Eberswalder Straße around 10.30pm, Schlingensief and the marchers entered the Pratergarten chanting slogans and made their way on to the open-air stage, where they fanned out in a semi-circle next to a large banner on which the words “Kill Helmut Kohl” [Tötet Helmut Kohl] were crudely written in black letters
Wissenschaftler“. Die Anspielungen auf den Schlagersänger Roy Black und die Schauspielerin Uschi Glas im Pseudonym Roy Glas sprechen von den 1980er-Jahren. Die noch darauffolgende, fingierte Quellenangabe „aus: Der Zuschauer als Film 1984“ parodiert den akademischen Betrieb. Auch wissenschaftliche Prinzipien
In 1936, director John Ford claimed to be making movies for “a new kind of public” that wanted more honest pictures. Graham Cassano’s
A New Kind of Public: Community, solidarity, and political economy in New Deal cinema, 1935-1948 argues that this new kind of public was forged in the fires of class struggle and economic calamity. Those struggles appeared in Hollywood productions, as the movies themselves tried to explain the causes and consequence of the Great Depression. Using the tools of critical Marxism and cultural theory, Cassano surveys Hollywood’s political economic explanations and finds a field of symbolic struggle in which radical visions of solidarity and conflict competed with the dominant class ideology for the loyalty of this new audience.
prefer black-and-white characters that are easily recognisable as heroes or villains. Secondly, the protagonist is a positively drawn swashbuckler and of a jovial character. In fact, the hero’s humour will turn into a defining character trait of the swashbuckler on screen. Thirdly, while the Byronic hero
respective cultural and political situation. Fairbanks Sr.’s Black Pirate represents the early twentieth-century American ‘can-do’ spirit, the laws of Flynn’s Dr. Blood reflect the establishment of a social welfare system in the US in the 1930s, and Baron Gruda, the villain in The Crimson Pirate , can be
Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
both the narrative quality and the economic success of The Curse of the Black Pearl is best expressed by film critic Jeffrey M. Anderson:
When the summer of 2003 began, one of its least interesting cinematic prospects was a Jerry Bruckheimer-produced version of a famous amusement park ride. Now, as
the position of the captain on the Black Pearl resembles Lando, and the comic sidekicks C-3PO and R2-D2 are doubly mirrored by the soldiers Murtogg and Mullroy and the pirates Pintel and Ragetti. Both series work with villains who are presented as larger-than-life and linked to supernatural forces
Caribbean has turned into a huge success story and one of the most important franchise blockbuster series of the new millennium. Based on Disneyland’s theme park ride Pirates of the Caribbean , which first opened in 1967 in Anaheim, California, the first instalment The Curse of the Black Pearl was