The Production, Reception and Cultural Transfer of Operetta on Early Sound Film

2021 ◽  
pp. 169-182
Author(s):  
Derek B. Scott
Keyword(s):  
Author(s):  
Cleo Hanaway-Oakley

This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.


Author(s):  
Joanna Rzepa

This chapter offers a historical account of the presence of Paradise Lost in translation and Polish literature, especially how the poem’s reception in Poland has been shaped by complex modes of linguistic and cultural transfer. The chapter explores the historical and political contexts in which Paradise Lost was translated into Polish, discusses the most important actors involved in its publication, and analyses the strategies employed by the translators. It demonstrates that the eighteenth- and nineteenth-century translators of Milton, who worked at a time when Poland had lost its political sovereignty, focused specifically on the form of the poem, presenting models for a modern Polish epic poem that could help sustain Polish cultural identity. The focus of the twentieth-century translators, who lived through the world wars, shifted from the form to the rich imagery of Milton’s poem, in particular his exploration of the themes of vanity, destruction, and exile.


Author(s):  
James Buhler

Chapter 2 examines several major theories that emerged during the transition to sound film, when even the definition of the sound film was contested. The theories of sound film that arose during the transitional decade from 1926 to 1935 focused on the closely related forms of recorded theater and silent film and worked to articulate how sound film differed from them. They also gave considerable attention to asynchronous sound in part because it was a figure specific to sound film (or in any event more difficult to produce in other art forms) and in part because asynchronous sound had affinities with montage. The chapter focuses on five important theorists who wrote prolifically during the transition years: Sergei Eisenstein, Vsevolod Pudovkin, Béla Balázs, Rudolf Arnheim, and Harry Potamkin.


Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 62
Author(s):  
Emiel Martens

In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s as a colonial expression of tropical savagery and jungle terror. Then, combining historical newspaper research with content analyses of these films, I present my exploration into the three low-budget horror films in two parts. The first part contains a discussion of Ouanga, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. In this early horror adventure, which was made in the final year of the U.S. occupation of Haiti, zombies were portrayed as products of evil supernatural powers to be oppressed by colonial rule. In the second part, I review Obeah and The Devil’s Daughter, two horror adventure movies that merely portrayed African-Caribbean religion as primitive superstition. While Obeah was disturbingly set on a tropical island in the South Seas infested by voodoo practices and native cannibals, The Devil’s Daughter was authorized by the British Board of Censors to show black populations in Jamaica and elsewhere in the colonial world that African-Caribbean religions were both fraudulent and dangerous. Taking into account both the production and content of these movies, I show that these 1930s horror adventure films shot on location in Jamaica were rooted in a long colonial tradition of demonizing and terrorizing African-Caribbean religions—a tradition that lasts until today.


Sign in / Sign up

Export Citation Format

Share Document