Multiple authorship in Anna Karenina (1935): Adapting Tolstoy’s literary classic in the Hollywood studio era

2020 ◽  
Vol 13 (3) ◽  
pp. 203-222 ◽  
Author(s):  
Milan Hain
Keyword(s):  
Regulatory Body ◽  
Adaptation Process ◽  
Multiple Authorship ◽  
Anna Karenina ◽  
Production Code ◽  
Production Values ◽  
Cultural Determinants ◽  
High Production ◽  
Studio Era ◽  
Industrial Economic

Among the numerous film adaptations of Anna Karenina, the 1935 version produced by David O. Selznick for Metro-Goldwyn-Mayer remains one of the most acclaimed and celebrated – undoubtedly owing to its high production values and the performance and ‘star presence’ of the legendary Greta Garbo. However, the film has also been criticized for distorting and simplifying Tolstoy’s literary classic. In this article, I focus on the process of transposing Anna Karenina into the Hollywood screen version, locating causes of the adaptation process in extra-textual factors. Specifically, I address the economic and industry discourse represented by the MGM studio and its house style; the censorship discourse represented by the Production Code Administration, Hollywood’s self-regulatory body headed by Joseph Breen; and the star discourse represented by Garbo. In the process, I identify and describe the industrial, economic and cultural determinants which brought about MGM’s version of Anna Karenina. At the same time, by perceiving Selznick, Breen and Garbo as co-authors of the film, I redefine and complicate the issue of authorship.

scholarly journals Engines of alternative objectivity: Re-articulating the nature and value of participatory mental health organisations with the Hearing Voices Movement and Stepping Out Theatre Company

2015 ◽  
Vol 22 (3) ◽  
pp. 205-222 ◽  
Author(s):  
Claire Blencowe ◽  
Julian Brigstocke ◽  
Tehseen Noorani
Keyword(s):  
Mental Health ◽  
Material Culture ◽  
Science Studies ◽  
Drama Therapy ◽  
Biomedical Science ◽  
Sociology Of Culture ◽  
Hearing Voices ◽  
Production Values ◽  
Theatre Company ◽  
High Production

Through two case studies, the Hearing Voices Movement and Stepping Out Theatre Company, we demonstrate how successful participatory organisations can be seen as ‘engines of alternative objectivity’ rather than as the subjective other to objective, biomedical science. With the term ‘alternative objectivity’, we point to collectivisations of experience that are different to biomedical science but are nonetheless forms of objectivity. Taking inspiration from feminist theory, science studies and sociology of culture, we argue that participatory mental health organisations generate their own forms of objectivity through novel modes of collectivising experience. The Hearing Voices Movement cultivates an ‘activist science’ that generates an alternative objective knowledge through a commitment to experimentation, controlling, testing, recording and sharing experience. Stepping Out distinguishes itself from drama therapy by cultivating an alternative objective culture through its embrace of high production values, material culture, aesthetic standards. A crucial aspect of participatory practice is overcoming alienation, enabling people to get outside of themselves, encounter material worlds and join forces with others.

Produced by Irving Thalberg

2020 ◽  
Author(s):  
Ana Salzberg
Keyword(s):  
Popular Culture ◽  
Conceptual Understanding ◽  
Golden Age ◽  
Theoretical Perspective ◽  
Turning Points ◽  
Romeo And Juliet ◽  
Mass Audience ◽  
Production Code ◽  
Studio Era

Irving Thalberg was not just a critically important producer during Hollywood’s Golden age, but also an innovative theorist of studio-era filmmaking. Drawing on archival sources, this is the first book to explore Thalberg’s insights into casting, editing, story composition and the importance of the mass audience from a theoretical perspective. The book argues that Thalberg’s views represent a unified conceptual understanding of production – one that is still significant in the modern day. It examines Thalberg’s impact on film-historical turning points, including the transition from silent to sound cinema and the development of the Production Code, and features in-depth analyses of his productions at Metro-Goldwyn-Mayer from 1924 to 1936. Indeed, each chapter offers a reading of Thalberg’s films through his own theoretical lens, thus highlighting his insights into production and introducing new ways of considering his classic pictures, including The Big Parade (1925), The Broadway Melody (1929) and Romeo and Juliet (1936). The work concludes by assessing his resonance in popular culture, tracing the mythology of Thalberg as it evolved after his death in 1936.

scholarly journals Whoever Pays the Piper Calls the Tune: Kurt Jooss, Public Subsidy, and Private Patronage

2018 ◽  
Vol 36 (1) ◽  
pp. 33-47
Author(s):  
Clare Lidbury
Keyword(s):  
South America ◽  
New Work ◽  
Public Subsidy ◽  
Production Values ◽  
The Usa ◽  
High Production

This article discusses how subsidy and patronage from German municipalities, private individuals, and British organisations supported Kurt Jooss's artistic output enabling him to create new work, to have high production values, and to present and disseminate his work in Britain, across Europe, the USA and South America. Working chronologically, consideration is given to how each sponsor and benefactor impacted on Jooss's work, particularly his activities as a theatre/opera director and as a choreographer for Baroque operas and oratorios. It is concluded that without such deliberate sponsorship Jooss's work would have been severely restricted.

scholarly journals Analysis of Crop Production Dataset using R Tool

2019 ◽  
Vol 9 (1S3) ◽  
pp. 107-110
Keyword(s):  
Data Analysis ◽  
Crop Production ◽  
Emerging Technologies ◽  
High Time ◽  
Indian Economy ◽  
The People ◽  
Production Values ◽  
Average Production ◽  
High Production ◽  
Microsoft Azure

Agriculture is the most important factor of the Indian economy, but this vital industry which currently needs more support than any other. Agriculture is the main sector which is responsible for feeding every individual, but the people involved in it are totally neglected and last to be taken care of. With newer problems cropping up every day in the most inevitable indigenous sectors, it is high time we resort to emerging technologies for solutions. Effective Data Analysis is used to predict the production values and market rates. In this paper Agriculture data of virudunagar district is analyzed using R Tool and Microsoft Azure in different aspects such as percentage of crop produced in various season, Production details of various crops, and crop production in different years from 1997 to 2013. The dataset is also analyzed to list out the low production crops, average production crops and high production crops using R Tool.

Do We Still Need Public Service Television?

2018 ◽  
Author(s):  
Luke Hyams
Keyword(s):  
Social Media ◽  
Young People ◽  
Public Service ◽  
Sweet Spot ◽  
Public Service Broadcasting ◽  
Production Values ◽  
The World ◽  
High Production ◽  
Media Corporations

This chapter argues that there is still a need for public service television. Public service broadcasters fulfil a role that neither the independent young creators nor the big media corporations can really fill. There is a sweet spot there in the middle that is so important. This is also the time for young people to get behind the BBC and Channel 4, and re-appropriate young people's vision of public service broadcasting. There are so many ways in which public service broadcasters do well for under-25-year-olds: from incredibly high production values, well thought out dramas and documentaries on Channel 4 to the BBC 6 Music, 1Xtra, the World Service, Radio 4. The news is another area where there has been a big change for a lot of the young people, given their active presence in social media.

Dramatized Societies: Quality Television in Spain and Mexico

2017 ◽  
Author(s):  
Paul Julian Smith
Keyword(s):  
Mexico City ◽  
Textual Analysis ◽  
Social Issues ◽  
Historical Memory ◽  
National Narrative ◽  
Race And Gender ◽  
Production Values ◽  
Close Textual Analysis ◽  
High Production ◽  
And Gender

Over the last decade Spain and Mexico have both produced an extraordinary wealth of television drama and are among the leaders in their respective continents. The new dramas have high production values (easily the equal of cinema), intricately plotted narratives, and compellingly ambivalent characters. They are thus clearly worthy of the close textual analysis they have not yet received. Drawing on both national practices of production and reception (based on archival research in Madrid and Mexico City) and international theories of textual analysis, this book offers the first study of contemporary quality TV drama in two countries where, unlike elsewhere, it is not yet recognized that television has displaced cinema as the creative medium that shapes the national narrative. As dramatized societies, Spain and Mexico are thus at once reflected and refracted by the new series on the small screen. Social issues treated include historical memory, youth, drugs, race, and gender.

scholarly journals Praktik Pengelolaan Wakaf Produktif Ditinjau Dari Hukum Positif Dan Hukum Islam (Studi Kasus Di Yayasan Pundi Amal Bhakti Ummat Bekasi)

2021 ◽  
Vol 8 (2) ◽  
Author(s):  
Ros Malasari ◽  
Irvan Iswandi
Keyword(s):  
Human Resource ◽  
Qualitative Method ◽  
Swot Analysis ◽  
Rice Fields ◽  
Harvest Time ◽  
Human Errors ◽  
Non Profit ◽  
Production Sharing ◽  
Production Values ◽  
High Production

Yayasan Pundi Amal Bhakti Ummat adalah Lembaga nirlaba milik masyarakat. Yayasan ini bergerak di bidang  sosial, Pendidikan, Kemanusiaan, dan Keagamaan. Yayasan ini juga memiliki program Tabarru card, praktik perwakafan yang mempunyai nilai produktifitas yang tinggi. Penelitian ini menggunakan metode penelitian Kualitatif, dengan pendekatan literatur dan empiris. Hasil penelitian ini menyatakan bahwa Pengelolaan wakaf produktif di Yayasan Pundi Amal Bhakti Ummat merupakan wakaf tanah dan sawah dari wakif seluas 27,25 ha, di atas tanah dan sawah tersebut ditanami padi yang bekerja sama dengan warga sekitar untuk mengelolanya, sehingga pada saat panen menggunakan sistem bagi hasil. Juga, Wakaf produktif di Yayasan Pundi Amal Bhakti Ummat terdapat beberapa masalah, terutama dalam masalah Pengorganisasian (organizing) dilakukan dengan tujuan membagi suatu kegiatan besar menjadi kegiatan-kegiatan yang lebih kecil dan SDM yang masuk tidak sesuai, atau terkadang Human Eror terjadi pada SDM yang telah ada. Pengurus Tabarru’ juga tidak menggunakan analisis SWOT sebagai metode perencanaan strategis.Kata kunci: Pengelolaan, Wakaf, Produktif AbstractPundi Amal Bhakti Ummat Foundation is a non-profit organization of society. This Foundation active in social, education, humanity, and religion aspects. Moreover, this foundation applies Tabarru card, the implementation of waqf program with high production values. The study uses Qualitative method with literary and empirical approach. The findings of this study are Productive waqf management of Pundi Amal Bhakti Ummat Foundation are waqf land and rice fields from waqf area of 27.25 ha,  land and rice fields planted with rice that manage together with  society, so the harvest time using production sharing system. More also Productive waqf of Pundi Amal Bhakti Ummat Foundation, there are some problems as following: Organizing is to divide big agenda into smaller one and the human resource is not appropriate, or the human errors frequently happened. Tabarru management does not use SWOT analysis as strategic planning method.Keywords: Management, Waqf, Productive. 

Crime Films during the Period of the Production Code Administration

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Film Noir ◽  
Entire Body ◽  
Crime Films ◽  
Production Code ◽  
Aesthetic Properties ◽  
The Aesthetic ◽  
Studio Era

Chapter 8 demonstrates the ways in which ideological constraints in studio-era Hollywood shaped the aesthetic properties of an entire body of crime films, now commonly known as film noir. The ideological restrictions of the Production Code Administration posed creative problems that noir filmmakers solved through visual and narrative contortion. The contortions created challenges for audiences, who had to decode and make sense of films that may not show complete clarity or coherence in their storytelling. Film noir remains aesthetically engaging because it operates near the boundaries of classicism without sacrificing classical Hollywood’s accessibility and formal unity.

Nutrient Supply and Primary Production in Clear Lake, Eastern Ontario

1970 ◽  
Vol 27 (11) ◽  
pp. 2009-2036 ◽  
Author(s):  
D. W. Schindler ◽  
J. E. Nighswander
Keyword(s):  
Standing Crop ◽  
Nutrient Supply ◽  
Canadian Shield ◽  
Clear Lake ◽  
Nitrogen And Phosphorus ◽  
Sodium Potassium ◽  
Production Values ◽  
Filtration Error ◽  
High Production ◽  
Calcium And Magnesium

Clear Lake, a small Canadian Shield lake that has been influenced little by human activity, was found to be more productive than expected from chemical and optical properties and geological surroundings. Production during the ice-free season ranged from 0.10 to 2.57 g C/m2 per day and averaged 250 g C/m2 per year for the lake as a whole. Other limnological factors studied (phytoplankton standing crop, oxygen, temperature, and nutrient regimes) were typical for an oligotrophic lake.The high production values are partially explained by the high correction for filtration error, which averaged 3.2 times for all occasions tested.Atmospheric precipitation is undoubtedly the major source of supply of the nutrients nitrogen and phosphorus to Clear Lake. Calcium and magnesium also appear to be largely carried in by precipitation, although most of the sodium, potassium, and silica entering the lake is weathered from the terrestrial watershed.

Digital Intermediary: Korean Transnational Cinema

2011 ◽  
Vol 141 (1) ◽  
pp. 137-145 ◽  
Author(s):  
Brian Yecies ◽  
Ae-Gyung Shim ◽  
Ben Goldsmith
Keyword(s):  
New Zealand ◽  
Film Industry ◽  
Mainland China ◽  
International Expansion ◽  
Transnational Cinema ◽  
Production Values ◽  
International Industry ◽  
International Projects ◽  
High Production ◽  
Korean Film

Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starring in films made in other countries. Korea has hosted major international industry events. These milestones have facilitated an unprecedented international expansion of the Korean film industry. With the advent of the ‘digital wave’ in Korea – the film industry's transition to digital production practices – this expansion has accelerated. Korean film agencies – the pillars of the national cinema – have played important parts in this internationalisation, particularly in promoting Korean films and filmmakers outside Korea and in facilitating international events in Korea itself. Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses working outside official channels. That is, they are often better understood as ‘transnational’ rather than ‘national’ or ‘international’ projects. In this article, we focus on a range of collaborations involving Korean, Australian, New Zealand and Chinese filmmakers and firms. These collaborations highlight some of the forces that have shaped the digital wave in the Korean film industry, and illustrate the increasingly influential role that the digital expertise of Korean filmmakers is playing in film industries, both regionally and around the world.

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