Power off-screen

2021 ◽  
pp. 204-216
Author(s):  
Gillian Kelly
Keyword(s):  
Sudden Death ◽  
Screen Image ◽  
High Profile ◽  
Subsequent Birth ◽  
The 1950S ◽  
To Come ◽  
Star Images

This final chapter uses extrafilmic material, such as fan magazines, to explore the construction and development of Power’s off-screen image throughout his career. The careful manufacture of star images was a device used by studios to attract audiences to films, and ultimately sell tickets and Power received extensive publicity from early on, fan magazines depicting his off-screen life in ways that often resonated with his on-screen persona, particularly in the 1930s. This chapter explores the development of Power’s off-screen image in fan magazines from his bachelor days in the 1930s, his marriage to French actress Annabella and subsequent divorce when he returned from active war duty. His high-profile romance with Lana Turner preceded his marriage to Mexican actress Linda Christian and the birth of their two daughters, before another divorce and remarriage just before his death in 1958. Magazines then ran stories of his sudden death and subsequent birth of his only son, Tyrone Power Jr, a few months later for months to come. Additionally, while Power’s professional acting career began in the theatre in 1933, he returned to regular stage work in the 1950s in a move that was mostly well received by critics as the chapter discusses.

scholarly journals Rupert Brooke’s Neo-Paganism

2016 ◽  
Vol 10 (2) ◽  
pp. 487
Author(s):  
Tomislav M. Pavlović
Keyword(s):  
Sudden Death ◽  
Great War ◽  
To Come ◽  
The Great War ◽  
Rupert Brooke ◽  
Spiritual Pilgrimage ◽  
Lasting Change ◽  
As If

Rupert Brooke (1887-1915) embodies the myth of the Great War but after his sudden death his war poems tended to be disapproved of. His pre war Georgian lines are also dismissed on account of their effete pestoralism and alleged escapism. It seemed as if both the critics and the audience simply failed to understand the subtext of his poems that reveals a magnificent spiritual pilgrimage undertaken by a poet in the age of anxiety. In search of the calm point of his tumultuous universe Brook varies different symbolic patterns and groups of symbols thus disclosing the lasting change of his poetic sensibility that range from purely pagan denial of urban values and the unrestrained blasphemy up to the true Christian piety. Our analysis affirms him the true modernist poet, a cosmopolitan mind, always apt to accumulate new experiences and it is certain that his work will be seen in quite a new light in the decades to come.

scholarly journals На терезах долі. Мотиви й образи смерті в новелістиці Василя Ткачука

2019 ◽  
Vol 168 ◽  
pp. 123-135
Author(s):  
Anna Horniatko-Szumiłowicz
Keyword(s):  
Sudden Death ◽  
Natural Disaster ◽  
Natural Death ◽  
Life And Death ◽  
To Come

On the scales of fate. Motifs and imagery of death in Vasil Tkachuk’s novellasAlthough Vasil Tkachuk’s 1916–1944 novellas are considered to be somewhat optimistic in comparison to the works of his great predecessor Vasil Stefanyk, they are also abundant with imagery and motifs of death. In Tkachuk’s writings, death is ever-present in its various forms, be it a natural death, a sudden death caused by natural disaster, or murder. Death afflicts everyone. It strikes down the innocent and young, the mature and elderly. Tkachuk’s characters balance on edge between life and death, sensing that death is approaching, fearing it, provoking, waiting for it to come, and finally, grieving their beloved ones. Tkachuk’s literary preoccupation with death seems to be even more interesting because he died prematurely, at the age of 28. He was a self-made talent, an essential voice in the Ukrainian literature of the 1930s, a writer whose works duly deserve more attention from literary scholars. Na szalach losu. Motywy i obrazy śmierci w nowelistyce Wasyla TkaczukaChociaż nowele Wasyla Tkaczuka 1916–1944 w porównaniu z utworami jego wielkiego poprzednika — Wasyla Stefanyka — postrzegane są jako bardziej optymistyczne, również one w znacznej mierze przesycone są motywami i obrazami śmierci. W tekstach Tkaczuka śmierć jest nieustannie obecna, w jej rozmaitych odmianach — pojawia się śmierć naturalna, nagła śmierć z powodu klęski żywiołowej, gwałtowna śmierć na skutek zabójstwa itp. Śmierć dopada bohaterów w różnym wieku: dziecięcym, młodzieńczym, dorosłym, podeszłym. Bohaterowie utworów Tkaczuka balansują na granicy życia i śmierci, przeczuwając jej nadejście, obawiając się jej, prowokując ją, oczekując jej wizyty, wreszcie — opłakując bliskich im zmarłych. Zgłębienie tematu śmierci w tekstach Tkaczuka jest tym bardziej interesujące, iż ów przedwcześnie zmarły w wieku 28 lat pisarz to samorodny, nowo odkryty talent ukraińskiej literatury lat trzydziestych XX wieku, który w pełni zasługuje na należytą uwagę badaczy.

Documenting other roles

2021 ◽  
pp. 85-120
Author(s):  
Lisa Stead
Keyword(s):  
Case Studies ◽  
Star Image ◽  
The 1950S

The final chapter of the section focuses on archival traces of off-screen labor, looking at Vivien Leigh’s alternative “roles” between the 1930s and 1960s. These are illuminated via letters, business records, scrapbooks, ephemera, and photographs. Case studies include an exploration of Leigh’s war work in the 1940s; her agency as a producer with V. L. Productions from the 1950s; and her role as a campaign figurehead in the fight against the closure of the St. James’s Theatre later in the same decade. The chapter interrogates how these roles are organized and represented within the archive and the kinds of alternative labor histories that Leigh and her associates produced through her material collections. It looks in particular at how archival preservation offers counternarratives to existing biographical and popular accounts of these aspects of her public profile and star image.

After Deportation

2018 ◽  
pp. 315-324
Author(s):  
Jeronim Perović
Keyword(s):  
The 1950S ◽  
To Come ◽  
Separatist Movement

This chapter provides an overview of the period from deportation and exile to the Chechen separatist movement of the early 1990s. While life in exile had changed people, many North Caucasians had yet to come to terms with unresolved traumas upon their return to their homeland in the second half of the 1950s. The problem was not a “lack of Sovietization,” as some Russian historians infer, but the fact that the discrimination and injustice experienced by these peoples under Stalinism could not be discussed at any time during the late Soviet era. There might have been an occasion for a true reconciliation with history and with Russia at the end of the 1980s and in the early 1990s, during the period of “glasnost” and “perestroika” under Gorbachev and Yel’tsin, when a clear reckoning was held concerning the crimes during the Stalinist era. However, this opportunity was tragically missed in the course of resurgent Chechen nationalism and the wars that Russia waged in the 1990s and 2000s against this small Caucasus republic.

Monster Stories/Storied Monsters

2019 ◽  
pp. 195-214
Author(s):  
Adam Charles Hart
Keyword(s):  
Video Game ◽  
Social Order ◽  
Horror Genre ◽  
High Profile ◽  
The Walking Dead ◽  
Living Dead ◽  
The Face ◽  
The 1960S ◽  
Walking Dead

This final chapter continues the discussion of monsters by engaging with the writings of Robin Wood, who theorized monsters as fundamentally ambivalent figures who allow us to envision alternatives to the restrictive social order. It then realigns Wood’s terms to show how the recent horror genre has been structured around questions not simply of monstrosity, but of asserting or maintaining humanity—and recognizing the humanity of others—in the face of monstrosity and other inconceivable horrors. This is the explicit theme of The Walking Dead TV series, as is emphasized in its first video game adaptation, The Walking Dead: The Game (2012), but is there at the beginnings of the modern genre in the 1960s with a film like Night of the Living Dead (1968). The chapter concludes with a discussion of how understandings of “monstrosity” and “humanity” are redefined around questions of morality with two high-profile, integrated horror films, Get Out (2017) and The Shape of Water (2017).

Scelsi, Giacinto (1905–1988)

2018 ◽  
Author(s):  
Eric Drott
Keyword(s):  
Musical Training ◽  
Twelve Tone ◽  
Early Music ◽  
Avant Garde ◽  
Piano Lessons ◽  
The 1950S ◽  
To Come ◽  
The Way

Giacinto Scelsi was an Italian avant-garde composer best known for the single-note style he developed during the 1950s and 1960s, which minimizes harmonic and melodic activity in order to allow microtonal fluctuations and subtle transformations in timbre, intonation, dynamics, and articulation to come to the fore. Although his works were little known and infrequently performed during his lifetime, they gained considerable acclaim in the 1980s. Scelsi’s œuvre has proven extremely influential, and is generally regarded as a precursor to the spectral movement. Many of the elements of Scelsi’s biography remain uncertain, due in part to the composer’s penchant for self-mythologization. His family belonged to the southern Italian nobility, and it was in their ancestral chateau in Irpinie that Scelsi’s interest in music first manifested itself. He had little in the way of formal musical training, apart from receiving private piano lessons in his youth. Scelsi spent much of the 1920s and 1930s abroad, principally in France and Switzerland. It was during this period that he composed his first pieces, most notably Rotativa for pianos, strings, brass and percussion (1930). His early music was stylistically eclectic, embracing post-impressionist, neo-classical and twelve-tone idioms at various points in his life.

The Death and Legacy of a Renaissance Man

2017 ◽  
Author(s):  
Howard Pollack
Keyword(s):  
Sudden Death ◽  
Heart Attack ◽  
Musical Theater ◽  
Renaissance Man

This final chapter discusses Latouche’s sudden death at age forty-one of a heart attack, and the suspicions of foul play surrounding his death. This chapter includes an overview of tributes made at the time of his death, including Carson McCullers’s eulogy, and considers the fate of his effects. Some consideration is given to the general reception of his work, both among musicians and academics, as well as to his legacy with regard to musical theater.

1957: A Divided Europe. European Cinema at the Time of the Rome Treaty

1999 ◽  
Vol 8 (3) ◽  
pp. 411-424 ◽  
Author(s):  
Pierre Sorlin
Keyword(s):  
Popular Culture ◽  
Main Part ◽  
Social Background ◽  
Cultural Traditions ◽  
Contemporary World ◽  
European Cinema ◽  
The 1950S ◽  
To Come

The 1950s were the heyday of cinema in Europe. Rather than competing with Hollywood studios, European film companies preferred to stick to old, well established recipes. Germany recycled one of its cultural traditions, Heimat. Despite the poverty of their plots and the weakness of their protagonists, the Heimatfilme succeeded by celebrating an unspoilt, soothing wilderness. The Italian counterpart of Heimatfilme was melodrama. If family dramas remained much appreciated in the Peninsula, the filmmakers were clever enough to shift their characters from an ill-defined epoch to the contemporary world. So, while urban Germany was pining for its wild, empty mountains, rural Italy was contemplating its domestic comforts to come. With the Carry On series, Britain was loyal to comedies, which filled the main part of the programmes. The plots – which merely dealt with private affairs – were humorous, harmless, always deprived of authentic social background. The European cinemas of the 1950s were directed towards large, mostly ‘popular’ audiences of people who used to leave their houses and gather in town centres on Saturday evenings. These cinemas did not produce any masterpieces but they were the most characteristic, and the most appreciated, form of entertainment in the middle of the century. It was not art, but it was ‘popular’ culture.

Monsters in the Machine

2016 ◽  
Author(s):  
Steffen Hantke
Keyword(s):  
World War Ii ◽  
Science Fiction ◽  
Social History ◽  
Industrial Complex ◽  
Nuclear War ◽  
Science Fiction Films ◽  
The 1950S ◽  
To Come ◽  
The Cold War ◽  
The Military

During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction, the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. These films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries, they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life. Regardless of their genre, this book argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, the book follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.

India’s police will face calls for more reform

2017 ◽  
Keyword(s):  
Human Rights ◽  
Uttar Pradesh ◽  
Central Bureau ◽  
Human Rights Violations ◽  
Criminal Cases ◽  
Content Type ◽  
High Profile ◽  
Chief Minister ◽  
To Come ◽  
Police System

Subject India's efforts to modernise its police. Significance India is seeking to overhaul its police system. High-profile blunders and extra-judicial killings are raising fresh concerns about police quality and conduct. Impacts The Central Bureau of Investigation (CBI), which covers special criminal cases, will face similar calls for reform. India’s prisons are likely to come under greater scrutiny over alleged human rights violations. Uttar Pradesh (UP) Chief Minister Yogi Adityanath may emerge as Modi’s heir-apparent, based on an anti-crime reputation.

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