883 Slices
Medium 9780253352521

5 Local Character Anecdotes

Ray Cashman Indiana University Press ePub

Storytelling at wakes, ceilis, and other social occasions has directed our attention repeatedly to a particular genre: anecdotes about neighbors and local characters, sometimes living but more often dead. Given the centrality of local character anecdotes to our investigation, we should review first popular and then folkloristic understandings of what anecdotes are.

Anecdotes can be understood to be both oral and literary. On March 11, 2001, the Sunday edition of the New York Times ran a short piece entitled “It’s the Pith: Short Yarns that are Long on Legend,” by Tom Kuntz. “Everybody loves anecdotes, which reminds me of a story . . .” begins Kuntz, who continues with seventeen of what he considers the best examples from the updated Bartlett’s Book of Anecdotes. The subjects of these anecdotes include the likes of Muhammad Ali, Princess Diana, and Richard Nixon, which indicates that in common usage the term “anecdote” refers to short biographical stories about the rich and famous.

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Medium 9780861967094

Our Magic Lantern Heritage: Archiving a Past Medium that Nearly Never Was

Ludwig VoglBienek John Libbey Publishing ePub

Church Army Lantern Department slide carrying box, used to send slides by post or rail transport, c.1900.

In the 21st century digital image technology has firmly imposed itself on the world map; its “screens” take many forms and are multiple and commonplace. It is rapidly changing the frameworks for technology, culture and perceived histories. Or as the British photographer Eamonn McCabe puts it, “we enter a new ‘memory land’; a new way of capturing and remembering means a new way of looking at ourselves and the world around us”.1

Analogue image technology is becoming obsolete. The celluloid film medium is lingering on the brink of extinction. Archivists, artists and historians do in many ways hail the “digital revolution”, yet also ask ourselves: what do we lose? Especially in this time of marked transition relentlessly pushing us forward there is a need for reflection. What exactly are the archival and cultural legacies of screen practices, and how can we safeguard them from fading away to become unfamiliar and uncharted realms?

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Medium 9780861966608

Chapter 6 Regulating Globalization: Domestic Response to International Investment in China’s Media Market

Boyd-Barrett, Oliver John Libbey Publishing ePub

This chapter discusses domestic and international forces that have accelerated the opening of China’s media market to the world. The combination of a unique social-political history and recent endeavors towards reform and openness breeds an inconsistent policy system characterized by tight regulation of media investment and weak or inconsistent implementation of the regulations. This chapter investigates both the legitimate zone of foreign involvement in China’s media as well as a “grey area” that comprises operations and interactions that were initiated in advance of recent legislation. The impact of China’s entry to the World Trade Organization (WTO) and subsequent regulation of foreign media investment is addressed. The chapter examines how China maintains a delicate equilibrium between media commercialization and political and cultural integrity, while exploring the power dynamics that govern China’s relations with global media investors.

Media globalization and localization. Media globalization is the product of a process of intensified media commercialization that originated in the Western world. According to Herman and McChesney (1997), media systems tend to reflect the overall political economy. As capitalism develops and the profitability of commercial media increases, issues of media control move from a predominantly political to a predominantly business and commercial context. Often starting as small enterprises in competitive markets, some commercial media grow into large enterprises that shape monopolistic or oligopolistic markets. There has been increasing concern in Western countries about concentration of large media in the hands of a few conglomerates, and the possibility that media may be increasingly susceptible to manipulation by the same plutocratic elites that disproportionately influence the financing and conduct of political campaigns. Such monopolies often exhibit high restraint in dealing with issues of great importance to political and corporate elites.

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Medium 9780253358530

3. Gaudy Rose: Eco and Narcissism

Teresa de Lauretis Indiana University Press ePub


What’s in a name? asks Juliet, who is a woman and knows the tide, the ebb and flow, the pull of the real. Eco answers her question simply, yet implicating the whole of philosophy and the vicissitudes of Western epistemology: everything and nothing. Stat rosa pristina nomine. Nomina nuda tenemus.1 But Juliet’s, of course, was a rhetorical question, and Eco’s answer is not what she wants. We leave Juliet at the balcony unfulfilled, as she must be, and go on to scene two.

Imagine now Adam and Eve in the garden of Eden, naked, without guilt and (naturally, you might think) without language. But no, these Adam and Eve do have a kind of language, a rudimentary code made up of two sounds which combine to form a restricted set of signifiers and their corresponding semantic units or signifieds. The sounds are A and B, and with them Adam and Eve express their appreciation of the lush nature that surrounds them. Theirs is a happy life, unmarred by conflict or uncertainty, a world of simple, lasting values. Things are either edible or inedible, good or bad, beautiful or ugly, red or blue. But one day God speaks, and he says:

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Medium 9780253016959

Part I. 1940–1945

Colin Crisp Indiana University Press ePub



1. La Fille du puisatier

The Well-Digger’s Daughter

Filming began May 1940, then resumed 13 August 1940; released Marseilles and Lyons, 20 December 1940; Paris, 24 April 1941

190 min, b&w

Dir and Scr Marcel Pagnol; Prod Films Marcel Pagnol; Cinematog Willy; Music Vincent Scotto; Art dir Cot and Marius Brouquier; Sound Marcel Lavoignat; Edit Jeannette Ginestet; Act Josette Day (Patricia), Raimu (Pascal Amoretti), Fernandel (Félipe Rambert), Milly Mathis (Nathalie), Line Noro (Marie Mazel), Fernand Charpin (Monsieur Mazel), Georges Grey (Jacques Mazel), Claire Oddera (Amanda Amoretti), Roberte Arnaud (Roberte), Raymonde (Éléonore Amoretti), Rosette (Marie Amoretti), Liliane (Isabelle Amoretti), Félicien Tramel (waiter), Marcel Maupi (shop assistant), and Charles Blavette (dyer).

La Fille du puisatier is often listed as the first French film to have been made under the German occupation. In fact, it was begun in May 1940, before the invasion, and resumed on 13 August, barely two months after the fall of France and the entry into Paris of German forces. Marcel Pagnol had established his production unit in Provence, which was by that time in the (somewhat optimistically named) zone libre (ZL, free zone). In the zone occupé (ZO), there was to be a drastic reorganization of the film industry, as of so much else, and filmmaking did not recommence until February 1941. In the ZL, by contrast, there was as yet little regulation, and shooting began on some seven films before that point, most of them in Pagnol’s Marseilles studio. Of these the first, and the only major, film was La Fille du puisatier. Pagnol was able to proceed so rapidly not just because of the lack of regulatory hindrances in the Midi but also because he had already prepared and initiated shooting, and because, unlike his Paris colleagues, he was in total personal control of production.

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