DOCSLIB.ORG

Prizes and the Politics of World Culture 297

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prizes and the Politics of World Culture 297 The Economy of PRESTIGE The Economy of PRESTIGE Prizes, Awards, and the Circulation of Cultural Value James F. English harvard university press Cambridge, Massachusetts London, England Copyright © 2005 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America First Harvard University Press paperback edition, 2008. Library of Congress Cataloging-in-Publication Data English, James F., 1958– The economy of prestige : prizes, awards, and the circulation of cultural value / James F. English. p. cm. Includes bibliographical references and index. ISBN 978-0-674-01884-6 (cloth) ISBN 978-0-674-03043-5 (pbk.) 1. Awards—Economic aspects. 2. Literary prizes—Economic aspects. 3. Art—Awards—Economic aspects. 4. Culture—Economic aspects. 5. Intellecual life—Economic aspects. 6. Popular culture—Economic aspects. 7. Cultural industries—Economic aspects. 8. Value. 9. Prestige. I. Title. AS935.E54 2005 001.4′4—dc22 2005050273 For Eileen Acknowledgments Having sat through a good many awards banquets, I am aware that once people start thanking supporters and contributors they often find it difficult to stop. The list of acknowledgments is the tedious ballast of every prize ceremony, dragging the very hero of the show—the gifted individual, the consecrated genius—down toward the level of mundane social practice, where nobody, or everybody, deserves the credit. Too much acknowledgment can ruin the whole noble ceremony of exchange, subjecting it to an overly scrupulous accounting and laying bare the messy truth of cultural debts and gifts: the fact that they are unending, coterminous with society it- self. Even in the arena where a two-minute time limit on acceptance speeches is strictly enforced, things can reach the point where, as Billy Crystal said toward the end of Peter Jackson’s sweep of the 2004 Academy Awards, “the entire population of New Zealand has been thanked.” Happily, the genre of acknowledgment operates differently in the pages of a scholarly monograph. Even so, in the course of writ- ing this book, I have profited from the contributions of far more people than I can reasonably take space here to name. Many dozens of conversations with students, conference and colloquium partici- pants, nonacademic friends, family members, and others have helped to shape my thinking about prizes and awards in ways that elude any exact specification but whose importance I fully appreciate. vii viii Acknowledgments Of my more concretely listable debts, I will begin with those at the University of Pennsylvania, where I owe particular thanks to the Research Foundation for funding travel and other expenses associ- ated with research trips to Rome, London, Los Angeles, and else- where. The reference staff at Van Pelt Library, in particular Bob Walther, offered guidance on many questions of central importance to the project. My research assistants, Dottie Burns, John Crowther, Nelly Kalckzuk, Elizabeth Lutz, and Kate Sattelle, helped me to as- semble and sift through an enormous database of articles and press releases, and to compile and collate lists of winners, judges, and so forth. My colleagues at Penn helped me by providing contacts in the awards industry, accounts of their own involvement with prizes, criticisms of the work in progress, and advice about publication; in particular I owe thanks to Charles Bernstein, Stuart Curran, Bob Perelman, Jean-Michel Rabaté, Wendy Steiner, and David Wallace. Gregory Flaxman, Aaron Levy, and Matt Hart and Damien Keane arranged for me to present portions of the work to wonderfully at- tentive and helpful local audiences. And John Richetti has my thanks for his unstinting support. Beyond Penn, my debts, like prizes themselves, have become too numerous to tabulate. But for their especially helpful contributions I must thank Giovanni Alberti of the Venice Biennale Foreign Press Office; Kim Becker and Caroline Bock of the Independent Spirit Awards; Chuck Bresloff of Recognition Products International; Vir- ginia Button of the Tate Gallery and the Turner Prize; Jamie Chap- man of the Arts for the Parks Program; Paulette Coetzee of the In- ternational Museum of African Music; Kaylee Coxall of BPI and the BRITs; Bruce Davis of the Academy of Motion Picture Arts and Sciences; Doreen Dean of the BAFTA Awards; Inga Dupont of the Pierpont Morgan Library; Annika Ekdahl of the Nobel Founda- Acknowledgments ix tion; Cheryl Freedman of the Crime Writers of Canada; Mark Frost of the Medallic Art Company; Martyn Goff of the Booker Prize; Carl Harms of the Actors Equity Foundation and the Paul Robeson Award; Dottie Irving of Coleman Getty; Andrew Jaffe of the Clio Awards; Nicholas Kazan of the Screenwriters Guild; Emilie Kilgore of the Susan Smith Blackburn Prize; Kristine Krueger of the AMPAS legal department; Hossein Mahini of the International Exile Film Festival; David Marks of Third Ear Music and the Hidden Years Music Archive Project; Marcella Meharg and Janet Salter of the Julie Harris Playwright Competition of the Beverly Hills Theater Guild; Alistair Niven of the British Arts Council; Russell Pritchard of the Book Trust; Peter Raymond of Orange PLC and the Orange Prize; Jane Ruddell of the Tate Gallery; Adriana Scalise of the Ven- ice Biennale Photo Library; Jeffrey “Nobel Jeff” Schramek; Rick Spector of Stairway to the Stars; Terri Sultan of the Corcoran Bien- nial Exhibition and the Blaffer Gallery; Cathy Thornton of the Vil- lage Voice and the OBIE Awards; Larry Tise of the International Congress of Distinguished Awards; Sonia Vaillancourt of the Inde- pendent Feature Project and the Gotham Awards; Sandra Vince of the Book Trust; John Wilson of the Golden Raspberry Award Foun- dation. My thanks, as well, to the many prize administrators who responded to my mailed or faxed requests for brochures and other materials connected with their programs. For help with specific questions of cultural history, I owe thanks to Max Cavitch, Leon Jackson, Lawrence Levine, Alvaro Ribeiro, Erik Simpson, Richard Todd, and Susan Wood. Chris Bongie, Michele Frank, Simon Kovesi, Jean Pickering, Karen Pinkus, Craig Smith, and Claire Squires all arranged for me to present my ideas to interested audiences, in addition to offering their own feedback and criticism. x Acknowledgments Jim Impoco, then at U.S. News and World Report, craftily facili- tated my access to various award banquets and events and was an invaluable resource to me during my six months of research in Los Angeles. Walter Lippincott, Lisa New, Robert Ray, and Susan Stew- art offered generous advice and assistance when it was time for me to seek out a publisher. Lindsay Waters has been the perfect editor for this book, and a most stimulating interlocutor on all manner of contemporary cultural topics. The anonymous readers for Harvard University Press did me the great service of detailing their reserva- tions about the project as well as their support for it, thus providing direction and impetus for a final revision of the manuscript. Maria Ascher, senior editor at the Press, made a great many repairs, cor- rections, and improvements to the manuscript before launching it into production. Martha Mayou prepared a first-rate index. My father, James English, read the manuscript as it neared com- pletion and gave me the response I needed at that stage from a well- read nonspecialist. I’m grateful to him also for accompanying me to the First International Conference on the Literary Prize in Oxford in the fall of 2003, helping to make that an especially enjoyable event. My son Jimmy was a wonderfully assiduous double-napper during the year of leave when I began writing this book; by the time of the leave year during which I completed it, neither he nor his younger brother, John, were much good for napping, but both had learned how to read the “Go Away” doormat outside my garage- study. My wife, Eileen Reeves, has little interest in prizes but end- less patience for my obsession with them; I dedicate this book to her. As for the errors of fact, infelicities of style, and failures of criti- cal acumen that may be found in its pages, there is of course no one to acknowledge but myself. Contents Introduction: Prizes and the Study of Culture 1 I. The Age of Awards 1. Prize Frenzy 17 2. Precursors of the Modern Cultural Prize 28 3. The Logic of Proliferation 50 4. Prizes as Entertainment 69 II. Peculiarities of the Awards Industry 5. The Making of a Prize 109 6. Taste Management 121 7. Trophies as Objects of Production and Trade 155 III. The Game and Its Players 8. Scandalous Currency 187 9. The New Rhetoric of Prize Commentary 197 10. Strategies of Condescension, Styles of Play 217 xii Contents IV. The Global Economy of Cultural Prestige 11. The Arts as International Sport 249 12. The New Geography of Prestige 264 13. Prizes and the Politics of World Culture 297 Appendix A. The Rise of the Prize 323 Appendix B. Prizes and Commerce 329 Appendix C. Winner Take All: Six Lists 334 Notes 346 Index 391 Illustrations 1. The Golden Raspberry trophy 104 2. Nobel medals: commodity value versus collectible value 159 3. The Arthur statuette 166 4. Willem de Kooning signing a Blackburn Prize lithograph 171 5. Ben Affleck’s trophy for Worst Actor 177 6. A 1950 Academy Award watch by Bulova 181 7. A selection of award trophies 182 8. Nobel commemorative stamps 184 9. Advertisement for Worst British Artist prize 230 10. Local and national musical prestige in South Africa 276 11. Film festivals at Venice (1932) and Locarno (2002) 284 12. Poster for the 2001 Cannes Film Festival 293 13. Poster for the Second International Exile Film Festival 294 14. The rise of the prize in cinema 324 15. The rise of the prize in literature 324 16.
Load more

Recommended publications
  • 1 [27] Ficvaldivia 2 [27] Ficvaldivia 3 [27] Ficvaldivia 4 [27] Ficvaldivia 5
    [27] FICVALDIVIA 1 [27] FICVALDIVIA 2 [27] FICVALDIVIA 3 [27] FICVALDIVIA 4 [27] FICVALDIVIA 5 [27] FICVALDIVIA Palabras6 9 Words FILMES DE INAUGURACIÓN Filmes de inauguración 26 Opening films Y CLAUSURA OPENING AND CLOSING Filmes de clausura 28 FEATURES P. 25 Closing films Cortometraje de Ceremonia de Premiación 30 Awards Ceremony Short Film JURADO Y ASESORES 33 JURY AND ADVISORS P.33 EN COMPETENCIA Selección Oficial Largometraje Internacional 45 IN COMPETITION Official International Feature Selection P. 44 Selección Oficial Largometraje Chileno 59 Official Chilean Feature Selection Selección Oficial Largometraje Juvenil 67 Internacional Official International Youth Feature Selection Selección Oficial Cortometraje 75 Latinoamericano Official Latin-American Short Film Selection Selección Oficial Cortometraje Infantil 89 Latinoamericano Official Latin-American Children’s Short Film Selection Selección Oficial Cine Chileno del Futuro 96 Future Chilean Cinema Official Selection [27] FICVALDIVIA 7 MUESTRA PARALELA CINEASTAS EN FOCO 105 Video y Estallido Social 178 PARALLEL PROGRAM FILMMAKERS IN THE Video and Social Uprising P. 105 SPOTLIGHT MUESTRA CINE 185 Ana Poliak 106 RETROSPECTIVA RETROSPECTIVE PROGRAM Colectivo Los Hijos 112 Clásicos 186 Latinas a la vanguardia 122 Classics Guillaume Brac 131 VHS Erótico 190 Erotic VHS MUESTRA CINE 139 CONTEMPORÁNEO Vazofi: Bazofi en Valdivia 193 CONTEMPORARY CINEMA Vazofi: Bazofi in Valdivia PROGRAM Gala 140 PÁSATE UNA PELÍCULA 201 Gala WHAT’S YOUR STORY! HOMENAJES 146 Largometrajes familiares 202 TRIBUTES
    [Show full text]
  • Showgirls Comes of Age
    SHOWGIRLS COMES OF AGE PHIL HOBBINS-WHITE POPMEC RESEARCH BLOG Showgirls, Paul Verhoeven’s much-maligned erotic film celebrates its twenty-fifth an- niversary later this year. This essay seeks to re-assess the film—which was almost uni- versally derided upon its release in 1995—now that it is a quarter of a century old. Telling the story of a drifter who hitches a ride to Las Vegas, Nomi Malone (Elizabeth Berkley) works hard to climb the ladder from stripper to casino showgirl, making a series of acquaintances along the way, many of whom are only looking to exploit her. On the surface, the film seems to be simple, made to satiate the desires of the audi- ence—primarily heterosexual males—however there are arguments to be made that Showgirls is so much more than that. This essay is in two sections: firstly, this part will contextualise the film, acknowledge some of the film’s criticisms, and will then go on to consider the film as a postmodern self-critique. The second instalment will go on to analyse Showgirls as an indictment of America in terms of its hegemonic structures, artificiality, its exploitative nature, and stardom. There is just so much interesting context to Showgirls, including the choices of direc- tor and writer, casting, budget, marketing, Hollywood studios, and the certification of the film. Showgirls is directed by Paul Verhoeven, whose reputation had grown with multiple successes in his native Netherlands before making the successful Hollywood films Robocop (1987) and Total Recall (1990). It was with his 1992 erotic thriller, Basic Instinct, that Verhoeven really became a household name director.
    [Show full text]
  • Telling Lies in America Joe Eszterhas Is a Big-Bucks Screenwriter Who
    Telling Lies in America Joe Eszterhas is a big-bucks screenwriter who earned millions for slick trash (like Flashdance and Basic Instinct) and total trash (Jade, Showgirls) but who now has returned to his roots with his latest script. Very different from his previous efforts is Telling Lies to America , a coming of age story about a Hungarian immigrant kid growing up poor and ambitious in Cleveland (Eszterhas’ hometown), in the early 1960’s era of burgeoning rock n’ roll. The kid is teenager Karchy Jonas (Brad Renfro), an outsider at his high school who still has trouble pronouncing that tough “th” of English and who has to work nights at an egg plant to help support his factory worker father (Maximilian Schell). Karchy has an inchoate desire for a better life and grabs his chance when a local celebrity, slick disc jockey Billy Magic (Kevin Bacon) takes him on as a go-fer. Billy, willing to plug teenybopper tunes for dough, really loves rhythm and blues (what he calls “sweaty collars and dirty fingernails music”), and he humors Karchy because he recognizes his own deceitful youth in the lad. In a new cool jacket, Karchy dreams of being a dj himself, complete with the girls, the hot car, and the flash he sees Billy possesses. His newfound hustle, however, loses him the respect of his old-country father and his co-worker and girlfriend Diney (Calista Flockhart), and, when he gets mired in Billy’s payola schemes as a material witness for government investigators, he learns the price of prevaricating to get ahead.
    [Show full text]
  • Children of Glory
    ANDREW G. VAJNA PRESENTS CHILDREN OF GLORY Cast: Iván Feny ı Kata Dobó Sándor Csányi Károly Gesztesi Original Story by: Joe Eszterhas Writing Credits by : Joe Eszterhas Eva Gárdos Géza Bereményi Réka Divinyi Co-Producers : Clive Parsons S. Tamás Zákonyi Cinematography by : Buda Gulyás Production Desing by : János Szabolcs Costume Desing by : Beatrix Aruna Pásztor Original Music by : Nick Glennie-Smith Producer: Andrew G. Vajna Directed by : Krisztina Goda Website: www.szabadsagszerelemafilm.hu SYNOPSIS The year is 1956. While Hungary is only a small slave nation within the massive Soviet Block, it is also a superpower – its national water polo team is invincible. Even locked behind the Iron Curtain, the players feel like kings. Thriving on success and enjoying the attention of every girl in the country, they stand self-assured and unified. The team has lost only once in 1955, when a referee in Moscow simply did not let them win. The team are now bracing themselves for a rematch due to take place at the 1956 Olympic Games in Melbourne. History, however, throws a major obstacle in team’s path, and a revolution breaks out in Budapest and the young star of the team, Karcsi (Iván Feny ı) and his friend, Tibi (Sándor Csányi) get embroiled in the events occurring out on the streets. At first, they are only out for adventure, but a fiery student - Viki Falk (Kata Dobó) - from the Technical University catches Karcsi’s eye and in following her steps he finds himself right at the heart of the uprising - the Kossuth square and the subsequent siege of the National Radio station.
    [Show full text]
  • 27Th CZECH LION AWARD WINNERS
    27th CZECH LION AWARD WINNERS HONORARY AWARD FOR UNIQUE CONTRIBUTION TO CZECH FILM Jaromír Kallista BEST FILM Nabarvené ptáče (The Painted Bird) – producer Václav Marhoul BEST DOCUMENTARY FEATURE Dálava (Over the Hills) – director Martin Mareček – producers Petr Oukropec, Tereza Polachová, Hanka Kastelicová BEST DIRECTOR Nabarvené ptáče (The Painted Bird) – Václav Marhoul BEST ACTRESS IN A LEADING ROLE Vlastníci (Owners) – Tereza Ramba BEST ACTOR IN A LEADING ROLE Staříci (Old-Timers) – Jiří Schmitzer BEST ACTRESS IN A SUPPORTING ROLE Vlastníci (Owners) – Klára Melíšková BEST ACTOR IN A SUPPORTING ROLE Staříci (Old-Timers) – Ladislav Mrkvička BEST SCREENPLAY Vlastníci (Owners) – Jiří Havelka BEST CINEMATOGRAPHY Nabarvené ptáče (The Painted Bird) – Vladimír Smutný BEST EDITING Nabarvené ptáče (The Painted Bird) – Luděk Hudec BEST SOUND Nabarvené ptáče (The Painted Bird) – Pavel Rejholec BEST MUSIC Hodinářův učeň (The Watchmaker’s Apprentice) – Ivan Acher, Michal Novinski BEST STAGE DESIGN Nabarvené ptáče (The Painted Bird) – Jan Vlasák BEST COSTUME DESIGN Nabarvené ptáče (The Painted Bird) – Helena Rovná BEST MAKEUP AND HAIRSTYLING Nabarvené ptáče (The Painted Bird) – Ivo Strangmüller MAGNESIA AWARD FOR THE BEST STUDENT FILM – non-statutory award Dcera (Daughter) – Daria Kashcheeva BEST FILM POSTER – non-statutory award Nabarvené ptáče (The Painted Bird) – Roman Mrázek AWARD OF THE FILM FANS – non-statutory award Ženy v běhu (Women on the Run) – directed by Martin Horský BEST TELEVISION FILM or MINISERIES Vodník (Monsters of the Shore)
    [Show full text]
  • THE ANARCHIST COLLECTIVES Edited by Sa M Dolgoff
    THE ANARCHIST COLLECTIVES Edited by Sa m Dolgoff W o rk e rs ’ Self-management in t h e Sp a n ish Revolution 1936-1939 Introductory Essay by Murray ßookchin THE ANARCHIST COLLECTIVES: Workers’ Self-management in the Spanish Revolution (1936-1939) Copyright © 1974 by Sam Dolgoff Introductory Essay © 1974 by Murray Bookchin All rights reserved, Free Life Editions, Inc. First Edition Published 1974 by Free Life Editions, Inc. 41 Union Square West New York, N.Y. 10003 Canadian edition published by Black Rose Books by arrangement with Free Life Editions, Inc. Black Rose Books 3934 St. Urbain Montreal 1 31, Quebec Library of Congress Catalog Card Number: 73-88239 ISBN: 0-914156-02-0 paperback ISBN: 0-914156-03-9 hardcover Manufactured in the United States of America Faculty Press, Inc. Brooklyn, N.Y. To the heroic workers and peasants o f Spain! To my comrades, the Spanish Anarchists, who perished fighting for freedom! To the militants who continue the struggle! Contents PREFACE by Sam Dolgoff—ix INTRODUCTORY ESSAY by Murray Bookchin-x/ PART ONE: BACKGROUND 1. THE SPA NISH RE VOL UTION 5 The Two Revolutions (S.D.)—5 The Trend Towards Workers’ Self-Management (S.D.)—14 2. THE LIBERTARIAN TRADITION 19 The Rural Collectivist Tradition (S.D.)—20 The Anarchist Influence (S.D.)— 23 The Political and Economic Organization of Society (Isaac Puente)— 28 3. HISTORICAL NOTES 35 The Prologue to Revolution (S.D.)—35 The Counter-Revolution and the Destruction of the Collectives (S.D.)—40 4. THE LIMITATIONS OF THE REVOLUTION (Gaston Leval) 49 PART TWO: THE SOCIAL REVOLUTION 5.
    [Show full text]
  • Tabla 1:Festivales Y Premios Cinematográficos
    Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International
    [Show full text]
  • Dear Members of Our Faith Community; March 7, 2021 This Weekend
    Dear members of our faith community; March 7, 2021 This weekend we have in the Book of Exodus 20:1-17 the enumeration of the ten commandments the knowledge and practicing of which people have often equated as necessary for being a “religious” person. What we need to remember though is that before there are “commandments” there is a God who out of love creates and out of love seeks to establish a relationship. The Hebrew Scriptures show us a God of the covenant who takes the initiative to love, to guide, to accompany, to journey with and to forgive and be merciful. The commands are given as a gift to people who freely choose to respond to such a caring and gracious God, to such a wonderful relationship, and who want to know the guidelines which will help them to maintain a loving relationship. In this reading we have a God described as “I the Lord your God am a jealous God …showing steadfast love to the thousandth generation of those who love me (Ex. 20: 5-6)”: a passionate God whose love and mercy is inclusive (the “alien resident” among you). Do I, do we see our God as my, our God but also as the God of the other, not just people from other lands but also people who are different, living and doing things “alien” to my, our ways? The Gospel of John 2: 13-25 show Jesus cleansing the Temple. The other Gospels place this at the end of the ministry of Jesus; the scandal that will cause the arrest of Jesus.
    [Show full text]
  • 5Th Annual V4 Film Series Program
    INVITATION: The Embassies of the Czech Republic, Hungary, Poland, and Slovakia, invite you to the 5th Annual V4 Film Series, featuring the theme: Darkness Within and Around Us, running from April 20-28, 2016. All screenings are admission free, but RSVPs are required. CZECH REPUBLIC April 20, 6:30 pm The Way Out | Cesta ven 2014, 105 min., in Czech with English subtitles Directed by Petr Václav Synopsis: Dubbed the best film of the year at the Czech Critics' awards, director Petr Václav's The Way Out (Cesta ven) follows a Romani couple trying to live a "normal life" in a community obscured by prejudice. Žaneta (Klaudia Dudová) and David (David Ištok) strive to provide for their daughter and Žaneta’s sister. To protect his family, David considers a life of crime, as the grim backdrop of unemployment, debt, and poverty weighs down. Žaneta wants a respectable life for her family, her sister to get an education, and an honest job. Trapped in the community’s anti-gypsy prejudice, can Žaneta find the inner strength to break out? Awards: The film was the first Czech film screened at the prestigious Cannes Film Festival in the last 16 years. It won seven 2015 Czech Lion Awards and four Czech Critics´ Awards for best film, director, screenwriter and leading actress. About the Director: The Way Out marks the director Petr Václav’s return to the theme of the Roma community. His debut feature Marian drew on his experience in documentary filmmaking and featured Roma non-actors living similar lives to those of their characters.
    [Show full text]
  • Joseph Hansen Papers
    http://oac.cdlib.org/findaid/ark:/13030/tf78700585 No online items Register of the Joseph Hansen papers Finding aid prepared by Joseph Hansen Hoover Institution Archives 434 Galvez Mall Stanford University Stanford, CA, 94305-6003 (650) 723-3563 [email protected] © 1998, 2006, 2012 Register of the Joseph Hansen 92035 1 papers Title: Joseph Hansen papers Date (inclusive): 1887-1980 Collection Number: 92035 Contributing Institution: Hoover Institution Archives Language of Material: English Physical Description: 109 manuscript boxes, 1 oversize box, 3 envelopes, 1 audio cassette(46.2 linear feet) Abstract: Speeches and writings, correspondence, notes, minutes, reports, internal bulletins, resolutions, theses, printed matter, sound recording, and photographs relating to Leon Trotsky, activities of the Socialist Workers Party in the United States, and activities of the Fourth International in Latin America, Western Europe and elsewhere. Physical Location: Hoover Institution Archives Creator: Hansen, Joseph, Access The collection is open for research; materials must be requested at least two business days in advance of intended use. Publication Rights For copyright status, please contact the Hoover Institution Archives. Preferred Citation [Identification of item], Joseph Hansen papers, [Box no., Folder no. or title], Hoover Institution Archives. Acquisition Information Acquired by the Hoover Institution Archives in 1992. Accruals Materials may have been added to the collection since this finding aid was prepared. To determine if this has occurred, find the collection in Stanford University's online catalog at http://searchworks.stanford.edu . Materials have been added to the collection if the number of boxes listed in the online catalog is larger than the number of boxes listed in this finding aid.
    [Show full text]
  • P R O G R a M
    programme 1 www.cineast.lu media partners partners sponsors main partners www .utopolis.c om Pour la huitième année, CinEast, le Festival du Nous avons choisi d’approfondir cette problé- film d’Europe centrale et orientale au Luxem- matique de l’immigration à travers plusieurs do- bourg, vous emmène au cœur de la cinémato- cumentaires et fictions ainsi qu’un débat avec graphie récente des pays de l’ancien bloc com- des spécialistes du sujet. muniste. De nombreux évènements spéciaux viendront La diversité est une fois de plus au centre de compléter les projections, avec des concerts et la programmation de cette nouvelle édition : des soirées musicales au Melusina, à Neimëns- diversité des origines et des genres avec des ter, à Sang&Klang et aux Rotondes ainsi qu’un fictions, des documentaires et des animations ciné-concert à la Cinémathèque : des sonorités provenant de 18 pays, diversité des lieux de jazz, klezmer, tziganes, folk, rock ou électro se- projections et des manifestations, diversité du ront à découvrir, souvent couplés à des projec- public (que nous espérons de tous les âges, tions et à de la gastronomie. toutes les origines et toutes les cultures), mais également variété de la programmation, qui Plus que jamais, nous voudrions que notre souvent déborde du cadre de la simple projec- festival soit une plateforme de découverte et tion de films, avec des débats, des expositions, de réflexion, mais également de rencontre, des (ciné-)concerts et même de la gastronomie. d’échanges et de convivialité. A travers la cinématographie
    [Show full text]
  • The Czech Cinematography Will Be Represented at the Oscars by The
    The film Charlatan directed by Agnieszka Holland is taking off to fight for an Oscar The Czech Film and Television Academy (CFTA), which presents the Czech Lion awards, also nominates the Czech Republic’s candidate for the Oscar every year. This year, it is sending the drama Charlatan directed by Agnieszka Holland to fight for the most prestigious film award. Agnieszka Holland’s latest film is inspired by the real life of the healer Jan Mikolášek and the script was written by Marek Epstein. Ivan Trojan and his son Josef Trojan starred in the leading roles. The film was premiered at the 70th Berlinale International Film Festival this year. The ceremonial gala evening of the 93rd awards of the American Academy of Motion Picture Arts and Sciences will take place on 25th April 2021 in Los Angeles. The academics were choosing from 10 Czech feature films and documentary features that had been submitted by their producers. The voting took place from 1st to 11th October 2020. The film Charlatan was created within the framework of a Czech-Irish-Polish-Slovak co-production and it presents a stirring biographical drama of an exceptional man gifted with unique healing powers against the background of historical events. The plot is inspired by real fortunes of the healer Jan Mikolášek who throughout his career answered the pleas of thousands of people from all the social classes and also some of the most prominent figures of the political and cultural milieu. Mikolášek is a person without official medical education who possesses the unique as well as unfathomable talent to diagnose illnesses and heal people by herbs even when the doctors are at a loss.
    [Show full text]