Blind Spot: Hitler's Secretary
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Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942). -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
Military Strategy: the Blind Spot of International Humanitarian Law
Harvard National Security Journal / Vol. 8 333 ARTICLE Military Strategy: The Blind Spot of International Humanitarian Law Yishai Beer* * Professor of Law, Herzliya Interdisciplinary Center, Herzliya, Israel. The author would like to thank Eyal Benvenisti, Gabriella Blum, Moshe Halbertal, Eliav Lieblich, David Kretzmer, and Kenneth Watkin for their useful comments, and Ohad Abrahami for his research assistance. © 2017 by the President and Fellows of Harvard College and Yishai Beer. 334 2017 / Military Strategy: The Blind Spot of International Humanitarian Law Abstract The stated agenda of international humanitarian law (IHL) is to humanize war’s arena. Since it is the strategic level of war that primarily affects war’s conduct, one might have expected that the law would focus upon it. Paradoxically, the current law generally ignores the strategic discourse and prefers to scrutinize the conduct of war through a tactical lens. This disregard of military strategy has a price that is demonstrated in the prevailing law of targeting. This Article challenges the current blind spot of IHL: its disregard of the direct consequences of war strategy and the war aims deriving from it. It asks those who want to comprehensively reduce war’s hazards to think strategically and to leverage military strategy as a constraining tool. The effect of the suggested approach is demonstrated through an analysis of targeting rules, where the restrictive attributes of military strategy, which could play a significant role in limiting targeting, have been overlooked. Harvard National Security Journal / Vol. 8 335 Table of Contents Introduction ........................................................................................................336 I. Strategy Determines War’s Patterns and Scope .........................................340 II. -
University of Cincinnati
! "# $ % & % ' % !" #$ !% !' &$ &""! '() ' #$ *+ ' "# ' '% $$(' ,) * !$- .*./- 0 #!1- 2 *,*- Atomic Apocalypse – ‘Nuclear Fiction’ in German Literature and Culture A dissertation submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) in the Department of German Studies of the College of Arts and Sciences 2010 by Wolfgang Lueckel B.A. (equivalent) in German Literature, Universität Mainz, 2003 M.A. in German Studies, University of Cincinnati, 2005 Committee Chair: Sara Friedrichsmeyer, Ph.D. Committee Members: Todd Herzog, Ph.D. (second reader) Katharina Gerstenberger, Ph.D. Richard E. Schade, Ph.D. ii Abstract In my dissertation “Atomic Apocalypse – ‘Nuclear Fiction’ in German Literature and Culture,” I investigate the portrayal of the nuclear age and its most dreaded fantasy, the nuclear apocalypse, in German fictionalizations and cultural writings. My selection contains texts of disparate natures and provenance: about fifty plays, novels, audio plays, treatises, narratives, films from 1946 to 2009. I regard these texts as a genre of their own and attempt a description of the various elements that tie them together. The fascination with the end of the world that high and popular culture have developed after 9/11 partially originated from the tradition of nuclear fiction since 1945. The Cold War has produced strong and lasting apocalyptic images in German culture that reject the traditional biblical apocalypse and that draw up a new worldview. In particular, German nuclear fiction sees the atomic apocalypse as another step towards the technical facilitation of genocide, preceded by the Jewish Holocaust with its gas chambers and ovens. -
Reading List for Atypically British: the Films of Powell and Pressburger
DEPARTMENT FOR CONTINUING EDUCATION Rewley House, 1 Wellington Square, Oxford, OX1 2JA Tel: +44 (0)1865 270360 Fax: +44 (0)1865 280760 [email protected] www.conted.ox.ac.uk READING LIST Course Title: Atypically British: The Films of Powell and Pressburger Location: Ewert House, Oxford Term Dates: 21 Apr 2020 to 16 Jun 2020 Tutor: Pete Boss The reading list below was supplied by the course tutor. If you have enrolled on a course starting in the autumn, you can become a borrowing member of the Rewley House library from 1st September. If you are enrolled on a course starting in other terms, you can become a borrowing member once the previous term has ended. For example, students starting in January can join the Library in early December and those starting in April can join in early March. If you are planning to purchase any books, please keep in mind that courses with insufficient students enrolled will be cancelled. The Department accepts no responsibility for books bought in anticipation of a course running. Preparatory Reading List The items on this list are to give you some background to the materials and ideas that we will be covering on the course. Author Title Christie, I Arrows of Desire: The Films of Michael Powell and Emeric Pressburger Gough-Yates, K Michael Powell Jawolke, S Emeric Pressburger: The Life and Death of a Screenwriter Jawolke, S The Films of Michael Powell and the Archers Moor, A Powell & Pressburger : A Cinema of Magic Spaces Powell, M A Life in Movies: An Autobiography Course Reading List The items on this list are to support your learning while you are taking the course. -
Pledge Allegiance”: Gendered Surveillance, Crime Television, and Homeland
This is a repository copy of “Pledge Allegiance”: Gendered Surveillance, Crime Television, and Homeland. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150191/ Version: Published Version Article: Steenberg, L and Tasker, Y (2015) “Pledge Allegiance”: Gendered Surveillance, Crime Television, and Homeland. Cinema Journal, 54 (4). pp. 132-138. ISSN 0009-7101 https://doi.org/10.1353/cj.2015.0042 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. 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 reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Cinema Journal 54 i No. 4 I Summer 2015 "Pledge Allegiance": Gendered Surveillance, Crime Television, and H o m e la n d by Lindsay Steenber g and Yvonne Tasker lthough there are numerous intertexts for the series, here we situate Homeland (Showtime, 2011—) in the generic context of American crime television. Homeland draws on and develops two of this genre’s most highly visible tropes: constant vigilance regardingA national borders (for which the phrase “homeland security” comes to serve as cultural shorthand) and the vital yet precariously placed female investigator. -
Canterbury Christ Church University's Repository of Research Outputs Http
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Fox, K. (2019) Paddy the Cope, Michael Powell and the story of the unmade film. Donegal Annual: Journal of the Donegal Historical Society. (In Press) Link to official URL (if available): This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] Dr Ken Fox, School of Media, Art and Design, Canterbury Christ Church University Paddy the Cope, Michael Powell and the story of the unmade film. As a native of Donegal with some knowledge of Paddy the Cope’s legendary status I find myself working in a University film department housed in the Powell Building, named after Michael Powell. The opportunity to bring Donegal and Powell’s Canterbury back together again was too serendipitous to miss. The story of Paddy the Cope was another of those films which only I would want to make and which I certainly should have made (Powell, 1986: 565). Almost ten pages of the first volume of Michael Powell’s (1905-90) autobiography is taken up with the trip to Ireland in 1946, the journey on horseback from Dublin to Dungloe to meet Paddy the Cope, at least near Dungloe, as by most accounts the horses were stabled at Inver and had to be returned to their owners in Dublin. Powell’s sojourn through Ireland provided so much publicity and incident it is surprising the trek has not become the basis for some retelling in film, television, radio, prose or theatre. -
Challenging Stereotypes
Challenging Stereotypes How the stereotypical portrayals of Muslims and Islam are challenged through the enemies in Homeland Gunhild-Marie Høie A Thesis Presented to the Departure of Literature, Area Studies and European Languages in partial fulfillment of the Requirements for the MA degree University of Oslo Spring 2014 I II Challenging Stereotypes How the stereotypical portrayals of Muslims and Islam are challenged through the enemies in Homeland Gunhild-Marie Høie A Thesis Presented to the Departure of Literature, Area Studies and European Languages in partial fulfillment of the Requirements for the MA degree University of Oslo Spring 2014 III © Gunhild-Marie Høie 2014 Challenging Stereotypes: How the stereotypical portrayals of Muslims and Islam are challenged in Homeland. http://www.duo.uio.no Print: Reprosentralen, University of Oslo IV V Abstract Following the terrorist attack on 9/11, actions and practices of the United States government, as well as the dominant media discourse and non-profit media advertising, contributed to create a post-9/11 climate in which Muslims and Arabs were viewed as non-American. This established a binary paradigm between Americans and Muslims, where Americans represented “us” whereas Muslims represented “them.” Through a qualitative analysis of the main characters in the post-9/11 terrorism-show, Homeland, season one (2011), as well as an analysis of the opening sequence and the overall narrative in the show, this thesis argues that this binary system of “us” and “them” is no longer black and white, but blurred, and hard to define. My analysis indicates that several of the enemies in the show break with the stereotypical portrayal of Muslims as crude, violent fanatics. -
Archers Assemble: Creating the Powell-Pressburger Partnership
23 SEPTEMBER 2019 Archers Assemble: Creating the Powell-Pressburger Partnership PROFESSOR IAN CHRISTIE A talk about Michael Powell and Emeric Pressburger obviously shouldn’t start at the beginning. If we follow the dream-like logic of many of their films, it should probably start at the end, or even later. In fact, Powell showed the way, when he ended his second volume of memoirs, Million Dollar Movie, with a visit to Pressburger at his Suffolk retreat, Shoemaker’s Cottage. He has Emeric explain what the secret of their partnership: ‘you and I know what it means… The only secret is that we are amateurs. Telling a story is not a business. It is an art, and we are different from other artists because we were left alone by Arthur Rank for ten years to go our own sweet way, thinking we were professionals.’ That imagined visit is actually dated to the day of Pressburger’s death, in February 1988, and it was published five years later, after Powell’s own death. Like the endings, and beginnings, of many of their great films, it offers an enigmatic clue to what made their work remarkable, and probably unique in 1940s cinema. Both Powell and Pressburger had benefited from a hard schooling in film construction during the 1930s. Pressburger had worked his way up in the script department of UFA, Europe’s most professional film organisation, before he was forced to start again, in another language, in Paris after Hitler came to power; and yet again, in yet another language in Britain, working for fellow-Hungarian Alexander Korda. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
The Case of Carrie Mathison in Homeland
American Scientific Research Journal for Engineering, Technology, and Sciences (ASRJETS) ISSN (Print) 2313-4410, ISSN (Online) 2313-4402 © Global Society of Scientific Research and Researchers http://asrjetsjournal.org/ A Woman Among Men the Language of Madness and Power on TV – The Case of Carrie Mathison in Homeland * Claudia Monacelli UNINT University, Via Cristoforo Colombo 200, Rome 00147, Italy Email: [email protected] Abstract This study analyzes the language used in the TV series Homeland that represents a predominantly male working environment, the world of intelligence, when a key female empowered protagonist, Carrie Mathison, becomes disempowered due to her mental illness, bipolarity. After conducting an initial pilot study consisting of one episode from each of the seven seasons, we decided to focus on the ideolect and slang of intelligence circles, deixis and pronominal reference, irony, variations in register, patterns of repetition and doublespeak for this purpose. This paper concludes with a discussion of how each of these analytical tools work toward either strengthening Carrie Mathison’s power or indicating her disempowerment in relation to her social context and working environment. Keywords: Power; Madness; Women Empowerment; Deixis; Pronominal Reference; TV Series. 1. Introduction This study examines the language used in a TV series that represents a predominantly male working environment, the world of intelligence, when a key female empowered protagonist becomes disempowered due to her mental illness, bipolarity. The main protagonist is Carrie Mathison, a CIA agent, in the series Homeland. Homeland has achieved high acclaim and was one of the most watched TV shows in the United States [1:54]. -
O N Location : Westchester
On Location: Westchester READY & CAMERA UP CLOSE TOURISM &FILM WESTCHESTER COUNTY You’ll find great and varied locations, talented crew, essential equipment, a seasoned film office staff, and welcoming local communities— all in Westchester County. Just minutes north of New York City, this film-friendly county has bustling cities, suburban life, quaint country villages and artsy rivertowns—an array of versatile sites. Westchester? Why Westchester At Your Service County Offers • Outstanding air and ground transportation including Westchester County Airport, Metro-North Railroad with service from/to Grand Central Terminal and AMTRAK • 5 diverse cities and 19 villages and towns, many with Main Street communities • Thousands of acres of parkland, hiking and biking trails Westchester County Tourism & Film is your one-stop-shop for concierge service that will provide • 67 square miles of water, including all that you need to film your TV series, video, Hudson River and Long Island Sound shorelines, commercial, large studio film or small independent and natural lakes project. We offer: • Many film-friendly hotels, colleges, • Assistance in scouting locations and universities • Production planning and help navigating • More than 50 public and private golf courses the permitting process and procedures, • Several historically significant sites, including which may vary by location an 1838 Gothic Revival mansion, a century-old • Contacts for your cast and crew needs art deco amusement park and one of the oldest theatre/music halls in the country • Essential equipment rental information • Tourism information to help plan your stay in Westchester Contact us today for more information: NATASHA CAPUTO Director of Tourism & Film 148 Martine Avenue, White Plains, NY 10601 914.995.8500 | visitwestchesterny.com/film On Location: Westchester Filmmakers and television, commercial and video TELEVISION The Americans producers have discovered The Affair the advantages of shooting Billions in Westchester.