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The Middle Ages in Usa Cinema
THE MIDDLE AGES IN USA CINEMA Date of reception: 19"' of Fehruary, 2008 Final date of acceptance: 6'h of May, 2008 The cinema is today one of the world's most widespread means of entertainment and spreading knowledge. Nowadays, over 3,300 million peoplc live in i~rhanareas. Al1 these people are porential consumers of films from an early age. No scientific dis- cipline can ignore the irnportance and significance that the seventh art has acquired as a vehicle for transmitting knowledge and wisdom. The Middle Ages is a historical period that the cinema has recreated since its origins and still does in recent epic films. The aim of this article is to examine the vision of the Middle Ages projected through íilms made in the United States of America. KEYWORDS Cinema, Middle Agcs, United States Ars cinematoyraphica, Medium Aeirum, Foederatae Arnericae Septeiitrionalis Ciuitates. l. Pedagogy of the image and the cinema The use of the image as a historical document, especially in media such as pho- tography and cinema, is one of tlie recent novelties in the field of historiography with different types of documentation being ever more frequenily used. Together with literary texts and oral testimonies, images also have an important role.' At the beginning of the 21" ceeritury, most of the planet's population with access to audiovisual media spends more time watching television or cinema than reading. In America, figures from the early nineties show that audiovisual media were used over fifty times more than books.' In 2008, these proportions must surely have in- creased considerably, as there has been a spectacular rise in the audiovisual media globally over the last fifteen years. -
Staging Orson Welles
STAGING ORSON WELLES Matthew Christopher Gretzinger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Stephannie Gearhart Graduate Faculty Representative Dr. Scott Magelssen Dr. Cynthia Baron ii ABSTRACT Dr. Jonathan Chambers, Advisor In this study I consider the legacy of Orson Welles as a stage figure puppeted in a collective theatre of memory. The study builds on Jonathan Rosenbaum's observation that Welles remains a "mythical and ideological creature" and a "site for the acting out of various fantasies." Referencing Marvin Carlson's The Haunted Stage and Joseph Roach's Cities of the Dead, I apply their insights to three plays that feature Welles as a pivotal character: Jason Sherman's It's All True, Austin Pendleton's Orson's Shadow, and the Naomi Iizuka-Anne Bogart collaboration, War of the Worlds. My central concern is to consider the ways we remember and stage Welles and, in light of Rosenbaum's insight, to also question the myths and ideologies those stagings act out. A corollary to my interrogation of Welles's stage figure as a site of memory is my conviction that the collective memory of Welles's life and work might be staged more usefully. The plays considered approach Welles from different perspectives. However, all – to varying degrees – assess negative judgments. Welles's legacy has been subject to conflicting interpretations, and the arbitration of his historical and remembered significance is a process with important consequences. -
GOTHIC: the DARK HEART of FILM Season Launches on 21 October at BFI SOUTHBANK, London
GOTHIC: THE DARK HEART OF FILM Season Launches on 21 October at BFI SOUTHBANK, London Part 1: MONSTROUS & Part 2: THE DARK ARTS Featuring special guests Roger Corman, Dario Argento and George A Romero Plus previews and events with Sir Christopher Frayling, Charlie Brooker, Charlie Higson, Russell Tovey, Anthony Head, Benjamin Zephaniah, Mark Gatiss, John Das, Philip Saville and Sarah Karloff The BFI blockbuster project GOTHIC: THE DARK HEART OF FILM launches at BFI Southbank on Monday 21 October and runs until Friday 31 January 2014. With the longest running season ever held to celebrate GOTHIC, one of Britain’s biggest cultural exports. An interview with the legendary director Roger Corman (The Masque of the Red Death, 1964) on 25 October will be followed with a haunting Hallowe’en that will fill BFI screens with mummies and vampires – old and new. Exclusive Film and TV previews will feature on-stage interviews with cinema luminaries such as George A Romero (Night of the Living Dead, 1968) and Dario Argento (Suspiria, 1976), and Sonic Cinema music nights such as the UK premiere of the Roland S Howard (The Birthday Party, Crime and the City Solution) documentary Autoluminescent (2011), accompanied by a live performance from Savages and HTRK. There will be specially curated exhibitions in the Atrium and Mezzanine that offer the chance to view the original contracts for Peter Cushing and Sir Christopher Lee at Hammer and Truman Capote’s handwritten screenplay for The Innocents (1961), plus Mediatheque programmes from the BFI National Archive, horribly good Family Fundays, education events and panel discussions, while across the length and breadth of the UK, GOTHIC will thrill audiences with fantastic screenings and restored films, starting with Werner Herzog’s Nosferatu the Vampyre (1979) on 31 October. -
Museum Calendar
WoodmereArtMuseum 9201 Germantown Avenue Philadelphia, PA 19118 Museum Store Woodmere Art Museum’s Holiday Store is open November 12 through December 31, 2016. Don’t miss the opportunity to shop for unique and handmade gifts of every variety! Free Parking | Gift Wrapping Woodmere Art Museum receives arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency. Support is also provided by the Philadelphia Cultural Fund. EXHIBITIONS, PROGRAMS, MUSIC, AND EVENTS MUSEUM CALENDAR MUSEUM CALENDAR Woodmere Fall/Winter 2016–17 Fall/Winter ArtMuseum FREE on Sundays EXHIBITIONS Arthur B. Carles and His Expanding Circle: An Exhibition in Honor of Frances M. Maguire August 20, 2016–March 19, 2017 Lecture: The Unbroken Circle: The Expressive Colors of Philadelphia Painters Saturday, November 12, 1:00 p.m. Lecturer: Bill Scott, artist Open house: Saturday, November 12, 2:00–4:00 p.m. Arthur B. Carles and His Expanding Circle tells the story of Arthur B. Carles (1882–1952) and his influence on the development of modernism and abstract painting in Philadelphia. Best known for his daring use of color and the verve of his personality, Carles was an influential instructor at the Pennsylvania Academy of the Fine Arts (PAFA) who embraced the modern age and introduced his students to the work and ideas of European avant-garde. This exhibition offers a rich account of Carles and the generations of artists inspired by him—distinguished students of his circle who became leading modernist voices in Harry Bertoia: In conjunction with the outdoor installation, Philadelphia, such as Morris Blackburn, Quita Free Interpretations this exhibition features a number of Brodhead, and Jane Piper. -
Pp. 235-254, OUP, 2002 BUGS and BEASTS BEFORE the LAW1 on 5
Nicholas Humphrey. Chapter 18 in “The Mind Made Flesh”, pp. 235-254, OUP, 2002 BUGS AND BEASTS BEFORE THE LAW1 On 5 March 1986 some villagers near Malacca in Malaysia beat to death a dog, which they believed was one of a gang of thieves who transform themselves into animals to carry out their crimes.. The story was reported on the front page of the London Financial Times. "When a dog bites a man," it is said, "that's not news; but when a man bites a dog, that is news". Such stories, however, are apparently not news for very long. Indeed the most extraordinary examples of people taking retribution against animals seem to have been almost totally forgotten. A few years ago I lighted on a book, first published in 1906, with the surprising title "The Criminal Prosecution and Capital Punishment of Animals" by E.P.Evans, author of "Animal Symbolism in Ecclesiastical Architecture," "Bugs and Beasts before the Law," etc., etc.2 The frontispiece showed an engraving of a pig, dressed up in a jacket and breeches, being strung up on a gallows in the market square of a town in Normandy in 1386; the pig had been formally tried and convicted of murder by the local court. When I borrowed the book from the Cambridge University Library, I showed this picture of the pig to the librarian. "Is it a joke?", she asked. No, it was not a joke.3 All over Europe, throughout the middle-ages and right on into the 19th century, animals were, as it turns out, tried for human crimes. -
BFI DVD/ BLU-RAY CATALOGUE Autumn 2019 BFI DVD/BLU-RAY CATALOGUE Autumn 2019
BFI DVD/ BLU-RAY CATALOGUE Autumn 2019 BFI DVD/BLU-RAY CATALOGUE Autumn 2019 Our catalogue of over 300 titles includes classics and rediscoveries from the history of British film and TV; essential British documentary collections; and the very best in World Cinema. Highlights include: • Our hugely acclaimed box sets Dissent & Disruption The Complete Alan Clarke at the BBC (1969-1989) and Woodfall: A revolution in British Cinema • Collections by leading auteurs including Akira Kurosawa, Yasujiro Ozu, Werner Herzog, Pier Paolo Pasolini, Alain Robbe-Grillet and Derek Jarman • New restorations by the BFI National Archive of silent cinema classics including Napoleon, The Epic of Everest, The Great White Silence and Shiraz: A Romance of India • The British Transport Film collection • Our standalone Flipside collection – which celebrates cult and critically- overlooked British film We are committed to featuring the best digital transfers, and including exclusive extra content and comprehensive illustrated booklets. You can buy our DVD and Blu-rays from all good retailers including Amazon, HMV, Foyles and Fopp. You can also buy direct from the BFI Shop. BFI Members enjoy 15% discount. BFI Shop BFI Southbank Belvedere Road London SE1 8XT 020 7815 1350 [email protected] You can find out more about BFI DVDs / Blu-rays at: shop.bfi.org.uk @BFI @BFIfilms BFI DVD/BLU-RAY CATALOGUE 2 * Also available on Blu-ray ** Available on Dual Format Edition (Blu-ray + DVD) *** Blu-ray only BRITISH FICTION: CINEMA / TV THE CROWDED DAY + SONG OF PARIS ** John Guillermin -
July 2015 at BFI Southbank
July 2015 at BFI Southbank SEASONS London on Film / Onstage: actors James Fox, Mark Lester and Ian Hart, director Waris Hussein, producer Sandy Lieberson Orson Welles: The Great Disruptor Part 1 / Onstage: producer Leslie Megahey The Complete Dennis Potter: Messages for Posterity – Part 4: Sex and Death / Onstage: actors Alison Steadman, Janet Suzman and Kika Markham, directors Renny Rye and Jon Amiel, producer Kenith Trodd The 10 Greatest Documentaries of All Time London Indian Film Festival / Onstage: directors Ananth Narayan and Aditya Vikram Sengupta EVENTS, PREVIEWS AND REGULAR STRANDS SONIC CINEMA: Public Service Broadcasting Live at BFI Southbank, How We Used to Live with Saint Etienne live soundtrack (Paul Kelly, 2013), Preview: Eden (Mia Hansen-Løve, 2014) / Onstage: bands Public Service Broadcasting and Saint Etienne FAMILY FUNDAY PREVIEW: Inside Out (3D) (Pete Docter, 2015) / Onstage: Director Pete Docter, Producer Jonas Riveras CULT: DEATH IN THE FAMILY – Parents (Bob Balaban, 1989), Society (Brian Yuzna, 1989) BFI FLARE: Heavenly Creatures (Peter Jackson, 1994), Free Fall (Stephen Lacant, 2013) MEMBER EXCLUSIVES: Member Pick: Don’t Look Now (Nicolas Roeg, 1973) AUDIENCE CHOICE: On the theme of music festivals AFRICAN ODYSSEYS: Njinga, Queen of Angola (Sérgio Graciano, 2013) / Onstage: historian Dr Ama Biney ESSENTIAL EXPERIMENTS: Stalking London / Onstage: artist Cordelia Swann EXTENDED RUNS Touch of Evil (Orson Welles, 1958), part of Orson Welles Magician: The Astonishing Life and Work of Orson Welles (Chuck -
MOVIES Revised 04/11/2019 12 YEARS a SLAVE: (2013) 134 Minutes
MOVIES Revised 04/11/2019 12 YEARS A SLAVE: (2013) 134 minutes. Chiwetel Ejiofor, Michael Fassbender. Based on the true story of Solomon Northup. In 1841, Northup, an accomplished, free citizen of New York, is kidnapped and sold into slavery. Stripped of his identity and deprived of all dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength within to survive. DVD ABSENCE OF MALICE: (1981) 116 minutes. Paul Newman, Sally Field. A labor leader disappears. The prosecutor leaks false information about a businessman (Newman), whose father was a gangster, to a reporter (Fields) in the hopes of pressuring the businessman into providing information. DVD ABSOLUTE POWER: (1997) 121 minutes. Clint Eastwood, Gene Hackman, Ed Harris. The President believes that everything he does is beyond reproach, including an affair or two. That leads to murder and everyone around him is involved. There is only one witness, a thief named Luther Whitney. They are sure he'll talk, but when? DVD THE ACCUSED: (1988) 106 minutes. Jodie Foster, Kelly McGillis. District Attorney (McGillis) encourages rape victim (Foster) to press charges. The film focuses on the legal system's treatment of the crime and its victim. Jodie Foster won an Oscar for her performance. DVD ADAM'S RIB: (1949) 101 minutes. Spencer Tracy, Katherine Hepburn. Though married, D.A. (Tracy) and defense counsel (Hepburn) square off in a case involving a woman who shot her cheating husband. B & W. DVD ADVISE AND CONSENT: (1962) 142 minutes. Henry Fonda, Charles Laughton, Walter Pidgeon. Charles Laughton's last performance, the film provides a behind-the-scenes view of the Washington political machine, full of shady characters. -
Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film
ORSON WELLES’ INTERMEDIAL VERSIONS OF SHAKESPEARE IN THEATRE, RADIO AND FILM by Clara Fernández-Vara B.A. English Studies, Universidad Autónoma de Madrid (Spain), 2000 Thesis Supervisor: Peter S. Donaldson Submitted to the Department of Comparative Media Studies in partial fulfilment of the requirements for the degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology, September 2004. © 2004 Clara Fernández-Vara. All rights reserved The author thereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. 2 3 INDEX ABSTRACT .......................................................................................................................... 5 INTRODUCTION ................................................................................................................ 9 PARADOXES AND AMBIGUITIES IN ORSON WELLES’ OEUVRE ............................................ 17 ORSON WELLES AS AUTEUR ............................................................................................... 23 THESIS STRUCTURE............................................................................................................ 31 CHAPTER 1: 1937-1939: THE FEDERAL THEATRE PROJECT AND FAUSTUS; THE MERCURY THEATRE AND JULIUS CAESAR .................................................. 36 THE FABRICATION OF A THEATRE STAR ............................................................................ 36 THE FEDERAL THEATRE PROJECT: THE -
BFI DVD/ BLU-RAY CATALOGUE Summer/Autumn 2016 BFI DVD/BLU-RAY CATALOGUE Summer/Autumn 2016
BFI DVD/ BLU-RAY CATALOGUE Summer/Autumn 2016 BFI DVD/BLU-RAY CATALOGUE Summer/Autumn 2016 Our catalogue of over 300 titles includes classics and rediscoveries from the history of British film and TV; essential British documentary collections; and the very best in World Cinema. Highlights include: • Our hugely acclaimed box set Dissent & Disruption The Complete Alan Clarke at the BBC (1969-1989) • Collections by leading auteurs including Akira Kurosawa, Yasujiro Ozu, Werner Herzog, Pier Paolo Pasolini and Alain Robbe-Grillet • New restorations by the BFI National Film Archive of rare British silent cinema including The Epic of Everest, Underground and The Great White Silence • The British Transport Film collection • Our standalone Flipside collection – which celebrates cult and critically- overlooked British film We are committed to featuring the best digital transfers, and including exclusive extra content and comprehensive illustrated booklets. You can buy our DVD and Blu-rays from all good retailers including Amazon, HMV, Foyles and Fopp. You can also buy direct from the BFI Shop. BFI Members enjoy 15% discount. BFI Shop BFI Southbank Belvedere Road London SE1 8XT 020 7815 1350 [email protected] You can find out more about BFI DVDs / Blu-rays at: shop.bfi.org.uk facebook/bfi twitter @bfi youtube BFI films BFI DVD/BLU-RAY CATALOGUE 2 * Also available on Blu-ray ** Available on Dual Format Edition (Blu-ray + DVD) *** Blu-ray only BRITISH FICTION: CINEMA / TV AKENFIELD** Peter Hall THE DEVILS (2-DISC) Ken Russell ALAN CLARKE AT THE BBC VOLUME -
Film Before and After New Media, Anec-Notology, and the Philological Uncanny 1
9780230601253ts08.qxd 03/11/2010 08:08 AM Page 187 Notes Introduction: Film before and after New Media, Anec-notology, and the Philological Uncanny 1. Scholars of medieval and Renaissance literature, history, and art history have drawn similar analogies between medieval and early modern media for close to a century (Poucet 1952a, Poucet 1952b, Renoir 1958 and 1960). The earliest instance of the analogy I have found is the art historian Dagobert Frey’s (1929) comparison of Gothic painting to film. Kendrick (1999) com- pares what she calls “animated” letters in medieval manuscripts to contem- porary electronic media: “It is not difficult to think of analogies between imaging technologies being integrated into modern electronic writing and those used by early medieval scribes—for example, variable scaling or ‘zoom’ effects and greatly enlarged letters of the chi-rho page of the Book of Kells” (3). In his book on the history of the bookshelf, Petroski (1999) simi- larly maintains that present-day print and television journalism “still oper- ates on the medieval model of book production” (38–39). Rhodes and Sawday (2000) have edited a book entitled The Renaissance Computer in which they and the other contributors compare the modern computer with early modern book machines of encyclopedic memory. More broadly, Hayles (2003) calls for a rethinking of the translation of books from print to electronic media with attention paid not only to “the relation of linguistic and bibliographic codes” but also to “the relation of meaning to digital codes” (265). Similar links have been drawn between predigital and digital media. -
Realism, Myth and the Painter in British Literature, 1800-1855
VYING FOR AUTHORITY: REALISM, MYTH, AND THE PAINTER IN BRITISH LITERATURE, 1800-1855 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Margaret J. Godbey May, 2010 Examining Committee Members: Sally Mitchell, Advisory Chair, English Susan Wells, English Peter Logan, English Kristine Garrigan, English, DePaul University, Chicago Margaret Diane Stetz, External Member, English, University of Delaware © Copyright 2010 by Margaret J. Godbey All Rights Reserved ii ABSTRACT Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed.