Transylvanian Idyll

10.5810/kentucky/9780813173917.003.0003 ◽

2017 ◽

Author(s):

Alan K. Rode

Keyword(s):

Kertész accepted an offer from the actor-impresario JenőJanovics to direct films in Transylvania. Janovics was riding high with the international success of The Yellow Foal (1912) and wanted to use Kertész for films based on Hungarian theater and opera.Kertész’sonly surviving film from this period is The Exile (1914), which is described in detail.An initial account of what would become a notorious disregard for the safety of actors in his pursuit of realism onscreen is given, along with the making of his lost Hungarian epic film Bánkbán (1914). This was the beginning of his long association with the actor Victor Varconi. Kertész’s Transylvanian period ended with the outbreak of World War I.He served in the Austro-Hungarian Army and was reportedly wounded twice.

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Liberal Approaches

The Oxford Handbook of International Security ◽

10.1093/oxfordhb/9780198777854.013.8 ◽

2018 ◽

pp. 99-115

Author(s):

John M. Owen

Keyword(s):

International Institutions ◽

International Security ◽

Second World War ◽

World War ◽

Transnational Terrorism ◽

Liberal Democracies ◽

International Environment ◽

The Individual ◽

International Success ◽

Second World

Liberalism always has been concerned with the security of the individual against violence and deprivation. Liberal approaches to international security focus on institutions, or collectively held rules, as mediating between material variables and international outcomes. States are arenas of contestation among individuals and groups, and differ according to their institutions. International realms are distinguished by the number, type, and membership of institutions. The realms are linked: liberal democracies construct and maintain liberal international institutions. As the increase of peaceful, wealthy democracies since the Second World War shows, these states have relatively secure citizens and enjoy comparative international success. In the future, the liberal order could be weakened by the ongoing rise of nonliberal China; escalations of transnational terrorism; and alienation from liberalism within the wealthy democracies. Future liberal security scholarship should attend to differences among non-democracies; causal links between domestic and international institutions; and the co-evolution of states and the international environment.

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Between Entertainment and Elegy: The Unexpected Success of R. C. Sherriff's Journey's End (1928)

Journal of British Studies ◽

10.1017/jbr.2016.3 ◽

2016 ◽

Vol 55 (2) ◽

pp. 344-373 ◽

Cited By ~ 1

Author(s):

Emily Curtis Walters

Keyword(s):

Prisoners Of War ◽

World War ◽

Cultural Legacy ◽

Historical Reenactment ◽

The First World War ◽

The World ◽

International Success ◽

The Great War ◽

Second World ◽

First World

AbstractDespite West End producers' and critics' expectations that it would never turn a profit, R. C. Sherriff's Journey's End (1928) became the most commercially successful First World stage drama of the interwar period, celebrated as an authentic depiction of the Great War in Britain and around the world. This article explains why. Departing from existing scholarship, which centers on Sherriff's autobiographical influences on his play, I focus instead on the marketing and reception of this production. Several processes specific to the interwar era blurred the play's ontology as a commercial entertainment and catapulted it to international success. These include its conspicuous engagement with and endorsement by veterans of the war, which transformed the play into historical reenactment; the multisensory spectatorial encounter, which allowed audiences to approach Journey's End as a means of accessing vicarious knowledge about the war; and a marketing campaign that addressed anxieties about the British theatrical industry. Finally, I trace the reception of this play into the Second World War, when British soldiers and prisoners of war spontaneously revived it around the world. The afterlives of Journey's End, I demonstrate, suggest new ways of conceiving of the cultural legacy of the First World War across the generations.

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