scholarly journals Les exilés dans l’Amérique cinématographique

2005 ◽  
Vol 15 (1) ◽  
pp. 13-27
Author(s):  
Walid El Khachab
Keyword(s):  
Elia Kazan

Résumé La mémoire n’est pas une reconstitution de l’expérience, mais une production. L’expérience de l’immigration des Grecs anatoliens vers l’Amérique, telle que racontée par Elia Kazan dans America America, procède de ce principe. Le film se présente comme un témoignage sur la souffrance d’un peuple victime d’un autre, mais dit en silence autre chose que ce qu’il dit, selon la formule de Foucault. Sur le point d’arriver en Amérique, le héros grec exécute une danse turque, remettant en cause la dichotomie des altérités. Cette séquence produit une mémoire de la réconciliation, plutôt qu’une vision étroite désignant des victimes et des bourreaux.

Elia Kazan: A Life

1989 ◽  
Vol 76 (1) ◽  
pp. 288
Author(s):  
Erik S. Lunde ◽  
Elia Kazan
Keyword(s):  
Elia Kazan

Double Censorship: The Reception of Elia Kazan and Edward Dmytryk in SPAIN, 1946–77

2019 ◽  
Vol 40 (2) ◽  
pp. 257-274
Author(s):  
José-Santiago Fernández-Vázquez ◽  
Roberto-Carlos Álvarez-Delgado
Keyword(s):  
Elia Kazan

Elia Kazan and the Hollywood Blacklist

2020 ◽  
Vol 24 ◽  
pp. 21-42
Author(s):  
Sander Lee ◽  
Keyword(s):  
Moral Theories ◽  
Hollywood Blacklist ◽  
Do So ◽  
High Noon ◽  
Elia Kazan

In April 1952, Elia Kazan appeared before HUAC and named names. Although he refused to do so in an earlier appearance, this time, having been warned that his film career was in jeopardy, he named many of his colleagues and friends. While he is far from the only one to turn informer, his case garners the most attention for a variety of reasons. In this essay, I examine Kazan’s justifications for his acts, acts that contributed to the destruction of the careers of many of his talented colleagues and friends. I wish to discover whether his arguments are philosophically plausible and how the themes in his film On the Waterfront (1954) contribute to the debate over these issues. In contrast, I examine the film High Noon (1952), largely seen as an attack on the practice of informing. I examine how Utilitarian and Kantian moral theories might be used either to justify or condemn Kazan’s actions. Finally, if we stipulate that Kazan’s acts before HUAC were immoral, does this mean that we should boycott his art or deny him accolades that his work would otherwise merit?

Elia Kazan: a life

1988 ◽  
Vol 26 (02) ◽  
pp. 26-0840-26-0840
Keyword(s):  
Elia Kazan

scholarly journals Tennessee Williams & Elia Kazan: A Collaboration in the Theatre

1993 ◽  
Vol 45 (4) ◽  
pp. 565
Author(s):  
Philip C. Kolin ◽  
Brenda Murphy
Keyword(s):  
Tennessee Williams ◽  
Elia Kazan

Emiliano Zapata and the Old Regime: Myth, Memory, and Method

2009 ◽  
Vol 25 (2) ◽  
pp. 327-365
Author(s):  
William Schell
Keyword(s):  
Latin American ◽  
American History ◽  
Mexican Revolution ◽  
John Steinbeck ◽  
Old Regime ◽  
Latin American History ◽  
Elia Kazan

Four decades after its publication, John Womack's masterpiece Zapata and the Mexican Revolution remains the definitive account of the man and his movement and the basis of the generally agreed upon facts. It is also perhaps the most cited work of Anglophone Latin American history. This is not hyperbole. The index of Alan Knight's highly regarded Porfirians, Liberals and Peasants lists thirty-seven pages under ““Zapata, Emiliano.””Womack is cited fifty-six times on twenty-three of them. Not infrequently, when Knight cites other accounts of Zapata's rebellion, Womack is the underlying source. And underlying Womack's account is that of John Steinbeck and Elia Kazan's film ¡¡Viva Zapata!! The cinematic influence of their true invention is most evident in Womack's account of Zapata's Porfirian period, with which this piece is largely concerned. Cuatro déécadas despuéés de su publicacióón, la obra maestra de John Womack, Zapata and the Mexican Revolution, sigue siendo el recuento definitivo del hombre y de su movimiento y la base de lo que generalmente se cree son los hechos reales. Tambiéén es, quizáás, el trabajo máás citado de habla inglesa de la historia de Améérica Latina. Esto no es una hipéérbole. El ííndice del tan admirado libro de Alan Knight, Porfirians, Liberals and Peasants cita treinta y siete pááginas en ““Zapata, Emiliano.”” Womack es citado cincuenta y seis veces en veinte y tres de ellas. No es infrecuente que cuando Knight cita otras referencias de la rebelióón de Zapata, Womack es la fuente ulterior. Sin embargo, en la historia de Womack se puede discernir a la vez la influencia de John Steinbeck y la pelíícula de Elia Kazan, ¡¡Viva Zapata!! Este documento explora esta influencia como un llamado a reconocer y ejercer las poderosas fuentes no verbales (pictóóricas, cinematográáficas y musicales) que dan forma a nuestra percepcióón del pasado.

Um rosto na multidão: os meios de comunicação pela Escola de Frankfurt

Temática ◽  
2018 ◽  
Vol 14 (7) ◽  
Author(s):  
Joana Pellerano ◽  
Beatriz Braga Bezerra
Keyword(s):  
Elia Kazan

Esse artigo discute o valor pedagógico do filme A Face in the Crowd (Um rosto na multidão, 1957), do diretor Elia Kazan, que, ao contar a ascensão e queda da fictícia celebridade midiática Larry “Lonesome” Rhodes, apresenta a teoria crítica da Escola de Frankfurt na primeira metade do século XX. A partir de pesquisa bibliográfica e análise fílmica, buscamos mostrar como, ao superar uma visão superficial da teoria dessa escola de pensamento, a obra se apresenta como uma rica ferramenta didática para a Comunicação e áreas interessadas na maneira como a sociedade ocidental lidava, na época, com um novo jeito de fazer e consumir cultura.Palavras-chave: História. Comunicação. Cinema. Escola de Frankfurt. Um rosto na multidão.

: Wild River . Elia Kazan.

1960 ◽  
Vol 13 (4) ◽  
pp. 50-51
Author(s):  
Henry Goodman
Keyword(s):  
Elia Kazan
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