891 Slices
Medium 9780253017451

The Birth of the Strongman: Italian Silent Cinema, Stardom, and Genre

Jacqueline Reich Indiana University Press ePub

ACCORDING TO OFFICIAL STATE RECORDS, BARTOLOMEO Pagano, the actor who was to gain national and international fame as Maciste, was born on 27 September 1878, at Via dei Marsano 9 in Sant’Ilario Ligure in the province of Genoa, Italy.1 The town, about ten miles to the east of the port city, was where he lived most of his life and where he died on 24 June 1947 at the age of sixty-nine in his home, the Villa Maciste. Little else is known about Pagano’s life. The generally accepted story was that he was discovered by Itala Film while working as a stevedore at the Genoa port. He married Camilla Balduzzi, had one son, Oreste, in 1916, and suffered from sleepwalking after a severe fall (a fact that excused him from military service before and during World War I). He eventually retired from filmmaking not, as was often the case, due to the advent of sound, but because of a severe case of diabetes and arteriosclerosis. The salary he received for his work on Cabiria was 20 Italian lire per day; by 1921 he was making close to 17,000 lire per month, an extraordinary fee for a male actor at that time.2

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Medium 9780253015594

2. Italian Cinema and the Colonies to 1935

Ruth Ben-Ghiat Indiana University Press PDF

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Italian Cinema and the Colonies to 1935

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his chapter offers an overview of the imbrications and encounters of Italian c­ inema with the colonies up to 1935. I focus on the 1920s, a decade that has been slow to receive attention in accounts of both Italian colonial and filmic enterprises. During those years, the Fascists developed the ideologies and strategies of conquest that would serve them in Ethiopia and during World War II, quelling active rebellion in Somalia and carrying out a ruthless repression of resistance in the Libyan regions of

Tripolitania and Cyrenaica. In the realm of ­cinema, the 1920s is normally considered a period of crisis and retrenchment, due to the collapse of production and distribution structures. Tenacious research has revealed a variegated filmic landscape, though, one characterized by a good number of colonial and exotic-­themed productions.1 I bring these imperial and filmic histories together in my reading of Camerini’s 1927 work Kif Tebbi, which is located within the Orientalist genre that flourished internationally in the decade after World War I. My discussion of this Italian narrative of masculine redemption emphasizes the ways it sets the tone for empire films, but also highlights Orientalist elements that found less favor in the militaristic climate of later Fascism. This chapter also explores the notion of c­ inema as an “eye of the war” as it emerged during the Italo-­Turkish

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Medium 9781864620009

European influences on early Disney feature films

Edited by Jayne Pilling John Libbey Publishing ePub

 

The Disney company today has become one of the most powerful entertainment conglomerates in the world. As the years go by it seems more than ever important to identify some of the cultural and aesthetic forces that influenced the founder of this empire, Walt Disney. The empire is based on film and still relies upon succeeding generations being familiar with the situations, stories and characters made popular through Walt Disney’s films, and the films themselves were indebted to an older cultural heritage which Disney absorbed and recreated for a new mass audience as part of the popular culture of his period. This essay1 examines the early period of Disney’s film career, in particular the European influences on his early films, and then goes on to examine in detail one section of Fantasia, the animation of Beethoven’s Pastoral Symphony. This period was a critical moment in the history of Walt Disney the man and Disney the company, when confidence in the Disney films led to expansion and extension between 1937 and 1941, before the company’s near collapse in 1941.

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Medium 9781855759527

CHAPTER NINE: The challenges and options of menopause

Mariam Alizade Karnac Books ePub

Helen C. Meyers

The challenges and options of menopause—the challenge is to deal with this developmental phase in an adaptive, creative, productive, positive way. The options are to develop a new, better integrated, better functioning, whole self, invested with increased self-esteem and capacity for new pleasures and a sense of freedom; as opposed to constriction, lower self-esteem, disintegration and regression, or depression and a sense of loss and injury.

Actually, when I first started to write this paper I thought I would be quite controversial and revolutionary—opposite to the commonly accepted view—in stressing some of the positive aspects of menopause. But looking around me, I find that in current, non-analytic writing, the positive view has been the very trend. Margaret Mead, for example, judged that women could look forward to “post-menopausal zest” and new awareness for self-fulfillment; feminist writers like Germaine Greer proclaim that menopause is a gateway to the “most golden, most extraordinary, and luminous” phase of a woman’s life. In a study in Israel by Datan, Antonofsky and Maoz, (Maoz et «/., 1970) Arab and Oriental women described menopause as “God’s reward for a life oervice”. Actually, if not quite as enthusiastically positive as the above, statistical findings report that slight to moderate discomfort, in the form of hot flashes, night sweats and mild insomnia, is a common experience of women during the peri-menopause or the climacteric (i.e. the years during which cycles become sporadic and vary in duration and flow), but severe and very frequent discomfort is not common, affecting no more than 10-20% of women; most women take such changes in their stride, like pregnancy and menstruation. Even depression occurs much more rarely than commonly thought in menopausal years, according to Avis and McKinley, (McKinley &Jeffreys, 1974) who have shown that peri-menopausal women who scored high on a depression scale were women who had been depressed during their pre-menopausal years, or had a surgically produced menopause.

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Medium 9780253010971

6 - Mapping Film Audiences in Multicultural Canada: Examples from the Cybercartographic Atlas of Canadian Cinema

Edited by Julia Hallam and Les Roberts Indiana University Press ePub

SÉBASTIEN CAQUARD, DANIEL NAUD, AND BENJAMIN WRIGHT

Canadian cinema has historically been framed, much like Canadian society, by the tensions between French and English culture as well as by the large influence of its imposing neighbor to the south: the United States of America. This double influence is perfectly illustrated by the film Bon Cop Bad Cop (dir. Erik Canuel, 2006). This “buddy action comedy” set on the border of English-speaking Ontario and Francophone Quebec plays with Canadian bicultural stereotypes while simultaneously catering to the more populist Hollywood genre sensibilities of the mass-market Canadian audience. With a gross of $12.6 million from Canadian box offices, Bon Cop is the most financially successful Canadian film of all time.

Although Canadian cinema and society have often been shaped by cultural tensions between Francophones and Anglophones, new cinematographic voices have emerged from other communities, which is characteristic of a new postnational and multicultural Canadian society.1 Film directors such as Zacharia Kunuk, Atom Egoyan, and Mina Shum express these voices and bring to the screen alternative perspectives on Canadian identity. In Atanarjuat (2001), Inuit film director Zacharia Kunuk offers unique insights into Inuit culture, history, and territory. With Ararat (2002), Armenian Canadian director Atom Egoyan tells the story of a young Canadian of Armenian descent who lives in Toronto and struggles to find his place in a cultural history deeply marked by the Armenian genocide of 1915. Finally, in her film Long Life, Happiness & Prosperity (2002), Chinese Canadian director Mina Shum portrays the everyday life of a twelve-year-old girl and her single mother living in the Chinese community of Vancouver, British Columbia. With stories unfolding in different Canadian communities, these films characterize the emergence of new forms of expression that ultimately expand the cinematographic geography of Canadian cinema beyond the historical limits of Francophone and Anglophone duality.

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