The Great War and Dulac’s First Films

2017 ◽  
Author(s):  
Tami Williams
Keyword(s):  
Film Industry ◽  
Great War ◽  
Rhetorical Strategies ◽  
Strong Belief ◽  
Professional Activities ◽  
French Film ◽  
Historical Significance ◽  
Film Producer ◽  
The Great War ◽  
Insight Into

This chapter focuses on Dulac's wartime activism and literary writings, as well as the debut of her film career—from her first activities as a film producer for Pathé (La Lumière du coeur, 1916) to her first directorial efforts (Soeurs ennemies to Le Bonheur des autres, 1917–18)—and evaluates the historical significance of her incursion into and negotiated course within the French film industry as a female artist and entrepreneur. A close examination of archival sources documenting Dulac's early professional activities provides insight into her humanist egalitarianism, universalism, and her strong belief in the emancipatory potential of art, as well as her early rhetorical strategies.

scholarly journals The evolution of European stunt art (50–70s of the twentieth century)

2021 ◽  
Author(s):  
Nazar Mayboroda
Keyword(s):  
Film Industry ◽  
Professional Activity ◽  
French Cinema ◽  
Scientific Methods ◽  
Russian Art ◽  
Professional Activities ◽  
French Film ◽  
Complex Process ◽  
Before And After ◽  
General Scientific

The purpose of the article is to identify the specifics of the formation and development of stunt art in French cinema of the 1950-1970s; analyze the contribution to the process of formation in the European film industry stunt as a profession of French actors and performers of film stunts. Methodology. The scientific provisions of the article are reasoned at the level of the totality of general scientific methods of cognition and approaches of modern art history. The historical, analytical and typological methods were applied, which contributed to determining the specifics of the professionalization process of stunt art in the French film industry in the 1950-1970s, as well as the typological features of cinema stunts of the leading French stuntmen; a method of comparative analysis (to identify the characteristic signs of stunt activities before and after professionalization) and other. Scientific novelty. For the first time in Russian art criticism, the process of development and professionalization of stunt art in European cinema of the 1950-1970s has been studied. on the example of the evolution of French historical stunt scenes (films “cloak and sword”), adventure and detective films; reviewed and analyzed the professional activities of C. Carlier, R. Julien, J. Delamard and other French stuntmen of this period; revealed the influence of American stunt performers, the specifics of the development of French stunt art, as well as characterized the evolution of stunt techniques, the use of existing ones and the development of new safety methods for their implementation. Conclusions. The content and nature of professional stunt activities in the context of cinematic art are non-static, since its dynamism is determined by the stunt status in the continuous qualification system. The stunt man is the stunt developer, stunt coordinator (stunt director), and the head of the stunt troupe. In the 50–70s. XX century in French cinema, a complex process of professionalization of stunt art took place, the motivation of which was the need to assimilate professional knowledge, skills, abilities, and expand the experience of professional activity. The specifics of the French movie stunts by C. Carlier, R. Julien, J. Delamard, and I. Cipher are manifested in originality, exposure to the viewer with a degree of risk, and a specially refined aesthetics.

The Problem of Kant

1989 ◽  
Vol 10 (01) ◽  
pp. 18-27 ◽  
Author(s):  
H. S. Harris
Keyword(s):  
Civil War ◽  
Great War ◽  
Speculative Philosophy ◽  
Scientific Reason ◽  
The Great War ◽  
Insight Into ◽  
Kantian Philosophy ◽  
Of Greece

For years I have repeated to the students in my seminars the programmatic assertion that “Hegel was the greatest disciple Kant ever had.” My object in saying this has always been to remind them as forcibly as possible that for Hegel and everyone in his generation, Kant was the master of them that know, the German philosopher, the thinker who had raised German thought to a new level, and had given it a decisive primacy over the earlier achievements of modern (or ‘scientific’) Reason from Bacon and Descartes to Hume and Rousseau. For this reason alone, I wished to affirm, it was in the highest degree unlikely that Hegel's ‘speculative’ philosophy, his theory of the ‘Idea’, was a reinstatement of the ‘dogmatic’ tradition that Kant so decisively overthrew. On the contrary, the theory of the ‘Idea’ must be seen as that ‘completion’ of the Kantian philosophy of which Hegel spoke prophetically in a letter to Schelling when he was approaching his twenty-fifth birthday. It took Hegel several years to discover that Kant could not be ‘completed’ simply by the process of turning his revolutionary ‘insight’ into universal ‘Enlightenment’. At the time when he first appeared before the learned public as a philosopher in his own right Hegel was convinced (mainly as a result of his ten-year intimacy with Hölderlin) that “Truth is the whole”; and that a direct experience of that divine wholeness had actually been achieved by the poets of Greece (especially by those of Athens between the Great War with Persia and the Great Civil War). He was vividly aware that those same Greek poets were articulating the life of a world which had perished irretrievably.

Siegfried’s Death

2021 ◽  
pp. 182-197
Author(s):  
Jay Lockenour
Keyword(s):  
New York ◽  
New York Times ◽  
Great War ◽  
National Socialist ◽  
The New York Times ◽  
Historical Significance ◽  
The Times ◽  
The Many ◽  
The Impact ◽  
The Great War

This chapter recounts the many legends surrounding former general Erich Ludendorff following his death. Headline after headline praised the Feldherr of the Great War. The chapter discusses the stories of Liège and Tannenberg in some detail and the coverage of his dismissal as the first quartermaster general in 1918, which reinforced the “stab in the back” legend that Ludendorff had originated. It explores his connection with Hitler and the National Socialist German Workers’ Party (NSDAP), as well as Ludendorff’s historical significance. The chapter also analyses the coverage of foreign papers, such as The Manchester Guardian, The Times, The New York Times, the Paris Journal and Italian papers following Ludendorff’s death and the Feldherr’s willpower and energy at all stages of his life. Ultimately, the chapter assesses the impact of Ludendorff’s demise on the surviving members of the House of Ludendorff.

Basil Oliver and the End of the Arts and Crafts Movement

2004 ◽  
Vol 47 ◽  
pp. 329-360
Author(s):  
Stephen Oliver
Keyword(s):  
Arts And Crafts ◽  
Great War ◽  
Arts And Crafts Movement ◽  
Art Deco ◽  
The Arts ◽  
Public House ◽  
Difficult Times ◽  
The Great War ◽  
Insight Into

Little attention has yet been paid to the work of the East Anglian Arts and Crafts architect Basil Oliver (1882–1948) who is best known, if at all, for his book The Renaissance of the English Public House, published in 1947. Indeed he practised in the period, after the Great War, when the Arts and Crafts Movement is generally considered to have been a spent force, and so his obscurity comes as no surprise. We do not look to Oliver for insight into the fashionable styles of architecture such as emerging Modernism or even ‘art deco’. However, he is representative of a number of architects from this era who could be dismissed as traditionalists but who attempted to continue the ideals of the Arts and Crafts Movement in difficult times.

scholarly journals La poesia Dodoj [Додой] di Xetægkaty Leuany fyrt K’osta Censura, edizione e tradizione orale, con commento linguistico e traduzioni

2021 ◽  
Author(s):  
Vittorio Springfield Tomelleri ◽  
Alessio Giordano
Keyword(s):  
Original Version ◽  
Great War ◽  
Textual History ◽  
History Of ◽  
The Great War ◽  
Insight Into

Among the texts which were censured by the first editor and therefore not included in the first edition of Chetagurov’s collection Ossetian Harp (1899), a prominent place is held by the poem Dodoj. This composition became soon a ‘revolutionary’ song, it was very spread beyond the boundaries of Ossetia. During the Great War a Danish scholar, Arthur Christensen, and a Hungarian one, Bernát Munkácsi, had the opportunity to work with Ossetic war prisoners. The result of their fieldwork was a collection of different texts and tales. Curiously, in both publications, which were carried out independently, we find the text of Dodoj. The present paper aims at featuring the Latin-based transcriptions provided by the two scholars; in addition, after a philological comparison of both texts with the original version of Kosta’s manuscript, some questions are tackled, which are related to the then pronunciation of some Ossetic sounds and enable to get a diachronic/diatopic insight into some development tendencies of the language in the last century, as well as into the peculiar textual history of Kosta’s poem.

“For the serious listeners who swear neither at nor by Schoenberg”

2015 ◽  
Vol 32 (2) ◽  
pp. 279-322
Author(s):  
Walter B. Bailey
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
York City ◽  
Great War ◽  
Modern Music ◽  
Musical Traditions ◽  
The Rich ◽  
The Great War ◽  
Insight Into

The rich array of publications covering music in New York City during the second two decades of the twentieth century provides a compelling account of the reception of ultra-modern music. Newspapers, arts periodicals, and, especially, monthly and weekly music magazines offer tantalizing insight into how music lovers perceived new and challenging music. Before the Great War connections to German musical traditions were strong, and ultra-modern music was mostly imported. During the war ties to Germany were largely severed and ultra-modern music was silenced. After 1918 a more egalitarian and international attitude emerged. The reception of Schoenberg’s music in New York City between 1910 and 1923 illustrates the evolution of this new attitude.

Gathering Hay in a Thunderstorm

2020 ◽  
pp. 128-162
Author(s):  
Jed Rasula
Keyword(s):  
War Trauma ◽  
Intermediate Zone ◽  
Great War ◽  
Case Histories ◽  
Psychiatric Institution ◽  
Stefan Zweig ◽  
The Great War ◽  
Aby Warburg ◽  
Insight Into

Concentrating on two case histories—that of art historian Aby Warburg in a psychiatric institution, and poet H.D. in psychoanalysis with Freud—the war trauma of noncombatants provides insight into the curative properties of antiquity. These cases reveal an intermediate zone between pathos and pathology, or feeling and distress, as they are profiled against the backdrop of what Stefan Zweig identified as the “new pathos”—a phrase adopted as the title of an Expressionist journal in Germany. Urban modernity’s new rhythms provoked explorations of a new or transformed body, a visionary corporeal reanimation theorized by filmmaker Jean Epstein as the advent of a new health emerging from the collective pathogenesis of the Great War.

The Great War in History

2020 ◽  
Author(s):  
Jay Winter ◽  
Antoine Prost
Keyword(s):  
Great War ◽  
The Great War
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