The Man Behind the Myth
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Screening the Male: Exploring Masculinities in Hollywood Cinema I
SCREENING THE MALE Exploring masculinities in Hollywood cinema Edited by Steven Cohan and Ina Rae Hark London and New York First published 1993 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. Disclaimer: For copyright reasons, some images in the original version of this book are not available for inclusion in the eBook. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1993 Routledge, collection as a whole Individual chapters © 1993 respective authors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Screening the Male: Exploring Masculinities in Hollywood Cinema I. Cohan, Steven II. Hark, Ina Rae 791.4309 Library of Congress Cataloguing in Publication Data Screening the male: exploring masculinities in Hollywood cinema/edited by Steven Cohan and Ina Rae Hark. p. cm. 1. Men in motion pictures. 2. Sex in motion pictures. I. Cohan, Steven. II. Hark, Ina Rae. PN1995.9.M46S36 1993 791.43´652041–dc20 92–5815 ISBN 0–415–07758–3 (hbk) ISBN 0–415–07759–1 (pbk) ISBN 0–203–14221–7 Master e-book ISBN ISBN 0–203–22072–2 (Glassbook Format) 8 ANIMALS OR ROMANS Looking at masculinity in Spartacus Ina Rae Hark When Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ detailed how the cinematic apparatus and the conditions of cinema spectatorship invariably place woman as an object of the desiring male gaze, required to present herself as spectacle, its argument did not necessarily exclude the possibility that the apparatus could similarly objectify men who symbolically if not biologically lacked the signifying phallus. -
Ar Thur Koestler and Mysticism
AR THUR KOESTLER AND MYSTICISM by NILS BJORN KVASTAD ARTHUR Koestler was an influential writer during the first years after the war. His attacks on communism got a world-wide echo, in particular among intellectuals. To the reading public he was in the first place a political writer. But according to himself the political content is only one aspect of his literary production from his first years as an author. As important were some mystical experiences he had while sitting in one of Franco's prisons awaiting execution during the Spanish Civil War. These experiences had for him certain ethical impli cations, and an important theme in his first books was the contrast between the ethics derived from his mystical experiences on the one hand and Marxist-Leninist ethics as well as the ethical implications of Freudian psychoanalysis on the other. In his autobiography Koest ler writes about how his first books were influenced by his mysti cal experiences, or the 'hours by the window' as he called them: 'In the years that followed I wrote a number of books in which I at tempted to assimilate the (mystical) experiences of cell no. 40. Ethical problems had hitherto played no part in my writing, now they became its central concern. In 'The Gladiators', ( ...), and 'Darkness at Noon', ( .•. ), I tried to come to intellectual terms wi th the in tuiti ve glimp ses gained durin g the 'hours by th e win dow'. Both novels were variations on the same theme: the problem of Ends and Means, the conflict between transcendental morality and social expediency. -
Khachaturian BL1 V0 Brilliant 21/12/2011 16:55 Page 1
9256 Khachaturian_BL1_v0_Brilliant 21/12/2011 16:55 Page 1 9256 KH ACH ATURIAN GAY ANE H · SPAR TACUS Ball et Su ites BOLSHOI THEATRE O RCHESTRA EVGENY SVETLANOV Aram Khachaturian 1903 –1978 Khachaturian: Suites from Gayaneh and Spartacus Gayaneh – Ballet Suite Aram Ilyich Khachaturian was born in Tbilisi, Georgia, to a poor Armenian family. 1 Dance of the Rose Maidens 2’42 Although he was fascinated by the music he heard around him as a child, he remained 2 Aysha’s Dance 4’22 self-taught until the early 1920s, when he moved to Moscow with his brother, who had 3 Dance of the Highlanders 1’57 become stage director of the Second Moscow Art Theatre. Despite this lack of formal 4 Lullaby 5’53 training, Khachaturian showed such musical promise that he was admitted to the 5 Noune’s Dance 1’44 Gnessin Institute, where he studied cello and, from 1925, composition with the 6 Armen’s Var 1’58 Institute’s founder, the Russian-Jewish composer Mikhail Gnessin. In 1929, 7 Gayaneh’s Adagio 4’00 Khachaturian entered the Moscow Conservatory where he studied composition with 8 Lezghinka 2’57 Nikolai Myaskovsky and orchestration with Sergei Vasilenko. He graduated in 1934 9 Dance with Tambourines 2’59 and wrote most of his important works – the symphonies, ballets and principal 10 Sabre Dance 2’30 concertos – over the following 20 years. In 1951, he became professor at the Gnessin State Musical and Pedagogical Institute (Moscow) and at the Moscow Conservatory. Spartacus – Ballet Suite He also held important posts at the Composers’ Union, becoming Deputy Chairman of 11 Introduction – Dance of the Nymphs 6’04 the Moscow branch in 1937 and Vice-Chairman of the Organising Committee of Soviet 12 Aegina’s Dance 4’00 Composers in 1939. -
Unit 5:Entertainment Warriors
UNIT 5:ENTERTAINMENT WARRIORS Unit Overview This unit explores issues of stereotyping, violence, and the complex representation of men and women in the mass media. This unit analyzes the symbolic violence of sports, as well as the increasingly real violence found at sporting events. Students examine the role of violence as a form of entertainment by learning about Roman gladiatorial games and contemporary wrestlers. Many people have conflicting opinions about the sport of television wrestling today. Is it real or fake? Are the participants heroes or circus performers? Are they powerful or puppets? Is wrestling a male morality play or a training ground for violence? Students analyze the different types of entertainment warriors in our culture today and create an imaginary non-violent game or sporting event for the 21st century, and develop an ad, news media message, magazine cover, or website to promote it. Many activities in this unit are useful for exploring concepts in Character Education, including respect, fairness, self-discipline, and justice. The “essential questions” of this unit are: • How are contemporary entertainment warriors similar and different to those of the past? • How are gender stereotypes created, reinforced, or altered through sports and games, and what impact do they have on real people? • Why do people like to watch entertainment violence, and what impact does it have on our beliefs, attitudes, behaviors, and values? M - 113 UNIT 5:ENTERTAINMENT WARRIORS CLASSROOM ACTIVITIES 5.1 Rage in a Cage V5.1 Examine the role of women in the World Wrestling Federation in this critical reading activity and, in doing so, examine how the game promotes stereotypes. -
Uncivil Liberties and Libertines: Empire in Decay
Uncivil Liberties and Libertines: Empire in Decay MARIANNE MCDONALD 1. I’ve been a film nut from the time my parents would park me in a film theatre as their form of baby-sit- ting. My father invented phone vision, which was an early version of cablevision that allowed us to see newly released movies at home on our round television screen, which looked like an old Bendix washing machine. I wrote one of the earliest books on classics in cinema—and soon after, more books on the topic followed mine.1 I looked forward to seeing the films described in Ancient Rome, many of which I had not seen because I have avoided blood-fest films which invite being described with gore-filled ecstasy. (I have also avoided slasher movies, holocaust movies, and kiddie movies because they disturbed my possibly misguided sensi- bility.) The choices of films in Elena’s Theodorakopoulos’ book are all the work of interesting directors—some better than others, but the quality is, for the most part, high. The writ- ers for all these film scripts are generally outstanding. Good photography also seems to be a given. As we are told in the conclusion, “Whatever the story, spectacle is never far from Rome.” The key to assessing these treatments lies in the interpreta- tion of the portrayal of violence. Are we, the audience, ad- miring it? Calling for it, as we call for it in films by Quentin Tarentino, beginning with Reservoir Dogs (1992), or the se- ries called Saw, the seventh version (2010) now in 3-d? Do Elena Theodorakopoulos, Ancient Rome at the Cinema: Story and Spectacle in Hollywood and Rome. -
Spartacus (1960) More at Imdbpro »
IMDb Spartacus (1960) More at IMDbPro » Videos Photos (See all 47 | slideshow) Director: Stanley Kubrick See more » Writers: Howard Fast (novel) Dalton Trumbo (writer) See more » Release Date: 7 October 1960 (USA) See more » Genre: Action | Adventure | Biography | Drama | History See more » Tagline: They trained him to kill for their pleasure. .but they trained him a little too well. See more » Plot: The slave Spartacus leads a violent revolt against the decadent Roman empire. Full summary » | Full synopsis » Awards: Won 4 Oscars. Another 4 wins & 9 nominations See more » NewsDesk: (107 articles) The War Lord | DVD review (From The Guardian - Film News. 31 July 2010, 4:06 PM, PDT) Criterion Announces October DVD/Blu-ray Releases; Includes The Darjeeling Limited, The Magician, Paths Of Glory, The Darjeeling Limited, House and Seven Samurai (From Collider.com. 16 July 2010, 11:36 AM, PDT) Is Christopher Nolan the new Stanley Kubrick? (From The Guardian - Film News. 15 July 2010, 9:15 AM, PDT) rogerebert.com Home Reviews movie reviews Spartacus BY ROGER EBERT / May 3, 1991 At the time of its first release in 1960, "Spartacus" was hailed as the first intellectual epic since the silent days - the first Roman or Biblical saga to deal with ideas as well as spectacle. Even the ending was daring. The crucified hero is denied a conventional victory, and has to be consoled with the hope that his ideas will survive. Seen three decades later in a lovingly restored version, "Spartacus" still plays like an extraordinary epic, and its intellectual strength is still there. But other elements of the film have dated. -
Shadow Games Written by Miranda Kwok 1
Shadow Games Written by Miranda Kwok 1. FADE IN: EXT. TRAINING SQUARE - BATIATUS' LUDUS - DAY SPARTACUS, reinstated from the Pits, spars with HAMILCAR in a rotating drill with the other GLADIATORS. Bruises and scrapes still mar his flesh, but he trains with focus and determination. DOCTORE cracks his whip. DOCTORE Switch! The Gladiators switch partners. Every man is drenched in sweat, lips cracked from lack of water. The drought has taken its toll. VARRO grins, crossing sword and shield with Spartacus. After a few beats, Doctore cracks his whip. DOCTORE (cont'd) Switch! CRIXUS moves into position opposite Spartacus, attacking. Spartacus tries to keep a steady pace, but Crixus strikes hard, pressing beyond the exercise. Doctore cracks his whip. DOCTORE (cont'd) Switch! GNAEUS, exhausted and winded, moves to face Spartacus -- but Crixus doesn’t give way. He continues to press, catching Spartacus by surprise. Spartacus stumbles back, barely deflecting the blows. Crixus raises his practice sword to crack Spartacus' skull. DOCTORE (cont'd) Crixus! Crixus freezes. Doctore steps closer, displeased. DOCTORE (cont'd) Did you not hear the command? CRIXUS Apologies, Doctore. I hope I did not frighten the rabbit. Snickers from the men. Doctore glares. DOCTORE The games of the Magistrate approach. Listen carefully to my instructions, and every man chosen will see victory in the arena. (CONTINUED) 2. CONTINUED: Gnaeus swoons from the heat in the background, collapses to the ground. DOCTORE (cont'd) Perhaps not every man. PIETROS rushes over to Gnaeus with a skin of water. DOCTORE (cont'd) Save rations for men who deserve them. -
A Different 'Darkness at Noon'
The New York Review of Books April 7, 2016 A Different ‘Darkness at Noon’ by Michael Scammell Rene Saint Paul/RDA/Everett Collection Arthur Koestler, circa 1950 Last July a German doctoral student named Matthias Weßel made a remarkable discovery. He was examining the papers of the late Swiss publisher Emil Oprecht for a dissertation on Arthur Koestler’s transition from writing in German to writing in English at the end of the 1930s. Oprecht was a left-wing fellow traveler who had founded his famous publishing house Europa Verlag in Zurich in 1933, and was well known for his anti-Nazi views and support for writers in exile, including Thomas Mann, Stefan Zweig, Ignazio Silone—and the young Arthur Koestler. Weßel told me that at the time, “I was looking for letters and royalty reports, because I wanted to know how many copies were printed of the first German edition of Koestler’s Spanish Testament.” He failed to find the answer to his question, but while looking over the Europa holdings in the Zurich Central Library he came across a cryptic entry: “Koestler, Arthur. Rubaschow: Roman. Typoskript, März 1940, 326 pages.” This was extremely odd. Weßel knew of no such novel (Roman) in Koestler’s German writings, but the name Rubaschow rang a bell. Rubaschow (in English, Rubashov) is the hero of Koestler’s finest novel, Darkness at Noon. Weßel hardly dared think about what he had found, suspecting a sequel or perhaps a false entry, for it was well known that the original text of the novel—the last one Koestler wrote in German before he switched to English—was lost during his flight from France at the start of World War II. -
Spartacus: the Gladiator
Spartacus: The Gladiator BEN KANE 3327Y_tx.indd27Y_tx.indd iiiiii 118/10/20118/10/2011 008:298:29 Published by Preface Copyright © Ben Kane Ben Kane has asserted his right to be identified as the author of this work under the Copyright, Designs and Patents Act This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition, including this condition, being imposed on the subsequent purchaser First published in Great Britain in by Preface Publishing Vauxhall Bridge Road London, An imprint of The Random House Group Limited www.randomhouse.co.uk www.prefacepublishing.co.uk Addresses for companies within The Random House Group Limited can be found at www.randomhouse.co.uk The Random House Group Limited Reg. No. A CIP catalogue record for this book is available from the British Library Hardback ISBN Trade Paperback ISBN The Random House Group Limited supports The Forest Stewardship Council (FSC®), the leading international forest certifi cation organisation. Our books carrying the FSC label are printed on FSC® certifi ed paper. FSC is the only forest certifi cation scheme endorsed by the leading environmental organisations, including Greenpeace. Our paper procurement policy can be found at www.randomhouse.co.uk/environment Typeset in Fournier MT by Palimpsest Book Production Limited Falkirk, Stirlingshire Printed and bound in Great Britain by Clays Ltd, St Ives PLC 3327Y_tx.indd27Y_tx.indd iivv 118/10/20118/10/2011 008:298:29 Chapter I South-western Thrace, autumn BC hen the village came into sight at the top of a distant hill, a W surging joy filled him. -
Sallust's Histories and Triumviral Historiography
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Sallust's Histories and Triumviral Historiography Jennifer Gerrish University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Classics Commons Recommended Citation Gerrish, Jennifer, "Sallust's Histories and Triumviral Historiography" (2012). Publicly Accessible Penn Dissertations. 511. https://repository.upenn.edu/edissertations/511 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/511 For more information, please contact [email protected]. Sallust's Histories and Triumviral Historiography Abstract This dissertation explores echoes of the triumviral period in Sallust's Histories and demonstrates how, through analogical historiography, Sallust presents himself as a new type of historian whose "exempla" are flawed and morally ambiguous, and who rejects the notion of a triumphant, ascendant Rome perpetuated by the triumvirs. Just as Sallust's unusual prose style is calculated to shake his reader out of complacency and force critical engagement with the reading process, his analogical historiography requires the reader to work through multiple layers of interpretation to reach the core arguments. In the De Legibus, Cicero lamented the lack of great Roman historians, and frequently implied that he might take up the task himself. He had a clear sense of what history ought to be : encomiastic and exemplary, reflecting a conception of Roman history as a triumphant story populated by glorious protagonists. In Sallust's view, however, the novel political circumstances of the triumviral period called for a new type of historiography. To create a portrait of moral clarity is, Sallust suggests, ineffective, because Romans have been too corrupted by ambitio and avaritia to follow the good examples of the past. -
Leadership Lessons from Spartacus
LEADERSHIP LESSONS FROM SPARTACUS Spartacus was a Thracian gladiator, who led a slave revolt and defeated the Roman forces several times as he marched his army up and down the Italian peninsula until he was killed in battle in April 71 BC. He is a figure from history who has inspired revolutionaries and filmmakers, although scholars do not have significant amounts of information about him. Only accounts from a few ancient writers have survived to this day, and none of these reports were written by Spartacus or his supporters. Background According to the main two sources at the time, Appian of Alexandria and Plutarch of Chaeronea, Spartacus was born around 111 BC. in Thrace, whose boundaries today would encapsulate parts of Bulgaria, Greece and Turkey. This was an area in Southeast Europe that the Roman’s were often trying to subjugate in the first century. Spartacus appears to have served in a Roman auxiliary unit for a time, and he either deserted or became an insurgent against the Romans. He was therefore captured and forced into enslavement. Due to his strength and stature, he was sold as a slave to Lentulus Batiatis, owner of the gladiatorial school, Ludus in Capua, 110 miles from Rome. Spartacus was considered a heavyweight gladiator called a “murmillo”. However, Spartacus was a rebel. In 73 BC, Spartacus was among a group of 78 gladiators who plotted an escape from Ludus. Spartacus and his co-leaders, Gaul’s Oenomaus and Crixus broke out of the barracks, seized kitchen utensils, and took several wagons of weapons and armour. -
Against Slavery and Oppression in Stanley Kubrick's Spartacus
AGAINST SLAVERY AND OPPRESSION IN STANLEY KUBRICK’S SPARTACUS : A MARXIST APPROACH RESEARCH PAPER Submitted as a Partial Fulfillment of the Requirements for getting Bachelor Degree of Education in English Department by PALUPI MARTANTI A 320 050 271 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2009 0 CHAPTER I INTRODUCTION A. Background of the Study Spartacus is an historical Epic Movie. It is based on the 1951 historical novel of the same name by Howard Fast. The movie is directed by Stanley Kubrick and produced by Kirk Douglas. Douglass is not only producer but also the actor as Spartacus. It is distributed by Universal. Moreover, Spartacus begins shooting on 27 January 1959 and release on 6 October 1960. It takes place in Italy but it is filmed in different place out of Italy. For example, the beginnings of the movie with salt mine in California’s Death Valley National Park and the battle Scenes in Spain. According to Cineaste who states in internet that it spends an expensive production about $12 million that take 167 days to film. It premieres in New York City on 6th October 1960 with run time 184 minutes and re-release in 1967 with run time 161 minutes and again re- release in 1991 with run time 198 minutes. Spartacus is the name of major character in Spartacus movie and he is a slave that revolt against slavery and oppression in the year 71 B.C. The film begins with slaves working in the Roman Province of Libya where a Roman soldier whips and tells to Thracian slave named Spartacus to go back to work.