scholarly journals The Golden [Statuette] Age: How Miramax Sold Shakespeare to the Academy

2014 ◽  
Vol 7 (4) ◽  
Author(s):  
Sarah Martindale
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Golden Age ◽  
Cultural Hybridity ◽  
Romantic Comedy ◽  
Award Ceremony ◽  
Academy Award

This article revisits the 71st Academy Award Ceremony in 1999 when Shakespeare in Love picked up seven Oscars from thirteen nominations, controversially beating Saving Private Ryan to be named Best Picture. It is rare for a romantic comedy to win this coveted award, but then this is not just a film about love; it is a film about Shakespeare in love. In its depiction of cultural heritage Shakespeare in Love foregrounds ‘the very business of show’, remaking the playwright and his theatre in the image of millennial Hollywood. By reducing the distance between the two, the film makes claims to cultural quality worthy of recognition and reward. Shakespeare in Love reflected and capitalised on taste culture of the time and cemented Miramax's reputation as a purveyor of ‘Oscar-bait’. This article looks closely at a production context of which this film represents an epitome. Peter Biskind has christened the period between Disney’s purchase of Miramax in 1993 and Shakespeare in Love’s Best Picture Oscar as a ‘Golden Age’, in which the company profited from the benefits of being a studio subsidiary while still enjoying the kudos they had cultivated as an indie. Thanks to the financial weight lent by their parent studio, Miramax was able to market and distribute the film widely – it played on nearly two thousand screens in America at the peak of its theatrical run, during Oscar season – and to forcefully promote it among the ranks of the Academy voters. Complementing the authoritative cultural pedigree of the film’s subject matter was Miramax’s own reputation for ‘quality filmmaking’, which the film simultaneously drew upon and sought to perpetuate. In this way Shakespeare in Love offered mainstream studio production and romantic comedy content, while also projecting an aura of superior substance thanks to the connotations of the names Shakespeare and Miramax. Cultural hybridity is at the root of the film’s Oscar-winning success.

Cultural hybridity: The vitality of Hoi An ancient town world cultural heritage

2021 ◽  
Author(s):  
Thanh Vo Van ◽  
Thanh Le Minh ◽  
Thang Huynh Quoc ◽  
Son Quang Van ◽  
Uyen Do Thi Ngoc
Keyword(s):  
Cultural Heritage ◽  
Cultural Hybridity ◽  
World Cultural Heritage

Article 8—Use of Out-of-commerce Works and Other Subject Matter by Cultural Heritage Institutions

2021 ◽  
pp. 158-202
Author(s):  
Eleonora Rosati
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Single Market ◽  
Equal Treatment ◽  
Communication To The Public ◽  
The Public ◽  
Collective Management ◽  
Management Organization ◽  
Copyright Directive

This chapter talks about Article 8 of Directive 2019/790, the European copyright directive in the Digital Single Market, which outlines provisions on the use of out-of-commerce works and other subject matter by cultural heritage institutions. It mentions the collective management organization that may conclude a non-exclusive licence for non-commercial purposes with a cultural heritage institution for the reproduction, distribution, and communication to the public or making available to the public of out-of-commerce works or other subject matter that are permanently in the collection of the institution. It also mentions the guarantee that all rightholders have equal treatment in relation to the terms of the licence. The chapter points out the liberty of rightholders to exclude their works or other subject matter from the licensing. It describes a work or other subject matter that is deemed to be out-of-commerce when it can be presumed that is not available to the public through customary channels of commerce.

Evolutional Progress in Psychiatry: A Plea for Optimism

1918 ◽  
Vol 64 (265) ◽  
pp. 189-210
Author(s):  
Hubert J. Norman
Keyword(s):  
Subject Matter ◽  
Golden Age ◽  
Golden Rule ◽  
Distant Future ◽  
Paradise Regained ◽  
Kingdom Of Heaven ◽  
The World ◽  
Practical Politics ◽  
The Will ◽  
To Come

Human perfectibility, or even entire social amelioration, appear with the passage of time to recede into a yet further distance; and, whilst forming subject-matter for academic discussion and for visionary imagination, they hardly come within the range of practical politics. With them, as with disquisitions about the hereafter, there has been a tendency to allow “other worldliness” to obscure the necessity for doing our duty here and now, and letting the distant future take care of itself. To those who object that this view is a sordid, or at least a selfish one, it may be answered that if we observe the Golden Rule—if even we practise but a negative virtue by refraining from doing evil—we shall yet make for the desired goal, possibly as rapidly as those who, their eyes fixed on that distant point, fail to observe the obstacles which lie immediately in their path, and who have, again and again, to arise bruised and disheartened by their stumbles and disappointments. It may indeed be that their aims are but illusions, mere figments of the fancy, impossible of realisation. “Uniform and universal knowledge, social salvation and sovereign goodness, a golden age to come excelling a past golden age, a Paradise regained in lieu of a Paradise lost, in fact, a kingdom of heaven on earth or elsewhere, are not yet matters with which the sober-minded scientist can grapple;” and nescience can only formulate them in phraseology which lacks verisimilitude even to those who utter it. It is doubtful whether the projectors of ideal commonwealths would have desired to have been themselves inhabitants thereof; even if they had had the will it is certain that they would not have had the ability to carry it into effect. Much of their work is perchance energy misdirected, and the words of Milton may be applicable to others as well as to him of whom he uttered them. “Plato, a man of high authority indeed, but least of all for his Commonwealth, in the book of his laws, which no City ever yet received, fed his fancie with making many edicts to his ayrie Burgomasters, which they who otherwise admire him wish had been rather buried and excused in the genial cups of an Academick night-sitting.” It is no use, as he further remarks, “to sequester out of the world into Atlantick and Eutopian politics, which never can be drawn into use, and will not mend our condition; but to ordain wisely as in this world of evil.”

scholarly journals Experiencing Transformative Learning: An Autoethnographic Journey through Ethical Dilemma Story Pedagogy (EDSP)

2019 ◽  
Vol 7 ◽  
pp. 227-244
Author(s):  
Kashiraj Pandey
Keyword(s):  
Cultural Heritage ◽  
Transformative Learning ◽  
Subject Matter ◽  
Ethical Dilemma ◽  
Lived Experiences ◽  
The Self ◽  
Research Participants ◽  
The Subject

I believe our cultural heritage has so much potential for creating new forms of knowing about the self, others, community, and environment while also revealing the interconnected spaces and realities that reside between cultures and people. The Nepalese heritage encompasses through a rich tradition of narratives in storying. For the purpose of present research, I composed two ethical dilemma stories and discussed them in classrooms with a critically reflective understanding of the subject matter where I utilised the local, lived contexts and characters from the Nepalese society. The results have shown that this study, with the use of ethical dilemma stories as a key tool to interact with the research participants, gave sufficient challenges and possibilities for transformative learning. Therefore, the aim of this paper is to explore the unification of my personal, professional, and cultural spheres that are focused on the importance of transformative learning using an autoethnographic methodology. The paper also tries to document my lived experiences through stories as the understanding of my own self, other selves, and cultures around me.

The Arabic Bildungsroman: A Generic Appraisal

1993 ◽  
Vol 25 (2) ◽  
pp. 223-240 ◽  
Author(s):  
Nedal M. Al-Mousa
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Arab World ◽  
The Novel ◽  
Similar Material ◽  
Historical Experience ◽  
Critical Studies ◽  
Regional Approach

“Does the Arabic novel exist?” With this provocative question, Hilary Kilpatrick begins an article entitled “The Arabic Novel—A Single Tradition?,” in which she makes clear that her question has been inspired both by the established regional approach most critical studies use in dealing with the Arabic novel, and by the absence of a continuous tradition of the novel as a genre in the Arab world. But, while underscoring variety in form, style, and subject, Kilpatrick, keen to provide an answer to her question, concludes in unequivocal terms that the Arabic novel as a single tradition does certainly exist: “It is written in one language, and [has] a shared cultural heritage and recent historical experience common to the whole area [which] providef[s] novelists in different countries with similar material. In this respect the Arabic novel is distinct in its subject matter from the African or German novel, for instance.” Although the conclusion is valid, it is based on his- torical and cultural generalizations rather than on a thorough study of novels from the Arab world. Nor does the platitudinous remark with which the quotation con- cludes help Kilpatrick make her case in a particularly convincing manner. The distinct nature of the Arabic novel, as this study will demonstrate, is best exemplified in what might be called the Arabic Bildungsroman. Its definitive, culturally determined themes and structure, distinctive basic tension, and established literary conventions to my mind suggest the presence in the Arab world of at least this kind of novel.

scholarly journals ‘Thinking Through’ Games in the Classroom: Using Discursive Game Design to Play and Engage with Historical Datasets

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
René Glas ◽  
Jasper Van Vught ◽  
Stefan Werning
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Game Design ◽  
Software Tool ◽  
Design Framework ◽  
Card Game ◽  
Simple Games ◽  
Student Groups ◽  
Educational Framework ◽  
The Subject

In this contribution, we outline Discursive Game Design (DGD) as a practice-based educational framework, explain how to use this design framework to teach game historiography, and report on findings from a series of in-class experiments. Using Nandeck, a freely available software tool for card game prototyping, we created sets of playing cards based on two game-historical datasets. Students were then asked to prototype simple games with these card decks; both playtesting and co-creating each other’s games in an ongoing quasi-conversational process between different student groups fostered discussions on, and produced alternative insights into, the complex notion of (Dutch) game history, canonization/selection and games as national cultural heritage. The article shows how DGD can be implemented to allow for students with little or no design background to actively ‘think through’ games about the subject matter at hand.

Arthur Benjamin and the French Public

Tempo ◽  
1955 ◽  
pp. 2-3
Author(s):  
Jean-Paul Changeur
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
General Public ◽  
18Th Century ◽  
Foreign Country ◽  
The Public ◽  
Peter Grimes ◽  
Remote Part

“How will the public react to it?” is a question that arises when an opera is about to have its first performance in a foreign countryArthur Benjamin's opera Primadonna does not seem a difficult one to “export,” mainly because of its subject-matter. One might expect the action of a British opera to take place in some remote part of Old England (as in Peter Grimes, the most famous of English operas with us French) whose ways are so unfamiliar as to risk leaving the general public quite untouched. Here, however, there is no such risk: we are in Venice, the courtly Venice of the 18th century, and the characters, the déecor, the whole atmosphere belong to the cultural heritage of all Europe.

Michel Gondry as Transcultural Auteur

2020 ◽  
pp. 1-14
Author(s):  
Marcelline Block ◽  
Jennifer Kirby
Keyword(s):  
Short Film ◽  
Romantic Comedy ◽  
Art Cinema ◽  
Feature Film ◽  
Cultural Contexts ◽  
Popular Cinema ◽  
The Road ◽  
Award Winning ◽  
Television Documentary ◽  
Academy Award

In the introduction to this volume, “Michel Gondry as Transcultural Auteur,” editors Marcelline Block and Jennifer Kirby present an overview of Gondry’s career as well as this volume’s approaches to Gondry’s oeuvre. Born in Versailles, France in 1963, Gondry is an Academy Award-winning transnational (France-USA) and transcultural (French-American) auteur whose body of work as a writer, director, and producer spans multiple genres—including feature film, short film, television, documentary, music video, big budget superhero film, romantic comedy, the road movie, advertisements—and languages (English, French, Japanese). In this respect, Gondry can be considered a contemporary globalized auteur whose films and other works display continuities and eclecticism. In addition, this introduction presents an overview of each of this volume’s sections and chapters in terms of how they identify connections and continuities between Gondry’s films while placing Gondry’s oeuvre in dialogue with French and American cinematic traditions and socio-cultural contexts. The introduction puts forth this volume’s main contention, namely that “Gondry is emblematic of transnational auteur filmmaking…crossing aesthetic and cultural borders between national film industries as well as between art and popular cinema and between media” and how Gondry’s oeuvre defies classification according to traditional conceptions of European art cinema.

Article 14—Works of Visual Art in the Public Domain

2021 ◽  
pp. 239-249
Author(s):  
Eleonora Rosati
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
Visual Art ◽  
Public Domain ◽  
The Public ◽  
Technological Developments ◽  
High Level ◽  
The Way

This chapter highlights the works of visual art in the public domain stipulated in Article 14 of Directive 2019/790, copyright order in Europe. It discusses the term of protection of a work of visual art, which is not subject to copyright or related rights when deemed expired. It also reviews rapid technological developments that continue to transform the way works and other subject matter are created, produced, distributed, and exploited. The chapter cites the Commission Communication of 9 December 2015 entitled, which states that it is necessary to adapt and supplement the existing Union copyright framework, while keeping a high level of protection of copyright and related rights. It explains that cultural heritage institutions cover publicly accessible libraries and museums regardless of the type of works or other subject matter that they hold in their permanent collections.

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