scholarly journals «Don Juan, ¿español?». Sobre la españolidad en Don Juan de José Luis Sáenz de Heredia

Author(s):  
Cayce Elder

Although Franco-era film adaptations of the Spanish comedia are often dismissed as propaganda due to the regime’s broader ideological use of the Golden Age to promote ‘traditional’ Spanish values, this essay suggests that these films merit closer scrutiny. Saenz de Heredia’s 1950 film Don Juan is both a response to Hollywood’s Adventures of Don Juan (Vincent Sherman, 1948) and a narrative film that, while reclaiming the Don Juan legend as Spanish cultural patrimony, reveals inherent contradictions and flaws in Franco’s idea of Spain and Spanishness. Superficially, it is ideologically orthodox, but closer examination reveals how the film is symptomatic of defects in Franco’s projected vision of Spain.

Author(s):  
Meredith E. Safran

This volume introduction analyzes a pervasive fantasy in American popular media: the desire to escape an “iron age” deemed materially and morally degraded in comparison with an idealized lost world that people hope somehow to recover. This idealized “golden age” is viewed with the painful longing of nostalgia and the sorrow of belatedness from the degraded “iron age” of the viewer’s present time, often accompanied by inquiry into how and why golden conditions no longer obtain. Self-proclaimed heirs to classical antiquity’s cultural patrimony adopted this myth with alacrity, and its deployment can be traced continuously throughout the classical tradition, including in popular media not conventionally associated with classicism. The introduction reviews key strands of golden-age discourse in ancient Greek and Roman texts, including views on human-divine relations, gender relations, and technological innovations; and modern receptions of historical societies as golden ages to be emulated, especially Periclean Athens, Thermopylae-era Sparta, and Augustan Rome. Case studies include the Vergilian concept of “Arcadia” as deployed in the sci-fi television series The 100 and “golden age thinking” as a psychological malady in Woody Allen’s Midnight in Paris.


2019 ◽  
pp. 75-101
Author(s):  
Jing Jing Chang

Chapter 3 examines the legacy of the May Fourth Movement in the context of postwar Hong Kong’s golden age of cinema. It argues that the May Fourth project was an unfinished one and was carried forward by progressive Cantonese filmmakers who were the torchbearers of its ideology. This chapter focuses on the careers of left-leaning filmmakers such as Ng Cho-fan, one of the founders of the Union Film Enterprise Ltd., and their emergence as postwar Hong Kong’s new cultural elites. Through a close reading of Union’s film adaptations of the Ba Jin trilogy, Family (Jia, dir. Ng Wu, 1953), Spring (Chun, dir. Lee Sun-fung, 1953), and Autumn (Qiu, dir. Chun Kim, 1954), this chapter demonstrates the transformative nature of the moral message of postwar Hong Kong’s cultural elites. Not only did left-leaning film talent repurpose core tenets of May Fourth, they also sought to reinterpret the spirit of vernacular modernism for the colony’s audiences through their film productions. Although May Fourth precepts were brought to Hong Kong by China’s nanlai cultural elites and leftwing film talents, the May Fourth spirit underwent a creative translingual appropriation during the 1950s as local Hong Kong leftwing companies such as the Union and Xinlian emerged.


2008 ◽  
Vol 9 (2) ◽  
pp. 107-124
Author(s):  
Trevor J Dadson

Author(s):  
Leonarda Rivera

Since its origins in the Theater of the Golden Age, Don Juan has been seen as “a symbol of carnal pleasure”. The seventeenth-century Don Juan seems to be a symbol of the baroque festival, where sex and death appear interwined. This paper analyzes the relationship between sexuality and Death as pillars in don Juan’s story. Both embody two faces of the same coin: The Trickster of Seville embodies the image of sexual instinct and The Stone Guest “the Death”.


Author(s):  
I.Q. Hunter

Pornographic adaptations—erotic parodies of mainstream films—have long been dismissed from critical notice as much because of their allegedly slapdash adaptation strategies as because of their demotic cultural associations. Focusing mostly on commercially produced US films, Chapter 24 traces the history of pornographic adaptations from the softcore exploitation films of the 1960s through “Golden Age” hardcore films such as The Opening of Misty Beethoven (1976) to contemporary DVD and online “XXX versions” and looks in detail at porn versions of Fanny Hill and Psycho (1960). The essay explores how far such film adaptations uncover disavowed erotic subtexts in their sources and considers what the process of porn adaptation can reveal about the more general processes of producing and consuming adaptations.


1997 ◽  
Vol 42 (9) ◽  
pp. 842-844
Author(s):  
Elizabeth W. Brazelton ◽  
Patsy Barrett ◽  
Jain McGarity ◽  
Nancy Michael ◽  
Carolyn Paul ◽  
...  
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