DOCSLIB.ORG

UC Berkeley UC Berkeley Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UC Berkeley UC Berkeley Electronic Theses and Dissertations UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Anima Automata: On the Olympian Art of Song Permalink https://escholarship.org/uc/item/2f4304xv Author Porzak, Simon Lucas Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Anima Automata: On the Olympian Art of Song By Simon Lucas Porzak A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Daniel Boyarin, Co-Chair Professor Barbara Spackman, Co-Chair Professor Pheng Cheah Professor Susan Schweik Spring 2014 Anima Automata: On the Olympian Art of Song © 2014, Simon Lucas Porzak 1 Abstract Anima Automata: On the Olympian Art of Song by Simon Lucas Porzak Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Daniel Boyarin, Co-Chair Professor Barbara Spackman, Co-Chair Dominant explanations of the power of song, in musicology, sound studies, media theory, and our cultural mythologies about divas and pop singers, follow a Promethean trajectory: a singer wagers her originary humanity through an encounter with the machinery of music (vocal training, recording media, etc.); yet her song will finally carry an even more profound, immediate human meaning. Technology forms an accidental detour leading from humanity to more humanity. In an alternative, “Olympian” practice of singing, humanity and machinery constantly and productively contaminate each other. My readings, centering around the singing doll Olympia from Jacques Offenbach’s 1881 opera Les Contes d’Hoffmann , illuminate the affective and ethical consequences of the confrontation between Promethean and Olympian song. I first demonstrate our contemporary techno-ideological world’s fixation on Promethean song. Reading Sigmund Freud and Jacques Lacan alongside electropop music, I show that a sustained, iterative process of falling in love again with the Promethean fantasy structures our everyday encounters with omnipresent vocal technologies (telephones, iPods, radios) and with the form of the Real that they imply and instantiate. I next turn to Theodor Adorno and the simultaneously technological, ideological, and psychoanalytic establishment of a Promethean world. Adorno’s lesser-known works on pop music propose an affective and epistemological model of “fetishism” that I unfold through a reading of Serge Gainsbourg’s pop songs of the 1960’s. Adorno radically revises Freud’s specular fetishism by discovering an auditory, vocal fetish-object. Adorno’s theory requires the disciplinary program Gainsbourg develops in his masochistic relationship with the young singer France Gall: forcing her to become a Promethean robot, Gainsbourg endows her with a phallic, prosthetic voice, inserting her in a homosexualized (since universally masculinized), indifferent circuit of desire. My central chapter turns to Olympia herself. 18 th century automata, music theory, and fantastic literature all define a thermodynamic, mathematically irrational force that their imitative and speculative powers cannot yet represent: Félix Vaucanson’s famous defecating duck and pipe-playing automaton imitate everything except the chemical process of digestion or the adjustment of aperture and breath speed needed to compensate for harmonic resonance within the flute; music theory and the practice of tuning negotiate 2 between calculable rational-number intervals and their irrational, incommensurate remainders; and E. T. A. Hoffmann carefully distinguishes between realizable engineering and magical technologies linked to acoustics and thermodynamics. When 19 th century media generalize the manipulation of these forces, all based on the calculation or circulation of mathematically-irrational energy flows, in everyday reality, Olympia enters this empty space as a fantasy, enabling a denial of the omnipresent electromagnetic flow that had appeared fatally destabilizing to the rational order of 18 th century technology and thought. Freud’s reading of Olympia’s “uncanniness” fetishistically avoids the troubling complex of affect and automatism central to feminine desire to exorcise the “fantastic” potential of figures such as Olympia. However, in a recent performance at the Met disseminated clandestinely online (challenging us to reconsider the place of “liveness” in the reception of opera and the strange pleasure of the opera “pirate,” often considered as an aberrant or marginal form of opera spectatorship), the understudy Rachele Gilmore rediscovers this fantastic dimension of Olympian song, dissolving a rigorous distinction between fantasy and reality. Two chapters investigate fin-de-siècle responses to Olympia. In Villiers de l’Isle- Adam’s L’Ève future , Thomas Edison constructs the android Hadaly not to satisfy a positive male desire but instead to forestall the apocalyptic threat to male subjectivity embodied by fin-de-siècle women, who are already androids. Edison’s “modeling” of Hadaly influences both future science-fiction texts and the practice of science itself, notably Alan Turing’s theory of artificial intelligence. Gaston Leroux’s Le Fantôme de l’Opéra textually situates the Phantom at the female pole of a homosexual love-triangle between the ostensibly heterosexual protagonists. The properly masculinized and prosthetized Christine and Raoul – along with their audience – abandon the opera house, and the specter of femininity entombed within it, entering a glacially transsexualized world of desire without difference. My conclusion focuses on the Australian pop star Kylie Minogue, who performs Olympian song from within the universalized Promethean system. Her work defines affective intersubjectivity neither as impossible nor as indifferent sympathy. Kylie develops a practice of “telepathy” feared and desired by Freud, Turing, and Lacan. Playing on the “earworm,” Kylie minimalizes immediate or profound affect to highlight the constant circulation of productive mechanisms between bodies both “technological” and “human.” In this human-machine voice, we rediscover our difference from each other, and from ourselves, in the singular ways we execute the most homogenizing of programs. i Aux amateurs, Aux automates. ii Table of Contents (ii) Acknowledgements (iii) Prelude: Technology/Feeling/Humanity (1) Some Questions Concerning Fembots (1) Towards an Olympian Art of Song (8) Alarm-Clock Dreams: Sound, Technology, and Ideological Fantasy (23) How Soon Is Now? (23) I’m Waking Up To Us (26) La Baise Hyper-technique: Serge Gainsbourg and Theodor Adorno’s Ballads of the Fetish (39) Sea, Sex, and Sun (39) SHEBAM! POW! BLOP! WIZZ! (46) Poupée de son (66) Hoffmann, Fantasy: Olympia’s Uncanny Song (80) Vocal Breakdown, Technical Breakthrough (80) Interlude (84) Divas, Dancers, Dolls, Ducks: Figuring Automation in the Contes (86) Thermodynamic Poetics in the Contes and the Tales of Hoffmann (95) Olympia’s Negative Magnetism: Stella and Antonia (107) Unheimlicher Fetischismus, oder Fetischistiche Unheimlichkeit? (115) Re-fantasizing the Fantastic (125) Science-Fictions of the Fembot: Edison’s Super-Modeling (131) Engineering Equilibrium, or, The Balance of Terror (134) Super-Models: Villiers’s Hyper-Realist Science Fiction (145) Orpheus Out of the Underworld: Silencing the Noisy Ghosts of Le Fantôme de l’Opéra (155) In which the “Amateur des Trappes” Loses His “Maîtrise” (156) On Unfortunate Sequels (169) I, X: Kylie Minogue’s Telepathic Pop (173) I. (173) II. (177) III. (178) IV. (180) V. (182) VI. (194) VII. (203) VIII. (215) IX. (219) iii Acknowledgments I would like to express my deepest gratitude to the members of my committee, without whom I never could have become the author of this dissertation. Daniel Boyarin was the first to make me feel welcome at Berkeley, and challenged me and supported me throughout my time here in more ways than I can enumerate or even comprehend. Barbara Spackman gave me the courage to follow my vocation, and I will always strive to emulate her infectious passion, imposing erudition, and intellectual generosity. Pheng Cheah patiently and elegantly showed me the virtue of precision and care, all the while allowing me to follow my own path. Susan Schweik kindly agreed to take on my project in a very late stage of progress, and for nevertheless offered enthusiastic, candid support in the too-brief time I had to study with her. Ann Smock, besides fearlessly demonstrating the beauty of reading and letting me delve into texts that made both of us uncomfortable, is perhaps the best writer I have ever met; I hope one day to write a sentence worthy of her. An incredible set of mentors and teachers paved the way for my time at Berkeley. Anne Berger first inspired me to study French literature, and she taught me how to love texts unabashedly, a gift that I can never begin to repay. Richard Klein showed me how thinking could be a way of life that fills every moment with wonder, frustration, and still more wonder. I’m honored that Xak Bjerken chose me as his piano student, and every time I touch a keyboard I hear his influence, for which I am eternally grateful. Stephen Chase, Ray Craib, Jonathan Culler, Laurent Dubreuil, Diana Medina Lasansky, Timothy Murray, and Diane Rubenstein also played instrumental roles in shaping my career and existence. Michal Grover-Friedlander was a true inspiration in this project, and I would like to thank her especially for her
Load more

Recommended publications
  • RHYTHM & BLUES...63 Order Terms
    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
    [Show full text]
  • Global Education Entry Points Into the Curriculum: a Guide for Teacher Librarians
    DOCUMENT RESUME ED 415 155 SO 028 109 AUTHOR Blakey, Elaine; Maguire, Gerry; Steward, Kaye TITLE Global Education Entry Points into the Curriculum: A Guide for Teacher Librarians. INSTITUTION Alberta Teachers Association, Edmonton. Learning Resources Council.; Alberta Global Education Project, Edmonton. PUB DATE 1991-00-00 NOTE 74p. AVAILABLE FROM Alberta Global Education Project, 11010 142 Street, Edmonton, Alberta T5N 2R1 Canada. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Elementary Secondary Education; Foreign Countries; *Global Approach; *Global Education; Interdisciplinary Approach; *Justice; *Peace; *Resource Materials; Social Studies; Sustainable Development IDENTIFIERS Alberta ABSTRACT This information packet is useful to teacher-librarians and teachers who would like to integrate global education concepts into existing curricula. The techniques outlined in this document provide strategies for implementing global education integration. The central ideas of the global education package include:(1) interrelatedness;(2) peace;(3) global community;(4) cooperation;(5) distribution and sustainable development; (6) multicultural understanding;(7) human rights;(8) stewardship; (9) empowerment; and (10) social justice. Throughout the packet, ideas are offered for inclusion of global perspectives in language arts, science, mathematics, and social studies. Recommendations are included for purchases of resource materials and cross reference charts for concepts across grades and curriculum areas. (EH)
    [Show full text]
  • My Friend P2p
    MY FRIEND P2P Music and Internet for the Modern Entrepreneur Lucas Pedersen Bachelor’s Thesis December 2010 Degree Program in Media Digital Sound and Commercial Music Tampereen ammattikorkeakoulu Tampere University of Applied Sciences 2 ABSTRACT Tampere University of Applied Sciences Degree Program in Media Digital Sound and Commercial Music PEDERSEN, LUCAS: My Friend p2p – Music and Internet for the Modern Entrepreneur Bachelor’s thesis 81 pages December 2010 _______________________________________________________________ The music industry is undergoing an extensive transformation due to the digital revolution. New technologies such as the PC, the internet, and the iPod are empowering the consumer and the musician while disrupting the recording industry models. The aim of my thesis was to acknowledge how spectacular these new technologies are, and what kind of business structure shifts we can expect to see in the near future. I start by presenting the underlying causes for the changes and go on to studying the main effects they have developed into. I then analyze the results of these changes from the perspective of a particular entrepreneur and offer a business idea in tune with the adjustments in supply and demand. Overwhelmed with accessibility caused by democratized tools of production and distribution, music consumers are reevaluating recorded music in relation to other music products. The recording industry is shrinking but the overall music industry is growing. The results strongly suggest that value does not disappear, it simply relocates. It is important that both musicians and industry professionals understand what their customers value and how to provide them with precisely that. _______________________________________________________________ Key Words: Music business, digital revolution, internet, piracy, marketing.
    [Show full text]
  • AI, Robots, and Swarms: Issues, Questions, and Recommended Studies
    AI, Robots, and Swarms Issues, Questions, and Recommended Studies Andrew Ilachinski January 2017 Approved for Public Release; Distribution Unlimited. This document contains the best opinion of CNA at the time of issue. It does not necessarily represent the opinion of the sponsor. Distribution Approved for Public Release; Distribution Unlimited. Specific authority: N00014-11-D-0323. Copies of this document can be obtained through the Defense Technical Information Center at www.dtic.mil or contact CNA Document Control and Distribution Section at 703-824-2123. Photography Credits: http://www.darpa.mil/DDM_Gallery/Small_Gremlins_Web.jpg; http://4810-presscdn-0-38.pagely.netdna-cdn.com/wp-content/uploads/2015/01/ Robotics.jpg; http://i.kinja-img.com/gawker-edia/image/upload/18kxb5jw3e01ujpg.jpg Approved by: January 2017 Dr. David A. Broyles Special Activities and Innovation Operations Evaluation Group Copyright © 2017 CNA Abstract The military is on the cusp of a major technological revolution, in which warfare is conducted by unmanned and increasingly autonomous weapon systems. However, unlike the last “sea change,” during the Cold War, when advanced technologies were developed primarily by the Department of Defense (DoD), the key technology enablers today are being developed mostly in the commercial world. This study looks at the state-of-the-art of AI, machine-learning, and robot technologies, and their potential future military implications for autonomous (and semi-autonomous) weapon systems. While no one can predict how AI will evolve or predict its impact on the development of military autonomous systems, it is possible to anticipate many of the conceptual, technical, and operational challenges that DoD will face as it increasingly turns to AI-based technologies.
    [Show full text]
  • September 8, 1962
    September 8, 1962 Ever since “Blue Moon” zoomed to the top of the charts, Colpix Records has been an important and consistant factor on the singles scene with a series of best sellers by such artists as James Darren (left), Shelley Fabares (second), Paul Petersen (third), the Marcels (fourth) and in the album field with Nina Simone (right). As the company’s singles continue to build, Leo Jeffe, executive vice-president of Columbia Pictures, parent company of Colpix, and Jerry Raker, general manager of Colpix Records, are seen discussing a major push for the company’s line. ) expanding album The two are standing in front of some of the important Columbia flicks for which Colpix has issued sound-track albums. 1 a sensational lineup!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! / Columbia singles sel/M * Also available on Single 33 Cash Box CashBox Vol. XXIV—Number 1 September 8, 1962 FOUNDED BY BILL GERSH Gash Box (Publication Office) 1780 Broadway New York 19, N. Y. SINGLES (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOE ORLECK, President and Publisher NORMAN ORLECK, VP and Managing Director and GEORGE ALBERT, VP and Treasurer EDITORIAL—Music MARTY OSTROW, Editor-in-Chief IRA HOWARD, Editor IRV LICHTMAN, Associate Editor DICK ZIMMERMAN, Editorial Assistant SHOWTUNES MIKE MARTUCCI, Editorial Assistant BOB ETTINGER, Editorial Assistant POPSIE, Staff Photographer The music business doesn’t have gles rounds on a host of labels. ADVERTISING to look to nature for signs of Fall. This kind of showtune coverage of BOB AUSTIN, National Director, Music JERRY SHIFRIN, NY.C. office, Music The theatre sections of every publi- singles takes the record industry LEE BROOKS, Manager Chicago JACK DEVANEY, Manager Los Angeles cation, consumer or trade, make back at least a decade, and if it con- Machine MARTY TOOHEY, National—Coin the music man well aware at this tinues, the singles field well NEVILLE MARTEN, London, Eng.
    [Show full text]
  • Aug./Jul. 2007 VOL.55 TOTAL TIME: 78'47” 01 THE
    01 THE BISHOPS Menace About Town 08 PARAELE STRIPES Blues 15 BILL CALLAHAN Diamond Dancer ザ・ビショップ ス「メーニス・アバウト・タウ ン 」 パラエル・ストライプス「ブルース」 ビル・キャラハン「ダイアモンド・ダンサー」 (The Bishops) 3:09 (words by Masato Hirano; music by Paraele (Bill Callahan) 3:55 Aug./Jul. 2007 VOL.55 taken from the album THE BISHOPS Stripes) 4:23 taken from the album WOKE ON A WHALEHEART [1-2-3-4 / Kurofune]> P052 taken from the album PHIRST TENSE [Drag City / P-Vine]> P080 [Thistime]> P058 02 BATTLES Atlas [radio edit] 09 GOOD SHOES All In My Head 16 OMAR RODRIGUEZ-LOPEZ バト ル ス「アトラス（レディオ・エディット）」 グッド・シューズ「オール・イン・マイ・ヘッド」 Boiling Death Request A Body To Rest Its Head On (Battles) 4:09 (Good Shoes) 2:32 オマー・ロドリゲス・ロペス「ボイリング・デス・リクエスト・ア・ボ ディー・トゥ・レスト・イッツ・ヘッド・オン」 original version appears on the album MIRRORED taken from the album THINK BEFORE YOU SPEAK (Omar Rodriguez Lopez) 4:16 [Warp / Beat]> P016 [Brille / Kurofune]> P054 taken from the album SE DICE BISONTE, NO BUFALO [Gold Standard Laboratories / Beat]> P060 03 MICE PARADE Sneaky Red 10 CLUELESS Believe That This Is Right 17 VON SÜDENFED Chicken Yiamas マイス・パレード「スニーキー・レッド」 クルーレス「ビリーヴ・ザット・ディス・イズ・ライト」 ヴォン・スーデンフェッド「チキン・イヤーマ」 (Adam Pierce) 4:16 (words by Tim Van Doorne; music by Clueless) 2:46 (Mark E Smith, Andi Toma, Jan St. Werner) 2:34 taken from the album MICE PARADE taken from the album CLUELESS taken from the album TROMATIC REFLEXXIONS [Fatcat USA / P-Vine]> P091 [Moondown / Thistime]> P104 [Domino / Hostess]> P024 04 FRIDGE Eyelids 11 MARNIE STERN 18 GRINDERMAN No Pussy Blues フリッジ「アイリッズ」 Every Single Line Means Something グラインダーマン「ノー・プッシー・ブ
    [Show full text]
  • CONCERNING SOME THINGS LITTLE UNDERSTOOD. in That This
    J R Army Med Corps: first published as 10.1136/jramc-21-02-03 on 1 August 1913. Downloaded from 165 CONCERNING SOME THINGS LITTLE UNDERSTOOD. By COLONEL R. H. FIRTH. IN that this article touches upon debatable points and, in some parts, traverses the borderland between science and, metaphysics, the arguments may not be acceptable to all readers. No apology is offered for its submission. It is put forward in no controversial spirit, but, rather, planned to stimulate thought upon subjects which we, as members of "a scientific corps, are bound. to think about and not infrequently to express an opinion. A few weeks ago I was staying in the family of one of our officers. They had a child with whom I was soon on confidential terms. The main outcome of that intimacy was that I was made to read constantly aloud from the child's favourite book. That book was called" The Chance World," a book I had not seen since I myself Protected by copyright. was a child and had long since forgot ton. It described a world in which everything happened by chance. The sun might rise or it might not: it might appear at any hour or the moon might rise in its stead. Even the children might be born with one head or half a dozen, and those heads might or might not be on their shoulders but arranged in all sorts of queer situations. If a person jumped up in the air there was no certainty as to whether he would come down again.
    [Show full text]
  • Novel Biophysical Information Transfer Mechanisms (Nbit)(U)
    This document is made available through the declassification efforts and research of John Greenewald, Jr., creator of: The Black Vault The Black Vault is the largest online Freedom of Information Act (FOIA) document clearinghouse in the world. The research efforts here are responsible for the declassification of hundreds of thousands of pages released by the U.S. Government & Military. Discover the Truth at: http://www.theblackvault.com Central Intelligence Agency Washington, D.C. 20505 10 April 2018 Mr. John Greenewald, Jr. 27305 W. Live Oak Road Suite #1203 Castaic, CA 91384 Reference: F-2018-01307 Dear Mr. Greenewald: This is a final response to your 3 April 2018 Freedom of Information Act (FOIA) request, received in the office of the Information and Privacy Coordinator on 4 April 2018, for the following document: Parapsychology and AI Research Report, 75-11096. We conducted a search of our previously released database and located the document you requested, consisting of 118 pages. Because you are entitled to the first 100 pages free and the remaining amount would be minimal, there is no charge for processing your request. If you have any questions regarding our response, you may contact us at: Central Intelligence Agency Washington, DC 20505 Information and Privacy Coordinator 703-613-3007 (Fax) Sincerely, Allison Fong Information and Privacy Coordinator Enclosure I {co3o 6367 6 Approved For Release 2002/10/21 : CIA-RDP79-00999A000300070001-4 SG1A Approved For Release 2002/10/21 : CIA-RDP79-00999A000300070001-4 SG11 Approved For Release 2002/10/21 : CIA-RDP79-00999A000300070001-4 C03063676 I I Approved For Release 2002/10/21 : CIA-RDP79-00999A000300070001-4 SECRET Copy No.3 Final Report NOVEL BIOPHYSICAL INFORMATION TRANSFER MECHANISMS (NBIT)(U) January 14, 1976 SG1A Document No.
    [Show full text]
  • France Gall ? 01 Quel Grand Concours Musical France Gall A-T- A
    | NIVEAU DÉBUTANT 09 Quelle artiste a sorti l'album Ma déclaration proposant des reprises de France Gall ? 01 Quel grand concours musical France Gall a-t- A. Lorie B. Alizée elle remporté en 1965 ? C. Jenifer D. Lââm A. Eurovision B. Miss France 10 Quel titre France Gall a-t-elle sorti en hommage C. Intervilles D. Nouvelle Star à la chanteuse Ella Fitzgerald ? 02 Quel musicien deviendra en 1976 l'époux puis A. Ella, elle l'a B. Résiste le compositeur de France Gall ? C. Calypso D. Babacar France Gall A. Gilbert Bécaud B. Michel Berger C. Daniel Guichard D. Daniel Lavoie NIVEAU CONFIRMÉ 03 Quelle comédie musicale de 2015 a été écrite 11 Quel pays France Gall représentait-elle au par France Gall et Bruck Dawit ? dixième concours Eurovision de la chanson ? A. Grease B. Résiste A. Belgique B. Suisse C. Mathilda D. Annie C. France D. Luxembourg 04 Qui a écrit et composé la chanson de France 12 En quelle année France Gall a-t-elle Gall Laisse tomber les filles ? officiellement quitté la scène musicale ? A. Jacques Dutronc B. Claude François A. 2003 B. 2001 C. Serge Gainsbourg D. Eddy Mitchell C. 1999 D. 1997 05 Qui aurait déclaré à France Gall : Tu as gagné, 13 Comment France Gall fut-elle surnommée par mais tu m'as perdu. ? sa famille jusqu'à sa mort ? A. Hugues Aufray B. Claude François A. Cosette B. Nini C. Daniel Balavoine D. Julien Clerc C. Babou D. Fafa 06 Quel titre de France Gall est célèbre pour ses 14 Dans quel pays France Gall a-t-elle rencontré le deux niveaux de lecture ? succès fin des années 1960 ? A.
    [Show full text]
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.
    [Show full text]
  • Copy UPDATED KAREOKE 2013
    Artist Song Title Disc # ? & THE MYSTERIANS 96 TEARS 6781 10 YEARS THROUGH THE IRIS 13637 WASTELAND 13417 10,000 MANIACS BECAUSE THE NIGHT 9703 CANDY EVERYBODY WANTS 1693 LIKE THE WEATHER 6903 MORE THAN THIS 50 TROUBLE ME 6958 100 PROOF AGED IN SOUL SOMEBODY'S BEEN SLEEPING 5612 10CC I'M NOT IN LOVE 1910 112 DANCE WITH ME 10268 PEACHES & CREAM 9282 RIGHT HERE FOR YOU 12650 112 & LUDACRIS HOT & WET 12569 1910 FRUITGUM CO. 1, 2, 3 RED LIGHT 10237 SIMON SAYS 7083 2 PAC CALIFORNIA LOVE 3847 CHANGES 11513 DEAR MAMA 1729 HOW DO YOU WANT IT 7163 THUGZ MANSION 11277 2 PAC & EMINEM ONE DAY AT A TIME 12686 2 UNLIMITED DO WHAT'S GOOD FOR ME 11184 20 FINGERS SHORT DICK MAN 7505 21 DEMANDS GIVE ME A MINUTE 14122 3 DOORS DOWN AWAY FROM THE SUN 12664 BE LIKE THAT 8899 BEHIND THOSE EYES 13174 DUCK & RUN 7913 HERE WITHOUT YOU 12784 KRYPTONITE 5441 LET ME GO 13044 LIVE FOR TODAY 13364 LOSER 7609 ROAD I'M ON, THE 11419 WHEN I'M GONE 10651 3 DOORS DOWN & BOB SEGER LANDING IN LONDON 13517 3 OF HEARTS ARIZONA RAIN 9135 30 SECONDS TO MARS KILL, THE 13625 311 ALL MIXED UP 6641 AMBER 10513 BEYOND THE GREY SKY 12594 FIRST STRAW 12855 I'LL BE HERE AWHILE 9456 YOU WOULDN'T BELIEVE 8907 38 SPECIAL HOLD ON LOOSELY 2815 SECOND CHANCE 8559 3LW I DO 10524 NO MORE (BABY I'MA DO RIGHT) 178 PLAYAS GON' PLAY 8862 3RD STRIKE NO LIGHT 10310 REDEMPTION 10573 3T ANYTHING 6643 4 NON BLONDES WHAT'S UP 1412 4 P.M.
    [Show full text]
  • A Queer Analysis of the James Bond Canon
    MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2019 Copyright 2019 by Grant C. Hester ii MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Jane Caputi, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Khaled Sobhan, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Jane Caputi for guiding me through this process. She was truly there from this paper’s incubation as it was in her Sex, Violence, and Hollywood class where the idea that James Bond could be repressing his homosexuality first revealed itself to me. She encouraged the exploration and was an unbelievable sounding board every step to fruition. Stephen Charbonneau has also been an invaluable resource. Frankly, he changed the way I look at film. His door has always been open and he has given honest feedback and good advice. Oliver Buckton possesses a knowledge of James Bond that is unparalleled. I marvel at how he retains such information.
    [Show full text]