scholarly journals Hallelujah (1929) de King Vidor : naissance de la voix afro-américaine à Hollywood

2009 ◽  
pp. 56-72
Author(s):  
Jean-Marie Lecomte
Keyword(s):  
King Vidor

King Vidor, American

1988 ◽  
Author(s):  
Raymond Durgnat ◽  
Scott Simmon
Keyword(s):  
King Vidor

This Southern Advent

2017 ◽  
Author(s):  
Robert Jackson
Keyword(s):  
Early Development ◽  
New South ◽  
Popular Education ◽  
The State ◽  
Spanish American ◽  
The South ◽  
Spanish American War ◽  
History Of ◽  
King Vidor

Chapter 1 surveys the contributions of southerners to film with an emphasis on activity within the South. Linking the early development of the medium to post-Reconstruction “New South” ideology and grounding it in the efforts of several early innovators from Virginia, this chapter covers a number of important events and movements: the Spanish-American War of 1898, the emergence of Jacksonville, Florida as a major production center in the 1910s, the diverse history of North Carolina’s early film cultures (Asheville as a production center, Karl Brown’s Stark Love, diverse filmmaking ventures throughout the state, the state’s popular education film program, the brilliant career of town documentarian H. Lee Waters), and the long career of King Vidor.

Stanley's Taste

2013 ◽  
pp. 59-62
Author(s):  
Sebastião Belfort Cerqueira
Keyword(s):  
The Other ◽  
Stanley Cavell ◽  
Final Scene ◽  
King Vidor

Stanley Cavell closes Contesting Tears with a chapter titled “Stella’s Taste: Reading Stella Dallas”, devoted to the 1937 movie, directed by King Vidor, which Cavell compares to the other movies he has studied in the book and finds “to be the most harrowing of the four melodramas to view again and again.” Cavell’s reading of this movie is organized against what he calls the generally “accepted view” of the film where there are two key interpretive moments: in one, Stella, the protagonist, on vacation with her teenage daughter, Laurel, at a fancy hotel, tries to impress Laurel’s new friends by dressing up and ends up making a fool of herself, in a spectacle of bad taste; Stella then finds out what people thought of her and realizes she has embarrassed Laurel, eventually deciding to drive her daughter away from her, towards her father (Stella’s now ex-husband); this takes us to the second key moment: the final scene, where Stella anonymously watches her daughter’s wedding from the sidewalk, through a window, and walks away, which is generally seen as confirming Stella’s sacrifice, representing the dissolution of motherhood — hence, of her identity.

scholarly journals Constellação

2016 ◽  
Vol 2 (1) ◽  
pp. 9
Author(s):  
Guilherme De Almeida
Keyword(s):  
King Vidor

O escritor modernista Guilherme de Almeida (1890-1969) escreve críticas de cinema no jornal O Estado de S. Paulo a partir de 1926, indo até pelo menos a década de 40. Nelas testa diferentes modos de crônica e notas de comentário, que merecem avaliação na história da nossa crítica cinematográfica, sobretudo na capacidade de observar nos atores o que mais desperta interesse no público leitor. Edita seus “retratos” dos atores de sucesso nas telas silenciosas num esquecido livro de 1929, Gente de cinema, de que selecionamos esta moderna Marion Davies que reverbera versatilidade imitando numa só seqüência uma galeria de estrelas norte-americanas e européias, neste não menos moderno filme de King Vidor, Filhinha Querida (1927, The Patsy, ).

Sexuality, Stoning, and Supersessionism in Biblical Epic Films of the Post–World War II Era

2020 ◽  
pp. 311-325
Author(s):  
Adele Reinhartz
Keyword(s):  
World War Ii ◽  
New Testament ◽  
World War ◽  
Post World War Ii ◽  
The New Testament ◽  
Gender Hierarchies ◽  
The 1950S ◽  
King Vidor ◽  
Biblical Epics ◽  
Narrative Thread

Several biblical epics from the 1950s and 1960s with strong female heroes contain a narrative thread involving the stoning or threat of stoning of these protagonists. Notably, this motif is entirely absent from the biblical stories on which the films are based. This essay examines this feature in three films: David and Bathsheba (Henry King, 1950), Solomon and Sheba (King Vidor, 1959), and The Story of Ruth (Henry Koster, 1960). I argue that the motif of stoning is adopted from the New Testament story of the woman caught in adultery (John 7:53–8:11), and that this use contributes both to the subtle denigration of traditional Judaism and the reinforcement of gender hierarchies that are evident in many Bible films from the post–World War II period.

King Vidor, un auteur à Hollywood

Critique ◽  
2013 ◽  
Vol n° 795-796 (8) ◽  
pp. 624
Author(s):  
Jean-Loup Bourget
Keyword(s):  
King Vidor

King Vidor et la peinture

Ligeia ◽  
2007 ◽  
Vol N° 77-80 (2) ◽  
pp. 206
Author(s):  
Tag Gallagher ◽  
Gérard Pécorari ◽  
Patricia-Laure Thivat
Keyword(s):  
King Vidor

Plumes Agonistes

2020 ◽  
pp. 96-120
Author(s):  
Aaron Shaheen
Keyword(s):  
Bone Graft ◽  
Silent Film ◽  
Great War ◽  
King Vidor ◽  
The Great War

The chapter assesses the Great War rehabilitation program’s effectiveness by focusing on screenwriter-novelist Laurence Stallings, whose 1924 novel Plumes is a semi-autobiographical account of his treatment for a leg wound. Initially protagonist Richard Plume refuses amputation, choosing instead a bone graft that requires a painful brace. The brace assumes a liminal prosthetic identity that reflects Richard’s own confused sense of resolve: he both refuses amputation and the support of family back home because he is afraid that accepting both would, as the pages of Carry On had warned a few years earlier, allow his prosthesis to overshadow his personality. The pain-inducing brace itself takes on a malevolent spirit, which sours Richard’s personality and threatens his relationship with his family. Only after amputation and committing to a prosthesis does Richard receive the spiritual rejuvenation that Stallings otherwise depicts in his 1925 silent film The Big Parade, directed by King Vidor.

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