Abstract:
Worth Reassessing David Lancaster Anthony Asquith. Tom Ryall. Manchester University Press, 2006. 200 pages, $74.95 The British film director Anthony Asquith is best known for The Importance of Being Earnest (1952), a meticulous adaptation of the Oscar Wilde stage play that contains all the qualities that later film makers, like Lindsay Anderson, would abhor. These include emotional limitation, over-reliance on literary sources, gentility bordering on blandness and (horror of horrors) middlebrow concerns. The disapproval has been contagious; David Thomson dismisses the director as “a dull journeyman supervisor of the transfer to the screen of proven theatrical properties.” Yet, as Tom Ryall shows, Asquith was a far more versatile, and appealing, figure than this reputation would suggest. From the beginning of his career in the 1920s to its end in the Swinging Sixties, he directed a wide range of material from documentary-style war films to Gainsborough melodrama. All this means that he is worth reassessing. Ryall has done a very good job of it. On set, Asquith was famous for wearing a shabby boiler suit to indicate his sympathy for the workers but, as a man and a film maker, he was very upper crust. The son of the Liberal Prime Minister Herbert Asquith and an alumnus of Winchester College and Oxford University, he was a founder member of the Film Society in the 1920s and, as such, was well up on the new cinematic styles and aesthetic debates that were flying in from across the Channel. His silent films expressed these concerns, so [End Page 99] much so that Shooting Stars (1928) and A Cottage on Dartmoor (1929) helped to place him in the same critical bracket as his contemporary Alfred Hitchcock. The sound era was less congenial, however, and his career faltered until 1938 when, with its star Leslie Howard, he co-directed Pygmalion, a superb adaptation of George Bernard Shaw’s play. From then on, Asquith was king of the hill and top of the heap. He directed outstanding war dramas like We Dive at Dawn (1943); with the playwright Terence Rattigan, he collaborated on screen versions of Rattigan’s West End hits, such as While the Sun Shines (1947) and The Winslow Boy (1948); there is even a British film noir, The Woman in Question (1950), a Rashomon-style thriller set in a Grahame Greene world of seedy boarding houses and fairground stalls. As Ryall shows, Asquith was not just a middle class middlebrow. He was a chameleon who shifted and changed depending on the work available. Thanks to production conditions, then, it was impossible for him to establish a clear directorial identity. The nearest he got to one was as a maker of post-war “quality” films, which Ryall points out were a very British compromise between European art house and down and dirty Hollywood populism. The author demonstrates this hybrid quality in his chapter on Asquith’s theatrical adaptations. For example, The Winslow Boy possesses all the attributes that Lindsay Anderson despised. It is set in the past (the Edwardian era), it is middle class (the film concerns a retired bank manager’s fight for justice) and, being based on a play, it appears to be driven by words rather than images. Yet, as Ryall demonstrates, the film is infused with cinematic technique. For example, in one tense interrogation scene, lifted more or less intact from the play, editing, shot length and camera placement are used to make a dynamic piece of film drama, not an inert slice of photographed theatre. As Asquith said himself, he had “re-imagined his material in terms of his medium.” It is mild snobbery, perhaps, to dismiss this approach to directing as being bland and unimaginative. By the 1960s, with international film financing becoming more dominant, the director ended his career with The V.I.Ps (1963) and The Yellow Rolls-Royce (1964), two sleek all-star packages for MGM-British that did nothing for his reputation (although both are a very pleasant way of wasting a Sunday afternoon). Ryall makes no great claims for that reputation; he does not hail Asquith as some forgotten David Lean or Michael Powell. He does prove, however, that this...Altar
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Research into the film industry has concentrated primarily on production. Where it has embraced exhibition, the emphasis has been almost exclusively economic. There have been few studies of the movie theater itself in terms of its architectural design and social function, as the place where the process begun by production is completed by consumption. In this article I will explore the architectural antecedents of the movie palace-vaudeville theater, traveling show, circus, penny arcade, dime museum, Kinetoscope parlor and store. My purpose is to determine how the architecture of these locales, and its relationship to the role and status of the film, contributed to an architectural style unique to the movies as seen later in the movie palace. The palace incorporated many of the functional and iconographic motifs of these earlier, more primitive exhibition contexts. Among those that I will examine here are the open or recessed exterior vestibule, the box office, the marquee, the poster and electric light display, the architectural design and decoration of both the exterior and the interior of the theater, and the added accoutrements and extra spaces of the interior.
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Abstract In 1943, Hugh Martin and Ralph Blane were given the plum assignment of writing songs for Judy Garland to sing in the movie musical Meet Me in St. Louis . Although they had the advantage of having worked with her in New York City and Hollywood, for the young songwriters this was still a high-profile motion picture in which to be a part. Because the work’s title came from a 1904 song that the studio would use in addition to other period music, the challenge was to write new material that sounded as though it came from the turn of the century and that showcased Garland, America’s girl next door. All three songs that Martin created for Meet Me in St. Louis , ‘The Boy Next Door’, ‘The Trolley Song’ and ‘Have Yourself a Merry Little Christmas’, are emblematic of his writing style. An examination of Martin’s notebooks while at MGM reveals new insight into his process of lyric writing from initial drafts to final versions. In studying his compositions, one discovers how he was influenced by as well as adapted American popular song form. Martin’s skilled craftsmanship yielded the best-known songs of his career, and today they remain standards in the American Songbook.
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During the Raphael quincentenary, three books appeared on the cartoons and tapestries of the Acts of the Apostles. These are reviewed here by the former senior curator of paintings at the Victoria and Albert Museum, who co-curated an earlier exhibition there on these works (see Mark Evans and Clare Browne, with Arnold Nesselrath (eds.), Raphael: Cartoons and tapestries for the Sistine Chapel (London, 2010)). Raphael was commissioned in 1515 by Pope Leo X to paint ten monumental cartoons in gouache on paper for tapestries of the lives of St Peter and St Paul. Their weighty draped figures were inspired by Masaccio and Filippo Lippi’s frescos at the Brancacci Chapel in Florence. By 1516–18 Raphael’s designs had already been reproduced as prints. The tapestries of wool, silk and gilt-wrapped thread were woven between 1517 and 1521 at the Brussels workshop of Pieter van Aelst. These were displayed on special occasions...
Chapel
Apostles
Altarpiece
Fresco
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Baroque
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The sociology of reputations is a dynamic but weakly structured field of research. This article participates in the organization of this field by proposing a sociological definition of reputation and by identifying five big cross-sectional issues in the literature: the link between reputation and reality (the theory of reputation-reflect as a critical target); the control of one’s reputation by the reputed actor; the traditional dichotomy between « good » and « bad » reputation and its validity; the spaces and temporalities of reputations ; finally, the different reputed « entities » and their possible relations.
Temporalities
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Бұл зерттеужұмысындaКaно моделітурaлы жәнеоғaн қaтыстытолықмәліметберілгенжәнеуниверситетстуденттерінебaғыттaлғaн қолдaнбaлы (кейстік)зерттеужүргізілген.АхметЯссaуи университетініңстуденттеріүшін Кaно моделіқолдaнылғaн, олaрдың жоғaры білімберусaпaсынa қоятынмaңыздытaлaптaры, яғнисaпaлық қaжеттіліктері,олaрдың мaңыздылығытурaлы жәнесaпaлық қaжеттіліктерінеқaтыстыөз университетінқaлaй бaғaлaйтындығытурaлы сұрaқтaр қойылғaн. Осы зерттеудіңмaқсaты АхметЯсaуи университетіндетуризмменеджментіжәнеқaржы бaкaлaвриaт бaғдaрлaмaлaрыныңсaпaсынa қaтыстыстуденттердіңқaжеттіліктерінaнықтaу, студенттердіңқaнaғaттaну, қaнaғaттaнбaу дәрежелерінбелгілеу,білімберусaпaсын aнықтaу мен жетілдіружолдaрын тaлдaу болыптaбылaды. Осы мaқсaтқaжетуүшін, ең aлдыменКaно сaуaлнaмaсы түзіліп,116 студенткеқолдaнылдыжәнебілімберугежәнеоның сaпaсынa қaтыстыстуденттердіңтaлaптaры мен қaжеттіліктерітоптықжұмыстaрaрқылыaнықтaлды. Екіншіден,бұл aнықтaлғaн тaлaптaр мен қaжеттіліктерКaно бaғaлaу кестесіменжіктелді.Осылaйшa, сaпa тaлaптaры төрт сaнaтқa бөлінді:болуытиіс, бір өлшемді,тaртымдыжәнебейтaрaп.Соңындa,қaнaғaттaну мен қaнaғaттaнбaудың мәндеріесептелдіжәнестуденттердіңқaнaғaттaну мен қaнaғaттaнбaу деңгейлерінжоғaрылaту мен төмендетудеосытaлaптaр мен қaжеттіліктердіңрөліaйқын aнықтaлды.Түйінсөздер:сaпa, сaпaлық қaжеттіліктер,білімберусaпaсы, Кaно моделі.
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The nationally-recognized Susquehanna
Chorale will delight audiences of all
ages with a diverse mix of classic and
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music making, successful in their
aim to make the audience feel,
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performance - and all this while
working at an extremely high
musical level.AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA¢AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA Experience choral
singing that will take you to new
heights!
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