858 Chapters
Medium 9780253016966


Colin Crisp Indiana University Press ePub


France, 1938, 91 min, b&w

Dir Robert Siodmak; Asst dir Rodolphe Marcilly and Pierre Prévert; Prod Corniglion-Molinier; Scr Charles Spaak and Oscar-Paul Gilbert, from the book by Gilbert; Cinematog Eugen Schüfftan; Music Darius Milhaud and Jacques Dallin; Sets Alexandre Trauner; Edit Léonide Azar; Act Harry Baur (Mollenard), Albert Préjean (ship’s mate), Jacques Baumer (director of shipping company), Pierre Renoir (Bonnerot), Gabrielle Dorziat (Madame Mollenard), Elisabeth Pitoëff (Marie Mollenard), Robert Lynen (Gianni Mollenard), Maurice Bacquet, Marcel Dalio, Gina Manès, and Foun-Sen.

Francis Courtade includes Mollenard in his canon of five Popular Front films—Le Crime de Monsieur Lange (#46), La Vie est à nous (#49), La Belle Équipe (#51), Les Bas-Fonds, and Mollenard—“which are powerfully expressive of the social effervescence of the time and of the aspirations of millions of working men.”91 Few would question the other four, some would wish to add to the list, but most would be greatly bemused by the inclusion of Mollenard. Geneviève Guillaume-Grimaud, in a useful book devoted specifically to the cinema of the Popular Front, does not once mention Mollenard. Certainly there is in the film no direct reference to political events, class conflict, cooperatives, or the plight of the workers. Courtade defends its inclusion on the grounds that Captain Mollenard, a man of the people married as chance would have it to a representative of the propertied class, is “a sort of rock standing out against the interests of the great trading merchants, the hypocritical façade of official ceremonies, that ‘respectable bourgeois society’ whose collusion with the Church had never since Lange been so openly decried.”92

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Medium 9780253016447

4. Elia Suleiman: Narrating Negative Space (Palestine)

Edited by Josef Gugler Indiana University Press ePub

Refqa Abu-Remaileh

Elia Suleiman is a pioneering filmmaker who has captured the absurdities of Palestinian life with a twist of humor and a deep dose of irony. His deceptively simple style has attracted audiences worldwide and won him recognition at major international film festivals. Both viewers who are more familiar with the sociopolitical Palestinian context of the films and those who are not have indulged in the pleasure of uncovering a multitude of layers, references, and allusions. Critics have likened Suleiman’s film style to those of Jacques Tati, Buster Keaton, and Jim Jarmusch. However, Suleiman has expressed in a number of interviews that his influences came from elsewhere—from Asia, particularly the films of Yasujiro Ozu and Hou Hsiao-Hsien.1

This chapter will begin with a short biography, moving on to an analysis of key elements of Suleiman’s filmmaking style, focusing on his three long fiction films.

Elia Suleiman was born in 1960 into a Nazareth that had become part of the new Israeli state in 1948. In his late teens, Suleiman was compelled to leave Nazareth. Reasons for his sudden departure are captured in his most recent film, The Time That Remains. Living in exile, Suleiman began to experiment with filmmaking, creating what he calls a “complicatedly simple” style of multilayered static frames, choreographed action, little dialogue, and nonlinear narratives (Butler 2003, 67). His early New York experiments paved the way for his three long fiction films: Chronicle of a Disappearance, Divine Intervention, and The Time That Remains.

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Medium 9780861967094

Afterword by Ian Christie

Ludwig VoglBienek John Libbey Publishing ePub

This collection of essays began life with a three-day conference held at the elegant Bloomsbury Square premises of the German Historical Institute London, a short distance from the British Museum and from the Warburg Institute. For me, it proved to be a location conducive to thinking about the origins of “public enlightenment”, many of which have their roots in this area of London. First developed in the late 17th century when the modern city’s topography and institutions were taking shape, Bloomsbury Square would later house a generation of enlightened patrons, who included John Radcliffe, benefactor of Oxford’s Radcliffe Library, and Hans Sloane, whose collection became the basis of the British Museum when this was launched just round the corner at Montagu House in 1759.

The current British Museum is one of London’s – indeed the world’s – great educational institutions, but how many of its millions of visitors realise that long before the Internet, much of its outreach work was carried on through loaning lantern slides for lectures?1 In the case of the Warburg Institute, which came to London in 1933 to escape the Nazi regime that would have destroyed Aby Warburg’s great collection, this included “thousands of slides” along with the books that are often regarded as its main resource.2 How many today realise the revolutionary role played by photography and lantern slides in Warburg’s work on “illustrating the processes by which the memory of the past affects a culture?”3

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Medium 9780253010407

1 Todd’s Tune

Kathy Sloane Indiana University Press ePub

I just wanted to present the best
music that we could with the
warmest feeling that we could.

Todd Barkan

Todd Barkan

Keystone Korner was, as much as anything else, the only real psychedelic jazz club that lasted. There were a couple of little experiments in that area, and isolated experiments in the United States, but Keystone was a bona fide psychedelic jazz club that emerged out of the post-psychedelic era in San Francisco – right out of flower children and Haight-Ashbury.

I was born in Lincoln, Nebraska, in 1946 and was deeply immersed in jazz from my earliest remembered times. My family moved to Columbus, Ohio, where my grandparents were, and we had lots of jazz records in the house. I listened to jazz and became a jazz fanatic by the time I was eight or nine years old. I had literally thousands of records by the time I was in college. I used to work as a construction worker and would take every penny I had and buy jazz records. And I used to hear as much jazz as I could. I first started playing the piano when I was six years old. And it was in Columbus that I met Rahsaan Roland Kirk, who became a mentor to me later on.

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Medium 9780253014436

8. Suoni Nuovi, Suoni Antichi: The Soundscapes of Barabbas

Stephen C. Meyer Indiana University Press ePub

The popularity of the biblical epic, as I have already noted, was closely associated with the “fourth great awakening” that filled the pews of churches during the postwar period. The crest of this religious wave is of course impossible to mark with specificity, but we might use church attendance as a rough measure of the centrality of Christianity in American life during this period. Self-reported church attendance reached its all-time high in the United States in 1955 and 1958: years which correspond almost exactly to the release dates of the two films that probably mark the high water point of the genre (The Ten Commandments and Ben-Hur, respectively). The association between the postwar biblical epic and the postwar Christian church, moreover, was not merely a matter of statistics. Cinematic representations of biblical narratives found their way into the fabric of American religious life, not least through musical adaptions. Selections from Miklós Rózsa’s scores for King of Kings and for Ben-Hur were arranged for church choir, while The Ten Commandments—especially after it began to appear on television in 1973—attained a special, quasi-sacramental position as a special Easter program. The monumental scale of these films, their centrist theological stance and optimistic messages, position them as cinematic analogues of the expansionist, self-confident mainline Christianity of the 1950s. The postwar biblical epics, in other words, were both participants in and expressions of the “fourth great awakening” of American religious life.

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