Introduction

2018 ◽  
pp. 1-12
Author(s):  
Ronny Regev
Keyword(s):  
Twentieth Century ◽  
Golden Age ◽  
Work Practices ◽  
The People ◽  
Film Content ◽  
Studio System ◽  
The 1950S

This chapter provides an overview of the main themes of the book. It explains Working in Hollywood’s main objective: to redraw the glamorous image of Hollywood and demonstrate that the film industry’s golden age (1920-1950) was not only defined by film content and celebrities but also by the people employed in the studio system, their work practices, and interactions on the job. It suggests there is much to learn by shifting our gaze from the pictures to the people who made them. In addition, the chapter offers a short timeline of the studio system, from the formation of Paramount, MGM, Twentieth Century-Fox, and RKO – the five vertically integrated major companies, in the 1920s, to the system’s disintegration in the 1950s.

Golden-Age Thinking: Updated Stagings of Gianni Schicchi and the Popular Historical Imagination

2013 ◽  
Vol 25 (2) ◽  
pp. 185-201 ◽  
Author(s):  
ALEXANDRA WILSON
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Golden Age ◽  
Music History ◽  
Historical Imagination ◽  
Historical Time ◽  
The 1950S ◽  
Changing Attitudes ◽  
The Way

AbstractSince 2000 a notable trend has emerged in the way in which Italian comic operas by composers from Donizetti to Puccini are staged. In British and American productions, such works are consistently updated to the mid-twentieth century, usually the 1950s. This article explores what such stagings – and their implied intertextual references to wider representations of the era in popular culture – can tell us about the reception of opera today and the ways in which opera is used to create romanticised notions of historical time. Specifically, the article considers the implications for Puccini historiography of updating Gianni Schicchi, an opera whose Renaissance setting might at first glance seem essential. Considering changing attitudes towards historicism from the nineteenth century to the present, the article proposes that ‘retro’ mid-twentieth-century stagings of Gianni Schicchi compel us to hear the opera itself in new ways and to rethink deeply ingrained assumptions about Puccini's place in music history.

Brutalism and the People: Architectural Articulations of National Developmentalism in Mid-Twentieth-Century São Paulo

2020 ◽  
Vol 62 (2) ◽  
pp. 296-326
Author(s):  
José H. Bortoluci
Keyword(s):  
Twentieth Century ◽  
Urban Poor ◽  
Life Experiences ◽  
Global South ◽  
Sao Paulo ◽  
The Political ◽  
São Paulo ◽  
The People ◽  
The 1950S ◽  
Design And Construction

AbstractThis article examines the question of how architects in São Paulo during the 1950s and 1960s addressed the political nature of their work, and more specifically the connections between their practice and the lives and politics of the urban poor in the context of a rapidly expanding metropolis of the Global South. More specifically, it assesses how they elaborated strategies to articulate the semiotic and material practices of Brutalism and the political repertoire of national developmentalism, initially in its democratic and later in its authoritarian form. The article argues that these architects deployed two semio-material strategies to operationalize the articulation between that political repertoire and the field of architecture: metaphorical indexicality and the impetus for the industrialization of construction. The image of the urban poor reinforced by that political repertoire was marked by a severe distance from their empirical life experiences, which deeply affected the practices of design and construction that progressive architects advanced.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

Epilogue

2018 ◽  
Author(s):  
Jason Phillips
Keyword(s):  
Twentieth Century ◽  
Civil War ◽  
Golden Age ◽  
American Culture ◽  
Postwar Period ◽  
The Public ◽  
Antebellum Era ◽  
Narrative Device ◽  
The Future

This conclusion explains how American temporalities changed after the war and sketches how expectations and anticipations of the future have alternated as the dominant view in American culture through the twentieth century to today. This chapter also shows how the short war myth, the story that Civil War Americans expected a short, glorious war at the outset, gained currency with the public and consensus among scholars during the postwar period. It contrasts the wartime expectations of individuals with their postwar memories of the war’s beginning to show how the short war myth worked as a tool for sectional reconciliation and a narrative device that dramatized the war by creating an innocent antebellum era or golden age before the cataclysm. It considers why historians still accept the myth and showcases three postwar voices that challenged it.

Coda

2020 ◽  
pp. 734-743
Author(s):  
Laura U. Marks
Keyword(s):  
Twentieth Century ◽  
Religious Fundamentalism ◽  
Labor Movements ◽  
Grassroots Politics ◽  
International Solidarity ◽  
Guerrilla Movements ◽  
History Of ◽  
Armed Resistance ◽  
The 1950S ◽  
Arabic Speaking

In the twentieth-century Arabic-speaking world, communism animated anticolonial revolutions, workers’ organizations, guerrilla movements, and international solidarity. The communist dream was cut short by Arab governments, deals with global superpowers, the rise of religious fundamentalism, and historical bad luck. But recently a remarkable number of Arab filmmakers have turned their attention to the history of the radical Left. Filmmakers from Iraq, Syria, Lebanon, Palestine, Egypt, Algeria, Tunisia, and Morocco have been urgently seeking models for grassroots politics in the labor movements, communist parties, and secular armed resistance of earlier generations. This coda explores two strata of communist audiovisual praxis: the radical cinema that supported labor movements and guerrilla actions from the 1950s to the 1980s, and recent films that draw on that earlier movement. The coda argues that the Arab audiovisual archive holds flashes of communism that have been neither fulfilled nor entirely extinguished. The new films release their unspent energy into the present, diagnosing earlier failures of Arab communism and making plans for new forms of solidarity.

Institutionalization and Evangelization in the Argentine Church: Córdoba Under Zenón Bustos, 1905-1919

1989 ◽  
Vol 45 (3) ◽  
pp. 363-381
Author(s):  
Arthur R. Liebscher
Keyword(s):  
Twentieth Century ◽  
Pastoral Care ◽  
Catholic Church ◽  
Central City ◽  
Religious Institutions ◽  
The People ◽  
National Leadership ◽  
The Government ◽  
The Church

To the dismay of today's social progressives, the Argentine Catholic church addresses the moral situation of its people but also shies away from specific political positions or other hint of secular involvement. At the beginning of the twentieth century, the church set out to secure its place in national leadership by strengthening religious institutions and withdrawing clergy from politics. The church struggled to overcome a heritage of organizational weakness in order to promote evangelization, that is, to extend its spiritual influence within Argentina. The bishop of the central city of Córdoba, Franciscan Friar Zenón Bustos y Ferreyra (1905-1925), reinforced pastoral care, catechesis, and education. After 1912, as politics became more heated, Bustos insisted that priests abstain from partisan activities and dedicate themselves to ministry. The church casts itself in the role of national guardian, not of the government, but of the faith and morals of the people.

Epilogue

2018 ◽  
Author(s):  
Kendra Taira Field
Keyword(s):  
Twentieth Century ◽  
Jim Crow ◽  
Great Migration ◽  
Left Behind ◽  
History Of ◽  
The Great Migration ◽  
Image Fit ◽  
The 1950S ◽  
Back To Africa

“Grandpa went back to Africa with Garvey,” my grandmother recalled. I carried this precious refrain into the archives with me. In Garvey’s place, I found Chief Sam, in the black and Indian borderlands of Oklahoma. While the Great Migration had largely displaced the preceding history of black rural emigration at the nadir, so had Garveyism displaced descendants’ memories of the Chief Sam movement. Meanwhile, scholars portrayed the movement as the product of a single charismatic charlatan and his nameless, faceless followers. Relying almost exclusively on U.S. sources and the memories of those “left behind” in an economically depressed and politically repressed Jim Crow Oklahoma, the only book-length study of the movement, written in the 1950s, argued that the Chief Sam movement illustrated “the desperate hopes of an utterly desperate group of people.” The image fit easily with twentieth-century American tropes of black victimhood and criminality....

scholarly journals P. Ramlee and Neorealism

2015 ◽  
Author(s):  
Jan Uhde
Keyword(s):  
Southeast Asia ◽  
Golden Age ◽  
Premature Death ◽  
Film Production ◽  
Kuala Lumpur ◽  
Professional Career ◽  
Art Forms ◽  
The 1950S ◽  
Film Productions

P. RAMLEE AND NEOREALISM P. Ramlee was one of the legendary filmmakers of Southeast Asia a multifaceted artist considered to be the most important creative asset of the "golden age" of cinema of Singapore and Malaysia in the 1950s and 60s. Born Teuku Zakaria bin Teuku Nyak Puteh in Penang, the Straits Settlements (now Malaysia) in 1929, he spent most of his professional career in Singapore, then a regional film production centre, working for the Shaw Brothers' Malay Film Productions. In 1964 he returned to Malaysia to work for its fledgling Merdeka (Independence) Film Productions in Kuala Lumpur. During his lifetime, P.Ramlee directed 34 features and acted in more than 60 films. The singular contribution of P. Ramlee to the development of cinema and other art forms of Singapore and Malaysia is unquestioned. In his time, he was tremendously popular and today, four decades after his premature death in...

scholarly journals Clarendon Palace. The History and Archaeology of a Medieval Palace and Hunting Lodge near Salisbury, Wiltshire

1989 ◽  
Author(s):  
Tom Beaumont James ◽  
Anne M. James
Keyword(s):  
Twentieth Century ◽  
The 1950S ◽  
First Time ◽  
Detailed Picture

This volume gives an account of all the excavations undertaken at Clarendon in the twentieth century, including those of 1933–9 led by John Charlton and Tancred Borenius and the excavations by Elizabeth Eames and John Musty in the 1950s and 1960s. The history, archaeology and finds are examined together for the first time to present a detailed picture of palace life.

scholarly journals Hegemony and mediations in melodrama of the Golden Age of Mexican cinema

2021 ◽  
Author(s):  
◽  
Dave Evans
Keyword(s):  
Twentieth Century ◽  
Golden Age ◽  
Lower Class ◽  
Best Interest ◽  
Contentious Issue ◽  
Mexican Cinema ◽  
The Family ◽  
Dominant Ideologies ◽  
The Masses ◽  
Revolutionary Period

<p>The influence of the mass media is a contentious issue, especially in regards to the Golden Age of Mexican Cinema in the mid-twentieth century. These melodramatic films have often been viewed by critics as instruments of hegemony. However, melodrama contains an inherent ambivalence, as it not only has a potential for imparting dominant messages but also offers a platform from which to defy and exceed the restraining boundaries imposed by dominant ideologies. An examination of a number of important Golden Age films, especially focussing on their contradictory tensions and their portrayals of modernity, illustrates this. The Nosotros los pobres series serves as an example of how melodramatic elements are incorporated into popular Mexican films and how melodrama could be used as an ideological tool to encourage the state’s goals. Similarly, the maternal melodrama Cuando los hijos se van uses the family to represent the processes of conflict and negotiation that Mexicans experienced as a result of modernization. Consistent with the reactionary nature of melodrama and its simultaneous suggestive potential, the film combines a Catholic worldview with an underlying allegory of moving forward. The issue of progress is also at the centre of a number of films starring iconic actor Pedro Infante, which offer an avenue for exploring what modernisation might mean for male identity in Mexico. His films show a masculinity in transition and how lower-class men could cope with this change. Likewise, the depiction of women in Golden Age film overall supports the stabilising goals of the 1940s Revolutionary government, while also providing some transgressive figures. Therefore, these films helped the Mexican audience process the sudden modernization of the post-Revolutionary period, which was in the state’s best interest; however, the masses were also able to reconfigure the messages of these films and find their own sense of meaning in them.</p>

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