scholarly journals The New Realistic Trend in Contemporary World Cinema: Ramin Bahrani’s Chop Shop as a Case Study

2013 ◽  
Vol 7 (1) ◽  
pp. 153-167
Author(s):  
Fernando Canet
Keyword(s):  
New York ◽  
Independent Cinema ◽  
Contemporary World ◽  
Siegfried Kracauer ◽  
World Cinema ◽  
History Of ◽  
Open Window ◽  
Andre Bazin ◽  
The One

Abstract In the last two decades there has been an international resurgence of realistic films, i.e., films directed by filmmakers who believe in the ontological power of reality and, at the same time, in the capacity of the medium’s expressive scope for building a story without undermining the viewer’s impression of reality. On the one hand, this new movement is a rehabilitation of the cinematic Realism that throughout the history of film has touted cinema as an open window to the real world, a view particularly exemplified by Italian Neo-Realism. On the other hand, this new trend has given new life to the Realist film theories championed mainly by André Bazin and Siegfried Kracauer. Bazin defines the Realist style as “all narratives means tending to bring an added measure of reality to the screen” (1971, 27). In the article titled Neo-Neo Realism (2009), A. O. Scott discusses a number of filmmakers whom he categorizes within the new Realist trend in contemporary American independent cinema. Among these is Ramin Bahrani, director of the film Chop Shop (2007). Bahrani is a USborn filmmaker of Iranian origin, based in New York. Abbas Kiarostami is one of his main points of reference. Kiarostami, as Scott notes, “refined the old Neorealist spirit through the 1990s and into the next decade.” Bahrani himself acknowledges this influence with his desire to make “an Iranianstyle movie here in New York.”

“The Principal Russian Church in America”: from the History of Saint Nicholas Russian Orthodox Cathedral in the City of New York

Istoriya ◽  
2021 ◽  
Vol 12 (11 (109)) ◽  
pp. 0
Author(s):  
Vladimir Pechatnov
Keyword(s):  
United States ◽  
New York ◽  
The United States ◽  
Russian Orthodox ◽  
History Of ◽  
Ministry Of Finance ◽  
The Russian Empire ◽  
Foreign Ministry ◽  
The City

Based on previously unearthed documents from the Russia’s State Historical Archive and the Archive of Foreign Policy of the Russian Empire the article explores the history of the first Russian Orthodox parish in New York City and construction of Saint-Nickolas Russian Orthodox Cathedral in the city. It was a protracted and complicated interagency process that involved Russian Orthodox mission in the United States, Russia’s Foreign Ministry and its missions in the United States, the Holy Governing Synod, Russia’s Ministry of Finance and the State Council. The principal actors were the bishops Nicholas (Ziorov) and especially Tikhon (Bellavin), Ober-Prosecutor of the Holy Governing Synod Konstantine Pobedonostsev and Reverend Alexander Khotovitsky. This case study of the Cathedral history reveals an interaction of ecclesiastical and civil authorities in which private and civic initiative was combined with strict bureaucratic rules and procedures.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

The Museum of Primitive Art, 1940–1982

Entitled ◽  
2019 ◽  
pp. 41-69
Author(s):  
Jennifer C. Lena
Keyword(s):  
New York ◽  
Small Group ◽  
Detailed Analysis ◽  
Metropolitan Museum ◽  
Ideal Case ◽  
Metropolitan Museum Of Art ◽  
Art Collection ◽  
History Of ◽  
The Creation

This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.

Collecting Folk Histories

2015 ◽  
Vol 37 (3) ◽  
pp. 45-75
Author(s):  
William S. Walker
Keyword(s):  
New York ◽  
Collaborative Research ◽  
Public History ◽  
New York State ◽  
Field Research ◽  
Community Based ◽  
Community Based Research ◽  
Student Community ◽  
History Of

This article explores the shared intellectual tradition in folklore, public history, and oral history of involving students in community-based field research. This case study of the collaborative research New York State folklorist Harold W. Thompson and his students undertook in the 1930s contributes to ongoing efforts to enrich our understanding of public history’s genealogy. It also demonstrates that a counter-tradition to the “lone genius” model of humanities research emerged through faculty-student community-based research projects in history and folklore.

scholarly journals Sexualization of Female Perpetration in Fictional Holocaust Films: A Case Study of The Reader (2008)

Genealogy ◽  
2019 ◽  
Vol 3 (4) ◽  
pp. 52
Author(s):  
Sabine Elisabeth Aretz
Keyword(s):  
Female Victims ◽  
Female Perpetration ◽  
The Holocaust ◽  
Female Perpetrators ◽  
History Of ◽  
The Subject ◽  
Holocaust Film ◽  
Holocaust Films ◽  
The One

The publication of Bernhard Schlink’s novel The Reader (1995) sparked conversation and controversy about sexuality, female perpetrators and the complexity of guilt regarding the Holocaust. The screen adaptation of the book (Daldry 2008) amplified these discussions on an international scale. Fictional Holocaust films have a history of being met with skepticism or even reject on the one hand and great acclaim on the other hand. As this paper will outline, the focus has often been on male perpetrators and female victims. The portrayal of female perpetration reveals dichotomous stereotypes, often neglecting the complexity of the subject matter. This paper focuses on the ways in which sexualization is used specifically to portray female perpetrators in The Reader, as a fictional Holocaust film. An assessment of Hanna’s relationship to Michael and her autonomous sexuality and her later inferior, victimized portrayal as an ambiguous perpetrator is the focus of my paper. Hanna’s sexuality is structurally separated from her role as a perpetrator. Hanna’s perpetration is, through the dichotomous motif of sexuality throughout the film, characterized by a feminization. However, this feminization entails a relativization of Hanna’s culpability, revealing a pejorative of her depiction as a perpetrator. Consequently, I argue that Hanna’s sexualized female body is constructed as a central part of the revelation of her perpetration.

“The Hora Staccato in Swing!”: Jascha Heifetz's Musical Eclecticism and the Adaptation of Violin Miniatures

2012 ◽  
Vol 6 (4) ◽  
pp. 405-431
Author(s):  
JOSHUA S. WALDEN
Keyword(s):  
United States ◽  
New York ◽  
Twentieth Century ◽  
Eastern Europe ◽  
The United States ◽  
Popular Song ◽  
Tin Pan Alley ◽  
Popular Songs ◽  
History Of

AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany violin performance he heard in Bucharest, and his later adaptation of the music into an American swing hit he titled “Hora Swing-cato.” Finally, the essay turns to the field of popular song to consider how two of the works Heifetz performed most frequently were adapted for New York Yiddish radio as Tin Pan Alley–style songs whose lyrics narrate the early twentieth-century immigrant experience. The performance and arrangement history of many of Heifetz's miniatures reveals the multivalent ways in which works in his repertoire, and for some listeners Heifetz himself, were reinterpreted, adapted, and assimilated into American culture.

The Not-So-Strange Birth of the Modern American State: A Comment on James A. Henretta's “Charles Evans Hughes and the Strange Death of Liberal America”

2006 ◽  
Vol 24 (1) ◽  
pp. 193-199 ◽  
Author(s):  
William J. Novak
Keyword(s):  
New York ◽  
Supreme Court ◽  
Social Scientist ◽  
The United States ◽  
Public Law ◽  
Turn Of The Century ◽  
Legal Opinions ◽  
History Of ◽  
The U.S

James Henretta's “Charles Evans Hughes and the Strange Death of Liberal America” takes up one of the most interesting and important interpretive questions in the history of American political economy. What explains the dramatic transformation in liberal ideology and governance between 1877 and 1937 that carried the United States from laissez-faire constitutionalism to New Deal statism, from classical liberalism to democratic social-welfarism? That question has preoccupied legions of historians, political-economists, and legal scholars (as well as politicians and ideologues) at least since Hughes himself opened the October 1935 Term of the U.S. Supreme Court in a brand new building and amid a rising chorus of constitutional criticism. Henretta, wisely in my opinion, looks to law, particularly public law, for new insights into that great transformation. But, of course, the challenge in using legal history to answer such a question is the enormous increase in the actual policy output of courts, legislatures, and administrative agencies in this period. Trying to synthesize the complex changes in “law-in-action” in the fiercely contested forums of turn-of-the-century America sometimes seems the historical-sociological equivalent of attempting to empty the sea with a slotted spoon. Like any good social scientist, Henretta responds to the impossibility of surveying the whole by taking a sample. Through a case-study of the ideas, political reforms, and legal opinions of Charles Evans Hughes, particularly as governor of New York and associate and chief justice of the U.S. Supreme Court, Henretta offers us in microcosm the story of the revolution (or rather several revolutions) in modern American governance.

Zheng Junli, Complicity and the Cultural History of Socialist China, 1949–1976

2006 ◽  
Vol 188 ◽  
pp. 1048-1069 ◽  
Author(s):  
Paul G. Pickowicz
Keyword(s):  
Cultural History ◽  
Film Industry ◽  
State Building ◽  
The Other ◽  
Great Leap Forward ◽  
History Of ◽  
The One ◽  
Party State ◽  
Mao Era

This article explores cultural producation during the Mao era (1949–76) by focusing on the evolving relationship between artists and the party-state. The emphasis is on state direction of art in the all-important film industry. From 1949, well-known bourgeois Republican-era artists willingly began the complicated, painful and sometimes deadly process of adjusting to Communist Party state building, nation building and political domination. The career of influential film director Zheng Junli is examined as a case study of creative and strategic accommodation to new circumstances on the one hand, and of complicity on the other. Zheng is seen in his dual and contradictory roles as both trusted, ever loyal insider and unreliable, even degenerate, outsider. His Mao-era films, especially the spectacular Great Leap Forward production of Lin Zexu, are analysed in terms of their political thrust and reception in the difficult-to-predict world of the People's Republic.

scholarly journals THE 1951 DIPLOMATIC GIFT: THE ROLE OF A GERMAN EIGHTEENTH CENTURY HANUKKAH LAMP IN ISRAELI-AMERICAN RELATIONS

ARTis ON ◽  
2018 ◽  
pp. 67-77
Author(s):  
Shir Kochavi
Keyword(s):  
New York ◽  
Eighteenth Century ◽  
Prime Minister ◽  
Jewish People ◽  
The United States ◽  
Primary Sources ◽  
The Gift ◽  
History Of

A diplomatic gift in the form of a Hanukkah Lamp, given to President Harry Truman by the Prime Minister of Israel, David Ben-Gurion in 1951 was selected for this occasion by museum personnel from the Bezalel Museum in Jerusalem and the Jewish Museum in New York. Based on primary sources found in archives in Israel and in the United States, this case study investigates the process of objects exchange between two museums, orchestrated on the basis of an existing collegial relationship, and illustrates how the Hanukkah Lamp becomes more than itself and signifies both the history of the Jewish people and the mutual obligations between the two nations. Drawing on the theories of Marcel Mauss, Arjun Appadurai, and Igor Kopytoff on the notion of the gift, the article highlights the layers of meanings attributed to a gifted object.

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