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Flying Man and Falling Man: Remembering and Forgetting 9/11 Graley Herren Xavier University - Cincinnati
Xavier University Exhibit Faculty Scholarship English 2014 Flying Man and Falling Man: Remembering and Forgetting 9/11 Graley Herren Xavier University - Cincinnati Follow this and additional works at: http://www.exhibit.xavier.edu/english_faculty Part of the English Language and Literature Commons Recommended Citation Herren, Graley, "Flying Man and Falling Man: Remembering and Forgetting 9/11" (2014). Faculty Scholarship. Paper 3. http://www.exhibit.xavier.edu/english_faculty/3 This Book Chapter/Essay is brought to you for free and open access by the English at Exhibit. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Exhibit. For more information, please contact [email protected]. 9 Flying Man and Falling Man Remembering and Forgetting 9 /11 Graley Herren More than a decade after the September 11 attacks, Ame~cans continue struggling to assimilate what happened on that day. This chapter consi ders how key icons, performances, and spectacles have intersected with narrative reconstructions to mediate collective memories of 9/11, within New York City, throughout the United States, and around the globe. In Cloning Tenvr: The War of Images, 9/11 to the Present, W. J. T. Mitchell starts from this sound historiographical premise: "Every history is really two histories. There is the history of what actually happened, and there is the history of the perception of what happened. The first kind of history focuses on the facts and figures; the second concentrates on the images and words that define the framework within which those facts and figures make sense" (xi). What follows is an examination of that second kind of history: the perceptual frameworks for making sense of 9/11, frameworks forged by New Yorkers at Ground Zero, Americans removed from the attacks, and cultural creators and commentators from abroad. -
Petra Sprecher, Cirque Du Soleil Trapeze Artist World Taurus Stunt Awards Nominee for Best High Work and Best Overall Stunt by a Woman, Stuntwoman of the Year Nom
PETRA SPRECHER, CIRQUE DU SOLEIL TRAPEZE ARTIST WORLD TAURUS STUNT AWARDS NOMINEE FOR BEST HIGH WORK AND BEST OVERALL STUNT BY A WOMAN, STUNTWOMAN OF THE YEAR NOM SAG-AFTRA www.PetraSprecher.com Height: 5’8 Email: [email protected] Weight: 145 Mobile: 323-447-3090 Hair: Brown Google: 424-244-2909 Eyes: Brown PERSONAL STATEMENT: I’ve been in the entertainment industry since I’m six years old, touring with the Circus! Now, I am a Stuntwoman and I truly enjoy working for Film and Television; whether it’s to double an actor or to play A stunt role, the enthusiasm and gratitude remain the same! With every booking, I create and deliver an Effortless performance with attention to detail. I’m a professional. HIGHLIGHTS IN FILM: Ad Astra, Independence Day: Resurgence, Flight, The House, 50 Shades of Black, Eagle Eye, Hancock, Evan Almighty, Aeon Flux, Scary Movie, Pirates, Men in Black, The Time Machine, Minority Report HIGHLIGHTS IN TELEVISION: Lovecraft Country, Star Trek: Picard, Loki, Lethal Weapon, Little Big Shots, Scandal, The Criminal Minds, Feed The Beast, Castle, Extant, CSI: NY, Tyler Perry’s The Haves And The Havenots, Ugly Betty, Alias ACTORS DOUBLED: Mariah Carey, Rihanna, Vanessa Williams, Vivica A. Fox, Kimberly Elise, Paula Patton, Aisha Tyler, Rosario Dawson, Sophie Okonedo, Queen Latifah, Oprah Winfrey, Tamara Tunie, Meta Golding, Caroline Chikezie, Angela Robinson, April Parker-Jones, Christine Adams, Merrin Dungey, Gina Torres COORDINATORS WORKED FOR: Yan Dron, Buddy Sosthand, Rob Alonzo, Pete Bucossi, Simon Crane, Tom Elliott, -
Man on Wire Discussion Guide
www.influencefilmclub.com Man on Wire Discussion Guide Director: James Marsh Year: 2008 Time: 94 min You might know this director from: Project Nim (2011) Shadow Dancer (2012) The King (2005) FILM SUMMARY MAN ON WIRE is the story of French tightrope walker Philippe Petit who, on August 7, 1974, broke into the newly constructed Twin Towers of Manhattan. After months of painstaking preparations, he managed to enter the buildings during the night and string a wire between the two towers. For the next 45 minutes, Philippe Petit walked, danced, kneeled, and laid down on the wire - an expeirence he had dreamt of ever since he read about the Twin Towers six years before. Using contemporary interviews, archival footage, and Philippe’s own creations, this film tells the story of Philippe’s previous walks between towers such as the Notre Dame and the Sydney Harbour Bridge. Viewers learn about his passions, his friendships, and how he accomplished his Twin Towers walk, from getting the wire into the towers and hiding from guards to mounting the wire and taking the first step. The result is a story of daring, beauty, dedication to the point of insanity, loyalty and heartbreak, and the firm belief that nothing is impossible. Discussion Guide Man on Wire 1 www.influencefilmclub.com FILM THEMES On the surface, MAN ON WIRE may appear to be about one man’s determination to achieve his dream, but the story reveals a lot about human nature, from friendship and loyalty to dreaming beyond the norm “I must be a and achieving the impossible. -
Smithsonian Institution News
Smithsonian Institution News June 5, 2017 Media only: Angelica Aboulhosn (202) 633-0644; [email protected] Media website: http://newsdesk.si.edu Smithsonian Folklife Festival Spotlights Circus Arts To mark its 50th anniversary, the 2017 Smithsonian Folklife Festival will highlight the vibrant cultural and artistic expressions of the circus from diverse communities across the country. Featuring a Big Top circus tent on the National Mall, the “Circus Arts” program will take visitors behind the scenes to explore everything from traditions passed down through generations to many of the new expressions that reflect changing social and cultural mores that have always been a hallmark of circus life, work and artistry. The program will feature intimate workshops, full-scale performances and an interactive Circus School where visitors can meet and learn from master artists from across five major circus disciplines: acrobatics, aerials, clowning, equilibristics (e.g., tightrope walking) and object manipulation (e.g., juggling). Visitors to the Festival can also meet artists and coaches, costume designers, makeup artists, riggers and more. The Festival will be held Thursday, June 29, through Tuesday, July 4, and Thursday, July 6, through Sunday, July 9, on the National Mall between Seventh and 12th streets. Admission is free. Festival hours are from 11 a.m. to 5 p.m. each day, with evening dance parties at 5:30 p.m. and circus performances at 7 p.m. Daily matinee performances in the Big Top will include “Wonderland,” a vibrant and dramatic circus adaptation of “Alice in Wonderland” performed by Circus Juventas, a youth circus school in St. -
Linguistic Variation of the American Circus
Abstract http://www.soa.ilstu.edu/anthropology/theses/burns/index.htm Through the "Front Door" to the "Backyard": Linguistic Variation of the American Circus Lisa Burns Illinois State University Anthropology Department Dr. James Stanlaw, Advisor May 1, 2003 Abstract The language of circus can be interpreted through two perspectives: the Traditional American Circus and the New American Circus. There is considerable anthropological importance and research within the study of spectacle and circus. However, there is a limited amount of academic literature pertaining to the linguistics and semiotics of circus. Through participant observation and interviewing, of both circus and non-circus individuals, data will be acquired and analyzed. Further research will provide background information of both types of circuses. Results indicate that an individual's preference can be determined based on the linguistic and semiotic terms used when describing the circus. Introduction Throughout my life, I have always been intrigued by the circus. As a result, I joined the Gamma Phi Circus, here at Illinois State University, in order to obtain a better understanding of circus in our culture. A brief explanation of the title is useful in understanding my paper. I chose the title "Through the 'Front Door' to the 'Backyard'" because "front door" is circus lingo for the doors that a person goes through on entering the tent. The word "backyard" refers to the area in which behind the tent where all the people in the production of the circus park their trailers. This title encompasses the range of information that I have gathered from performers, to directors, to audience members. -
West Allis Players Capture Spirit of Neil Simon's
16 • Milwaukee County Post • October 9, 2015 THIS 6TH & ENTERTAINMENT SATURDAY HOWARD AT THE OPEN 1PM-5PM West Allis Players capture spirit of THIS WEEK AT THE GARDEN DISTRICT FARMERS’ MARKET What’s Fresh This Week Neil Simon’s ‘Barefoot in the Park’ Time to can the applesauce! The veggies are still plentiful from beets, beans, Brussels Cast adeptly At a glance sprouts, cabbage, carrots, chard, cucum- bers, garlic, kale, kohlrabi, pattypan, pota- captures trials “Barefoot in the Park” The curtain goes up at 7:30 p.m. Friday and toes, peppers, tomatillos, kohlrabi, onions, of newlyweds Saturday and 2 p.m. Sunday at West Allis Central squash, watermelons and more! We’re also Auditorium.Visit www.westallisplayers.org. joined this week by Clock Shadow By JULIE MCHALE Creamery, Custom Grown Greenhouse, Post Theater Critic is adjusting to her new single status, and Elsen Orchard, Golden Eggroll, Log Cabin Corie is trying to encourage her to take a Orchard, Magpie’s Gourmet Dog Treats, WEST ALLIS — It is no surprise that few risks and create a new life for herself. Soap of the Earth, and amazing flowers. Neil Simon’s 1963 play “Barefoot in the Two other characters arrive upon the Follow us on Facebook for updates Park” continues its popularity. Simon’s scene — a telephone repairman and a longest-running Broadway show still slightly eccentric, interfering moocher Our Sponsors Help Make the amuses us because of its recognizable situ- named Velasco, the neighbor who lives in Market Possible ations, its accessible characters and its the attic above the Bratters. -
Sarrasani Between the Fable and the Epic
SARRASANI BETWEEN THE FABLE AND THE EPIC by Gustavo Bernstein 1 2 To my father, inspirer and instigator behind these pages. 3 4 Homeland is wherever I pitch my tent. Trude Stosch-Sarrasani 5 6 INDEX INTRODUCTION Letter from Trude Stosch-Sarrasani PREFACE By Jorge H. Bernstein SENIOR An early orphanhood………………………………………………………………… Dreams of an artist……………………………………………………………… The court jester………………………………………………………………… Tradition and nostalgia………………………………………………………………… Sensationen! Sensationen!………………………………………………………………. The princess of Elbe (and her “Golden Palace”)…………………………………… A convoy of artists……………………………………………………………………… Europe in flames…………………………………………………………………………. From the Bolshevik Revolution to a gala dinner………………………………………. The conquest of the Americas (or a German in the tropics)…………………………..... The Queen of the Río de la Plata (or the whims of a diva)…………………………… Circus sinks on the high seas…………………………………………………… Arabian Nights (the mirage of technique)…………………………………………… Crash (the tentacles of Wall Street)……………………………………….........…… A typical Freudian cast…………………………………………………..……………… Judenzirkus (or early murmuring of the Third Reich)……………………………… Friday 13th (the Führer’s shadow)…………………………………………………... Stowaway on board (and the siren’s song)……………………………… A thread of light at sunset………………………………………………………… Elephants wear mourning, too………………………………………………………… JUNIOR The show must go on…………………………………………………………………… Junior’s first journey to the New World (including: the fundamental pact with the minister, the purging of the staff, the new agile and swift -
Art, Memory, and Historical Reclamation in Colum Mccann's Let the Great World Spin
This is a repository copy of "Anticipating the Fall": Art, Memory, and Historical Reclamation in Colum McCann's Let the Great World Spin. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/90682/ Version: Accepted Version Book Section: Carroll, HEM orcid.org/0000-0003-1177-8566 (2016) "Anticipating the Fall": Art, Memory, and Historical Reclamation in Colum McCann's Let the Great World Spin. In: Morley, C, (ed.) 9/11 Topics in Contemporary North American Literature. Bloomsbury Academic . ISBN 9781472569684 This is an Accepted Manuscript of a book chapter published by Bloomsbury Academic in 9/11: Topics in Contemporary North American Literature on 25 August 2016, available online: https://www.bloomsbury.com/us/911-9781472569684/ Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the -
January 2020!! Oakland Magic Circle Newsletter Official Website: Bjornson Hall, 2258 Macarthur Blvd., Oakland, CA 94602
January 2020!! Oakland Magic Circle Newsletter Official Website: www.OaklandMagicCircle.com Bjornson Hall, 2258 MacArthur Blvd., Oakland, CA 94602 . $20 non-members Brad Henderson is perhaps best known for his analytical approach to creating magic and an explanation of this approach will be the foundation and framework of his lecture.Using tricks as needed for illustrative purposes, he will discuss JANUARY MEETING-Tuesday, January 7, valuable ways of approaching magic, share 2020 theories and strategies that are essential to the 6:00pm- Doors Open- Come early to share creation of magic that reaches the level of an art form. Brad’s goal will be to provide you with ideas, effects and news informally. Free back knowledge that should allow you as a magician to issues of Linking Ring magazine. progress, improve and ultimately realize your own Complimentary cookies, coffee and tea. creative visions. 7:00- Business meeting, and Good of the Order News and Announcements 7:30ish: Break "If you've ever encountered Brad Henderson in an on-line discussion, you'll know that he has very 8:00- BRAD HENDERSON LECTURE strong opinions, and is not afraid to express them Free for 2020 paid OMC Members emphatically. If you see him perform, you'll realize Oakland Magic Circle January 2020 Newsletter that he backs up everything he says: Brad walks background he brings to his powerful lecture. the walk, to the benefit of his audiences."- Max Maven Brad’s LIVE ACT on Penguin Magic has generated responses like these: "Brad Henderson has shown me, time and time again, how much he truly cares about magic. -
Music After 9/11
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 20 | 2020 Staging American Nights Rebuilding and re-embodying: music after 9/11 Bénédicte Bresquignan Electronic version URL: http://journals.openedition.org/miranda/26579 DOI: 10.4000/miranda.26579 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Bénédicte Bresquignan, “Rebuilding and re-embodying: music after 9/11”, Miranda [Online], 20 | 2020, Online since 20 April 2020, connection on 16 February 2021. URL: http://journals.openedition.org/ miranda/26579 ; DOI: https://doi.org/10.4000/miranda.26579 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Rebuilding and re-embodying: music after 9/11 1 Rebuilding and re-embodying: music after 9/11 Bénédicte Bresquignan Sandra Boer, [Untitled], 2001, from "Here Is New York: A Democracy of Photographs" in "Remembering 9/11" at the International Center of Photography 1 Even before it was standing, the World Trade Center had acquired a lifelike quality, and this quality could not be separated from music. In the Sonic Memorial Project1–initiated by independent producers The Kitchen Sisters–, a sound collage of interviews and phone calls made to NPR after 9/11, we can hear Les Robertson, the lead structural engineer on the construction of the Twin Towers. He talks about the way he and his Miranda, 20 | 2020 Rebuilding and re-embodying: music after 9/11 2 team determined how much the buildings could “sway” under the pressure of the wind without it disturbing the people working in offices on the upper floors. -
The Politico-Aesthetics of Groundlessness and Philippe Petit’S High-Wire Walk
ARTICLES The Politico-Aesthetics of Groundlessness and Philippe Petit’s High-Wire Walk Gwyneth Shanks When I see two oranges, I juggle; when I see two towers, I walk. —Philippe Petit, To Reach the Clouds A figure stands in open air. Centred in the photo, the body seems suspended in the expanse of hazy, blue sky that opens up around their small form. On the right-hand side of the image, one tower of the newly built World Trade Center (WTC) looms. The figure is small in comparison, a smudge of black made insubstantial next to the clean, geometric grid of the tower’s detailed façade. And yet it is the figure that arrests the viewer’s gaze. The ground upon which this person stands is nothing but a thin cable, barely visible in the photograph. The photo, taken the morning of August 7, 1974, is of French high-wire walker Philippe Petit. Captured by Petit’s friend and co-conspirator, Jean-Louis Blondeau, the image reveals a figure caught between ground and sky, between the two towers of the WTC, and between life and death. Suspended between the Twin Towers, balanced on his wire, Petit’s walk celebrates the precarity of groundlessness. Philippe Petit on a cable suspended between the two towers of the newly completed World Trade Center in New York City, August 7, 1974. Film still from the 2008 documentary, Man on Wire, directed by James Marsh. Photo: Jean-Louis Blondeau, 1974. ____________________________________________________________________________________ Gwyneth Shanks is the Interdisiplinary Art Fellow at the Walker Art Center. She holds a PhD in Theater and Performance Studies from University of California, Los Angeles and an MA in Performance Studies from New York University. -
Images of Falling Through 9/11 and Beyond
FALLING THROUGH THE MESHWORK: IMAGES OF FALLING THROUGH 9/11 AND BEYOND by REBECCA CLAIRE JUSTICE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY American and Canadian Studies Centre School of English, Drama, American & Canadian Studies College of Arts and Law University of Birmingham December 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis considers images of the falling body after the terrorist attacks of 11 September 2001, starting with Associated Press photographer Richard Drew’s photograph of a person falling to their death from the north tower of the World Trade Center. From this specific photograph, this thesis follows various intersecting lines in what I am calling a meshwork of falling-body images. Consequently, each chapter encounters a wide range of examples of falling: from literature to films, personal websites to digital content and immersive technologies to art works. Rather than connecting these instances like nodes, this thesis is more concerned with exploring lines of relation and the way the image moves along these lines.