Chapter 26

2020 ◽  
pp. 358-375
Author(s):  
Mark Glancy
Keyword(s):  
Final Scene ◽  
Entire Career ◽  
Location Shooting

Chapter 26 is devoted entirely to Cary Grant’s most famous and frequently revived film, North by Northwest (1959). It argues that North by Northwest is not just a great Cary Grant film, it is the Cary Grant film; that is, a summation of his entire career. The chapter discusses the making of the film, beginning with Ernest Lehmann’s screenplay. Lehmann set out to write “the Hitchcock film to end all Hitchcock films”, and this evidently included many elements of the three previous Hitchcock-Grant collaborations: Suspicion (1941), Notorious (1946), and To Catch a Thief (1955). Each of the five acts of North by Northwest, it is argued, puts the star through the paces of a single Cary Grant film. At the beginning of each act, his character is initially debonair and nonchalant, but then steadily becomes more tense, alarmed and threatened. This is brilliantly realized in the film’s climactic third act, when Roger O. Thornhill is chased across an empty prairie by a crop dusting plane. Both absurdly excessive and genuinely thrilling at the same time, the scene is now one of the most iconic moments in cinema history. The chapter details the film’s extensive location shooting, including time at Mount Rushmore for the final scene. It considers Eve Marie Saint as the quintessential Hitchcock blonde, and it discusses the film’s reception from its first release in 1959 to its modern reputation as a highly influential, classic film.

Producing Outside the Box: Creative Strategies in the Work of Betty E. Box, 1957–64

2020 ◽  
Vol 17 (3) ◽  
pp. 355-374
Author(s):  
John D. Ayres
Keyword(s):  
Second World War ◽  
Film Production ◽  
World War ◽  
E Box ◽  
Film Producer ◽  
British Cinema ◽  
Working Practices ◽  
Location Shooting ◽  
Second World

This article considers the working practices of British cinema's only major female film producer during the early-to-mid post-Second World War era, Betty E. Box (1915–99). Via reference to her extensive archive at the British Film Institute and the films Campbell's Kingdom (1957), The Wind Cannot Read (1958) and Hot Enough for June (1964), the article charts how Box initially envisaged multi-generational casting for roles that were eventually taken by long-term collaborator Dirk Bogarde. It considers the manner in which she approached the diplomatic complexities of location shooting, with particular focus on Ralph Thomas's military romance The Wind Cannot Read, the first British film to be shot in India for twenty years at the time of its production. The reasoning for Box's ongoing absence, as a female creative figure, from scholarship addressing British cinema, and film production more generally, will also be addressed.

HIDDEN OBSERVER: ON ONE INVARIANT MOTIF IN PUSHKIN’S WORKS

2020 ◽  
pp. 154-169
Author(s):  
O.B. Zaslavskii ◽  
Keyword(s):  
Final Scene ◽  
Hidden Observer

It is shown that the same scene or situation passes through Pushkin’s works in which an observer watching for two or more objects is present. If an object of dangerous observation is a woman, the scene, as a rule, ends up with her faint or death. The presence of such an observer can be considered as uncontrolled intrusion of fate into human’s life. Uncovering the scheme under consideration is especially important since poetics of Pushkin is extremely laconic, so even in a finished text one is led to reconstruct some implicit details. Then, a given invariant (related just to the property of reticence) can serve as a tool for independent check. In particular, its application agrees with interpretation of the final scene in “The Stone Guest” that was suggested by us earlier from completely different rationale.

scholarly journals Non-Invasive Technical Investigation of English Portrait Miniatures Attributed to Nicholas Hilliard and Isaac Oliver

Heritage ◽  
2021 ◽  
Vol 4 (3) ◽  
pp. 1165-1181
Author(s):  
Flavia Fiorillo ◽  
Lucia Burgio ◽  
Christine Slottved Kimbriel ◽  
Paola Ricciardi
Keyword(s):  
Fluorescence Spectroscopy ◽  
Scientific Methodology ◽  
Small Scale ◽  
Artistic Practice ◽  
X Ray ◽  
Non Invasive ◽  
Miniature Painting ◽  
Entire Career ◽  
Similarities And Differences ◽  
Victoria And Albert Museum

This study presents the results of the technical investigation carried out on several English portrait miniatures painted in the 16th and 17th century by Nicholas Hilliard and Isaac Oliver, two of the most famous limners working at the Tudor and Stuart courts. The 23 objects chosen for the analysis, spanning almost the entire career of the two artists, belong to the collections of the Victoria and Albert Museum (London) and the Fitzwilliam Museum (Cambridge). A non-invasive scientific methodology, comprising of stereo and optical microscopies, Raman microscopy, and X-ray fluorescence spectroscopy, was required for the investigation of these small-scale and fragile objects. The palettes and working techniques of the two artists were characterised, focusing in particular on the examination of flesh tones, mouths, and eyes. These findings were also compared to the information written in the treatises on miniature painting circulating during the artists’ lifetime. By identifying the materials and techniques most widely employed by the two artists, this study provides information about similarities and differences in their working methods, which can help to understand their artistic practice as well as contribute to matters of attribution.

Advantage, Affect, History, Henry V

PMLA ◽  
2003 ◽  
Vol 118 (3) ◽  
pp. 470-487 ◽  
Author(s):  
Donald Hedrick
Keyword(s):  
Henry V ◽  
Affective Labor ◽  
Final Scene ◽  
The Dead

Shakespeare's Henry V explores historiographic moments—relations among past, present, and future in memory, writing, and action. Advantage, Shakespeare's early capitalist term for highest return from least outlay, links historiography to war work, theater work, and love, theorized as “affective labor.” The play figures history not so much as fiction but rather in Walter Benjamin's terms as an achievement depending on the epistemic reliability of disadvantaged historians in danger, who rescue or recruit the dead and maximize affect. Falstaff's reported death reveals, through his friends' dispute about his dying words, Elizabethan and contemporary issues of history and shows lowliest characters with an unofficial authority appropriated also by Shakespeare's epilogue. In the controversial final scene, in which Henry woos the defeated French princess, circumstances and subtle conversational play show the labor of potential love—or hate. Henry is less successful, Catherine less victimized than they are usually interpreted to be, as she becomes the underdog Henry was before his victory, her body as mother in potentia constituting a dangerous future counterhistory and means by which domination may be dominated.

Duetto a tre: Franco Alfano's completion of Turandot

2004 ◽  
Vol 16 (2) ◽  
pp. 163-185 ◽  
Author(s):  
LINDA B. FAIRTILE
Keyword(s):  
Original Composition ◽  
Ideal Solution ◽  
The Press ◽  
Final Scene ◽  
New Perspective ◽  
Musical Character

This study of the ending customarily appended to Giacomo Puccini's unfinished Turandot offers a new perspective on its genesis: that of its principal creator, Franco Alfano. Following Puccini's death in November 1924, the press overstated the amount of music that he had completed for the opera's climactic duet and final scene. In fact, Puccini's manuscripts were so disjointed that Arturo Toscanini, the conductor chosen to lead the première, drafted the reluctant Alfano to fashion them into a viable conclusion. While occupied with this assignment, Alfano spoke with the writer Raymond Roussel about his plans for the opera's completion. This long-forgotten interview, absent from previous studies of Turandot's conclusion, reveals a strategy that would inevitably fall foul of Toscanini's expectations. Rejecting Alfano's first attempt for its extensive original composition, Toscanini forced changes on the conclusion that undermine both its musical coherence and dramatic logic. I assess Alfano's original ending in light of his frustration with Puccini's sketches, as well as the generally deleterious result of Toscanini's interventions. While neither conclusion represents an ideal solution, a judicious conflation of the two versions offers the best chance of reconciling a suitable denouement with the musical character of Puccini's finished score.

scholarly journals The Evolution of the Text: The Author’s Comment by N. V. Gogol on the Poetics of the Comedy “The Government Inspector”

2020 ◽  
Vol 27 (1) ◽  
pp. 146-174
Author(s):  
Igor A. Vinogradov
Keyword(s):  
Last Judgment ◽  
Whole Number ◽  
Final Scene ◽  
History Of ◽  
Religious Concept ◽  
Rough Draft ◽  
The Creation ◽  
The Government ◽  
Numerous Author ◽  
Preliminary Description

<p>The article touches upon the analysis of the historical and literary circumstances of the appearance of one of the numerous author&rsquo;s comments by Gogol on the comedian &ldquo;The Government Inspector&rdquo;, such as the article &ldquo;The Prenotification for those who would like to play &ldquo;The Government Inspector&rdquo; as it should be&rdquo;. A&nbsp;whole number of facts indicate that the origin of the &ldquo;The Prenotification&hellip;&rdquo; is related to the history of the creation by Gogol of the second edition of &ldquo;The Government Inspector&rdquo; in late December 1840&nbsp;&mdash; February 1841. Together with the new edition, Gogol, unsatisfied with the staging of his comedy in St.&nbsp;Petersburg and Moscow theatres, first of all with the impersonation of Khlestakov, conceived a new presentation of &ldquo;The Government Inspector&rdquo;, believing that the revised edition would contribute to the theatrical updating of the play&nbsp;&mdash; performed &ldquo;as it should be&rdquo;. The text of the &ldquo;The Prenotification&hellip;&rdquo; precedes the creation of those fragments of &ldquo;The Government Inspector&rdquo; that Gogol sent for the new edition of the play in spring 1841 from Rome to Moscow for M.&nbsp;P.&nbsp;Pogodin and S.&nbsp;T.&nbsp;Aksakov and is a kind of a test experiment, a &ldquo;rough draft&rdquo; for &ldquo;The excerpt from a letter written by the author shortly after the first presentation of &ldquo;The Government Inspector&rdquo; to one writer&rdquo;, sent at that time to Aksakov, and simultaneously it is a preliminary description for subsequent explanations of the &ldquo;silent scene&rdquo; of &ldquo;The Government Inspector&rdquo; in the text of the very comedy. In addition, there is a connection between the &ldquo;The Prenotification&hellip;&rdquo; with drawings made by the artist A.&nbsp;A.&nbsp;Ivanov for the same final scene of &ldquo;The Government Inspector&rdquo;, which were created during the author&rsquo;s reading of the comedy in Rome in February 1841. Thus, it is established that the &ldquo;The Prenotification for those who would like to play &ldquo;The Government Inspector&rdquo; as it should be&rdquo; properly was written not in the autumn 1846, as it is common to think, but five and a half years earlier, in early 1841. It is an opening article in the manuscript for the second edition of &ldquo;The Government Inspector&rdquo; in 1841, instead of which Gogol published here an accompanying article &ldquo;The excerpt from a letter written by the author shortly after the first presentation of &ldquo;The Government Inspector&rdquo; to one writer&rdquo;. The study allows us to conclude that Gogol&rsquo;s interpretations are deeply organic to the original religious concept of comedy. The plot stem of the &ldquo;The Government Inspector&rdquo; is the &ldquo;thunderstorm&rdquo; of a distant government law, and of the even more inevitable Last Judgment. &ldquo;The Prenotification&hellip;&rdquo; addressed to the actors, and containing an appeal to take seriously and conscientiously the performance of the roles they were cast in, to pay special attention to the final scene, is an important component of Gogol&rsquo;s strategy to bring back to his play the meanings lost due to inept staging. The presence of a number of motifs in the &ldquo;The Prenotification&hellip;&rdquo;, traditionally attributed only to the &ldquo;late&rdquo; Gogol, in the light of a new dating allows asserting the idea of the indissoluble unity and integrity of the artist&rsquo;s creative path.</p>

scholarly journals Managing Moholy : László Moholy-Nagy's photograms in the collections of the Art Institute of Chicago and George Eastman House

2021 ◽  
Author(s):  
D. Anne Maryanski
Keyword(s):  
Detailed Analysis ◽  
Storage Conditions ◽  
Experimental Techniques ◽  
Collections Management ◽  
Policies And Procedures ◽  
Unique Nature ◽  
Entire Career ◽  
Long Term Preservation

The Art Institute of Chicago (AIC) and George Eastman House International Museum of Photography and Film (GEH) have acquired substantial collections of László Moholy-Nagy's work, spanning his entire career. Using four photograms by Moholy-Nagy, two from each institution, as representative examples, this thesis examines how the AIC and GEH have dealt with his work through an examination of the acquisition, exhibition, publication, preservation, and conservation of his photographs. The unique nature of Moholy-Nagy's photograms, coupled with the myriad experimental techniques he employed in their production, has necessitated that the AIC and GEH establish policies and procedures for the care and long-term preservation of photographic objects of this nature, through the development and implementation of exhibition and loan standards as well as highly monitored storage conditions. This thesis includes an overview of the museums, a detailed analysis of each photogram, and a discussion of the collections management concerns that these objects raise.

scholarly journals Occupational exposure to blood and bodily fluids among healthcare workers in Serbian general hospitals

2018 ◽  
Vol 69 (1) ◽  
pp. 61-68
Author(s):  
Bojana Mandić ◽  
Stefan Mandić-Rajčević ◽  
Ljiljana Marković-Denić ◽  
Petar Bulat
Keyword(s):  
Occupational Exposure ◽  
Healthcare Workers ◽  
Cross Sectional Study ◽  
Cross Sectional ◽  
General Hospitals ◽  
North West ◽  
The North ◽  
Skin Contact ◽  
Entire Career ◽  
Bloodborne Infections

Abstract The risk of occupational bloodborne infections (HBV, HCV, and HIV) among healthcare workers remains a serious issue in developing countries. The aim of this study was to estimate occupational exposure to bloodborne infections among general hospital workers in Serbia. This cross-sectional study was conducted in the spring of 2013 and included 5,247 healthcare workers from 17 general hospitals. The questionnaire was anonymous, self-completed, and included sociodemographic information with details of blood and bodily fluid exposure over the career and in the previous year (2012). Significant predictors of sharps injuries were determined with multiple logistic regressions. The distribution of accidents in 2012 was equal between the genders (39 %), but in entire career it was more prevalent in women (67 %). The most vulnerable group were nurses. Most medical doctors, nurses, and laboratory technicians reported stabs or skin contact with patients’ blood/other bodily fluid/tissue as their last accident. Healthcare workers from the north/west part of the country reported a significantly lower number of accidents over the entire career than the rest of the country (p<0.001). The south of Serbia stood out as the most accident-prone in 2012 (p=0.042).

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