1,388 research outputs found
Victor Fleming and Ingrid Bergman during production of JOAN OF ARC, 1948
No full textVictor Fleming, director, and Ingrid Bergman during production of JOAN OF ARC, 1948. 8x10 photographic print
Fleming, adaptation, and the author biopic
No full textThe mini-series Fleming: The Man Who Would Be Bond, which aired in the U.S. on BBC America and in the U.K. on Sky Atlantic in 2014, offered an entertaining and glamorised account of Ian Fleming, creator of James Bond. Focusing in particular on Fleming’s time during the Second World War, a period in which he served in British Naval Intelligence, successive episodes comprised embroidered accounts of his experiences, with a heavy emphasis on scenes and motifs that chimed with the doings of his most famous character. This approach to the author’s life-story foregrounded the same elements upon which previous small-screen biographies of Ian Fleming had focused, especially his creation of Bond. The TV film Goldeneye: The Secret Life of Ian Fleming (1989) addressed his wartime experiences and subsequent Bond writing, while Spymaker: The Secret Life of Ian Fleming (1990) doubled down on its Bond connections by casting Jason Connery (son of original film 007, Sean Connery) as Fleming in a Second World War adventure with numerous James Bond parallels. Likewise, Ian Fleming: Bondmaker (2005) and Ian Fleming: Where Bond Began (2008) both framed Fleming first and foremost in terms of his literary creation.
With high production values, and a strong cast that included Dominic Cooper, Lara Pulver, and Samuel West, Fleming bore several of the hallmarks of what has come to be called “quality television” (Thompson, 1997) , and was heavily promoted in the weeks running up to its broadcast. However, a contemporary review in Wired by Graeme McMillan saw it as evidence of a problematic tendency in recent biopics. McMillan asserted that while such texts were previously “a mix of entertainment, education and guilt-free voyeurism,” they have become “a contradictory mix of hagiography and revisionism, lionizing their subjects while somehow managing to diminish them in comparison to the products of their imagination” (McMillan, 2014). In this chapter I will look to unpick this contention, and—in particular—to approach Fleming and the author biopic in terms of adaptation
Baxter 2 : Any Choice Works, 1965-70
No full textIn an extensive essay, Fleming documents the activities of Iain and Ingrid Baxter and the pair's corporate art productions and products. Biographical notes. Circa 125 bibl. ref
Ingrid Bergman. Donna e Santa
No full textIl contributo propone un'analisi delle modalità di rappresentazione di Ingrid Bergman su alcuni rotocalchi di cinema popolari degli anni Cinquanta, in relazione a due film del periodo: Joan of Arc (Giovanna d’Arco di V. Fleming, 1948) e Stromboli - Terra di Dio (R. Rossellini, 1950
Fleming, R.L. Sr., Fleming, R.L., Jr. & Bangdel, L.S. — Birds of Nepal, with reference to Kashmir and Sikkim. Katmandu, Nepal, chez le senior author (Box 229), 1976
No full textBourlière François. Fleming, R.L. Sr., Fleming, R.L., Jr. & Bangdel, L.S. — Birds of Nepal, with reference to Kashmir and Sikkim. Katmandu, Nepal, chez le senior author (Box 229), 1976. In: La Terre et La Vie, Revue d'Histoire naturelle, tome 31, n°2, 1977. p. 348
James Bond: international man of gastronomy
No full textThis article is concerned with the representation of food and drink in Ian Fleming’s James Bond novels. In particular, it examines how the author uses Bond’s culinary knowledge and habits of consumption as an important constituent of his hero’s character. Similarly, the food choices of other characters, notably villains, are shown to be linked, by Fleming, to core aspects of their identity − principally their ethnicity. Bond’s impulse to observe and classify, very much in evidence in the novels’ food sequences, is examined in terms of the texts’ construction of Bond as a skilled identifier of signs
Did Alexander Fleming deserve the Nobel Prize?
No full textPenicillin is a serendipitous discovery par excellence. But, what does this say about Alexander Fleming’s praiseworthiness? Clearly, Fleming would not have received the Nobel Prize, had not a mould accidently entered his laboratory. This seems paradoxical, since it was beyond his control. The present article will first discuss Fleming’s discovery of Penicillin as an example of moral luck in science and technology and critically assess some common responses to this problem. Second, the Control Principle that says that people are not responsible for things beyond their control will be defended. An implication of this principle is that Alexander Fleming’s desert, which is based on his epistemic skills, remains untouched by luck. Third, by distinguishing different notions of praiseworthiness, a way to resolve the paradox of moral luck will be elaborated. Desert provides only a pro tanto reason to determine whether someone is an appropriate addressee of reward. Here, luck can make a difference. Forth, it will be argued that stimulating the quest for socially beneficial science provides a compelling reason to treat scientists with equal desert differently. Penicillin provides striking evidence for the importance of this quest and showcasing it incentivizes the making of socially beneficial science. Ultimately, it will be justified why Fleming deserved the Nobel Prize in at least one sense of the concept.Ethics & Philosophy of Technolog
Letter to Mary Ann Smith Wilson From Cynthia Fleming, January 17, 1990
No full textCorrespondence from Cynthia Fleming at the University of Tennessee to Dr. Mary Ann Smith Wilson attaching snippets of books that mention Ruby Doris Smith. 6 pages
The Libel of Dos Passos in \u3cem\u3eTo Have and Have Not\u3c/em\u3e
No full textManuscript study arguing against the common assumption that Hemingway had John Dos Passos in mind when creating the character of Philip Gordon. Fleming asserts that Gordon represents a type of opportunistic and morally corrupt author that Hemingway despised
Book Review for "Soon We Will Not Cry" by Cynthia Fleming, 1998
No full textBook review of "Soon We Will Not Cry: The Liberation of Ruby Doris Smith Robinson" by Cynthia Fleming. Review by Angela Brown Terrell in Spelman's Messenger Magazine Summer/Fall 1998 Issue. 2 pages
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