742 Chapters
Medium 9780253017451

Part 1: The Restoration of the Maciste Series

Jacqueline Reich Indiana University Press ePub

Cabiria was an enormous success, and it is clear that the character most beloved by the audience was Maciste, due to the particular characteristics that the author imbued in him, for the special dramatic situations in which the author placed him, and also for Pagano’s effective performance.

In order to exploit that success Itala Film decided to produce a series of action films called “Maciste,” in which it developed the daring and humorous adventures of the good-hearted strongman with solid muscles and valiant heart – either as policeman, athlete, alpine soldier, or other personifications – who represented, in the most varied times and places, the same, typical figure of the super-strongman in service to just and generous causes.1

The history of cinema is also and especially the history of films. It is a story made from stories, since films themselves are not abstract ideas but material works from a tangible, variable, reproducible base, which are born, altered, and nonetheless eventually destined to disappear. Briefly, the history of cinema is also the material history of the actual print (in film for the first one hundred years of production, but also in video and digital formats today). Often it is the responsibility of the restorers and archivists, who work in the shadows, so to speak, to create the necessary conditions so that scholars and film lovers alike can see the films that make up the history of the so-called seventh art.

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Medium 9780253008794

3 Of Cowboys and Cocksmen: Bisexuality and the Contemporary Hollywood Bromance

Maria San Filippo Indiana University Press ePub

Males do not represent two discrete populations, heterosexual and homosexual. The world is not to be divided into sheep and goats.

ALFRED C. KINSEY,
Sexual Behavior in the Human Male

 

One of the top-grossing U.S. films of 2005 . . . credited with transforming the U.S. film industry . . . a queering of Hollywood genre . . . a romance between two all-American dudes . . . I refer not only to Brokeback Mountain, but also to 2005’s other blockbuster male love story: Wedding Crashers, which in grossing $285 million worldwide substantially rejuvenated the R-rated comedy and popularized what has come to be called the bromance, by updating and hybridizing the male buddy film and the “comedy of remarriage.”1

Wedding Crashers is the story of longtime friends Jeremy (Vince Vaughn) and John (Owen Wilson), Washington, D.C., divorce mediators who infiltrate strangers’ nuptials to take advantage of the amorous feelings that weddings elicit in female guests. Like Brokeback Mountain’s “gay cowboys,” Wedding Crashers’ male duo came branded with a similarly reductive label: “buddies,” thus presumed to be straight. Just as Brokeback Mountain thwarts efforts to categorize its protagonists monosexually, Wedding Crashers makes bisexuality legible by depicting same-sex and opposite-sex couplings as equally indispensable and also (though tacitly) romantically and erotically charged. While Hollywood films still rarely imagine, let alone endorse, a stable bisexual identity or a non-monogamous arrangement, Brokeback Mountain and Wedding Crashers do both. In putting into question and even rejecting compulsory monosexuality and monogamy, Wedding Crashers ultimately endorses a realistically complex conceptualization of sexuality that is queer-friendly, feminist, and sex-positive. In league with these affirmations, Wedding Crashers defamiliarizes and thus destabilizes the monolithic “marriage myth” that naturalizes and romanticizes compulsory monogamy, revealing how marriage is institutionalized and commodified through church and state sanctioning, Western cultural imperialism, and what Gayle Rubin terms “the traffic in women” – “a systematic social apparatus which takes up females as raw materials and fashions domesticated women as products.”2

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Medium 9780861966899

Chapter 28 Dominique Nasta and Muriel Andrin, European melodramas and World War I: narrated time and historical time as reflections of national identity

Richard Abel John Libbey Publishing ePub

The present essay is an attempt to set the bases for a theory of trans-national identity based on philosopher Paul Ricoeur’s discussion of mimesis in his seminal three-volume collection of essays, Time and Narrative.1 Having re-read Ricoeur on several occasions, we have come to the conclusion that his discussion of the dichotomy narrated time/historical time, which draws on Aristotle, quite surprisingly fits the contents and style of several European films from the early 1910s.

Our particular focus on the relationship between five European melodramas shot between 1913 and 1915 – in France, Belgium, Denmark, Italy and Germany – and the context surrounding World War I, was suggested by Ricoeur’s remarks regarding the implicit links between the ground-breaking narratives by writers such as Marcel Proust, Virginia Woolf and Thomas Mann, and the historical background against which their complex story lines unfold. According to Ricoeur:

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Medium 9780861967094

The Social Impact of Screen Culture 1880–1914

Ludwig VoglBienek John Libbey Publishing ePub

Magic Lantern Entertainment given to 1,450 poor and destitute children by the members of the Fulham Liberal Club and Institute, engraving from The Graphic (23 February 1889): 189.

MAN SWALLOWING RATS, lantern slide with combined rack work and lever mechanism, Carpenter & Westley, England, c. 1880.

In 1889, the Liberal Club of Fulham (London) organised a lantern show for 1,450 destitute children. The weekly newspaper The Graphic published a picture of this performance in a wood engraving showing a large, packed auditorium decorated with paper lanterns and garlands. The view is toward the stage, whose back wall is covered by a lighted circle almost four metres in diameter in which a larger-than-life-size, bearded man in a nightcap lies in bed while two rodents make for his open mouth. The projection illuminant shines brilliantly in the lantern’s housing. A projectionist operates the apparatus, and a second man acting as lecturer points to the image on the screen to underline to the audience his interpretation of what is occurring. A girl sitting on the shoulders of an adult is pointing at the image, as are several people in the first row, expressing the excitement with which they are following what happens on the screen.

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Medium 9780253012531

2. Locating the Pixelated Jew: A Multimodal Method for Exploring Judaism in The Shivah · Isamar Carrillo Masso and Nathan Abrams

HEIDI CAMPBELL Indiana University Press ePub

Isamar Carrillo Masso and Nathan Abrams

THE VIDEO GAME THE SHIVAH (WADJET EYE GAMES, 2006) opens with the epigraph: “A Goy [non-Jew] came up to Rabbi Moishe to ask, ‘Why do rabbis always answer with a question?’ to which Rabbi Moishe replied, ‘Why not?’ ” In a similar Talmudic style, this chapter opens with a question: “Where has the pixelated Jew gone?” In popular culture, images of the Jew have been examined over many formats – art, film, television, cartoons, comics, graphic novels, online, and so on – but to date, despite their prevalence, images of Jews in video games have yet to be fully explored. This is partly because, in general, representations of race and ethnicity in video games are relatively unexplored and thus undertheorized.1 Furthermore, given the volume of research dedicated to analyzing the Jewish contribution to American visual culture, such as film,2 it is surprising to note that comparatively little work has been done on Judaism as a distinctive set of religious practices, behaviors, beliefs, and values. As a consequence, it is possible to read entire books on these subjects that have almost no references to Judaism qua Judaism.

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