DOCSLIB.ORG

By WP Davies MOST PERSONS WHO READ ARE Familiar with the Term

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By WP Davies MOST PERSONS WHO READ ARE Familiar with the Term By W. P. Davies MOST PERSONS WHO READ ARE familiar with the term "pidgin," or "pigeon" English, the pecular kind of language used as a means of communication between English speaking persons and some of the Orientals. This language, or dialect, originated in Chinese coastal cities into which foreign traders ventured many years ago. It seems to be a sort of compromise between English and Chinese, using English words and to some extent following Chinese forms. The result is a conglomeration almost as unintelligible to English speaking persons as Chinese itself, but by means of which intelligible intercourse is possible to those Who are familiar with It. THIS HYBRID SYSTEM OF SPEECH was developed as a means of facilitating trade and became known as "business" English, which the Chinese transformed into "pidgin" and which became "pigeon" to some English and Americans. Gradually pidgin English became more or less standardized, and it has spread through much of the Orient, including the Dutch Indies. What appears to be an adaptation of it has reached Australia, where whites and blacks use it as a means of intercommunication. WHILE PIDGIN ENGLISH SERVES its purpose within a limited sphere, it falls far short of meeting requirements for a universal language. To meet the need for such a language many systems have been invented, each of which has attracted a certain following. Attempts have been made to popularize Volapuk, Ro and several others. In recent years Esperanto has taken the lead and has seemed to have considerable promise. Just now considerable attention is given to Basic English, which is much older than is generally supposed, for it was de- veloped some 20 years ago by C. K. Ogden, a language psychologist, of Cambridge, England. It was recently warmly commended by Winston Churchill, and President Roosevelt has spoken in favor of it. A language form approved by two such distinguished masters of expression merits, and doubtless will receive considerable attention. BASIC ENGLISH IS THE SUBJECT of a recent article in the New York Times Sunday magazine by L. H. Robbins, who supplies a list of the 850 English words which constitute its entire vocabulary, and who deals with some of the objections which may be raised to the plan of making any modern language universal. He points out that because of the spread of Anglo-Saxon influence throughout the world "English leads in world circulation. It is the common language of trade in every port, and a working knowledge of it is easy to pick up. Some 800 millions of the world's people already spea:k English of a sort." PROCEEDING FROM THAT BASE Professor Ogden undertook to reduce English to its simplest form by boiling down its immense vocabulary into the smallest number of words in which most thought could be expressed. The result is a list of 850 Words which are to be used just as ordinary English is used. To illustrate its use Professor Robbins gives in parallel columns, first a paragraph of the Atlantic Charter, and second the same paragraph transcribed into Basic English. THE ORIGINALPARAGRAPH reads: "After the final destruction of the Nazi tyranny, they hope to see established a peace which will afford to all nations the means of dwelling in safety within their own boundaries and whicft will afford assurance that all men in all the lands may live out their lives in freedom from fear and want." THE BASIC ENGLISH TRANSLAtion is as follows: "After the full destruction of the Nazi cruel government, they have hope to see a peace made that will let all nations be safe in their right place and that will make certain that every man in every land may have his chance to go through his natural years on earth free from fear and great need." By W. P. DAVIES. TWENTY-FIVE OR 30 YEARS AGO political affairs in Mexico were in a sad fctate of confusion and relations between that country and the United States were much less cordial than they have since become. Pancho Villa had gained a considerable following and had the temerity to make raids into the territory of the [United States. His sympathizers assumed & boastful air and some of them talked of conquering the United States and regaining Mexico California, Arizona and New Mexico as well as Texas, all of which territory had once been part of Mexico. IT WAS CLEAR TO ME THAT THOSE who felt and talked that way were ignorant of the size and strength of the United States, and there came to my mind a plan which I thought if properly worked out would not only convince pugnacious Mexicans of the impossibility of a con-quest of the United States by them, but which would also make for better feeling between the two countries. The plan was for the United States government to organize and finance a tour of this country by a representative group of Mexicans who would see the whole country, meet its people, observe its industries and then carry back to their own country information of what they had learned. SUCH A TOURIST GROUP, AS I ENvisioned it, would not be confined to business executives and professional men, though those would be represented. I thought it would include village merchants, artisans, laborers, with every class Yesteryears THIRTY YEARS AGO: T. C. Griffith sustained badly lacerated fingers when a shotgun he was carrying exploded . Miss Clara Hale began work in the register of deeds office taking the place of Charlotte Black, resigned . T. L. Linn, employee of the Kingman drug store in East Grand Forks, returned from Fargo where he visited at his former home. TWENTY YEARS AGO: Plans were being made for the Grand Forks Municipal band to play for all events of the Harvest Festival according to Leo Haesle, director . Marie Sattler went to Chicago to continue her piano studies at the Chicago Musical college . Ethel McGowan was in charge of Kappa Phi's rushing parties at the University. TEN YEARS AGO: Sidney Iverson and Robert Ryan were preparing bulletins on the "Interfraternity Sing" . Stewart Walsh of near Grand Forks, Goodwin Stastad of Mekinock and Hugh Marshall of Emerado were callers at the office of County Agent Wm. R. Page . Tillie Loiland left for Mayville to enter the State Teachers college. represented as far as possible. The tour would not be one of viewing grand spectacles and attending banquets. The tourists would be given opportunity to meet and mingle with Americans at their daily work and to talk with them through competent interpreters. They would see great cities and impressive monuments, inspect great engineering projects and watch the operation of industrial plants. But they would also visit and chat with workmen in their homes, observe, and perhaps participate in farm operations. And they would be given sufficient time really to learn something of the daily life of the American people. IT SEEMED TO ME THAT WHEN those people were returned to their homes they would have real information to give their neighbors. They could tell them of a country so vast in size and material achievement that all thought of conquest of it must be dismissed as absurd. They could tell of a people who had no thought of aggression, but were were busily engaged in building homes for themselves, in developing the resources of their country in a manner to provide abundance for everyone. They could tell of a society in which peace and order was maintained, where the people were free to think their own thoughts and speak their own minds without being menaced or annoyed by spies and eavesdroppers. I thought that such information, spread through towns and villages and among groups of work men everywhere would help to create the feeling that the United States was really a good country and its people good neighbors whose friendship was to be desired. I AM STILL OF THAT OPINION. I am aware that such an experiment would cost money, but lack of understanding has cost a lot more. And I wonder if some such enterprise, conducted on a worldwide scale and on a reciprocal basis, would not pay good dividends in better understanding and mutual goodwill. IT IS QUITE TRUE THAT THERE have been numerous international tours of one sort and another. In some the personnel has been professional, in some cases commercial, as with the tour of Japanese commercial commissioners who visited Grand Forks many years ago. There have been sight-seeing tours innumerable. All such expeditions have their value, but the sort that I have in mind would be not of special and select classes, but one from grass-roots to grassroots, from the common people of one country to the common people of another. I still think it would be a good thing, and well worth its cost. SO MANY EVENTS THAT AT THE time seemed of supreme importance have been packed into these four years of war, the recollection of each being at least partially effaced by something immediately following which has commanded our attention, that the result is somewhat like that of a lurid motion picture in which climax after climax is flashed on the screen with such rapidity that one obliterates another and the sequence is lost in the confusion of superlatives. THE WORLD HAS ENTERED THE fifth year of the great war, and each of those years has been marked by events which seemed of greater significance than anything that had gone before, and almost every day in each of those years has seemed at the time to be a red-letter day in our experience.
Load more

Recommended publications
  • Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries
    The Other by Itself: Authenticity in electronic dance music in Serbia at the turn of the centuries Inaugural dissertation submitted to attain the academic degree of Dr phil., to Department 07 – History and Cultural Studies at Johannes Gutenberg University Mainz Irina Maksimović Belgrade Mainz 2016 Supervisor: Co-supervisor: Date of oral examination: May 10th 2017 Abstract Electronic dance music (shortly EDM) in Serbia was an authentic phenomenon of popular culture whose development went hand in hand with a socio-political situation in the country during the 1990s. After the disintegration of Yugoslavia in 1991 to the moment of the official end of communism in 2000, Serbia was experiencing turbulent situations. On one hand, it was one of the most difficult periods in contemporary history of the country. On the other – it was one of the most original. In that period, EDM officially made its entrance upon the stage of popular culture and began shaping the new scene. My explanation sheds light on the fact that a specific space and a particular time allow the authenticity of transposing a certain phenomenon from one context to another. Transposition of worldwide EDM culture in local environment in Serbia resulted in scene development during the 1990s, interesting DJ tracks and live performances. The other authenticity is the concept that led me to research. This concept is mostly inspired by the book “Death of the Image” by philosopher Milorad Belančić, who says that the image today is moved to the level of new screen and digital spaces. The other authenticity offers another interpretation of a work, or an event, while the criterion by which certain phenomena, based on pre-existing material can be noted is to be different, to stand out by their specificity in a new context.
    [Show full text]
  • Red Sand: Canadians in Persia & Transcaucasia, 1918 Tom
    RED SAND: CANADIANS IN PERSIA & TRANSCAUCASIA, 1918 TOM SUTTON, MA THESIS ROUGH DRAFT, 20 JANUARY 2012 CONTENTS Introduction Chapter 1 Stopgap 2 Volunteers 3 The Mad Dash 4 Orphans 5 Relief 6 The Push 7 Bijar 8 Baku 9 Evacuation 10 Historiography Conclusion Introduction NOTES IN BOLD ARE EITHER TOPICS LEFT UNFINISHED OR GENERAL TOPIC/THESIS SENTENCES. REFERECNCE MAP IS ON LAST PAGE. Goals, Scope, Thesis Brief assessment of literature on Canada in the Russian Civil War. Brief assessment of literature on Canadians in Dunsterforce. 1 Stopgap: British Imperial Intentions and Policy in the Caucasus & Persia Before 1917, the Eastern Front was held almost entirely by the Russian Imperial Army. From the Baltic to the Black Sea, through the western Caucasus and south to the Persian Gulf, the Russians bolstered themselves against the Central Empires. The Russians and Turks traded Kurdistan, Assyria, and western Persia back and forth until the spring of 1917, when the British captured Baghdad, buttressing the south-eastern front. Meanwhile, the Russian army withered in unrest and desertion. Russian troops migrated north through Tabriz, Batum, Tiflis, and Baku, leaving dwindling numbers to defend an increasingly tenable front, and as the year wore on the fighting spirit of the Russian army evaporated. In the autumn of 1917, the three primary nationalities of the Caucasus – Georgians, Armenians, and Azerbaijanis – called an emergency meeting in Tiflis in reaction to the Bolshevik coup d'etat in Moscow and Saint Petersburg. In attendance were representatives from trade unions, civil employees, regional soviets, political parties, the army, and lastly Entente military agents.
    [Show full text]
  • Journalinthenigh009030mbp.Pdf
    3.50 JOURNAL IN THE NIGHT By THEODOR HAECKER Edited and translated^ with an introduction by AIJCK DRU Haecker, a German philosopher and re- ligious thinker, tran.slator of 'Kierkegaard and Newman, was deeply concerned with the harmony of faith and reason. This is the central theme of the Journal. Con- verted to Catholicism in 1920, Haecker was among the few who immediately recognized the character of ihe Nazi re- gime. He published his first article at- tacking it at the moment in which Hitler came to power. In consequence, he was arrested and, after his release, forbidden to lecture or to broadcast. His Journal was written at night, arid the pages hidden, as they were written, in a house in the country. This book, reminiscent in form of Pascal's Pensees, is his last testimony to the Lruth and a confession of faith that is a spon- taneous rejoinder to a particular moment in history. It is "written by a man intent, by nature, on the search for truth, and driven, by circumstance, to seek for it in anguish, in solitude, with an urgency that grips the reader. JACQUES MARATAIN on TUKODOR HAECKKK: Theodor Haecker was a man of deep in- a sight qnd rare intellectual integrity f "Knight of Faith" to use Kierkegaard s expression. The testimony of this great Christian has an outstanding value. I thank Pantheon Rooks for making so mag- nanimoits and* moving a work as his diary available to ^ American reader. DDD1 DS7t,fl 68-09952 193 H133J 193 H133J 68-09952 Haecker $3*50 Journal in the night Missouri gUpM lunsjs city, ** only Books will b2 issued of library card.
    [Show full text]
  • Brief Descriptions of Sites Inscribed on the World Heritage List
    July 2002 WHC.2002/15 Brief Descriptions of Sites Inscribed on the World Heritage List UNESCO 1972 CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE WORLD HERITAGE CENTRE Additional copies of the Brief Descriptions, and other information concerning World Heritage, in English and French, are available from the Secretariat: UNESCO World Heritage Centre 7, place de Fontenoy 75352 Paris 07 SP France Tel: +33 (0)1 45 68 15 71 Fax: +33(0)1 45 68 55 70 E-mail: [email protected] http://www.unesco.org/whc/ http://www.unesco.org/whc/brief.htm (Brief Descriptions in English) http://www.unesco.org/whc/fr/breves.htm (Brèves descriptions en français) BRIEF DESCRIPTIONS OF THE 730 SITES INSCRIBED ON THE WORLD HERITAGE LIST WORLD HERITAGE CENTRE, UNESCO, July 2002 STATE PARTY the Kbor er Roumia, the great royal mausoleum of Mauritania. Site Name Year of inscription Timgad 1982 [C: cultural; N: natural; N/C: mixed] (C ii, iii, iv) Timgad lies on the northern slopes of the Aurès mountains and was created ex nihilo as a military colony by the Emperor Trajan in A.D. 100. With its square enclosure and orthogonal design based on the cardo and decumanus, the two AFGHANISTAN perpendicular routes running through the city, it is an excellent example of Roman town planning. Minaret and Archaeological Remains of Jam 2002 (C ii, iii, iv) Kasbah of Algiers 1992 The 65m-tall Minaret of Jam is a graceful, soaring structure, dating back to the (C ii, v) 12th century. Covered in elaborate brickwork with a blue tile inscription at the The Kasbah is a unique kind of medina, or Islamic city.
    [Show full text]
  • The Mosaic of Neptune and the Seasons from La Chebba Is of Interest Not Only Because of Its Fine Workmanship but Also for Its Unique Combination of Familiar Motifs
    THE MOSAIC OF NEPTUNE AND THE SEASONS FRO:M LA CHEBBA THE, MOSAIC OF NEPTUNE AND THE SEASONS FR01VI LA CHEBBA by GIFTY AKO-ADOUNVO SUQmitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Gifty Ako-Adounvo, April 1991. MASTER OF ARmS McMASTER UNIVERSIT}: (Classical Studies) Hamilton, Ontario TITLE: The Mosaic of Neptun1e and the Seasons from La Chebba. AUTHOR: Gifty Ako-Adounvo, B.A. (Hons.) (University of Ghana). SUPERVISOR: Rrofessor KM.D. Dunbabin NUMBER OF PA@ES: xiii,. 1 ~,2 11 ABSTRACT This thesis analyses the Roman mosaic of Neptune and the Seasons from La Chebba in Nortk Africa (Africa Proconsularis). The mosaic was exeavated in 1902 in a seaside', villa at La Chebba which is about 10 km. south of El Alia. The mosaic has rec~ived but brief mention in publications since the beginning of the century, in s}i>ite, of its fascinating subject matter. Chapter 1 gives a detailed description of the mosaic, which depicts in a central medallion, Neptune standing in a frontal chariot attended by two members of the marine thiasos. ]:;'our female Seasons appear iin the corner diagonals of the pa"fvement. They are flanked by seasonal animals and little scenes of seasonal activity. These seasonal vignettes and the combination of Neptune with Seasqns are unique features of this mosaic. Chapter 2 deals with the subject of the "triumph"; its modern art historical terminology, its symbolism, and the iconography of Neptune's "triumph". Some very interesting parallels appear.
    [Show full text]
  • Gurevich, Mikhail. "‘
    Gurevich, Mikhail. "‘. The Film Is Not About That’: Notes on (Re)Reading Tale of Tales." Global Animation Theory: International Perspectives at Animafest Zagreb. Ed. Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji# and Hrvoje Turkovi#. New York: Bloomsbury Academic, 2019. 143–162. Bloomsbury Collections. Web. 27 Sep. 2021. <http:// dx.doi.org/10.5040/9781501337161.ch-009>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 16:15 UTC. Copyright © Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji#, Hrvoje Turkovi#, and Contributors and Cover image Zlatka Salopek 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 9 ‘. The Film Is Not About That’ 1 Notes on (Re)Reading Tale of Tales Mikhail Gurevich Preface My attempts at interpretative writing on Tale of Tales have a rather long history. The fi rst lengthy essay on the fi lm I wrote around 1987; it was published, in Russian, in a preprint- type collection of articles Multiplicatsiya, Animatograph, Fantomatika under the auspices of First All-Union Animation Festival Krok–89 (held in Kiev, not yet in fl oating- on-the- ship format). In the following years, I had a chance to discuss this topic in different forms at a couple of SAS conferences. In the 1990s, Jayne Pilling tried to prepare my text for publication in her Reader in Animation Studies and even commissioned a third- party translation to assist in my then uneasy English writing; those rather laborious efforts, however, did not result in publication in the end (I was using certain wording from that translation and joint editing in subsequent work).
    [Show full text]
  • Consuming Desire in Under the Skin
    humanities Article Consuming Desire in Under the Skin Yael Maurer y Independent Scholar, Tel Aviv 6997801, Israel; [email protected] Formerly at The English and American Studies Department, Tel Aviv University, Tel Aviv 6997801, Israel y (2010–2019). Received: 5 April 2020; Accepted: 29 April 2020; Published: 4 May 2020 Abstract: Jonathan Glazer’s 2013 film Under the Skin is a Gothicized science fictional narrative about sexuality, alterity and the limits of humanity. The film’s protagonist, an alien female, passing for an attractive human, seduces unwary Scottish males, leading them to a slimy, underwater/womblike confinement where their bodies dissolve and nothing but floating skins remain. In this paper, I look at the film’s engagement with the notions of consumption, the alien as devourer trope, and the nature of the ‘other’, comparing this filmic depiction with Michael Faber’s novel on which the film is based. I examine the film’s reinvention of Faber’s novel as a more open-ended allegory of the human condition as always already ‘other’. In Faber’s novel, the alien female seduces and captures the men who are consumed and devoured by an alien race, thus providing a reversal of the human species’ treatment of animals as mere food. Glazer’s film, however, chooses to remain ambiguous about the alien female’s ‘nature’ to the very end. Thus, the film remains a more open-ended meditation about alterity, the destructive potential of sexuality, and the fear of consumption which lies at the heart of the Gothic’s interrogation of porous boundaries.
    [Show full text]
  • The Other Classical Body: Cupids As Mediators in Roman Visual Culture
    The Other Classical Body: Cupids as Mediators in Roman Visual Culture The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mitchell, Elizabeth. 2018. The Other Classical Body: Cupids as Mediators in Roman Visual Culture. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41121259 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use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
    [Show full text]
  • Representations of Istanbul in Two Hollywood Spy Films About World War I and World War Ii
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES FILM REPRESENTATIONS OF ISTANBUL IN TWO HOLLYWOOD SPY FILMS ABOUT WORLD WAR I AND WORLD WAR II by H. ALİCAN PAMİR Thesis for the degree of Master of Philosophy October 2015 i ii UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES FILM Thesis for the degree of Master of Philosophy REPRESENTATIONS OF ISTANBUL IN TWO HOLLYWOOD SPY FILMS ABOUT WORLD WAR I AND WORLD WAR II Hüseyin Alican Pamir This thesis focuses on the representation of Istanbul in foreign spy films. Drawing on the work of Stephen Barber (2002), Charlotte Brundson (2007), David B. Clarke (1997) and Barbara Mennel (2008), the thesis proposes five city film properties, which are used when analysing Istanbul spy films. These properties are: first, ‘city landmarks, cityscapes and city spectacles’; second, ‘cinematic constructions of social life via social and power relations’; third, the ‘relationship between the protagonist and the city’; fourth, the ‘cinematic city trope and mise-en-scène’; and finally, the ‘story of a city’ or ‘the idea of a city’.
    [Show full text]
  • THE AMERICAN YAWP READER a Documentary Companion to the American Yawp Volume II
    THE AMERICAN YAWP READER A Documentary Companion to the American Yawp Volume II [http://www.americanyawp.com/reader.html] 1 Table of Contents Introduction .................................................................................................................... 7 16. Capital and Labor ....................................................................................................... 9 William Graham Sumner on Social Darwinism (ca.1880s) .............................................10 Henry George, Progress and Poverty, Selections (1879)......................................................12 Andrew Carnegie’s Gospel of Wealth (June 1889) ........................................................14 Grover Cleveland’s Veto of the Texas Seed Bill (February 16, 1887) ..............................16 The “Omaha Platform” of the People’s Party (1892) ....................................................18 Dispatch from a Mississippi Colored Farmers’ Alliance (1889) ......................................23 The Tournament of Today – A Set-To Between Labor and Monopoly ..........................27 Lawrence Textile Strike (1912) .....................................................................................28 17. The West ..................................................................................................................29 Chief Joseph on Indian Affairs (1877, 1879) .................................................................30 William T. Hornady on the Extermination of the American Bison (1889) ......................32
    [Show full text]
  • Place Images of the American West in Western Films
    PLACE IMAGES OF THE AMERICAN WEST IN WESTERN FILMS by TRAVIS W. SMITH B.S., Kansas State University, 2003 M.A., Kansas State University, 2005 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of Geography College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Abstract Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico.
    [Show full text]
  • The Films of Peter Weir
    THE CINEMATIC MYSTICAL GAZE: The films of Peter Weir RICHARD JAMES LEONARD Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy August 2003 Cinema Studies Program School of Fine Arts, Classical Studies and Archaeology The University of Melbourne Abstract Peter Weir is one of Australia’s most critically acclaimed and commercially successful directors. Ever since Weir’s feature film debut with The Cars that Ate Paris in 1974, his work has been explored for unifying themes. Scholars have analysed his films from many perspectives: the establishment of identification and identity especially through binary oppositions in the diegesis;1 the creation of an oneiric atmosphere as a way of exploiting the spectator’s dream experience;2 a clash of value systems;3 the ambiguous nature of narrative structure and character motivations leading to the creation of a sense of wonder;4 the experience of the protagonist placed in a foreign culture wherein conflict arises from social clashes and personal misunderstandings;5 and at the particular ways his films adapt generic codes in service of a discernible ideological agenda.6 To the best of my knowledge there has been no study of the mystical element of Weir’s work in relation to the construction of a cinematic mystical gaze or act of spectatorship. Within a culture defined by its secularity and a national cinema marked by quirky comedies and social realism, almost all of Weir’s films have been described as mystical, arcane or interested in metaphysics. Such an observation could warrant no further investigation if it is held that this critical commentary is but hyperbole in its attempt to grasp what constitutes a Peter Weir film.
    [Show full text]