According to Murphy, the picaresque mediates between these two positions making it possible to keep together aspects that seem in contradiction with each other, and thus to embrace the complexity of ...the situations French society was going through. The picaresque is for Libby Murphy both the way of life dominating among French soldiers and a category that makes it possible to deliver an original analysis of the culture of World War I. The chapters in this volume encompass a vast array of documents other than literary texts, including newspaper articles, cartoons, postcards, posters, and films. Murphy's attempt to unveil through the picaresque the aspects of World War I that are still relevant to contemporary readers makes The Art of Survival not only an effective study on the cohabitation of tragedy, irony and laughter during WWI, but also as an extremely useful teaching source.
The influence of film technique on John Dos Passos's Manhattan
Transfer is well established. However, there is another aspect of
silent era cinema that is highly present in the novel yet largely ...overlooked:
slapstick. As much as any other contemporaneous film genre, slapstick shared
with Dos Passos a skepticism about the controlling nature of modern urban
society. A close comparison of the novel and the films of Harold Lloyd and
Charlie Chaplin, the era's two most popular film stars, furthers our
understanding of how Dos Passos sought inspiration in popular entertainment to
make his critique of modernity, while also revealing a comic sensibility at work
in a novel more frequently viewed through the lens of tragedy.
Este ensaio propõe um diálogo entre a poesia de Ruy Belo (Portugal, 1933-1978) e a de Carlos Drummond de Andrade (Brasil, 1902-1987), procurando mostrar como tais obras partilham de determinadas ...técnicas, elementos estilísticos e núcleos temáticos, além de referências comuns, importantes em seus processos de criação, como a obra de Charles Chaplin e a de Charles Baudelaire. O nosso intuito é, através de um caminho de análise e confronto daquelas artesanias poéticas, procurar compreender como certas perspectivas que aqueles dois poetas têm da poesia se entrecruzam.
As Gerald Mast’s seminal 1973 analysis, The Comic Mind: Comedy and the Movies, puts
it, early American film comedy remains primarily defined by four figures: Charlie Chaplin, Buster
Keaton, Harry ...Langdon, and Harold Lloyd (p. 22-23). Their work, understood in the popular
imagination as the pinnacle of the form, reveals how comedic performances on screen developed
in tandem, and often opposition, with the language of early film narrative (Kerr, 1975) (Sklar 1975)
(Jenkins 1992) (Rapf & Green, 1995). But this emphasis on the Silent Clowns also carries with it
implicit omissions in understanding how humor and performance emerged in the first decades of
popular American cinema. Dozens of other early film stars, performance styles, and hundreds of
films remain either understudied or overlooked. This is especially problematic given the wide
variety and popularity of films starring women comediennes that remain marginalized in academic
discourse.
'Charlie Chaplin di Ngamplang, 1927' is an Indonesian-language poem by Australian poet Ian Campbell, and is a humorous meditation upon certain imaginary events that befell Charlie Chaplin at the ...Dutch colonial-era hill station of Ngamplang in West Java in 1927. In historical terms Chaplin did in fact visit the Dutch East Indies three times between 1927and 1932, including the area around Ngamplang. The poem was included in Campbell's poetry and prose collection 'Tak ada Peringatan' (Vivid Publishing, Fremantle, 2013). TheIndonesian language version of the poem first appeared in 2012 in the literary pages of the Jakarta mass media daily 'Kompas'. An English-language back translation from the Indonesian is also included here.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
The Rival Cinematographists Drew, Sidney
Film history (New York, N.Y.),
10/2012, Letnik:
24, Številka:
4
Journal Article
Recenzirano
Dowser, the overweight cameraman, makes a vivid appearance with a dab of local medicine on his nose, and constant exclamations of "Great whelks"; but at this point he is tiring after the strenuous ...trek through the jungle ... ... Little wonder he was astounded, for a panther suddenly bounded down the slope, placed its paws on the neck of the deer, and, turning with swishing tail, sent a roar of defiance back through the forest. Not only had he secured a living picture of the wild fowl, but he had also secured a fight between two monarchs of the forest for the body of a deer.
...the individual lists, finally, are the only thing in this process that I enjoy, or believe in: some snapshot (however kooky) of a subjective sensibility, a person arranging a hodgepodge from what ...Roland Barthes once rightly called 'the innumerable centres of culture'. Because innumerable they surely are, and must remain: whenever I compose one of these lists, my mind races to grab at some certified movie classic, a short avant-garde experiment, a trashy comedy, a completely obscure or unknown gem, a film nobody else but myself likes ... and so on. When I read Adam Kotsko's text, as smart and logical as it is, I am reminded once more of my deep antipathy toward a culture-Australia's, formed in the shadow of Mother England-that bestows such a special privilege on The Literary, literature as the great repository of human values, Great Works, grand traditions, and the like. What some of them-especially those of middle class-or-upward background-are dimly aware of, however, is that university is meant as their veritable finishing school, where they will pick up just enough of the good old cultural capital of their forebears to navigate job interviews, dinner parties, and the like.
A British-Jewish Film Genre? Berkowitz, Michael
Jewish film & new media,
10/2016, Letnik:
4, Številka:
2
Journal Article
Recenzirano
Consider Gasbags (1941) In the scholarship dedicated to Charlie Chaplin's The Great Dictator (USA, 1940)1 and the growing body of historiography and criticism on Jewish and Holocaust film,2 there is ...little comment on the feature-length movie Gasbags (Marcel Varnel, Walter Forde, UK, 1941).3 Conceived and produced in wartime Britain, Gasbags is in many respects comparable to The Great Dictator and, similarly, features a schlemiel posing as Adolf Hitler.4 Gasbags is neither as brilliant nor as influential as The Great Dictator, but it is a reasonably good film that has been bypassed in most assessments and reappraisals of British movies5-despite the British Film Institute's evaluation of Gasbags as one of two 1940 films "so outrageously disrespectful of the Nazi menace" that it retains "a surreal effectiveness. First appearing as an ensemble in 1931, the Crazy Gang was regarded as "the most unlikely troupe of acts" ever cobbled together in a single show.
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