L’Herbier, Marcel (1888–1979)

2018 ◽  
Author(s):  
Lorenzo J. Torres Hortelano
Keyword(s):  
World War I ◽  
Science Fiction ◽  
Silent Period ◽  
World War ◽  
Avant Garde ◽  
Moral Atmosphere ◽  
Visual Music ◽  
Sound Effects ◽  
The Fantastic ◽  
Post War

Marcel L’Herbier was a French pioneer avant-garde (impressionist) filmmaker and theorist who made more than forty films between the 1920s and the 1950s. During World War I he learned the basics of filmmaking in the Army Cinematographic Service. He wrote a seminal text, Hermès et le silence (1918), in which he stated that cinema is not an art but a new language which calls into question the traditional notion of art. One of his best attempts to put into practice his theories was the poetic Rose-France (1919). In 1921 he filmed one of his masterworks, El Dorado, mainly in Granada (Andalusia, Spain), which anticipated the German Kammerspiel. He used a range of cinematographic means—including color tinting of the image—to determine character psychology and the moral atmosphere of the space, defining a kind of "cinematic melodrama" and creating a visual music. Other similar films from his silent period include L’Inhumaine [The Inhuman Woman] (1924), a science fiction drama, and L’Argent (1928), adapted from Émile Zola’s novel. In the silent L’Argent, L’Herbier used sound in an original way, recording real sound effects, which were played back in some theaters. When talkies arrived, he renounced the avant-garde, but still made noteworthy films including Le Mystère de la chambrejaune [The Mystery of the Yellow Room] (1930) based on Gaston Leroux’s novel, and La Nuitfantastique [The Fantastic Night] (1942). L’Herbier was also the founder, in 1944, of the Institut des HautesÉtudesCinématographiques. During the post-war period he poured his energy into television productions.

Two post-war paths: Popular violence in the Bohemian lands and in Austria in the aftermath of World War I

2018 ◽  
Vol 46 (5) ◽  
pp. 759-775 ◽  
Author(s):  
Ota Konrád
Keyword(s):  
World War I ◽  
Political Culture ◽  
New World ◽  
Collective Identities ◽  
World War ◽  
Habsburg Monarchy ◽  
Successor State ◽  
Post War ◽  
Forms Of Violence ◽  
Wartime Experience

The study explores the phenomenon of popular violence in the first months and years after the end of World War I on the basis of a comparison between the Bohemian lands, forming the central part of the newly established Czechoslovakia, and Austria, as another successor state to the former Habsburg monarchy. Aside from the continuities, new forms of violence increasingly emerged in the first years after the end of the war, and also the “language” of violence was transformed. While in Czechoslovakia, the framework within which people were learning to understand the new world was shaped by the national and republican discourse oriented to the future, in Austria the collective identities and mentalities were being formed along the lines of particular party political blocks. In both cases, the nationalization and politicization of violence respectively contributed to the emergence of new forms of popular violence; but at the same time they could also be used for its de-escalation, necessary for the re-integration of society disrupted by the wartime experience. However, even if both countries went out from the war on different paths, the violence stayed part of their political culture and it could be mobilized again.

scholarly journals Symbolism at war: Charles Ricketts and the politics of the stage

2021 ◽  
Vol 51 (3-4) ◽  
pp. 318-336
Author(s):  
Ana Parejo Vadillo
Keyword(s):  
World War I ◽  
World War ◽  
Avant Garde ◽  
Political Landscape

This article considers the effect of World War I on Charles Ricketts’ work for the stage as an avant-garde set and costume designer. It looks at his cosmopolitan designs in the context of European symbolism. The first part of the essay focuses on Ricketts’ symbolist manifesto ‘The art of stage decoration’ (1913). The essay then examines his designs for three Shakespeare plays that toured Le Havre in 1918 to entertain the troops. I argue that, in the aftermath of the war, Rickett’s symbolism became the lens through which he assessed the complex political landscape of the 1920s, and suggest that his stance against realism politicized his practice and explains his interest in Mussolini’s fascism.

scholarly journals ’Det er easy at tale engelsk også’. Amerikadansk i 1960’erne og 1970’erne

2015 ◽  
Vol 47 (47) ◽  
pp. 39 ◽  
Author(s):  
Karoline Kühl
Keyword(s):  
United States ◽  
World War I ◽  
20Th Century ◽  
The United States ◽  
Rapid Decline ◽  
Language Loss ◽  
World War ◽  
Melting Pot ◽  
Post War ◽  
American Society

The conditions for the Danish language among Danish emigrants and their descendants in the United States in the first half of the 20th century were tough: The group of Danish speakers was relatively small, the Danes did not settle together as other immigrant groups did, and demographic circumstances led many young, unmarried Danish men to marry non-Danish speaking partners. These were all factors that prevented the formation of tight-knit Danish-speaking communities. Furthermore, US nationalistic propaganda in the wake of World War I and the melting-pot effect of post-war American society in the 1950s contributed to a rapid decline in the use of Danish among the emigrants. Analyses of recordings of 58 Danish-American speakers from the 1970s show, however, that the language did not decline in an unsystematic process of language loss, only to be replaced quickly and effectively by English. On the contrary, the recordings show contactinduced linguistic innovations in the Danish of the interviewees, which involve the creation of specific lexical and syntactical American Danish features that systematically differ from Continental Danish. The article describes and discusses these features, and gives a thorough account of the socioeconomic and linguistic conditions for this speaker group.

Introduction

2007 ◽  
Author(s):  
R. J. W. Evans
Keyword(s):  
World War I ◽  
World War ◽  
Habsburg Monarchy ◽  
European Continent ◽  
History Of ◽  
And Gender ◽  
Post War

The formation of Czechoslovakia introduced a remarkable novelty into the heart of the European continent after World War I. It was an unexpected creation and a completely new state, whereas its neighbours as successors to the Habsburg Monarchy either carried historic names and connections (Austria, Hungary, Poland), or were reincarnations of existing sovereign realms (Yugoslavia), or both (Rumania). Moreover, Czechoslovakia seemed uniquely to embody the ideals of the post-war settlement, as a polity with strongly western, democratic, and participatory elements. Yet Czechoslovakia was a historical construct, deeply rooted in earlier developments. It constitutes classic terrain for a study of the ‘nationalist and fascist Europe’ which emerged after 1918. This book deals with the history of Czechoslovakia and discusses Czech nationalism, along with the Czechs' relationship with Slovaks and Germans, Britain's policy towards Czechoslovakia, and gender and citizenship in the first Czechoslovak Republic.

Beckett, Samuel Barclay (1906–89)

2018 ◽  
Author(s):  
Yan (Amy) Tang
Keyword(s):  
James Joyce ◽  
Second World War ◽  
World War ◽  
Dramatic Works ◽  
Avant Garde ◽  
Trinity College Dublin ◽  
Literature And Philosophy ◽  
Waiting For Godot ◽  
Post War ◽  
Second World

Samuel Barclay Beckett is widely considered one of the most influential writers of the twentieth century. Born in Ireland and living in France for half of his life, he wrote prose, dramatic works, poems, and criticism in both English and French. He started to write fiction after he met James Joyce and other intellectuals in Paris in the 1920s. His research on languages, literature and philosophy at Trinity College, Dublin, and at the École Normale Supérieure in Paris provided a solid basis for his works. His popularity grew rapidly after the Second World War, particularly after the publication of his groundbreaking play, En attendant Godot (1953, Waiting for Godot), and his trilogy, Molloy (1951), Malone meurt (1951, Malone Dies), and L’innommable (1953, The Unnamable). He was not only a prolific modernist who innovated avant-garde prose, theatre, radio, television, and cinema; he also joined the French Resistance during the Second World War and the post-war reconstruction. He won the Nobel Prize for Literature in 1969.

Grosz, George (1893–1959)

2018 ◽  
Author(s):  
Barbara McCloskey
Keyword(s):  
United States ◽  
New York ◽  
World War I ◽  
Social Order ◽  
The United States ◽  
Early 20Th Century ◽  
World War ◽  
New Objectivity ◽  
Avant Garde ◽  
George Grosz

George Grosz was a leading artist of Germany’s early 20th-century expressionist, Dada, and New Objectivity movements. His works from this period remain celebrated examples of the modernist avant-garde. Grosz began his career as a student at the Dresden Academy of Art in 1909. In 1912, he moved to Berlin, abandoned the academic rigor of his earlier work, and became part of the Expressionist avant-garde. His paintings and drawings soon adopted the fractured planes, vivid color, and psychologically troubled content of Expressionist art. Grosz became politically radicalized by the outbreak of World War I in 1914. He helped to found Berlin Dada during the war years. His irreverent cut and paste Dada collages of this period assailed not only the concept of ‘‘art,’’ but also the vaunted notions of culture, militarism, and national pride that were part of a German social order Grosz had come to despise. At the end of World War I, Grosz joined the German Communist Party and became its leading artist. He fled to the United States in order to escape persecution after Hitler’s appointment as Chancellor in 1933. Grosz settled in New York, where he pursued his art under the utterly changed circumstances of exile.

A Poetics of Statelessness: Avraham Ben Yitzhak after World War I

Naharaim ◽  
2013 ◽  
Vol 7 (1-2) ◽  
Author(s):  
Maya Barzilai
Keyword(s):  
World War I ◽  
World War ◽  
Hebrew Poetry ◽  
Post War ◽  
Selection Of

AbstractAfter World War I, Avraham Ben Yitzhak had all but ceased to publish the modernist Hebrew poetry for which he is famous. He continued, however, to compose literary drafts in German, Hebrew, and Yiddish well into the mid-1920s. This essay interprets a selection of these unpublished writings in the context of his criticism of wartime technology and nationalist fervor. Ben Yitzhak’s early poetics of dissolution and decadence underwent further radicalization in the post-war years; experimenting anew with expressionist and cinematic styles, he cast apocalyptic images of a dying world abandoned by God and characterized above all by the mass statelessness of its denizens.

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