Louise Brooks Collection
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Cinema and Sexuality in Ann-Marie Macdonald's Fall on Your Knees
Document generated on 10/01/2021 3:59 p.m. Studies in Canadian Literature / Études en littérature canadienne Screening Modernity: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees Candida Rifkind Volume 27, Number 2, Fall 2002 Article abstract In Fall on Your Knees, Ann-Marie MacDonald writes early twentieth-century URI: https://id.erudit.org/iderudit/scl27_2art02 Cape Breton and New York through attention to the popular culture of the era, particularly in aspects of the visual, including paintings, photographs, and See table of contents films. Just as the female characters trangress boundaries between normative and queer sexuality, so too the text offers an aesthetic queering of the boundaries between representational media. The representations of 1920s film Publisher(s) star Louise Brooks, particularly, guide readers to a supplemental set of cultural meanings carried by her image and to a recognition that representation, like The University of New Brunswick history, is always partial. ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Rifkind, C. (2002). Screening Modernity:: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees. Studies in Canadian Literature / Études en littérature canadienne, 27(2), 29–50. All rights reserved © Management Futures, 2002 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
From Caligari to Hilter Certification.Docx.Pdf
AGE CLASSIFICATION REQUEST 2016 Belmont Filmhouse , 49 Belmont Street , Aberdeen FROM CALIGARI TO HITLER SYNOPSIS From Caligari to Hitler Von Caligari zu Hitler Rüdiger Suchsland / Germany 2015 / 1h58min / German with English subtitles FROM CALIGARI TO HITLER is a documentary on film making in the Weimar Republic. It takes a look back at the most memorable films produced during that time. The film includes commentary bits by film scholars as well as contemporary filmmakers. The Weimar Republic, between 1918 and 1933, was the most free and liberal state on German soil – a wild epoch, shaped by political change, economic crisis and cultural lustre. It also was an important time for German film. A time full of wonder and ideas. Film in the Weimar Republic gave rise to aesthetic elements like leitmotifs, archetypes and the term genre – that still have an influence on cinema today. Weimar directors like Murnau, Lang, Lubitsch, Pabst, Sternberg, Wilder and Ruttmann rose to become legends. Their movies made stars like Marlene Dietrich, Louise Brooks, Emil Jannings and Conrad Veidt go down in cinema history. The Weimar Republic produces a variety of iconic films like Nosferatu, The Cabinet of Dr. Caligari, Metropolis or People on Sunday. Trailer (German): https://www.youtube.com/watch?v=1hg_vL6lQ6I Page 1 SUGGESTED RATING UTILISING BBFC GUIDELINES PG DISCRIMINATION None DRUGS There are some clips used of people drinking Champagne HORROR Some of the clips used are from Weimar horror films,. You see some horror characters, but there is nothing too explicit. IMITABLE BEHAVIOUR None LANGUAGE Most of the clips used are from silent German films. -
Rudolf Laban in the 21St Century: a Brazilian Perspective
DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world. -
Das Exotische, Das Gewagte. Filmplakat: DIE BÜCHSE DER PANDORA Text Von: Nadine Aldag
Das Exotische, das Gewagte. Filmplakat: DIE BÜCHSE DER PANDORA Text von: Nadine Aldag Filmplakat #1 Filmplakat #2 Diversität in und um DIE BÜCHSE DER PANDORA (DE 1929) Ein schwebender Frauenkopf, ein intensiv starrender Blick, der direkt in die Seele des Betrachters hineinzuschauen scheint, das Abwenden nahezu unmöglich macht. Wunderschön, unschuldig und mysteriös zugleich, wirkt diese Frau. Das schwarze, kurze Haar, welches ihrem Gesicht einen strengen Rahmen verleiht – unverkennbar. DIE BÜCHSE DER PANDORA hebt sich in strahlenden Buchstaben von dem einfachen, dunklen Hintergrund ab. Das Uraufführungsplakat des Films DIE BÜCHSE DER PANDORA aus dem Jahr 1929, entworfen von dem ungarischen Plakatdesigner Josef Bottlik, welcher u.a. auch für die berühmten Plakate zu METROPOLIS (DE 1927) verantwortlich war, zählt heute wohl zu einem der ikonischen Filmplakate der Filmgeschichte. Gezeigt wird so wenig - gesagt wird so viel. Der Fokus liegt, genau wie in der Story des 1 Films, auf einer Frauenfigur, auf „Lulu“ – gespielt von Louise Brooks - Aber was genau ihr Blick uns sagen will, ist ein Rätsel – genau wie die Figur selbst. Die Figur der Lulu, war im Deutschland der 1920er Jahre in aller Munde, ein fester Bestandteil der damaligen Populärkultur. Frank Wedekind, einer der meistgespielten Dramatiker seiner Epoche, veröffentlichte im Geburtsjahr des Kinos, 1895, eine Tragödie in vier Aufzügen mit dem Titel ERDGEIST und dann 1902 die Tragödie DIE BÜCHSE DER PANDORA, welche zusammen die Lulutragödie bildeten und augenblicklich zu Klassikern avancierten. Sie gilt als Wedekinds Hauptwerk. Thematisiert wird im ersten Teil der gesellschaftliche Aufstieg der Lulu, eines selbstbestimmten Mädchens mit progressiven Moralvorstellungen und einem Hang zur Freizügigkeit. In DIE BÜCHSE DER PANDORA wird darauf ihr Fall portraitiert und Lulu als „weibliches Triebwesen“ charakterisiert, an dem alle bürgerlichen und gesellschaftlichen Konventionen zerbrechen. -
Mayjune 2005 Social Ed.Indd
Social Education 69(4), pp. 189-192 © 2005 National Council for the Social Studies Reel to Real: Teaching the Twentieth Century with Classic Hollywood Films Karl A. Matz and Lori L. Pingatore Making students’ learning cal artifacts, virtually primary source docu- works to support all three. At work, Bow experiences as direct and real as possible ments, that are very easy to obtain and yet has caught the eye of a wealthy young man, has always been challenging for educators. are too rarely used. Here, we hope to give a friend of the store owner’s son. In this Ancient wars and forgotten statesmen teachers a sense of which films are most brief beginning to a feature length film, often hold little excitement for students. appropriate and to provide a workable viewers see three important locations as Innovative teachers often use artifacts and method for guiding students to critically they were in the late 1920s. We see the primary source documents to transform a examine these historical artifacts. downtown department store, so different vicarious learning experience to a much from the suburban malls we know today. more direct one. Lee Ann Potter observes Celluloid Anthropology We see the humble apartment, the decora- that primary source documents “allow us, Students can study films in a manner simi- tions, and the absence of technology. And, quite literally, to touch and connect with lar to the way an anthropologist studies a finally, we see the restaurant. the past.”1 culture. If we were to study the culture of While watching this film, as any Films, like artifacts and photographs, a community in the Brazilian rainforest, other movie of a different era, viewers can also bring students closer to the people we would observe social rules, modes of can observe manners and behaviors, note and events that they are studying. -
Title Call # Category Lang./Notes
Title Call # Category Lang./Notes K-19 : the widowmaker 45205 Kaajal 36701 Family/Musical Ka-annanā ʻishrūn mustaḥīl = Like 20 impossibles 41819 Ara Kaante 36702 Crime Hin Kabhi kabhie 33803 Drama/Musical Hin Kabhi khushi kabhie gham-- 36203 Drama/Musical Hin Kabot Thāo Sīsudāčhan = The king maker 43141 Kabul transit 47824 Documentary Kabuliwala 35724 Drama/Musical Hin Kadının adı yok 34302 Turk/VCD Kadosh =The sacred 30209 Heb Kaenmaŭl = Seaside village 37973 Kor Kagemusha = Shadow warrior 40289 Drama Jpn Kagerōza 42414 Fantasy Jpn Kaidan nobori ryu = Blind woman's curse 46186 Thriller Jpn Kaiju big battel 36973 Kairo = Pulse 42539 Horror Jpn Kaitei gunkan = Atragon 42425 Adventure Jpn Kākka... kākka... 37057 Tamil Kakushi ken oni no tsume = The hidden blade 43744 Romance Jpn Kakushi toride no san akunin = Hidden fortress 33161 Adventure Jpn Kal aaj aur kal 39597 Romance/Musical Hin Kal ho naa ho 41312, 42386 Romance Hin Kalyug 36119 Drama Hin Kama Sutra 45480 Kamata koshin-kyoku = Fall guy 39766 Comedy Jpn Kān Klūai 45239 Kantana Animation Thai Kanak Attack 41817 Drama Region 2 Kanal = Canal 36907, 40541 Pol Kandahar : Safar e Ghandehar 35473 Farsi Kangwŏn-do ŭi him = The power of Kangwon province 38158 Kor Kannathil muthamittal = Peck on the cheek 45098 Tamil Kansas City 46053 Kansas City confidential 36761 Kanto mushuku = Kanto warrior 36879 Crime Jpn Kanzo sensei = Dr. Akagi 35201 Comedy Jpn Kao = Face 41449 Drama Jpn Kaos 47213 Ita Kaosu = Chaos 36900 Mystery Jpn Karakkaze yarô = Afraid to die 45336 Crime Jpn Karakter = Character -
Opening Pandora's Box BFI Uncovers Rare Technicolor Footage of Louise
The American Venus (1926), Source: BFI National Archive/Paramount Pictures Opening Pandora’s Box BFI uncovers rare Technicolor footage of Louise Brooks in living colour For Immediate release: 30 April 2018, London The BFI today announces the discovery of a cache of extremely rare Technicolor film fragments from the 1920s held by the BFI National Archive, including previously unseen footage of Louise Brooks dancing in colour. The very image of the modern woman, this tantalising glimpse of Louise Brooks comes from The American Venus (1926), her first credited film role and is one of the only images we have of her in colour. The feature is believed lost with the exception of footage from the film’s trailer, held by Berkeley Art Museum and The Library of Congress. It is thought that this extremely short extract discovered by the BFI may come from a costume test. The fragment from The American Venus (1926) was found alongside material from The Far Cry (1926), The Fire Brigade (1926) and Dance Madness (1926) within a copy of Black Pirate (1926), donated to the Archive by The Museum of Modern Art (MOMA) in 1959. In the same print of Black Pirate, there is also a test shot for historical drama Mona Lisa (1926) starring Hedda Hopper, the ‘Queen of the Quickies’ and legendary acerbic Hollywood gossip columnist for the LA Times, whose biting wit was recently portrayed by Judy Davis in award-winning TV series Feud. The fragment shows Hedda Hopper as Mona Lisa in repose, one assumes, about to be painted by Leonardo da Vinci. -
A Subcategory of Neo Noir Film Certificate of Original Authorship
Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question. -
A Cross-Cultural Analysis of Clara Bow's Image in 1920S Japan1
1JSL, Volume 1 (2005), 1–18 Hideaki Fujiki American Film Star Unsettling Japanese Culture: A Cross-Cultural Analysis of Clara Bow’s Image in 1920s Japan1 Hideaki FUJIKI In this essay, I examine the star formation of Clara Bow in relation to the rise of consumer culture and modern girls in Japan during the latter half of the 1920s. While her original images were produced in the United States, she was identified as a representative of modern girls and associated with the new audiences who were recognized as modern girls and/or the petit bourgeois class. In being so, this American star functioned to disclose contradictions between her fans’ consuming activity and their national identity, but concurrently induced reactionary discourses. Her screen persona balanced its flapper-sensationalism and other properties, such as her seemingly spontaneous characterization, socially marginalized positions, and active physical movements. This ambiguity about the star’s attributes allowed Japanese media to take advantage of this star as a controversial yet lucrative subject. It follows that the vernacular formation of this star persona involved cultural and even political conflicts among her fans’ self-defining identities, critics’ valuations and evaluations, and governmental directions. While her fans’ activity increased the diversity and mobility of people’s identities and values in the nation, critics mostly was bent on prescribing them into either/or categories of binary oppositions, such as American versus Japanese and modern versus pre-modern. Thus, the American stars unsettled Japanese culture, but turned out to enhance the reactionary trend in which to confine Japanese people into a monolithic identity. -
ABSTRACT Title of Dissertation / Thesis
ABSTRACT Title of Dissertation / Thesis: MAKING DANCE THAT MA TTERS: DANCER, CHOREOGRAPHE R, COMMUNITY ORGANIZER, PUBLIC INTELLECTUAL LIZ LER MAN Lisa Traiger, M.F.A., 2004 Thesis Directed By: Visiting Associate Professor Karen Bradley, Depar tment of Dance Washington, D.C. -based choreographer and dancer Liz Lerman, a MacArthur Award recipient, has been making dances of consequence for 30 years. Her choreography, her writing and her public speaking tackle “big ideas” for the dance field and society at large. Lerman articulates those ideas as questions: “Who gets to dance? Where is the dance happening? What is it about? Why does it matter?” This thesis investigates how Lerman has used her expertise as a choreographer, dancer and spokesperson to propel herself and her ideas beyond the tightly knit field into the larger community as a public intellectual. A brief history and overview defines public intellectual, followed by an examination of Lerman’s early life and influences. Finally, three them atic areas in Lerman’s work – personal narrative, Jewish content and community -based art – are explored through the lens of three choreographic works: “New York City Winter” (1974), “The Good Jew?” (1991) and “Still Crossing” (1986). MAKING DANCE THAT MATTERS: DANCER, CHOREOGRAPHE R, COMMUNITY ORGANIZ ER, PUBLIC INTELLECTUAL LIZ LERMAN By Lisa Traiger Thesis or Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts 2004 Advisory Committee: Visiting Associate Professor Karen Bradley, Chair Professor Meriam Rosen Professor Suzanne Carbonneau © Copyright by Lisa Traiger 2004 Preface The first time I experienced Liz Lerman’s choreography, I danced it. -
Bow, Clara (29 July 1905-27 Sept
Bow, Clara (29 July 1905-27 Sept. 1965), film actress, was born Clara Gordon Bow in Bay Ridge, Brooklyn, New York, the daughter of Robert Bow, a frequently unemployed waiter and handyman, and Sarah Gordon, his mentally ill wife. Bow attended Public School 98 in Sheepshead Bay until the eighth grade, when she left to become a doctor's receptionist. Bow regarded herself as "the worst looking kid on the street," but at age fourteen she won a personality contest, and in 1921 she received a prize from Fame and Fortune magazine: a small part in Beyond the Rainbow, starring Billie Dove. Bow was cut from the film, but another director saw her photo in a movie magazine and cast her as a spunky stowaway in Down to the Sea in Ships (1922). The show business daily Variety noted "It is Clara Bow that lingers . when the picture has gone." Signing for $50 per week with producer B. P. Schulberg's Preferred Pictures in 1923, Bow sometimes worked on three films simultaneously. In 1924, the year she was chosen by the Western Association of Motion Picture Advertisers as a WAMPAS Baby Star, or star of the future, Bow appeared as Orchid McGonigle, a reformed gang member, in Grit, based on an F. Scott Fitzgerald story. A representative, according to British film historian David Thomson, of "the first generation to be raised on films," she became a symbol of the exuberance and moral emancipation of the Roaring Twenties. Thomson called Bow "the first actress intent on arousing sexual excitement who is not ridiculous." Bow's reputation and range grew with The Plastic Age (1925), produced by Schulberg. -
Screening Modernity: Cinema and Sexuality in Ann-Marie Macdonald’S Fall on Your Knees
Screening Modernity: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees CANDIDA RIFKIND NN-MARIE MACDONALD’S Fall On Your Knees folds documented twentieth-century events into a fiction about the uncertainties of A the past. MacDonald’s array of historical references is matched by the breadth of her literary allusions which, as Jennifer Andrews points out, “cultivates a consciously metafictional approach to the writing of fic- tion” (9). While MacDonald appeals to other literary texts and to the his- torical record, she also disrupts the dominance of the written word by incorporating songs and visual images into the story. MacDonald writes early twentieth-century Cape Breton and New York through attention to the popular culture of the era, thereby creating an effect of the historically real and opening up the female characters’ possibilities for self-fashioning. Fall On Your Knees is obsessed with all aspects of the visual, from dreams and visions to paintings, photographs, and films. This fascination appears in descriptions of visual artifacts throughout the novel but also in the ab- sorption of visual culture, particularly the semiotics of silent films, into the narrative itself. The circulation of early twentieth-century cinematic images and thematics within the narrative economy is most active around the char- acter of Frances Piper, whose sexual transgressions are represented in de- scriptions that cross the boundary between word and image. The very beginning of Fall On Your Knees mobilizes such interplays between the written and the visual; the prologue title, “Silent Pictures,” signals that the novel will absorb photographic and cinematic images into its very form.