5 results
3 - Lubitsch Revisits the Schmatta Trade: The Shop Around the Corner
- Edited by Brigitte Peucker, Yale University, Connecticut, Ido Lewit, The Steve Tisch School of Film and Television, Tel Aviv
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- Book:
- New Approaches to Ernst Lubitsch
- Published by:
- Amsterdam University Press
- Published online:
- 16 April 2024
- Print publication:
- 01 March 2024, pp 65-82
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Summary
Abstract
Released in January 1940, when the Jewish-dominated garment trades of Central Europe were already marked for extinction, Lubitsch's The Shop Around the Corner returns to the milieu of his earliest comedy successes in Berlin in 1915. But this film removes all obvious markers of ethnic Jewishness, in keeping with Hollywood's goal of reaching the largest possible audience. Nevertheless, the film can be read as a conscious depiction of Jewish Budapest, given the shop's address, the names of its staff, and that Hungarian Jews were, at that moment, being ostracized through anti-Semitic legislation.
Keywords: Anti-Semitism, Budapest, Jews, retail shops, World War II, comedy
In his earliest comedies, The Firm Gets Married (Die Firma heiratet, Carl Wilhelm, 1914), The Pride of the Firm (Der Stoltz der Firma, Wilhelm, 1914), and Shoe Palace Pinkus (Shuhpalast Pinkus, Lubitsch, 1916), Ernst Lubitsch plays ambitious, Jewish dry goods store clerks hoping to get ahead by courting the boss's daughter, rather than necessarily through hard work. The films were hugely successful, possibly because Lubitsch himself was literally born in the Jewish garment district around East Berlin's Hausvogteiplatz, where his father owned a tailoring shop. At the same time, Lubitsch's broad Jewish humor embarrassed upper-middle class, assimilated Jews, like Lotte Eisner. Apprentices, usually sassy, would continue to populate Lubitsch's subsequent German films as secondary characters to liven up the action, whether in The Doll (Die Puppe, 1919) or One Arabian Night (Sumurun, 1920). Made at the beginning of World War II, when the Jewish-dominated garment trades of Central Europe were already marked for extinction, Lubitsch's The Shop Around the Corner (1940) returns to the milieu of his earliest successes. Yet, like Miklos Laszlo's 1936 play, Illatszertar (Parfumerie), which the film faithfully adapts, The Shop Around the Corner removes all obvious markers of ethnic Jewishness, in keeping with Hollywood's goal of reaching the largest possible audience. Nevertheless, The Shop Around the Corner can be read as a conscious depiction of a “World of Yesterday” in Stefan Zweig's words, given that Hungarian Jews were, at the moment of the film's release, being ostracized through anti-Semitic legislation.
12 - Branding 007: Title Sequences in the James Bond Films
- Edited by Jaap Verheul
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- Book:
- The Cultural Life of James Bond
- Published by:
- Amsterdam University Press
- Published online:
- 20 November 2020
- Print publication:
- 15 October 2020, pp 249-268
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Summary
Abstract
The James Bond series has maintained its brand identity through the James Bond character, recurring plot elements, and its film design, in particular the credits sequences of Maurice Binder, Robert Brownjohn, MK12, and Daniel Kleinman. This chapter will examine the work of Binder, who created fourteen of the first eighteen Bond titles and has been rightly singled out as one of a new generation of title designers who utilized modernist aesthetics to create a specific look for the James Bond franchise. The chapter also asks how the digital turn, which coincided with the transition from Binder to Kleinman in the 1990s, has impacted the design and aesthetics of the James Bond title sequences.
Keywords: Maurice Binder; Daniel Kleinman; title sequences; modernism; Branding
The James Bond film series is one of the longest running and most successful film franchises in the history of the movies, now encompassing twenty-four plus two films that have been produced over more than fifty-five years. Having featured no less than six different actors (Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig), the Bond series has maintained its brand identity through the character of James Bond as conceptualized by Ian Fleming, through rigorously recurring plot elements—Bond chasing international bad guys and bedding down a number of beautiful young women—and through the films’ design, in particular the credits sequences of Maurice Binder, Robert Brownjohn (briefly), MK 12 (one film) and Daniel Kleinman. Maurice Binder, who created fourteen of the first eighteen Bond titles, starting with Dr. No (UK: Terence Young) in 1962, has been rightly singled out as one of a new generation of title designers who utilized modernist design to create a specific look for the Bond franchise, and who influenced the creation of music videos through his marriage in the title sequences of abstract images and catchy pop music tunes. Binder made the latter claim himself in 1991, noting that his sequences “were really the fore-runners of today's pop videos: the song came first and we’d illustrate it” (King 2004; Cork and Scivally 2002, 193).
Chapter 8 - Outerborough: Early Cinema Revisited
- Edited by Bernd Herzogenrath
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- Book:
- The Films of Bill Morrison
- Published by:
- Amsterdam University Press
- Published online:
- 12 December 2020
- Print publication:
- 22 November 2017, pp 137-150
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Summary
ABSTRACT
Morrison is an archaeologist of cinema. His Outerborough references not only the earliest years of cinema history but also perceptional mechanisms. Reworking a Biograph film from 1899, Morrison transforms the film document into a structuralist meditation on cinematic space that references American avant-garde films of the 1970s. Morrison also points to the fact that the birth of cinema coincides with the development of modern modes of transportation, both technologies radically altering human perception of space and time. Suddenly, the world becomes much smaller. Yet, through early cinema and its mechanisms of perception, which emphasized visual pleasure and spectacle, audiences were able to confront their fears of a constantly changing environment and leave the cinema unharmed.
KEYWORDS
American Mutoscope and Biograph Company, avant-garde, early cinema, stereo Vision
The invention of cinema coincides with the development of mass transportation and urbanization. In major cities like New York, Paris, and London, the acceleration of time manifests itself in a compacting of space in which humans, buildings, and transportation systems tumble over one another. The resulting fragmentation of vision catalyzes a change in perception, which is not only articulated through Modernist art, but also in moments of early cinema. Urbanization and the speed of modern transportation, however, also generate anxiety in individuals, afraid of losing control of their environment. Both the apparatus of cinema and mass transport expand the experience of space and time, allowing the world to appear much smaller, but also lead to a drastic increase in perceptual data processed by individuals. Through early cinema, which focusses on visual attractions and spectacle, audiences could safely confront their anxieties about the dangers of modern life and then exit the cinema renewed.
In Outerborough (2005), an eight-and-a-half minute reworking of New York to Brooklyn Across Brooklyn Bridge, an 1899 film produced by the American Mutoscope and Biograph Company, Bill Morrison meditates on the interrelationship between early cinema and avant-garde cinema, defining their commonality in the perception of movement through space and, simultaneously, the construction of cinematic space. Originally conceived of as silent, Morrison asked Todd Reynolds to compose a modern musical score for a live performance, benefitting the Filmmaker's Coop in New York in September 2005, leading to the creation of a sound version, as well as the original silent version (Morrison 2015, personal email).
Contributor affiliations
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- By Frank Andrasik, Melissa R. Andrews, Ana Inés Ansaldo, Evangelos G. Antzoulatos, Lianhua Bai, Ellen Barrett, Linamara Battistella, Nicolas Bayle, Michael S. Beattie, Peter J. Beek, Serafin Beer, Heinrich Binder, Claire Bindschaedler, Sarah Blanton, Tasia Bobish, Michael L. Boninger, Joseph F. Bonner, Chadwick B. Boulay, Vanessa S. Boyce, Anna-Katharine Brem, Jacqueline C. Bresnahan, Floor E. Buma, Mary Bartlett Bunge, John H. Byrne, Jeffrey R. Capadona, Stefano F. Cappa, Diana D. Cardenas, Leeanne M. Carey, S. Thomas Carmichael, Glauco A. P. Caurin, Pablo Celnik, Kimberly M. Christian, Stephanie Clarke, Leonardo G. Cohen, Adriana B. Conforto, Rory A. Cooper, Rosemarie Cooper, Steven C. Cramer, Armin Curt, Mark D’Esposito, Matthew B. Dalva, Gavriel David, Brandon Delia, Wenbin Deng, Volker Dietz, Bruce H. Dobkin, Marco Domeniconi, Edith Durand, Tracey Vause Earland, Georg Ebersbach, Jonathan J. Evans, James W. Fawcett, Uri Feintuch, Toby A. Ferguson, Marie T. Filbin, Diasinou Fioravante, Itzhak Fischer, Agnes Floel, Herta Flor, Karim Fouad, Richard S. J. Frackowiak, Peter H. Gorman, Thomas W. Gould, Jean-Michel Gracies, Amparo Gutierrez, Kurt Haas, C.D. Hall, Hans-Peter Hartung, Zhigang He, Jordan Hecker, Susan J. Herdman, Seth Herman, Leigh R. Hochberg, Ahmet Höke, Fay B. Horak, Jared C. Horvath, Richard L. Huganir, Friedhelm C. Hummel, Beata Jarosiewicz, Frances E. Jensen, Michael Jöbges, Larry M. Jordan, Jon H. Kaas, Andres M. Kanner, Noomi Katz, Matthew S. Kayser, Annmarie Kelleher, Gerd Kempermann, Timothy E. Kennedy, Jürg Kesselring, Fary Khan, Rachel Kizony, Jeffery D. Kocsis, Boudewijn J. Kollen, Hubertus Köller, John W. Krakauer, Hermano I. Krebs, Gert Kwakkel, Bradley Lang, Catherine E. Lang, Helmar C. Lehmann, Angelo C. Lepore, Glenn S. Le Prell, Mindy F. Levin, Joel M. Levine, David A. Low, Marilyn MacKay-Lyons, Jeffrey D. Macklis, Margaret Mak, Francine Malouin, William C. Mann, Paul D. Marasco, Christopher J. Mathias, Laura McClure, Jan Mehrholz, Lorne M. Mendell, Robert H. Miller, Carol Milligan, Beth Mineo, Simon W. Moore, Jennifer Morgan, Charbel E-H. Moussa, Martin Munz, Randolph J. Nudo, Joseph J. Pancrazio, Theresa Pape, Alvaro Pascual-Leone, Kristin M. Pearson-Fuhrhop, P. Hunter Peckham, Tamara L. Pelleshi, Catherine Verrier Piersol, Thomas Platz, Marcus Pohl, Dejan B. Popović, Andrew M. Poulos, Maulik Purohit, Hui-Xin Qi, Debbie Rand, Mahendra S. Rao, Josef P. Rauschecker, Aimee Reiss, Carol L. Richards, Keith M. Robinson, Melvyn Roerdink, John C. Rosenbek, Serge Rossignol, Edward S. Ruthazer, Arash Sahraie, Krishnankutty Sathian, Marc H. Schieber, Brian J. Schmidt, Michael E. Selzer, Mijail D. Serruya, Himanshu Sharma, Michael Shifman, Jerry Silver, Thomas Sinkjær, George M. Smith, Young-Jin Son, Tim Spencer, John D. Steeves, Oswald Steward, Sheela Stuart, Austin J. Sumner, Chin Lik Tan, Robert W. Teasell, Gareth Thomas, Aiko K. Thompson, Richard F. Thompson, Wesley J. Thompson, Erika Timar, Ceri T. Trevethan, Christopher Trimby, Gary R. Turner, Mark H. Tuszynski, Erna A. van Niekerk, Ricardo Viana, Difei Wang, Anthony B. Ward, Nick S. Ward, Stephen G. Waxman, Patrice L. Weiss, Jörg Wissel, Steven L. Wolf, Jonathan R. Wolpaw, Sharon Wood-Dauphinee, Ross D. Zafonte, Binhai Zheng, Richard D. Zorowitz
- Edited by Michael Selzer, Stephanie Clarke, Leonardo Cohen, Gert Kwakkel, Robert Miller, Case Western Reserve University, Ohio
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- Book:
- Textbook of Neural Repair and Rehabilitation
- Published online:
- 05 May 2014
- Print publication:
- 24 April 2014, pp ix-xvi
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Contributor affiliations
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- By Frank Andrasik, Melissa R. Andrews, Ana Inés Ansaldo, Evangelos G. Antzoulatos, Lianhua Bai, Ellen Barrett, Linamara Battistella, Nicolas Bayle, Michael S. Beattie, Peter J. Beek, Serafin Beer, Heinrich Binder, Claire Bindschaedler, Sarah Blanton, Tasia Bobish, Michael L. Boninger, Joseph F. Bonner, Chadwick B. Boulay, Vanessa S. Boyce, Anna-Katharine Brem, Jacqueline C. Bresnahan, Floor E. Buma, Mary Bartlett Bunge, John H. Byrne, Jeffrey R. Capadona, Stefano F. Cappa, Diana D. Cardenas, Leeanne M. Carey, S. Thomas Carmichael, Glauco A. P. Caurin, Pablo Celnik, Kimberly M. Christian, Stephanie Clarke, Leonardo G. Cohen, Adriana B. Conforto, Rory A. Cooper, Rosemarie Cooper, Steven C. Cramer, Armin Curt, Mark D’Esposito, Matthew B. Dalva, Gavriel David, Brandon Delia, Wenbin Deng, Volker Dietz, Bruce H. Dobkin, Marco Domeniconi, Edith Durand, Tracey Vause Earland, Georg Ebersbach, Jonathan J. Evans, James W. Fawcett, Uri Feintuch, Toby A. Ferguson, Marie T. Filbin, Diasinou Fioravante, Itzhak Fischer, Agnes Floel, Herta Flor, Karim Fouad, Richard S. J. Frackowiak, Peter H. Gorman, Thomas W. Gould, Jean-Michel Gracies, Amparo Gutierrez, Kurt Haas, C.D. Hall, Hans-Peter Hartung, Zhigang He, Jordan Hecker, Susan J. Herdman, Seth Herman, Leigh R. Hochberg, Ahmet Höke, Fay B. Horak, Jared C. Horvath, Richard L. Huganir, Friedhelm C. Hummel, Beata Jarosiewicz, Frances E. Jensen, Michael Jöbges, Larry M. Jordan, Jon H. Kaas, Andres M. Kanner, Noomi Katz, Matthew S. Kayser, Annmarie Kelleher, Gerd Kempermann, Timothy E. Kennedy, Jürg Kesselring, Fary Khan, Rachel Kizony, Jeffery D. Kocsis, Boudewijn J. Kollen, Hubertus Köller, John W. Krakauer, Hermano I. Krebs, Gert Kwakkel, Bradley Lang, Catherine E. Lang, Helmar C. Lehmann, Angelo C. Lepore, Glenn S. Le Prell, Mindy F. Levin, Joel M. Levine, David A. Low, Marilyn MacKay-Lyons, Jeffrey D. Macklis, Margaret Mak, Francine Malouin, William C. Mann, Paul D. Marasco, Christopher J. Mathias, Laura McClure, Jan Mehrholz, Lorne M. Mendell, Robert H. Miller, Carol Milligan, Beth Mineo, Simon W. Moore, Jennifer Morgan, Charbel E-H. Moussa, Martin Munz, Randolph J. Nudo, Joseph J. Pancrazio, Theresa Pape, Alvaro Pascual-Leone, Kristin M. Pearson-Fuhrhop, P. Hunter Peckham, Tamara L. Pelleshi, Catherine Verrier Piersol, Thomas Platz, Marcus Pohl, Dejan B. Popović, Andrew M. Poulos, Maulik Purohit, Hui-Xin Qi, Debbie Rand, Mahendra S. Rao, Josef P. Rauschecker, Aimee Reiss, Carol L. Richards, Keith M. Robinson, Melvyn Roerdink, John C. Rosenbek, Serge Rossignol, Edward S. Ruthazer, Arash Sahraie, Krishnankutty Sathian, Marc H. Schieber, Brian J. Schmidt, Michael E. Selzer, Mijail D. Serruya, Himanshu Sharma, Michael Shifman, Jerry Silver, Thomas Sinkjær, George M. Smith, Young-Jin Son, Tim Spencer, John D. Steeves, Oswald Steward, Sheela Stuart, Austin J. Sumner, Chin Lik Tan, Robert W. Teasell, Gareth Thomas, Aiko K. Thompson, Richard F. Thompson, Wesley J. Thompson, Erika Timar, Ceri T. Trevethan, Christopher Trimby, Gary R. Turner, Mark H. Tuszynski, Erna A. van Niekerk, Ricardo Viana, Difei Wang, Anthony B. Ward, Nick S. Ward, Stephen G. Waxman, Patrice L. Weiss, Jörg Wissel, Steven L. Wolf, Jonathan R. Wolpaw, Sharon Wood-Dauphinee, Ross D. Zafonte, Binhai Zheng, Richard D. Zorowitz
- Edited by Michael E. Selzer, Stephanie Clarke, Leonardo G. Cohen, Gert Kwakkel, Robert H. Miller, Case Western Reserve University, Ohio
-
- Book:
- Textbook of Neural Repair and Rehabilitation
- Published online:
- 05 June 2014
- Print publication:
- 24 April 2014, pp ix-xvi
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- Chapter
- Export citation