From Stage to Screen

Oklahoma! ◽  
2020 ◽  
pp. 213-253
Author(s):  
Tim Carter

Oklahoma! was a surprising success on Broadway, and although the Theatre Guild considered other possible creative teams for new musicals, the now-sealed Rodgers and Hammerstein partnership proved hard to resist. A touring company was in place by late summer 1943, and Oklahoma! traveled internationally after the end of World War II (not least, to London’s West End in 1947); meanwhile, the Guild needed to replace cast members leaving one or other productions of the show. In 1953, Rodgers and Hammerstein bought the Guild’s rights to all three of the shows they had done under its auspices (including Carousel and Allegro). In part, this was to maximize their profits from intended film versions. The 1955 film of Oklahoma! took advantage of the new Todd-AO wide-screen process and location shooting to produce a vivid rendition of the show that, however, also needed to be followed, or resisted, in subsequent stage versions.

2021 ◽  
Author(s):  
Kate Kaluzny

This applied thesis project is based on a collection of 172 gelatin silver photographs taken by Edward Steichen’s Naval Aviation Photographic Unit during World War II. The Harry Ransom Center in Austin, Texas was one of twelve institutions that received photographs from Edward Steichen’s personal collection upon his death in 1973. The prints in the collection depict scenes from some of the most intense fighting in the Pacific. The unit, led by Steichen throughout the war, came to be known as the preeminent combat photography unit in the Navy. My final thesis includes the following components: an analytical paper detailing the history of the unit and discussing the scope and significance of the collection; an outline of the digitization and housing processes; a Filemaker Pro database for the collection; and content generated for the Ransom Center’s Digital Collections page, scheduled for upload in late summer or early fall 2016.


2014 ◽  
Vol 31 (1) ◽  
pp. 139-182 ◽  
Author(s):  
James O'Leary

The achievements of Rodger and Hammerstein’s Oklahoma! (1943) are well known: since the musical opened, critics have proclaimed it a new version of the genre, distinguished by its “integrated” form, in which all aspects of the production—score, script, costume, set, and choreography—are interrelated and inseparable. Although today many scholars acknowledge that Oklahoma! was not the first musical to implement the concept of integration, the musical is often considered revolutionary. Building on the work of Tim Carter, I use the correspondence and press materials in the Theatre Guild Collection of the Beinecke Rare Book and Manuscript Library at Yale University to situate the idea of integration into two intimately related discourses: contemporary notions of aesthetic prestige and World War II-era politics. By comparing the advertising of Oklahoma! to the Guild’s publicity for its previous musical productions (especially Porgy and Bess, which was labeled integrated in 1935), I demonstrate that press releases from the show’s creative team strategically deployed rhetoric and vocabulary that variously depicted the show as both highbrow and lowbrow, while distancing it from middlebrow entertainment. I then describe how the aesthetic register implied by this tiered rhetoric carried political overtones, connotations that are lost to us today because the word “integration” has become reified as a purely formal concept.


2015 ◽  
Vol 4 (3) ◽  
Author(s):  
Carlene Slobodian

Wein, Elizabeth. Rose Under Fire. Mississauga: Penguin Random House, 2014. Print.Rose Under Fire is a companion novel to Wein’s bestseller, Code Name Verity. Readers of the first book will be delighted to see the return of some of the characters, including Maddie and Jamie.Rose, a nineteen-year-old pilot fresh from America, joins the Women’s Air Transport Auxiliary in England, shuttling planes to dropoff points for pilots who carry out secret missions in the late summer of 1944. She is on her way back to England from one of these missions to France, when a combination of poor decisions and bad timing leads to her capture by a German pilot. She is sent to Ravensbruck, a women’s concentration camp, where she discovers the shocking and horrifying realities of day-to-day living in cramped and horrifying conditions. With the Germans losing ground almost daily as the war draws to a close, more and more women are brought to this camp in an attempt by the Nazis to reduce the horrific appearances of other, larger camps, such as Auschwitz. Rose and her new friends attempt to use the newfound chaos to their advantage in order to escape the daily executions.The novel is written mainly in the first person in the form of a diary, both before and after Rose’s time in Ravensbruck. The tone seems at times detached and distant, which could be an attempt to show the psychological trauma Rose experienced as a result of her time in Ravensbruck. The change in Rose’s tone goes from that of a naive and hopeful girl at the beginning of the book, to a matter-of-fact and depressed young woman in the middle, to the one of renewed hope and purpose that is found at the end of the narrative. The perspective of a female pilot who is initially unfamiliar with the plight of the camp prisoner is a welcome addition to many other voices explored in the dearth of young adult literature written on this topic.Due to the dark setting of this novel, it is a much more difficult read than its companion, Code Name Verity. The living conditions of the women in this novel are closely based on real-life accounts of Ravensbruck survivors’ testimony, found both in written memoirs as well as recorded evidence against the Nazis during the Nuremberg Trials. Sometimes it is helpful to take a break in the middle of a particularly dark scene in order to collect one’s thoughts and emotions before continuing with the reading. However, the detailed descriptions only further condemn the atrocities that so many endured (and more often perished from) during World War II.  This book includes graphic and realistic descriptions of violence, war, and conditions in a World War II concentration camp, which may not appeal to all readers. Recommended for those with an interest in World War II, as well as readers of other books about conditions in concentration camps, such as the Maus graphic novels and The Boy in the Striped Pajamas. Reviewer: Carlene Slobodian Recommended: 3 stars out of 4Carlene Slobodian is an MLIS candidate at the University of Alberta with a lifelong passion for children’s literature. When not devouring books, she can be found knitting, cooking, or discovering new kinds of tea to sample.


2003 ◽  
Vol 33 (133) ◽  
pp. 565-573
Author(s):  
Immanuel Wallerstein

An analysis of the world system since World War II is given. It is argued, that the late summer glow of US-hegemony ended in 2001. Despite the military strength, which the USA shows at the moment, their hegemony is declining. The coming period will be one of anarchy, which the USA cannot control.


2021 ◽  
Author(s):  
Kate Kaluzny

This applied thesis project is based on a collection of 172 gelatin silver photographs taken by Edward Steichen’s Naval Aviation Photographic Unit during World War II. The Harry Ransom Center in Austin, Texas was one of twelve institutions that received photographs from Edward Steichen’s personal collection upon his death in 1973. The prints in the collection depict scenes from some of the most intense fighting in the Pacific. The unit, led by Steichen throughout the war, came to be known as the preeminent combat photography unit in the Navy. My final thesis includes the following components: an analytical paper detailing the history of the unit and discussing the scope and significance of the collection; an outline of the digitization and housing processes; a Filemaker Pro database for the collection; and content generated for the Ransom Center’s Digital Collections page, scheduled for upload in late summer or early fall 2016.


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