Coward, 1965 Mahapurush: The Holy Man, 1964 The Big City: 1970 Days
  • Routes to the Roots — Transcultural Ramifications in Bombay Talkie

    Routes to the Roots — Transcultural Ramifications in Bombay Talkie

    Routes to the Roots — Transcultural Ramifications in Bombay Talkie CHRISTINE VOGT–WILLIAM Sunrise, burning heat Nothing is as travelled as a Bombay street Contradictions, city of extremes Anything is possible in Bombay Dreams Some live and die in debt Others making millions on the Internet Contradictions, city of extremes Anything is possible in Bombay Dreams1 The journey home Is never too long Some yesterdays always remain I’m going back to where my heart was light […] I want to feel the way that I did then I’ll think my wishes through before I wish again Not every road you come across Is one you have to take No, sometimes standing still can be The best move you ever make2 1 Don Black, Raza Jaffrey, Preeya Kalidas & A.R. Rahman, “Bombay Dreams,” from the musical Bombay Dreams; lyrics on http://www.allthelyrics.com/lyrics/bombay_dreams _soundtrack/bombay_dreams-lyrics-75250.html (accessed 15 March 2008). 2 Black, Jaffrey, Kalidas & Rahman, “The Journey Home,” from the musical Bombay Dreams; lyrics on http://www.allthelyrics.com/lyrics/bombay_dreams_soundtrack/the_journey_home- lyrics- 75246.html (accessed 15 March 2008). 310 CHRISTINA VOGT–WILLIAM ½¾ HE IDEA OF ‘BOMBAY TALKIE’ explored in this essay relates to fertile ‘boundary breaking’ ground particularly suited to investi- T gating transgressive artistic and literary practice. My essay is based on a film and a novel that both coincidentally bear the title ‘Bombay Talkie’: although the term ‘Bombay Talkie’ was initially confined to the Bollywood film industry, it has broken through genre and cultural barriers and has now gained currency in various manifestations in film and literature.
  • Les Enfants Sauvages Et La Question De La Nature Humaine

    Les Enfants Sauvages Et La Question De La Nature Humaine

    LES ENFANTS SAUVAGES ET LA QUESTION DE LA NATURE HUMAINE Josef Fulka Wild Children and the Question of Human Nature In the present text, the authors deals with the specific phenomenon of the so-called wild children, i. e. human beings deprived of contact with other members of the human species. We concentrate on a particular historical case – Victor of Aveyron, a wild child found in France in the end of the 18th century who has been submitted to remarkable pedagogical procedures conducted by J.-M. Itard. We attempt to highlight Itard’s philosophical background (Condillac, Locke) and to show how his philosophical conjectures might have influenced his practical pedagogical approach especially in the domain of language acquisition. Keywords: wild children, language acquisition, Enlightenment philosophy Pour commencer, il faut d’abord poser la question pourquoi.[1] Pourquoi s’intéresser aux enfants sauvages – c’est-à-dire aux enfants privés, pour une raison ou une autre, du contact avec d’autres êtres humains pendant une période prolongée – lorsqu’il s’agit de comprendre la nature humaine par rapport à l’animalité ? Qu’est-ce que les enfants sauvages peuvent nous dire sur la nature humaine en général et sur la relation entre l’homme et l’animal en particulier ? La question, en fait, est particulièrement épineuse : en général, on peut pourtant affirmer que le phénomène des enfants sauvages nous fournit un exemple négatif, nous permettant d’examiner certains processus – celui de l’acquisition du langage et du développement de certaines compétences cognitives, entre autres – sous des conditions pour ainsi dire « non-standard » ; bref, l’enfant sauvage représente un cas-limite capable de nous apprendre quelque chose sur la manière dont nous, les êtres « normaux », vivons, pensons, percevons ce qui nous entoure.
  • Ivory, James (B. 1928), and Ismail Merchant (1936-2005) by Patricia Juliana Smith

    Ivory, James (B. 1928), and Ismail Merchant (1936-2005) by Patricia Juliana Smith

    Ivory, James (b. 1928), and Ismail Merchant (1936-2005) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Perhaps the most enduring and influential gay partnership in film history, James Ivory and Ismail Merchant are known for their visually sumptuous period pieces based on familiar literary works. So closely intertwined was this team that many assume that "Merchant Ivory" is the name of one individual. But while associated in many minds with British literary and cultural traditions, their professional and personal relationship actually brought together diverse elements of American and Indian culture. James Francis Ivory, who is the director in Merchant Ivory Productions, was born in Berkeley, California on June 7, 1928. After graduating from the University of Oregon, he received an advanced degree from the University of Southern California School of Cinema and Television in 1957. His first film was an acclaimed documentary about Venice, and his second, The Sword and the Flute, examined Indian art. In 1960, at a New York screening of this latter film, he met his future partner and collaborator. Ismail Noormohamed Abdul Rehman, later Merchant, was born December 25, 1936, in Bombay, India. He came to the United States as a student, and received an M.B.A. degree from New York University, a background that prepared him for his role as the producer and business mind of the partnership. While working for an advertising agency, he produced a film based on Indian myth, Creation of Woman (1961), which earned an Academy Award for Best Short Subject.
  • A Room of Their Own: Women Novelists 109

    A Room of Their Own: Women Novelists 109

    A Room of their Own: Women Novelists 109 4 A Room of their Own: Women Novelists There is a clear distinction between the fiction of the old masters and the new novel, with Rushdie's Midnight's Children providing a convenient watershed. When it comes to women novelists, the distinction is not so clear cut. The older generation of women writers (they are a generation younger than the "Big Three") have produced significant work in the nineteen-eighties: Anita Desai's and Nayantara Sahgal's best work appeared in this period. We also have the phenomenon of the "late bloomers": Shashi Deshpande (b. 1937) and Nisha da Cunha (b. 1940) have published their first novel and first collection of short stories in the eighties and nineties respectively. But the men and women writers also have much in common. Women too have written novels of Magic Realism, social realism and regional fiction, and benefited from the increasing attention (and money) that this fiction has received, there being an Arundhati Roy to compare with Vikram Seth in terms of royalties and media attention. In terms of numbers, less women writers have been published abroad; some of the best work has come from stay-at- home novelists like Shashi Deshpande. Older Novelists Kamala Markandaya has published just one novel after 1980. Pleasure City (1982) marks a new direction in her work. The cultural confrontation here is not the usual East verses West, it is tradition and modernity. An efficient multinational corporation comes to a sleepy fishing village on the Coromandal coast to built a holiday resort, Shalimar, the pleasure city; and the villagers, struggling at subsistence level, cannot resist the regular income offered by jobs in it.
  • George Eastman Museum Annual Report 2020

    George Eastman Museum Annual Report 2020

    George Eastman Museum Annual Report 2020 Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs and Events 5 Publishing and Online Projects 7 Books 7 Digitized Films Online 7 Silver Voices 7 Videos 8 Mobile Tour 9 Engagement and Attendance Statistics 10 Education 11 The L. Jeffrey Selznick School of Film Preservation 11 Photographic Preservation & Collections Management 11 Photography Workshops 12 Loans 13 Object Loans 13 Film Screenings 14 Acquisitions 15 Gifts to the Collections 15 Photography 15 Moving Image 19 Technology 19 George Eastman Legacy 22 Richard and Ronay Menschel Library 22 Purchases for the Collections 22 Photography 22 Moving Image 23 Technology 23 George Eastman Legacy 23 Richard and Ronay Menschel Library 23 Conservation and Preservation 24 Conservation 24 Film Preservation 27 Capital Projects 28 Financial 29 Treasurer’s Report 29 Statement of Financial Position 30 Statement of Activities and Change in Net Assets 31 Fundraising 32 Members 32 Corporate Members 34 Annual Campaign 34 Designated Giving 35 Planned Giving 36 Trustees and Staff 37 Board of Trustees 37 George Eastman Museum Staff 38 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries and mansion during 2020. MAIN GALLERIES POTTER PERISTYLE MANSION Anderson & Low: Voyages and Discoveries Penelope Umbrico: Everyone’s Photos Any 100 Years Ago: George Eastman in 1920 Curated by Lisa Hostetler, curator in charge, License (532 of 1,190,505 Full Moons on Flickr) Curated by Jesse Peers, archivist, Department of Photography Curated by Lisa Hostetler, curator in charge, George Eastman Legacy Collection October 19, 2019–January 5, 2020 Department of Photography February 14, 2020–January 3, 2021 July 20, 2019–January 5, 2020 Bea Nettles: Harvest of Memory Made possible by Stephen B.
  • Auteur Music in the Films of Wes Anderson

    Auteur Music in the Films of Wes Anderson

    Wayne State University Wayne State University Dissertations 1-1-2013 What Is This Music? Auteur Music In The iF lms Of Wes Anderson Lara Rose Hrycaj Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Recommended Citation Hrycaj, Lara Rose, "What Is This Music? Auteur Music In The iF lms Of Wes Anderson" (2013). Wayne State University Dissertations. Paper 662. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. WHAT IS THIS MUSIC? AUTEUR MUSIC IN THE FILMS OF WES ANDERSON by LARA HRYCAJ DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: COMMUNICATIONS Approved by: Advisor Date ! ! ! ! ! ! © COPYRIGHT BY LARA HRYCAJ 2013 All Rights Reserved DEDICATION I dedicate this to: Judy, Steve, and Nick Wes, Mark, and Randall and Mandy and the boys ii ACKNOWLEDGMENTS I would like to thank my advisor Jackie Byars. I am indebted to all the wisdom, hard work, and encouragement she has shared on my journey in earning my PhD. I would like to extend my gratitude to my committee. Hayg Oshagan and Juanita Anderson have been part of my entire dissertation process and have always kept me on my toes. I am grateful for Steven Shaviro and Pradeep Sopory for joining my committee late in the process. While Robert Burgoyne had to leave my committee, the genesis of this dissertation is due him sharing one of the earliest academic articles on Wes Anderson with me, and for this I am extremely grateful.
  • An Investigation of Feral Children and Original Sin

    An Investigation of Feral Children and Original Sin

    Verbum Volume 8 Issue 1 Article 9 December 2010 An Investigation of Feral Children and Original Sin Christina Regelsberger St. John Fisher College Follow this and additional works at: https://fisherpub.sjfc.edu/verbum Part of the Religion Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Regelsberger, Christina (2010) "An Investigation of Feral Children and Original Sin," Verbum: Vol. 8 : Iss. 1 , Article 9. Available at: https://fisherpub.sjfc.edu/verbum/vol8/iss1/9 This document is posted at https://fisherpub.sjfc.edu/verbum/vol8/iss1/9 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. An Investigation of Feral Children and Original Sin Abstract In lieu of an abstract, below is the essay's first paragraph. "The subject of feral children has often been explored from a variety of viewpoints and angles. Frequently, such topics as education, language acquisition, emotional stability, mental stability and behavioral patterns are reviewed. However, the motive of actions or the inherent tendency of feral children to behave one way or another is often overlooked. The question remains whether feral children (prior to their integration into society), are in possession of original sin. Many maintain that all humans are born with an inherent desire to do evil. However, is it the result of social stimulation or merely an innate propensity to sin? Before such a question can be answered, a short discourse on original sin is necessary. Thus, I intend to explore and discuss the theories of original sin presented by both St.
  • Master of the Sights and Sounds of India

    Master of the Sights and Sounds of India

    M129 JUNE 2014 Presented by INDIA ABROAD PERSON OF THE YEAR 2013 INDIA ABROAD FRIEND FRANCO ORIGLIA/GETTY IMAGES OF INDIA AWARD 2013 MASTER OF THE SIGHTS JAMES IVORY AND SOUNDS OF INDIA M130 JUNE 2014 Presented by INDIA ABROAD PERSON OF THE YEAR 2013 ‘I still dream about India’ Director James Ivory , winner of the India Abroad Friend of India Award 2013 , speaks to Aseem Chhabra in his most eloquent interview yet about his elegant and memorable films set India Director James Ivory, left, and the late producer Ismail Merchant arrive at the Deauville American Film Festival in France, where Ivory was honored, in 2003. Their partnership lasted over four decades, till Merchant’s death in May 2005. James Ivory For elegantly creating a classic genre; for a repertoire of exquisitely crafted films; for taking India to the world through cinema. PHILIPPE WOJAZER/REUTERS ames Ivory’s association with India goes back nearly remember it very clearly. When we made Shakespeare Wallah it six decades when he first made two documentaries We made four feature films in a row and I think of that was much better. Plus we couldn’t see our about India. He later directed six features in India — time as a heroic period in the history of MIP ( Merchant rushes. We weren’t near any place where Jeach an iconic representation of India of that time Ivory Productions ). We had no money and it was very hard we could project rushes with sound. For period. to raise money to make the kind of films we wanted to The Householder we found a movie theater Ivory, 86, recently sat in the sprawling garden of his coun - make.