21 research outputs found
Face-maker : the negotiation between screen performance, extra-filmic persona and conditions of employment within the career of Peter Lorre
No full textPeter Lorre often described his acting as merely "face-making". This disparaging attitude is
reflected within critiques which read the life of Peter Lorre as a tragic narrative of wasted
opportunities and his career as a screen performer as restricted by the nature of his
employment in studio-era Hollywood. Working in the United States, he was unable to escape
from the notoriety of his first major role in the German film, M (1931), or from the murderous
persona that evolved from his portrayal of a psychopathic serial killer. His status as an emigre
positioned him as a European "artist" whose talent was misused by American filmmaking
practices which typecast the actor in line with his nefarious public image.
This thesis proposes to investigate the accuracy of these perceptions which approach the actor
via a binary split between "person" and "persona". It will offer an alternative methodology for
analysing the career of the screen actor which recognises that persona-based analyses can
obscure complex negotiations between performance, image and the conditions of employment.
Rather than attempting to reveal the "real" Peter Lorre behind the image, the context of Lorre's
mutable position as an employee within the Hollywood industry and the misconstrued
association between his screen labour and his public persona will be examined. The creative
agency of the actor will also be examined in order to question Lorre's definition of himself as
"face-maker" whose work was reliant upon performative gimmicks.
This alternative approach to the screen actor will be pursued through a chronological
investigation of Lorre's professional labour. Also necessary are an exploration of the features of
Lorre's persona and an understanding of the role played by other media in the construction of
this public image. My methodology will combine close textual analysis of Lorre's screen
performances, archival research into the terms of his employment and extensive analysis of
promotional discourses pertaining to the actor throughout his career.
My historiography of Lorre will consider the relationship between the actor and a number of his
employers to suggest that conditions of employment help to shape screen performance. Lorre's
status as a "face-maker" will also be challenged through a demonstration of the actor's use of
complex performative techniques within his film work. This thesis will demonstrate the limitations
of interpreting Lorre's career as Hollywood's mismanagement of a problematic performer.
Instead, his career can be considered indicative of industrial strategies that exist between acting
labour, promotional personas and employers. One consequence of my research is the reevaluation
of Lorre's persona as "extra-filmic" and his career as "transmedial". As such, this
thesis highlights how the significant labour of a screen performer can potentially become
superseded by the personas used by employers to promote actors away from the cinema
screen
De geluidsinstallatie in de discobar "Lorre": 20 middagen taak
No full textIn dit verslag worden ontwerp en uitvoering van de geluidsinstallatie van de discobar “ Lorre ” besproken. Er wordt ingegaan op de eisen waaraan het systeem moet voldoen. Verder volgt een beschouwing over de wijzigingen in het oorspronkelijke ontwerp, zoals dit door de N.V. Philips gemaakt is. Tot slot wordt de prelistening van het systeem aan een nadere beschouwing onderworpen.Applied SciencesElectrotechniekTransmissie van Informati
The lost one a life of Peter Lorre
No full textOften typecast as a menacing figure, Peter Lorre achieved Hollywood fame first as a featured player and later as a character actor who trademarked his screen performances with a delicately strung balance between good and evil. His portrayal of the grisly child murderer in Fritz Lang's masterpiece M (1931) catapulted him to international fame. Today, the Hungarian-born actor is also recognized for his riveting performances in The Man Who Knew Too Much (1934), The Maltese Falcon (1941), and Casablanca (1942). The first full biography of this major actor draws upon more than three hundred interviews, including conversations with directors Fritz Lang, Alfred Hitchcock, Billy Wilder, John Huston, Frank Capra, and Rouben Mamoulian. Author Youngkin examines Lorre's pivotal relationship with German dramatist Brecht, his experience as an émigré from Hitler's Germany, his battle with drug addiction, and his struggle with the choice between celebrity and intellectual respectability.--From publisher description
Uncoverings: The Research Papers of the American Quilt Study Group, Volume 18 (1997), Includes Cumulative Author Index, Volumes 1-17
No full textPreface by Virginia Gunn
Research Papers
The Quilting Records of Rachel Adella Jewett and Lucyle Jewett by Sara Reimer Farley and Nancy Hornback
Art Quilt Makers and Their Critique Groups by Barbara Carow
The Sunday Friends: The Group and Their Quilts by Lorre M. Weidlich
Quilt Ownership and Sentimental Attachments: The Structure of Memory by Catherine A. Cerny
Feed Sacks in Georgia: Their Manufacture, Marketing, and Consumer Use by Ruth Rhoades
Hawaiian Outline-Embroidered Quilts by Loretta B. Hammonds Woodard
Waccamaw-Siouan Quilts: A Model for Studying Native American Quilting by Jill Hemming
Seminar Keynote Address
Women\u27s Quilts and Diaries: Creative Expression and Personal Resource by Gayle R. Davis
Authors and editor
Index
Cumulative author index, volumes 1-17 (1980-1996
An examination of five active university band directors selected as exemplary conductors
No full textThe purpose of this investigation was two-fold: to identify five active university collegiate band directors who are deemed exemplary conductors by a random sample of community college band directors and secondly; to determine the perceptions of the band directors so identified regarding events, influences and mentors that have been significant in their development as conductors.The following procedures were employed: (1) a survey was designed and mailed to 50% of the directors of bands in the 1,240 community and junior colleges in the United States; (2) respondents were asked to name five active four-year college or university band directors they considered exemplary conductors and to list them in rank order; (3) the survey responses were compiled; (4) the conductors selected Eugene Corporon, Donald Hunsberger, Craig Kirchhoff, John P. Paynter, and H. Robert Reynolds all agreed to participate in the investigation; (5) after receiving a copy of the interview questions, the subjects were interviewed in person and on tape; (6) interview tape recordings were transcribed; (7) using the transcriptions as a source of information, the investigator wrote a chapter on each conductor's perceptions concerning significant influences, mentors, career events and counsel to aspiring conductors; (8) interview transcripts and chapters were submitted to subjects for correction and input.The investigation resulted in 42 conclusions regarding the perceptions of the conductors concerning events, influences and mentors that have been significant to their development as exemplary wind band conductors at major universities in the United States.The findings included parallelism among the subjects on the following topics discussed during the interviews: all of the subjects participated in public school music through high school; in their youth, each had enriched musical experiences through private lessons and opportunities to hear professional musical organizations; all valued high school and/or college band directors as mentors; each subject participated in performance ensembles including high school and college bands, orchestras, choirs, and chamber music groups; all performed in community and church musical organizations; each has developed individualized approaches in their mentoring of students and graduates; all are in demand as guest conductors and lecturers nationally and internationally.Made available in DSpace on 2011-05-07T13:56:04Z (GMT). No. of bitstreams: 2
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Thoreau's Heritage in I Love a Broad Margin to My Life (2011) by Maxine Hong Kingston; or, East and West Meet--Again.
No full textNational audienceMaxine Hong Kingston's book I Love a Broad Margin to My Life is read here as a reexamination by the author of her links to the American Renaissance, specifically Henry David Thoreau's and Walt Whitman's works. By focusing on Thoreau's early interest in Buddhism, using a form akin to Whitman's long poem, and extending the trope of the margin, Kingston defines her personal, literary and intellectual heritage as an open one shaped by the historical and cultural flux between China and America, East and West.Le dernier livre de Maxine Hong Kingston, I Love a Broad Margin to My Life, est lu ici comme un réexamen par l'auteure de ses liens à la Renaissance américaine à travers les œuvres de Henry David Thoreau et Walt Whitman. Kingston met l'accent sur l'intérêt de Thoreau pour le bouddhisme, utilise une forme proche du long poème de Whitman, et développe le trope de la marge pour définir son héritage, tant personnel et littéraire qu'intellectuel, comme ouvert et situé au confluent des courants d'échange historiques et culturels entre la Chine et l'Amérique, l'Orient et l'Occident
Thoreau's Heritage in I Love a Broad Margin to My Life (2011) by Maxine Hong Kingston; or, East and West Meet--Again.
No full textNational audienceMaxine Hong Kingston's book I Love a Broad Margin to My Life is read here as a reexamination by the author of her links to the American Renaissance, specifically Henry David Thoreau's and Walt Whitman's works. By focusing on Thoreau's early interest in Buddhism, using a form akin to Whitman's long poem, and extending the trope of the margin, Kingston defines her personal, literary and intellectual heritage as an open one shaped by the historical and cultural flux between China and America, East and West.Le dernier livre de Maxine Hong Kingston, I Love a Broad Margin to My Life, est lu ici comme un réexamen par l'auteure de ses liens à la Renaissance américaine à travers les œuvres de Henry David Thoreau et Walt Whitman. Kingston met l'accent sur l'intérêt de Thoreau pour le bouddhisme, utilise une forme proche du long poème de Whitman, et développe le trope de la marge pour définir son héritage, tant personnel et littéraire qu'intellectuel, comme ouvert et situé au confluent des courants d'échange historiques et culturels entre la Chine et l'Amérique, l'Orient et l'Occident
«The hundred-thousandth part of what exists», or, representing Maupassant’s Horla in visual media
No full textSince Lettre d’un fou (1885), a short story written by Guy de Maupassant, the still-growing Horla mythography has spawned two re-writings by the author himself (the short story Le Horla, in 1886, and a longer novella with the same title in the following year), and has been the inspiration for: 1) a number of literary works, such as Ambrose Bierce’s The Damned Thing, in 1893; H.P. Lovecraft’s The Call of Cthulhu, in 1928; and Manly Wade Wellman’s The Theatre Upstairs, in 1936, among others; 2) at least two surviving radio dramas (episode 31 of the second season of Inner Sanctum Mystery, broadcast on August 1, 1943; and episode 3 of the 1947 season of the Mystery in the Air series, narrated by Peter Lorre); 3) a loose film adaptation, Diary of a Madman, directed by Reginald Le Borg and brought to the big screen in 1963; and several short films (including Jean-Daniel Pollet’s Le Horla, premiered in 1966); 4) a progressive rock album by Canadian band The Box, released in 2009 and adequately entitled D’Après Le Horla De Maupassant; 5) and, more recently, a graphic novel by French author and illustrator Guillaume Sorel, published by Rue de Sèvres in 2014.info:eu-repo/semantics/publishedVersio
«The hundred-thousandth part of what exists», or, representing Maupassant’s Horla in visual media
No full textSince Lettre d’un fou (1885), a short story written by Guy de Maupassant, the still-growing Horla mythography has spawned two re-writings by the author himself (the short story Le Horla, in 1886, and a longer novella with the same title in the following year), and has been the inspiration for: 1) a number of literary works, such as Ambrose Bierce’s The Damned Thing, in 1893; H.P. Lovecraft’s The Call of Cthulhu, in 1928; and Manly Wade Wellman’s The Theatre Upstairs, in 1936, among others; 2) at least two surviving radio dramas (episode 31 of the second season of Inner Sanctum Mystery, broadcast on August 1, 1943; and episode 3 of the 1947 season of the Mystery in the Air series, narrated by Peter Lorre); 3) a loose film adaptation, Diary of a Madman, directed by Reginald Le Borg and brought to the big screen in 1963; and several short films (including Jean-Daniel Pollet’s Le Horla, premiered in 1966); 4) a progressive rock album by Canadian band The Box, released in 2009 and adequately entitled D’Après Le Horla De Maupassant; 5) and, more recently, a graphic novel by French author and illustrator Guillaume Sorel, published by Rue de Sèvres in 2014.info:eu-repo/semantics/publishedVersio
La collection du site de La Tène (Suisse) conservée au musée d'Archéologie nationale de Saint-Germain-en-Laye: Un ensemble d'armement, d'outillage et de parure celtiques aux origines de l'archéologie gauloise
No full textInternational audience<a l'hiver 1857, Hans Kopp, un "pêcheur d'antiquités lacustres", revient avec une pêche miraculeuse. Sur le fond du lac de Neuchâtel, près de la rive aux environs du village de Marin (Suisse), il a récolté un ensemble d'armes et d'outils en fer extraordinairement bien conservés. Ces objets atypiques sont-ils les premiers témoins de l'époque celtique contemporaine de la civilisation gauloise ? C'est le début d'une aventure scientifique qui conduira bientôt à faire du site de La Tène la référence mondiale pour l'identification de la période du Second âge du Fer européen. Tous les grands musées cherchent alors à obtenir des collections de ce gisement désormais célèbre. Fondé par l'empereur Napoléon III, le Musée des Antiquités nationales de Saint-Germain-en-Laye acquiert plusieurs séries d'objets auprès des découvreurs scientifiques du site, que sont le colonel Friedrich Schwab et le naturaliste Edouard Desor.Lancée en 2007, la série La Tène : un site, un mythe a pour but la publication des collections qui sont actuellement dispersées dans une trentaine d'institutions en Europe et dans le monde. Le volume consacré à la collection du musée de Saint-Germain-en-Laye a fait appel aux meilleurs spécialistes de l'archéologie et des collections du site de la Tène, comme à ceux qui travaillent sur l'histoire de l'archéologie et des musées. La constitution de cette collection de référence française éclaire en effet la démarche des chercheurs des débuts de l'archéologie celtique, comme elle révèle l'état des connaissances et les débats qui ont marqué la reconnaissance de cette phase majeure de la Protohistoire européenne qu'est l'époque de La Tène
