The Arizona Quarterly back issues from January 2005:
Max Ophuls: An Introduction
Jan 01, 2005; ... DURING THE PAST SEVERAL DECADES, "Ophuls" has perhaps been best known to the American public as a name on a marquee in Woody Allen's Annie Hall (1977). In that film, Alvy Singer (Allen's character) is obsessed with Marcel Ophuls' monumental work on the French Resistance (and lack thereof), The ...
The Making of Max Ophuls' Lola Montès/Lola Montez
Jan 01, 2005; ... FILM HISTORY IS FULL OF MASTERPIECES financed by rubber checks," as François Truffaut once said: "Sounder financing and less adventurous financiers do not necessarily make for better pictures. They only make for more reasonable pictures" (Ophuls, "Confidentially Ours" 23).1 "Lola Montès ...
Max Op(h)uls Fashions Femininity
Jan 01, 2005; ... As PAM COOK and other feminist film scholars have argued, costuming is a neglected but important element of mise-en-scène in the cinema (41; Gaines 7). This relative neglect is an overdetermined phenomenon: costuming is often regarded as tangential rather than central to the creation of received ...
The Lost Ballad: Max Ophuls' Last Hollywood Project
Jan 01, 2005; ... IN BIOGRAPHICAL ACCOUNTS of Max Ophuls' career, his contributions to producer Walter Wanger's project of bringing Rosamond Lehmann's popular novel The Ballad and the Source to the screen are mentioned in passing, if at all, falling victim to a biographical short cut that originated with Ophuls ...
Nature and Artifice in Max Ophuls' Cinema
Jan 01, 2005; ... IN THE FILMS of Max Ophuls there are endless staircases which organize both the lives of householders and the movements of worldly soirees; there are women who fall from on high, through windows, into the void . . . and there are carriages that glide along in the countryside, cartloads of ...
From Stage to Screen: The Impact of the German Theater on Max Ophüls
Jan 01, 2005; ... IN HIS EARLY RADIO LECTURE, "From Prompt Box via the Microphone to the Screen" (1932),1 Max Ophüls observed that he had taken the same path as an artist as had dramatic art and audiences in the twentieth century: from the classic theater towards the new media of radio and film. Theater, radio ...
Emblems of Modernism in the Early Films of Max Ophüls
Jan 01, 2005; ... MAX OPHULS' FIRST SOUND FILMS are firmly rooted in a general aesthetic of European modernism cutting across all media. This is evidenced not only by the wide use their narratives make of the media of technological reproduction such as the gramophone, photography or film but also by the ...
An Open Letter to a German Friend
Jan 01, 2005; ... Lucq-de-Béarn, October 10, 2002 Dear Martina! Recently, while suffering through the dreadful "thematic evening" dedicated to the memory of Max Ophuls by the "Kulturmenschen" of ARTE, I thought a great deal about you and the very beautiful documentary film that you made a dozen ...
Off the Deep End Far from Heaven: Social Topography in The Reckless Moment
Jan 01, 2005; ... WHILE The Reckless Moment (1949) remains one of the most difficult to see of Max Ophuls' films, two contemporary films have evoked it, The Deep End (2002) by supposedly drawing on the same source novel and Far from Heaven (2003) by parallel lines of dialogue, a maid named Sybil, and at least one ...
Leonora's Place: The Spatial Logic of Caught
Jan 01, 2005; ... Caught RETAINS LITTLE MORE than character names from its source novel, Libbie Block's Wild Calendar. The novel's Maud Eames, never Leonora nor a charm school student, at the age of seventeen marries the wealthy, much older Smith Ohlrig at her mother's urging. The novel's Ohlrig treats Maud with ...
Ophuls and Renoir
Jan 01, 2005; ... WHAT I PROPOSE TO DO is THREEFOLD: first, outline a broad parallel between Max Ophuls and Jean Renoir, two filmmakers with profoundly European roots, whose masterpieces are primarily associated with French cinema, before and after World War II, and who were both active in Hollywood where they ...
Woman/Road/America/Cinema
Jan 01, 2005; ... WITH A METICULOUSLY RECONSTRUCTED VERSION of Max Ophuls' Lola Montès (1955) beginning to receive screenings at conferences and selected venues just after the centennial of its director's birth, it seems the ideal time to revisit the film and the fascination it still engenders despite the rocky ...
"Verkehrte Welt"-"An Inverted World": From Erich Kästner's Play to Max Ophüls' Short Film, "I'd Rather Have Cod Liver Oil"
Jan 01, 2005; ... SCREENPLAY IN THE SUMMER OF 1931, Max Ophuls, a theater and radio director, receives his first contract, from Universum Film AG (Ufa), to direct a short film. For the film's story, he relates, Ophuls was allowed to select material from the Ufa repository: "in Krausestrasse in front of ...
"Smothered in Bookish Knowledge": Literacy and Epistemology in The Leatherstocking Tales
Jan 01, 2005; ... Books are, in a great measure, the instruments of controlling the opinions of a nation like ours. They are an engine, alike powerful to save or to destroy. James Fenimore Cooper, Precaution (1821) IN JOHN CAST'S 1872 LITHOGRAPH American Progress, a loosely obed female figure ...
Addresses to a Divided Nation: Images of War in Emily Dickinson and Walt Whitman
Jan 01, 2005; ... "'SWEET LAND OF LIBERTY' is a superfluous Carol till it concern ourselves," Emily Dickinson writes in a warm and expansive letter to Mabel Loomis Todd in the summer of 1885 (Letters #1004).' Writing to her brother's mistress, who was then traveling in Europe, Dickinson touches on a subject one ...
Irony, Cynicism and Satire in The Floating Opera
Jan 01, 2005; ... 'Open'-texts contradict and subvert organicist beliefs . . . but it remains to be seen whether in the past century the hegemonic frame of mind has not in fact abandoned organicism, and replaced it with openness and irony. Moretti, Signs Taken For Wonders THE SCENT OF THE HOAX has ...
"Feeling Right": Domestic Emotional Labor in The Wide, Wide World
Jan 01, 2005; ... The room was dark and cheerless; and Ellen felt stiff and chilly. However, she made her way to the fire, and having found the poker, she applied it gently to the Liverpool coal with such good effect that a bright ruddy blaze sprang up, and lighted the whole room. Ellen smiled at the result of ...
Hanging Utopia: Billy Budd and the Death of Sacred History
Jan 01, 2005; ... But in a larger sense, we can not dedicate-we can not consecratewe can not hallow-this ground." Abraham Lincoln, The Gettysburg Address AT THE END OF THE CHAPTER "Flogging not necessary" in White Jacket (1850), Melville's narrator expostulates about why corporal and capital ...