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Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging. -
The Many Faces of Fu Manchu:White Ex- Patriate Community in Taiwanand the Genealogy of a Raciststereotype
AÜDTCF, Antropoloji Dergisi, Sayı:35 (Haziran 2018), s. 1-22 ARAŞTIRMA / RESEARCH THE MANY FACES OF FU MANCHU:WHITE EX- PATRIATE COMMUNITY IN TAIWANAND THE GENEALOGY OF A RACISTSTEREOTYPE Efe LEVENT* Gönderim/Received: 19 Mayıs/May 2018 Kabul/Accepted: 12 Haziran/June 2018 Abstract This study is the product of a four-year-long fieldwork in Taiwan. During that time, I examined the racist stereotypes of white, western people living in Taiwan on the natives. I compared the data I gathered from the field work with the Chinese stereo- type that is prevalent in the popular culture. The results show the importance of racist generalization in white westerners’ self-perception. The character called Fu Manchu, which emerges in various different media since 1913, appears to be an important means in measuring these changing perceptions. Fu Manchu’s fear factor is formed after the character’s way of expressing its sexu- ality when it was first created. In the western world after the “sexual revolution” in 60s, Fu Manchu is depicted scary because of the repression of its own sexuality. This research associates the philosophical causes of this change with the contradic- tions in Freud’s corpus. It also shows the importance of gender roles in the for- mation of whiteness. The white mob describes their opposite Chinese, and therefore Fu Manchu, deviant when they want to perceive themselves as sexually purified, chaste and virgin. Later on, when they want to create themselves from scratch as individuals who liberated their sexuality, Fu Manchu is once more devised as a symbol of malignancy who represses its sexuality. -
Re-Investigating Limehouse Chinatown: Kandinsky’S 2010 Limehouse Nights and Early 20Th-Century Oriental Plays
24 Lia Wen-Ching Liang National Tsing Hua University, Taiwan Re-investigating Limehouse Chinatown: Kandinsky’s 2010 Limehouse Nights and early 20th-century Oriental Plays Kandinsky’s production of Limehouse Nights, performed in 2010, presented a story about the interwar British society seen through the eyes of Thomas Burke, a police detective named after Thomas Burke who wrote extensively about London’s Limehouse Chinatown. By examining the trends and events in the years around 1918, which were extensively referred to in Limehouse Nights, this article discusses the Chinese images emerging from both Kandinsky’s production and the plays from the early 20th century. The analysis underlines the lasting influence of earlier China-related popular entertainment on later developments in theatre as well as on the British public perception of Chinese culture at home and abroad. Limehouse Nights thus provides a contemporary refraction of the converging elements in the early 20th century that at the same time raises questions about factuality, representation and cross-cultural understanding. Lia Wen-Ching Liang is Assistant Professor at the Department of Foreign Languages and Literature, National Tsing Hua University, Taiwan. Her major research interests are contemporary British theatre, postdramatic theatre, early 20th- century theatre, and Deleuze studies.1 Keywords: Limehouse Chinatown, British inter-war theatre, musical comedy, Oriental plays, Thomas Burke, contemporary British theatre, early 20th-century theatre t is now debatable whether London’s notorious “Old Chinatown” in I Limehouse could actually have existed.2 As historian John Seed rightly points out, “[a] series of best-selling novels and short stories, several English and American movies, American comic books, radio programmes, a classic jazz number and two very different hit records brought into international currency Popular Entertainment Studies, Vol. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Gamle Krimiserier
Krimiserierne i dette hæfte er som Forskelle i titler ved forskellige udgaver er udgangspunkt alle afsluttet med de danske angivet med / udgivelser før 2000. angiver handlingstidpunktet, hvis det ikke er Årstallet i parenteser efter titlerne angiver identisk med udgivelsestidspunktet udgivelsesåret på originalsproget. Titler i kursiv er ikke oversat til dansk. 1 Alexander, Bruce 3. Hvem førte kniven (1983) (Dommer Sir John Fielding) 4. Trappen med de tretten trin (1984) 5. Uansøgt afsked (1984) London 6. Arme riddere (1985) 8. Lucifers hov (1988) ca. 1740 9. Virtuosen (1992) 10. Fæstningen (1995) 1. Blind retfærdighed (1994) 2. Mordene i Grub Street (1995) 3. Den våde grav (1996) Puslespilskrimier fra den tidligere professor i kirurgi, 4. En eller flere ukendte gerningsmænd (1997) der begyndte at skrive krimier i en alder af 56. 5. Jack, Knave, and Fool (1998) Makkerparret Svendsen og Brandt spiller ofte kun mindre 6. Death of a Colonial (1999) biroller i serien. 7. The Color of Death (2000) 8. Smuggler's Moon (2001) 9. An Experiment in Treason (2002) Anker, Jens 10. The Price of Murder (2003) (Arne Falk) 11. Rules of Engagement (2005) 1. Det sælsomme orkester (1916) Titler bygget over den blinde Fielding, der i 2. Hævn (1918) virkeligeheden var den der startede Londons første reelle 3. Mordet i den gule pavillon (1918) politistyrke. 4. Myrdet (1918) 5. Skriget (1918) Allingham, Margery 6. Dødens ring (1919) (Detektiv Albert Campion) 7. Wolfing-mysteriet (1919) 8. Fortids-spøgelser (1920) 9. Hånden (1920) 10. Rotterne (1920) 1. Mord i mørke (1929) 11. Djævlekloen (1921) 2. Manden der forsvandt (1930) 12. De tavse søer (1923) 3. -
PRICES REALIZED DETAIL - Hollywood Auction - 56
26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood Auction - 56 AuctionLOT ITEM 56, Auction Date: 7/28/2013 PRICE 1 COLLECTION OF (12) VINTAGE CONTACT PRINT SHEETS OF MARILYN MONROE AND ARTHUR $14,000 MILLER BY RICHARD AVEDON. 2 COLLECTION OF (74) VINTAGE CONTACT PRINTS OF MARILYN MONROE BY RICHARD AVEDON $14,000 FOR LIFE FROM “MARILYN MONROE, ACTRESS, NEW YORK CITY, MAY 6, 1957” SITTING. 3 COLLECTION OF (11) VINTAGE CONTACT PRINTS OF MARILYN MONROE BY BRUNO BERNARD. $800 4 COLLECTION OF (3) VINTAGE BLACK-AND-WHITE OVERSIZE MASTER PRINTS OF MARILYN $600 MONROE FROM BUS STOP BY ZINN ARTHUR. 5 VINTAGE COLOR CAMERA TRANSPARENCY OF MARILYN MONROE BY ARTHUR FELLIG. $700 6 COLLECTION OF (2) VINTAGE BLACK-AND-WHITE OVERSIZE MASTER PRINTS OF MARILYN $1,200 MONROE FROM THE “BALALAIKA” SITTING BY MILTON H. GREENE. 7 COLLECTION OF (5) VINTAGE OVERSIZE MASTER PRINTS OF MARILYN MONROE FROM “NUDE” $1,300 AND “NIGHTGOWN AND MINK STOLE” SITTINGS BY MILTON H. GREENE. 8 COLLECTION OF (5) VINTAGE OVERSIZE MASTER PRINTS OF MARILYN MONROE FROM “TREE” $1,800 AND “BALLERINA” SITTINGS BY MILTON H. GREENE. 9 COLLECTION OF (3) VINTAGE MASTER FILE PRINTS OF MARILYN MONROE AND MARLON BRANDO $1,100 BY MILTON H. GREENE. 10 COLLECTION OF (5) VINTAGE OVERSIZE MASTER PRINTS OF MARILYN MONROE FROM “BLACK” $4,250 SITTING BY MILTON H. GREENE. 11 COLLECTION OF (2) VINTAGE OVERSIZE PRINTS OF MARILYN MONROE FROM “BLACK” SITTING $2,750 BY MILTON H. GREENE. 12 COLLECTION OF (4) VINTAGE OVERSIZE MASTER PRINTS OF MARILYN MONROE FROM “BLACK” $4,250 SITTING BY MILTON H. -
D. W. Griffith : American Film Master by Iris Barry
D. W. Griffith : American film master By Iris Barry Author Barry, Iris, 1895-1969 Date 1940 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2993 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art D. W. GRIFFITH AMERICAN FILM MASTER BY IBIS BABBY J MrTHE MUSEUM OF MODERN ART NEW YORK MoMA 115 c.2 D. W. GRIFFITH: AMERICANFILM MASTER Shooting night scenes in the snow at Mamaroneck, New York, for way down east, 1920. D. W GRIFFITH AMERICAN FILM MASTER BY IRIS BARRY X MUSEUM OF MODERN ART FILM LIRRARY SERIES NO. 1 NEW YORK THE MUSEUM OF MODERN ART /IfL &/&? US t-2-. ACKNOWLEDGMENTS TRUSTEES OF THE MUSEUM OF MODERN ART The President and Trustees of the Museum of Modern Stephen C. Clark, Chairman of the Board; John Hay Art wish to thank those who have lent to the exhibition Whitney, 1st Vice-Chairman; Samuel A. Lewisohn, 2nd and, in addition, those who have generously rendered Vice-Chairman; Nelson A. Rockefeller, President; assistance: Mr. and Mrs. David Wark Griffith; Mr. W. Alfred H. Barr, Jr., Vice-President and Director; John R. Oglesby; Miss Anita Loos and Metro-Goldwyn- E. Abbott, Executive Vice-President; Mrs. John S. Mayer Studios; Mr. W illiam D. Kelly of Lowe's, In Sheppard, Treasurer; Mrs. Robert Woods Bliss, Mrs. corporated; Mr. George Freedley, Curator of the W. -
Film and the Chinese Medical Humanities
Film and the Chinese Medical Humanities “This collection of film studies brings together the creative work of China’s most talented filmmakers as they reflect on contemporary social problems, work out in narratives and images an original analysis of what’s wrong with us (as individuals, as a society, and in cultural settings), and as they propose paths to redemption.” – Judith Farquhar, Max Palevsky Professor Emerita, Department of Anthropology, University of Chicago Film and the Chinese Medical Humanities is the first book to reflect on the power of film in representing medical and health discourse in China in both the past and the present, as well as in shaping its future. Drawing on both feature and documentary films from mainland China, the chapters each engage with the field of medicine through the visual arts. They cover themes such as the history of doctors and their concepts of disease and therapies, understanding the patient experience of illness and death, and establishing empathy and compassion in medical practice, as well as the HIV/AIDs epidemic during the 1980s and 1990s and changing attitudes towards disability. Inherently interdisciplinary in nature, the contributors therefore provide different perspectives from the fields of history, psychiatry, film studies, anthropology, linguistics, public health and occupational therapy as they relate to China and people who identify as Chinese. Their combined approaches are united by a passion for improving the cross-cultural understanding of the body and ultimately healthcare itself. A key resource for educators in the Medical Humanities, this book will be useful to students and scholars of Chinese Studies and Film Studies as well as global health, medical anthropology and medical history. -
Contents PROOF
PROOF Contents List of Illustrations viii Acknowledgements ix Prologue: From Pinewood to Hollywood 1 Introduction: The British Connection: Themes and Theory 6 1 Early Invaders: The First British Wave 30 2 Sound and Vision: British Filmmakers and the Politics of Pre-War Hollywood 63 3 Movies for the Masses: The British in the Second World War 107 4 Post-War Directions: Ealing Escapism and the Menace of McCarthy 127 5 Atlantic Crossing 152 Notes 174 Select Bibliography 185 Index 189 vii July 22, 2010 7:29 MAC/PNL Page-vii 9780230_229235_01_prex PROOF 1 Early Invaders: The First British Wave “I went to Worthing to recover from Hollywood.” Playwright and screenwriter Edward Knoblock’s quote about wanting to get away from California after a spell in the film community appears to match much of the British reaction to Hollywood in the formative years Illustration 3 Edward Knoblock, 4th from left relaxing with friends. Photograph reproduced courtesy of the National Portrait Gallery, London. 30 July 22, 2010 7:50 MAC/PNL Page-30 9780230_229235_04_cha01 PROOF Early Invaders: The First British Wave 31 of film. What drove Knoblock to the Sussex seaside town after the expo- sure of Los Angeles is not entirely clear, but the impulse to retreat to a world of quintessential Englishness has often appeared to be the rai- son d’être for many British writers and directors of the era who were quickly appalled by the brash commercialism of the Hollywood film industry. In Knoblock’s case, it was an even more fascinating compunc- tion that took hold of him because he was American born (originally Edward Knoblauch of German parents in New York in 1874), but ended up residing in Britain for much of his life. -
4Notes Chapter 1 1
4Notes Chapter 1 1. The two oldest and most popular of the Chinese puzzle games in the West are the tangram and the sliding-block puzzle. 2. Marian Bower and Leon Lion, The Chinese Puzzle: An Original Play in Four Acts, acting ed. (New York: Samuel French, 1919); Times (Lon- don), July 12, 1918, 9. The play received critical acclaim and was adapted for the screen the following year. Times (London), October 13, 1919, 10. 3. Robert Bickers, Britain in China: Community, Culture, and Colonialism, 1900–1949 (Manchester: Manchester University Press, 1999), 35–36; Hugh Brogan, The Life of Arthur Ransome (London: Jonathan Cape, 1984), 293. 4. Review of The Chinese Puzzle, by Arthur Ransome, and Explaining China, by John Earl Baker, Journal of the Royal Institute of International Affairs 7, no. 1 (January 1928): 57. 5. Times (London), September 10, 1877, 4. 6. The Seaman: The Official Organ of the International Seafarers and the National Sailors’ and Firemen’s Union 4 (May 1908). 7. A point emphasized in John Seed’s recent article, “Limehouse Blues: Looking for Chinatown in the London Docks, 1900–1940,” History Workshop Journal 62 (2006): 68–69. See also Colin Holmes, “The Chi- nese Connection,” in Outsiders and Outcasts: Essay in Honour of William J. Fishman, ed. Geoffrey Alderman and Colin Holmes (London: Duck- worth, 1993), 85. 8. Thomas C. Holt draws on the work of Henri Lefebvre in his argument that race was “mutually constituted . in the global and the everyday.” Thomas C. Holt, “Marking: Race, Race-Making, and the Writing of His- tory,” American Historical Review 100, no. -
Sax Rohmer's Use of Oriental Words in His Fiction
Cannon Page 1 12/6/2005 Sax Rohmer’s Use of Oriental Words in His Fiction Garland Cannon Professor Emeritus of Linguistics Texas A&M University - College Station November, 2005 Cannon Page 2 12/6/2005 Acknowledgements The early form of this essay was improved by suggestions from Dean Susan M. Fitzmaurice, of Northern Arizona University. Preparation of the final form was assisted by Halbert Hall and Steven Smith of the Cushing Library/Science Fiction of Texas A&M University, a leading collection of science fiction and Sax Rohmer works. Frederick C. Mish and Joanne Despres provided the earliest known citation of the term Yellow Peril in the Merriam-Webster files, and searched their WII files for the first record of loanwords from various languages. *Garland Cannon has published books on Sir William Jones (two biographies, bibliography, literary and linguistic analysis, and a facsimile edition of Jones’s thirteen-volume 1807 Works), and on the English language (structure, history, lexicography, and loanwords from German, Arabic, Japanese, and Persian). His roughly 160 articles and reviews include works on Chinese, Malaysian, Spanish, and Welsh, the latest of which is a long collaborative work in 2005 with Michael Franklin, of the University of Wales, Swansea. Copy Editor Wyoma vanDuinkerken Middle Eastern/Islamic Studies Librarian Texas A&M University – College Station Cannon Page 3 12/6/2005 Sax Rohmer’s Use of Oriental Words in His Fiction Sax Rohmer (the pseudonym of Arthur Sarsfield Ward, 1883-1959) was one of the most widely read pop authors in the English-speaking world in the 20th century. -
Lilied Tongues and Yellow Claws: the Invention of Limehouse, London's Chinatown, 1914-1945
"Lilied Tongues and Yellow Claws": The Invention of Limehouse, London's Chinatown, 1915-1945 Shannon Case UniversityofVirginia From roughly 1915 to 1945, the Limehouse districtof East London was home to a small community of resident and alien Chinese. Named for Limehouse Causeway, near the East India Docks, Limehouse had been inhabited since the 16th century by successive groups of ethnic immigrants as well as working-classAnglos. Chinese seamen had sojournedthere sporadically since the mid-18th century, but it wasn't until afterthe Great War that Chinese men, women, and children began to forma visible community. From 1901 to 1931, the number of China-bornresidents of London rose steadily, from120 to 1,194. (These figures do not account for their London-born children or grandchildren.) There were approximately 2,000 Chinese immigrants in London by World War II, at which time they abandoned Limehouse and dispersed into other areas of the city(Choo 6). Limehouse sustained extensive damage during the blitz, and in 1963 the city demolished most of the remaining buildings in the area; it then suffereda "dead" period until gentrificationbegan in the 1970s (Choo 20). Apart fromcensus data and one sociological study conducted in 1962 (when many of the early immigrants were still alive), we knowvery little about the Chineseof Limehouse, whose community appeared and then vanished so quickly in the brief space between thewars. We knowthat in the 191 Os and 20s, most of the immigrants were young men employed as seamen or dockworkers; the rest were laundrymen, shopkeepers, or restaurateurs, a few of whom also ran or worked in gambling houses or opium dens.