Reorchestrating the Past

2021 ◽  
pp. 316-356
Author(s):  
Paul Giles
Keyword(s):  
New Zealand ◽  
Final Section ◽  
Musical Aesthetics ◽  
Baz Luhrmann ◽  
The Past ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Musical Modes ◽  
English Composers ◽  
Harrison Birtwistle

Taking its title from Australian novelist Alexis Wright’s description of her novel Carpentaria as a ‘long song, following ancient tradition’, this chapter considers how antipodean relations of place interrupt abstract notions of globalization as a financial system. The first section exemplifies this by focusing on Australian/American director Baz Luhrmann, whose version of The Great Gatsby (2013), filmed in Sydney, resituates Fitzgerald’s classic novel within an antipodean context. The second section develops this through consideration of Wright’s fiction, along with that of New Zealand/Maori author Keri Hulme, so as to illuminate ways in which spiral conceptions of time, where ends merge into beginnings, contest Western epistemological frames. In the final section, this ‘long song’ is related to the musical aesthetics of Australian composer Peter Sculthorpe and English composers George Benjamin and Harrison Birtwistle. The chapter concludes by arguing that musical modes are an overlooked dimension of postmodernist culture more generally.

scholarly journals A COMPARATIVE STUDY: GENETIC STRUCTURALISM ON JANE EYRE AND THE GREAT GATSBY

JURNAL BASIS ◽  
2019 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Dewi Christa Kobis
Keyword(s):  
Comparative Study ◽  
Jane Eyre ◽  
Literary Works ◽  
Know How ◽  
The Past ◽  
Great Gatsby ◽  
The People ◽  
The Great Gatsby ◽  
The Future ◽  
Culture Tradition

This study is comparative study which compares Jane Eyre and the Great Gatsby by using Genetic Structuralism. These two novels were written and published from different period. Different period commonly produces different culture, tradition, habit, work, creation, effort, and even different masterpiece. Most people claim that as the time goes by, the old ones will be replaced by the youths, and everything which had been done in the past, might not be done anymore in the present or even in the future. In fact, it is necessary to dig more about the history itself to know how the people at particular period live and how they contribute a society. This study is compiled as a research to study about the characteristic of the society when the novels has been published and the period when the author of the literary works lived while mainly discussed about how different periods create different kind of stories. It also mainly focuses to take a glance on how society impacts the authors’ thought and perception to create such literary works.

A Survey on Income Inequality in China

2021 ◽  
Vol 59 (4) ◽  
pp. 1191-1239
Author(s):  
Junsen Zhang
Keyword(s):  
Income Inequality ◽  
Negative Correlation ◽  
Relative Income ◽  
Developed Countries ◽  
Great Success ◽  
Absolute Poverty ◽  
The Past ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Over Time

After China’s recent great success in eliminating absolute poverty, addressing relative income inequality becomes a more important issue. This survey finds that income inequality rapidly increased in the first three decades since 1978 but stabilized and slightly declined in the past decade, consistent with the well-known Kuznets hypothesis. In addition to documenting the trend and patterns over time and across groups and regions, seven sources of income inequality are systematically discussed with an effort to reconcile and extend the existing literature. Furthermore, a negative correlation is documented between income inequality and intergenerational mobility, consistent with the Great Gatsby curve observed in developed countries. (JEL D31, D63, O15, P36)

“Can't Repeat the Past?”Gatsbyand the American Dream at Mid-Century

2015 ◽  
Vol 50 (1) ◽  
pp. 105-124
Author(s):  
LAURA GOLDBLATT
Keyword(s):  
Cold War ◽  
New World ◽  
American Dream ◽  
The Past ◽  
Great Gatsby ◽  
The Great Gatsby

“‘Can't Repeat the Past?’Gatsbyand the American Dream at Mid-Century” analyzesThe Great Gatsby's Cold War rise to explain its subsequent canonization. The essay uses Ernst Bloch's theory of disappointment and utopianism to dwell, in particular, upon the novel's representations of the American Dream as intimately related to failure and the promise of the New World. Bloch's insistence that disappointment is embedded within utopian formations suggests that the novel's tragic take on Gatsby's dreams is the key to its mid-century fame and its continued cultural appeal.

scholarly journals Playing the Old Tunes: A Fiskean Analysis of Baz Luhrmann’s 2013 Cinematic Adaptation of The Great Gatsby

2016 ◽  
Vol 71 ◽  
pp. 60-70
Author(s):  
Marjan Khodamoradpour ◽  
Alireza Anushiravani
Keyword(s):  
Media Studies ◽  
The Novel ◽  
Baz Luhrmann ◽  
Cinematic Adaptation ◽  
Great Gatsby ◽  
The Great Gatsby

Scott Fitzgerald’s The Great Gatsby has been adapted many times by different directors. However, the two prominent adaptations standing out throughout history are Jay Clayton’s 1974 adaptation as the most sincere rendering of the book, and the recently adapted movie by the Broadway director, Baz Luhrmann. The latter adaptation is important in that it has been accomplished in the age of technology, in 3D format, and at the time of the new readings, i.e. cultural or new historical readings, of the novel. This paper is an endeavor to analyze the movie through John Fiske’s theory on media studies. Also, an effort has been made to see whether in this new adaptation, the idea of the new studies of the novel have been shown by the director, or else the movie is a mere representation of struggle for money discussed by the traditional Marxist scholars, metaphorically playing the old tunes.

scholarly journals Toppling the Past?:

2021 ◽  
Vol 28 ◽  
pp. 18-30
Author(s):  
Tony Ballantyne
Keyword(s):  
New Zealand ◽  
Public Space ◽  
Final Section ◽  
The Past ◽  
Queen Victoria ◽  
Indigenous Perspectives ◽  
The City

This article explores some of the recent debates over statues, memorials and cultures of commemoration in New Zealand. These 'statue wars' are particularly focused on explorers, military men, colonial governors, and even Queen Victoria herself, figures who are seen as being deeply implicated in the production of the persistent inequalities and pain that has resulted from colonialism and empire. My analysis particularly focuses on the city of Tūranga/Gisborne, James Cook's first landing place in New Zealand and a location where there has a sequence of heated debates over Cook's legacies and a series of attacks on statues of the navigator. It explores three ways in which the city's landscape of memory has been reshaped: the removal of a contentious 1969 statue, the creative redevelopment of a long-standing historic reserve, and the erection of a statue to a key Ngāti Oneone tupuna (ancestor). This discussion particularly highlights the work and arguments of the Ngāti Oneone historian and artist, Nick Tupara. The final section of the essay turns to the author's own location - Ōtepoti/Dunedin - and offers a reading of debates over statues in that city, underlining the pivotal importance of indigenous perspectives on history and public space.

scholarly journals The Great Gatsby: Love and the Accumulation of Financial Capital and Symbolic

2017 ◽  
Vol 7 (1) ◽  
pp. 21
Author(s):  
Gilson Vedoin ◽  
Ingra Cristina Silvestre ◽  
Victor Vinícius Do Carmo
Keyword(s):  
Temporal Dynamics ◽  
Pierre Bourdieu ◽  
Film Adaptation ◽  
Financial Capital ◽  
Structural Elements ◽  
Baz Luhrmann ◽  
Cultural Phenomenon ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Gerard Genette

This paper aims to highlight the capital relations that permeate the story the Great Gatsby, Francis Scott Fitzgerald, considered here as the hipotexto, founding text on design of Gerard Genette (2010) and your the most recent film adaptation, hypertext (GENETTE, 2010, p. 12) that works as transposition and/or updating the previous text made by the Australian Director Baz Luhrmann in 2013. In this sense, from the theoretical formulations proposed by Pierre Bourdieu (1996) about the art as social, historical and cultural phenomenon, the product of a structured and stratified society, we use the concepts of capital and symbolic power to highlight the logic financier that articulates the personal relationships and emotional in the narrative of Fitzgerald, above all, from a reading of their analytical structural elements. In this analysis, we focused on conflict cells established between the characters, the Narrator, the spaces and the temporal dynamics established in hipotexto interaction written with filmic hypertext.O Grande Gatsby: Amores e o Acúmulo de Capitais Financeiros e Simbólicos O presente trabalho se propõe a evidenciar as relações capitais que permeiam a narrativa O Grande Gatsby, de Francis Scott Fitzgerald, considerada aqui como o hipotexto, texto fundante na concepção de Gerard Genette (2010) e sua adaptação cinematográfica mais recente, hipertexto (GENETTE, 2010, p.12) que funciona como transposição e/ou atualização do texto anterior realizada pelo diretor australiano Baz Luhrmann em 2013. Nesse sentido, a partir das formulações teóricas propostas por Pierre Bourdieu (1996) acerca da arte como fenômeno social, histórico e cultural, produto de uma sociedade estruturada e estratificada, utilizamos as noções de capital e poder simbólico para evidenciar a lógica financista que articula as relações pessoais e afetivas na narrativa de Fitzgerald, sobretudo, a partir de uma leitura analítica de seus elementos estruturais. Nessa análise, enfocamos as células de conflito estabelecido entre as personagens, o discurso do narrador, os espaços e a dinâmica temporal que se estabelece na interação do hipotexto escrito com o hipertexto fílmico.

Amitabh Bachchan

2019 ◽  
Author(s):  
Anne Ciecko
Keyword(s):  
Public Discourse ◽  
Uttar Pradesh ◽  
Family Values ◽  
Crime Drama ◽  
Baz Luhrmann ◽  
Great Gatsby ◽  
Regional Language ◽  
The Great Gatsby ◽  
Production Company ◽  
Love Triangle

Amitabh Bachchan (b. 1942 in Allahabad) is perhaps the most enduringly iconic figure of Bollywood. He has appeared in nearly two hundred films and made cultural impacts as television presenter, stage performer, spokesperson, brand ambassador, and social media influencer. “Big B” possesses a tall physique, heavy-lidded visage, and sonorous multilingual voice. After onscreen debut in the epic Saat Hindustani (dir. K A. Abbas, 1969), his reputation and fame were established with anti-hero action roles as corruption-fighting police inspector-turned-vigilante in Zanjeer (dir. Prakash Mehra, 1973), as good-hearted thief in “curry western” Sholay (dir. Ramesh Sippy, 1975), and as tragic gangster in crime drama Deewar (dir. Yash Chopra, 1975). Bachchan’s composite personae represented the populist “angry young man” at a time of political/social/economic crisis. In the pioneering “middle cinema” of director-screenwriter Hrishikesh Mukherjee, including Anand (1971) and Namak Haraam (1973), Bachchan co-starred with the “original” Hindi film superstar Rajesh Khanna, ultimately eclipsing Khanna’s screen currency with his own class-crossing, genre-bending charisma. Bachchan appeared as characters all named Vijay (victorious) in Salim-Javed scripted films directed by Yash Chopra, Chandra Barot, and Ramesh Sippy. He executed his own action stunts, dances, and baritone playback tracks for numerous screen performances. An array of “double” roles, as well as comic films like Amar Akbar Anthony (dir. Manmohan Desai, 1977) displayed his expanding acting range. In addition to classic “buddy”/multihero pairings, Bachchan first shared the screen with actress Jaya Bhaduri in 1973, the year they married. Rumors of relationships with female stars provided abundant gossip fodder, culminating in a love triangle storyline in Silsila (dir. Yash Chopra, 1981). Bachchan’s status as superstar/national symbol was confirmed via public concern after a near-fatal injury during the filming of Coolie (dir. Manmohan Desai and Prayag Raj, 1982), widely covered in the press. Thereafter, Bachchan’s controversial foray into politics representing his home city in Uttar Pradesh, resulted in a screen hiatus and, later, attempted comeback. In the 1990s, his titular production company faced bankruptcy; however, the star accrued new currency in film and across media platforms, topping the BBC News online millennium poll as greatest star of stage or screen and becoming the host of a popular glocalized television game show. His son Abhishek and daughter-in-law Aishwarya Rai Bachchan exemplify next-generation stardom. Amitabh Bachchan has meanwhile remained a fixture in the Indian star firmament as the global Bollywood landscape continues to expand in the 21st century. His socially mediated utterances, advertising campaigns, and philanthropic endeavors regularly become part of public discourse. Bachchan portrayed multiple silver-bearded patriarchs in blockbuster millennial films emphasizing traditional family values, but his contemporary catalogue also includes rogues, renegades, curmudgeons, and outsiders. Bachchan’s contributions to Bollywood’s intertextual richness and influence are also demonstrated by his cameos in Hindi movies, Indian regional language films, and in the postmodern adaptation/remake of The Great Gatsby (dir. Baz Luhrmann, 2013), his Hollywood debut.

Partying in The Great Gatsby: Baz Luhrmann’s Audiovisual Sublime

2017 ◽  
Author(s):  
Carol Vernallis
Keyword(s):  
Gilded Age ◽  
Digital Technologies ◽  
Film History ◽  
Spatial Layout ◽  
Baz Luhrmann ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Contemporary Cinema ◽  
Spatial Locations

The first party sequence in Baz Luhrmann’ s The Great Gatsby (2013) counts as one of the most opulent, densely articulated, and extravagant in film history. On its release critics noted its ‘frenetic beauty’, ‘orgasmic pitch’, and ‘Vincente Minnelli-style suavity with controlled vertigo’. Décor, costuming, sound, movement, and colour come to the fore because the sequence’s spatial layout can’t be determined until its end. The mélanged soundtrack itself refuses to grant the viewer a sense of ground. What distances might this musical sample brook? Who’s performing and who isn’t? To which period and community does this music speak? Why this snippet against that? Sounds’ sources and imagined spatial locations seem to cross and overlap with elaborate vectors. This analysis plumbs the ways nineteen aural and visual techniques pull the viewer affectively and proprioceptively in different directions, helping, with the aid of digital technologies, to construct an extravagant rhetoric appropriate for our unfortunate gilded age. Considering Gatsby provides a way to further understand audiovisual aesthetics, the newly emergent role of soundtracks, contemporary cinema, and our time.

scholarly journals Metaphysical or Differential: Fitzgerald's The Great Gatsby under Derridean Concept of Love

2019 ◽  
Vol 9 (12) ◽  
pp. 1486
Author(s):  
Muhammad Hussein Oroskhan
Keyword(s):  
Jacques Derrida ◽  
Western Philosophy ◽  
Absolute Moment ◽  
Future Time ◽  
The Past ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Critical Attention ◽  
Ultimate Failure ◽  
New Perspective

Jacques Derrida revolutionized the Western Philosophy by reconsidering the previous ideas in a new perspective. In his view, human subjectivity is explained within the system of language and the meaning is conveyed through the concept of differánce. As such, he imparts the notion that nothing ever exists outside the text, yet the text is filled with innumerable meanings not a specific one. The net of his deconstructive thinking cast vast enough to devote close critical attention to any previously regarded metaphysical idea like love. Transcendental or metaphysical love is shorn of meaning in Derridean notion of deconstruction. For Derrida, love as a communicable sign is confined to the rules of iterability which proves the free flow of signifiers. In this regard, Fitzgerald's The Great Gatsby as one of the most critically studied work in America is recruited to examine the Derridean deconstructive notion of love. Gatsby is exclusively focused on seeking Daisy's transcendental love even at the expense of repeating the past. Nonetheless, the evanescent fluidity of the notion of love totally ruins Gatsby's chance of ever achieving Daisy's love. Accordingly, Gatsby's ultimate failure is expected for the reason that an "absolute moment" is never devoid of any trace of past or future time. Thus, The Great Gatsby attends to why the notion of love defies any metaphysical or transcendental status and instead it has differential and deferral meaning.

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