Institutions

2010 ◽  
pp. 77-83
Author(s):  
Tanya Jones
Keyword(s):  
Casting Process ◽  
Mise En Scene ◽  
Narrative Fragments ◽  
Production Company

This chapter mentions Pan's Labyrinth budget that was worth EUR 13.5 million and was produced by Guillermo del Toro's production company, Tequila Gang. It recounts del Toro's brave decisions during the crucial casting process and emphasizes the casting of Doug Jones as the 'continuity factor' in Pan's Labyrinth, who both portrayed the Faun and the Pale Man. It also describes Pan's Labyrinth's teaser and main trailers, which attempt to sell the film to audiences in a variety of ways. The chapter explores the genre identity of Pan's Labyrinth and how it is presented through the narrative fragments and mise-en-scène. It describes the fantastical creatures and setting of the labyrinth and fairy kingdom that identify Pan's Labyrinth as a fantasy piece.

Identifying the socio-economics of pantomime through Cinderella’s footwear in 2017–18 adaptations of the tale

2019 ◽  
Vol 4 (1) ◽  
pp. 43-64 ◽  
Author(s):  
Sally King
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Significant Role ◽  
Fairy Tale ◽  
Document Analysis ◽  
French Version ◽  
Physical Form ◽  
Mise En Scene ◽  
Different Types ◽  
Production Company

Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.

Simulation Study of Two Alternative Workstations for Pressure Die-Casting Process

2011 ◽  
Vol 110-116 ◽  
pp. 660-664 ◽  
Author(s):  
Pavol Semanco ◽  
Marcel Fedak ◽  
Miroslav Rimár
Keyword(s):  
Simulation Study ◽  
Ad Hoc ◽  
Die Casting ◽  
Casting Process ◽  
Experimental Models ◽  
The Real ◽  
Die Casting Process ◽  
Production Company ◽  
Pressure Die Casting ◽  
Casting Production

The paper introduces two ad-hoc experimental models that emulate the real semi-automated and fully automated workstations of the die-casting production company. The simulation study aims to analyze behavior over time of both models. The intention of the paper is to show that the simulation can be used as a tool to support a decision-making process. It also presents effective approach how to forecast the real system performance.

Democratizing Abolitionism: Anti-slavery Discourses and Sentiments in August von Kotzebue's Die Negersklaven (1796)

2020 ◽  
Vol 9 (1) ◽  
pp. 26-45
Author(s):  
Sarah J. Adams
Keyword(s):  
Eighteenth Century ◽  
Denis Diderot ◽  
Middle Classes ◽  
Late Eighteenth Century ◽  
German States ◽  
Political Sources ◽  
Mise En Scene ◽  
Peripheral Position ◽  
Histoire Des Deux Indes ◽  
Political Leverage

Despite their peripheral position in the Atlantic slave trade, authors of the late eighteenth-century German states composed a number of dramas that addressed imperialism and slavery. As Sigrid G. Köhler has argued (2018), these authors aimed to exert political leverage by grounding their plays in the international abolitionist debate. This article explores how a body of intellectual texts resonated in August von Kotzebue's bourgeois melodrama Die Negersklaven (1796). In a sentimental preface, he mentions diverse philosophical, historical and political sources that contributed to the dramatic plot and guaranteed his veracity. Looking specifically at the famous Histoire des deux Indes (1770) by Denis Diderot and Guillaume-Thomas F. Raynal, I will examine the ways in which Kotzebue adapted highbrow abolitionist discourses to the stage in order to convery an anti-slavery ideology to the white European middle classes. Kotzebue seems to ground abolitionism in the bourgeois realm by moulding political texts into specific generic templates such as an elaborate mise-en-scène, the separation and reunion of lost lovers, a fraternal conflict, and the representation of suffering victims and a compassionate white hero.

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt
Keyword(s):  
Urban Landscape ◽  
Second Empire ◽  
Theophile Gautier ◽  
Avant Garde ◽  
Meeting Point ◽  
Mise En Scene ◽  
Bleed Through ◽  
Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

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