Kevin Adam Curtis is a British documentary film-maker. His favourite theme is "power and how it works in society", his works explore areas of sociology, psychology and political history. Curtis has called himself "fundamentally a historian", has described his work as journalism that happens to be expounded via film, his films have won four BAFTAs. He has worked for the BBC throughout his career. Curtis was born in Dartford and grew up in Platt, his father was a cinematographer from Sevenoaks who worked with Humphrey Jennings. His family had a left wing background. Curtis attended the Sevenoaks School on a county scholarship, he completed a Bachelor of Arts degree in human sciences at Oxford. He started a PhD, during which he taught in politics, but he became disillusioned with academia and decided to leave. Curtis applied to the BBC and was hired to make a film for one of its training courses, comparing designer clothes in music videos to the design of weapons, he was subsequently given a post on That's Life!, a magazine series that juxtaposed hard-hitting investigations and light-hearted content.
He was a film director on Out of Court, a BBC Two legal series, from 1980 until 1982. Curtis is inspired by the pioneering sociologist Max Weber, who challenged the "crude, left-wing, vulgar Marxism that says that everything happens because of economic forces within society". Of his general political outlook, Curtis has remarked: People accuse me of being a lefty. That's complete rubbish. If you look at The Century of the Self, what I'm arguing is something close to a neoconservative position because I'm saying that, with the rise of individualism, you tend to get the corrosion of the other idea of social bonds and communal networks, because everyone is on their own. Well, that's, domestically. If you ask me what my politics are, I'm much a creature of my time. I don't have any. I change my mind over different issues. I have a more libertarian tendency What's astonishing in our time is how the Left here has failed to come up with any alternatives, I think you may well see a lefty libertarianism emerging because people will be much more sympathetic to it, or just a libertarianism, out of that will come ideas.
And I don't mean "localism". He believes the Western world is haunted by the past, with no vision for the future, that it has become pessimistic and backward-looking. Curtis cites the USA Trilogy, a series of three novels by John Dos Passos that he first read when he was thirteen, as the greatest influence on his work: You can trace back everything I do to that novel because it's all about grand history, individual experience, their relationship, and collages, quotes from newsreels, newspapers. And it's about collage of history as well. That's. Other creative influences are Émile Zola. Curtis makes extensive use of archive footage in his documentaries, he has acknowledged the influence of recordings made by Erik Durschmied and is "constantly using his stuff in my films". Instead of specially composed music because it "creates a sort of monoculture", he uses tracks from a variety of genres and countries, as well as sound effects that he discovers on old tapes. According to a profile of Curtis by Tim Adams, published in The Observer: "If there has been a theme in Curtis's work … it has been to look at how different elites have tried to impose an ideology on their times, the tragicomic consequences of those attempts".
In 2005, Curtis received the Golden Gate Persistence of Vision Award at the San Francisco International Film Festival. In 2006, he was given the Alan Clarke Award for Outstanding Creative Contribution to Television at the British Academy Television Awards. In 2009, the Sheffield International Documentary Festival gave Curtis the Inspiration Award for inspiring viewers and other documentary filmmakers. In 2015, he was awarded the True Vision Award by the True/False Film Fest. Curtis administers a blog subtitled'The Medium and the Message' hosted by the BBC. John Doyle. "Adam Curtis as remixologist: the case for metajournalism as radical practice". Studies in Documentary Film. 11: 45–63. Doi:10.1080/17503280.2016.1266899. Adam Curtis versus Joshua Oppenheimer, or art times journalism – 2015 article by Robert Greene for the BFI Adam Curtis: "We don't read newspapers because the journalism is so boring" – 2014 interview by Rob Pollard for New Statesman On Adam Curtis'– 2011 article by Brian Appleyard for The Sunday Times Adam Curtis: The TV elite has lost the plot – 2007 interview by Andrew Orlowski for The Register Adam Curtis - The Medium and the Message – his blog at BBC Online The Power of Auteurs and the Last Man Standing: Adam Curtis's Documentary Nightmares – extensive commentary on his films at Bright Lights Film Journal Adam Curtis: The Desperate Edge of Now – details of a 2012 exhibition at the e-flux gallery in New York City
The Way of All Flesh
The Way of All Flesh is a semi-autobiographical novel by Samuel Butler that attacks Victorian-era hypocrisy. Written between 1873 and 1884, it traces four generations of the Pontifex family. Butler dared not publish it during his lifetime, but when it was published it was accepted as part of the general reaction against Victorianism; the title is a common misquotation of a Biblical Hebrew expression, to "go the way of all the earth", meaning "to die". In 1998, the Modern Library ranked The Way of All Flesh twelfth on its list of the 100 best English-language novels of the 20th century. Pontifex family. First generation "Old" John Pontifex Ruth Pontifex. Second generation George Pontifex. Third generation Eliza Maria John Theobald Alethea Pontifex. Christina Pontifex. Fourth generation Ernest Pontifex, the central character. Ellen Pontifex. Joseph. Charlotte. Fifth generation Alice. Georgie. Others Dr Skinner. John. Mr Overton, the narrator; the story is narrated by godfather to the central character. The novel takes its beginnings in the late eighteenth and early nineteenth centuries to trace Ernest's emergence from previous generations of the Pontifex family.
John Pontifex was a carpenter. The author depicts an antagonistic relationship between Ernest and his hypocritical and domineering parents, his aunt Alethea is aware of this relationship, but dies before she can fulfill her aim of counteracting the parents' malign influence on the boy. However, shortly before her death she secretly passes a small fortune into Overton's keeping, with the agreement that once Ernest is twenty-eight, he can receive it; as Ernest develops into a young man, he travels a bumpy theological road, reflecting the divisions and controversies in the Church of England in the Victorian era. Influenced by others at university, he starts out as an Evangelical Christian, soon becomes a clergyman, he falls for the lures of the High Church. He decides that the way to regenerate the Church of England is to live among the poor, but the results are, that his faith in the integrity of the Bible is damaged by a conversation with one of the poor he was hoping to redeem, second, that under the pressures of poverty and theological doubt, he attempts a sexual assault on a woman he has incorrectly believed to be of loose morals.
This assault leads to a prison term. His parents disown him, his health deteriorates. As he recovers he decides to make this his profession once out of prison, he loses his Christian faith. He marries a former housemaid of his parents. However, in due course he discovers that Ellen is both an alcoholic. Overton at this point intervenes and pays Ellen a stipend, she leaves with another for America, he gives Ernest a job, takes him on a trip to Continental Europe. In due course Ernest becomes 28, receives his aunt Alethea's gift, he returns to the family home until his mother's death. Ernest becomes an author of controversial literature; the writer George Orwell praised the novel and called it "a great book because it gives an honest picture of the relationship between father and son, it could do that because Butler was a independent observer, above all because he was courageous. He would say things that other people didn't dare to say, and there was his clear, straightforward way of writing, never using a long word where a short one will do."A. A. Milne, author of Winnie-the-Pooh, wrote about it in one of his essays "A Household Book", published in a collection of his essays, Not That It Matters: "Once upon a time I discovered Samuel Butler.
Blue Mountains (New South Wales)
The Blue Mountains are a mountainous region and a mountain range located in New South Wales, Australia. The region borders on Sydney's metropolitan area, its foothills starting about 50 kilometres west of centre of the state capital; the public's understanding of the extent of the Blue Mountains is varied, as it forms only part of an extensive mountainous area associated with the Great Dividing Range. The Blue Mountains region is bounded by the Nepean and Hawkesbury rivers in the east, the Coxs River and Lake Burragorang to the west and south, the Wolgan and Colo rivers to the north. Geologically, it is situated in the central parts of the Sydney Basin; the Blue Mountains Range comprises a range of mountains, plateau escarpments extending off the Great Dividing Range about 4.8 kilometres northwest of Wolgan Gap in a southeasterly direction for about 96 kilometres, terminating at Emu Plains. For about two-thirds of its length it is traversed by the Great Western Highway and the Main Western railway line.
Several established towns are situated on its heights, including Katoomba, Mount Victoria, Springwood. The range forms the watershed between Coxs River to the south and the Grose and Wolgan rivers to the north; the range contains the Bell Range. The Blue Mountains area includes the local government area of the City of Blue Mountains. Following European settlement of the Sydney area, the area was named the Carmarthen and Lansdowne Hills by Arthur Phillip in 1788; the Carmarthen Hills were in the north of the region and the Lansdowne Hills were in the south. The name Blue Mountains, was preferred and is derived from the blue tinge the range takes on when viewed from a distance; the tinge is believed to be caused by Mie scattering which occurs when incoming light with shorter wavelengths is preferentially scattered by particles within the atmosphere imparting a blue-greyish colour to any distant objects, including mountains and clouds. Volatile terpenoids emitted in large quantities by the abundant eucalyptus trees in the Blue Mountains may cause Mie scattering and thus the blue haze for which the mountains were named.
When Europeans arrived in Australia, the Blue Mountains had been inhabited for several millennia by the Gundungurra people, now represented by the Gundungurra Tribal Council Aboriginal Corporation based in Katoomba, and, in the lower Blue Mountains, by the Darug people, now represented by the Darug Tribal Aboriginal Corporation. The Gundungurra creation story of the Blue Mountains tells that Dreamtime creatures Mirigan and Garangatch, half fish and half reptile, fought an epic battle which scarred the landscape into the Jamison Valley; the Gundungurra Tribal Council is a nonprofit organisation representing the Gundungurra traditional owners, promoting heritage and culture and providing a support for Gundungurra people connecting back to Country. Gundungurra Tribal Council Aboriginal Corporation has a registered Native Title Claim since 1995 over their traditional lands, which include the Blue Mountains and surrounding areas. Examples of Aboriginal habitation can be found in many places. In the Red Hands Cave, a rock shelter near Glenbrook, the walls contain hand stencils from adults and children.
On the southern side of Queen Elizabeth Drive, at Wentworth Falls, a rocky knoll has a large number of grinding grooves created by rubbing stone implements on the rock to shape and sharpen them. There are carved images of animal tracks and an occupation cave; the site dates back 22,000 years. Arthur Phillip, the first governor of New South Wales, first glimpsed the extent of the Blue Mountains from a ridge at the site of today's Oakhill College, Castle Hill, he named them the Carmarthen Hills, "some forty to sixty miles distant..." and he reckoned that the ground was "most suitable for government stock". This is the location where Gidley King in 1799 established a prison town for political prisoners from Ireland and Scotland; the first documented use of the name Blue Mountains appears in Captain John Hunter’s account of Phillip’s 1789 expedition up the Hawkesbury River. Describing the events of about 5 July, Hunter wrote: "We in some of the reaches which we passed through this day, saw near us the hills, which we suppose as seen from Port Jackson, called by the governor the Blue Mountains."
During the nineteenth century the name was applied to the portion of the Great Dividing Range from about Goulburn in the south to the Hunter Valley in the north, but in time it came to be associated with a more limited area. The native Aborigines knew two routes across the mountains: Bilpin Ridge, now the location of Bells Line of Road between Richmond and Bell, the Coxs River, a tributary of the Nepean River, it could be followed upstream to the open plains of the Kanimbla Valley, the type of country that farmers prize. European settlers considered that fertile lands lay beyond the mountains, as was China in the belief of many convicts, but that this didn't matter much, since the mountains were impassable; this idea was, to some extent, convenient for local authorities. An "insurmountable" barrier would deter convicts from trying to escape in that direction. A former convict, John Wilson, may have been the first European to cross the Blue Mountains, it is believed that Mathew Everingham, 1795, may have been successful based on letters he wrote at the time which came to light in the late 1980s.
Wilson arrived with the First Fleet in 1788 and was freed in 1792. He settled in the bush, living with the Aborigines and functioning as an intermediary between them and the settlers. In 1797 he returned to Sydney, claiming to have explored up to a hundred miles in all directions a
The Way of All Flesh (album)
The Way of All Flesh is the fourth studio album by French progressive death metal band Gojira. The album was released on October 13, 2008 in Europe via Listenable Records and on October 14 in the US through Prosthetic Records, it sold around 4,200 copies in the United States in its first week of release to debut at number 138 on the Billboard 200 chart. It reached no. 1 on the Top Heatseekers chart and no. 21 on the Top Independent Albums chart. The album was recorded at the band's home studio; the drums were recorded in Los Angeles and engineered by Logan Mader, who mixed and mastered the album. The cover features artwork created by vocalist Joe Duplantier, responsible for the artwork on past albums. Joseph Duplantier revealed to Total Guitar magazine that the album deals with their vision about life and death. "The Way Of All Flesh is everything. I’m 30 years old now and it’s the first time as a human being that I’ve thought about my own death philosophically, the time that I have to spend here on earth.
It's something. But it’s taboo. You don’t go to a party and talk about death, right?”Duplantier references the bands that Gojira have toured with as well as the environment and landscape of the band's hometown Bayonne as influences on the writing of this album. Randy Blythe from the American band Lamb of God appeared as a guest vocalist on the song "Adoration for None." At the end of the song "The Art of Dying", there is a small part, played backwards. If backmasked, the section would bear a resemblance to the song "Esoteric Surgery", repeated at the end of that next track. A similar technique is used at the end of "Wolf Down the Earth." On 6 October 2008, a music video was released for the song "Vacuity", produced by Julien Mokrani and Samuel Bodin. The video was shot near the band's hometown in France, starred the Duplantiers' cousin, actress Claire Theodoly. On 11 January 2009, Gojira released a second music video from the album, an animated video for "All the Tears", illustrated by Jossie Malis.
In March 2013, Listenable Records made a double vinyl format of the album available for pre-order, with the official release date listed as 29 April 2013. The Way of All Flesh was met with favorable reviews from music critics. At Metacritic, based on 7 critics, the album has received a score of 67/100, which indicates "generally favorable reviews". Eduardo Rivadavia of AllMusic wrote that "by the time it emerged in late 2008, Gojira's fourth full-length met most all of the understandably heightened expectations head on". Writing for Blabbermouth, Keith Bergman described the album was "more opaque than anything — oppressive and suffocating in its world-enveloping tone and clanking in rhythm, giving up its dynamic secrets only after hard, painful slogs through the frozen mire of its glowering groan, but once you've broken through, it's quite a new landscape these madmen have blasted out of the tundra for the rest of us." Pitchfork's Cosmo Lee wrote a more lukewarm review of the album, praising the strong performances as well as the subject-matter and "humanity" of the album's ecological lyrical themes, but argued that "this humanity doesn't translate to the music.
The performances are overly so. Everything is polished to a gleaming sheen. Without edges, heat, or blood, such punishment is joyless. To their credit, Gojira avoid metal's tonal clichés in favor of open-ended abstraction, but it's distant, unbefitting of the passionate lyrics. Undoubtedly, this material is better live. There, the images are of flying hair. Here, the images are of plastic discs and 1's and 0's." Track listing adapted from liner notes. All lyrics written except where noted. Hidden trackThe final song and title track of the album, "The Way of All Flesh," contains a hidden instrumental song; the main piece of the track ends at 6:51 and the hidden songs starts in at 12:33 giving the song a period of silence lasting 5:42. The song contains complex layers of ambient guitar sounds with various reverb effects; this song closes the album. A similar tactic was first used by the band in Terra Incognita; the original vinyl version does not contain this track. The 2013 vinyl release contains the hidden track
The Way of All Flesh (1940 film)
The Way of All Flesh is a 1940 American drama film directed by Louis King and written by Lenore J. Coffee; the film stars Akim Tamiroff, Gladys George, William "Bill" Henry, Muriel Angelus, Berton Churchill, Roger Imhof. The film was released on July 1940, by Paramount Pictures, it is a remake of the lost 1927 silent film of the same name. Akim Tamiroff as Paul Kriza Gladys George as Anna Kriza William "Bill" Henry as Paul Kriza, Jr. Muriel Angelus as Mary Brown Berton Churchill as Reginald L. Morten Roger Imhof as Franz Henzel James Seay as Varno Douglas Kennedy as Timothy Norma Gene Nelson as Mitzi as a Child Tommy Bupp as Timothy as a Child June Hedin as Julie as a Child Darryl Hickman as Victor as a boy James West as Paul, Jr. as a Child John Harmon as Pete James Burke as Frisco Marilyn Knowlden as Julie Kriza John Hartley as Victor Kriza Sheila Ryan as Mitzi Kriza Fritz Leiber as Max Torben Meyer as Sandor Nemzeti Stanley Price as Lefty Leonard Penn as Joe The Way of All Flesh on IMDb
The Way of All Flesh (1927 film)
The Way of All Flesh is a 1927 American silent drama film directed by Victor Fleming, written by Lajos Bíró, Jules Furthman, Julian Johnson from a story by Perley Poore Sheehan. It is now considered a lost film. In the story, which opens in the early 1900s, Jannings plays August Schiller, a bank clerk in Milwaukee, happy with both his job and his family, but when bank officials ask him to transport $1,000 in securities to Chicago, he meets a blond seductress on the train, who sees what he is carrying. She flirts with him, convinces him to buy her a bottle of champagne, takes him to a saloon run by a crook; the next morning he awakes alone without the securities. He finds the woman, at first pleads with her intimidates her to return the stolen securities, he is dragged to a nearby railroad track. As the crook strips him of everything that might lead to his identification, Schiller recovers consciousness, in a struggle the crook is thrown into the path of an oncoming train and killed. Schiller flees, in despair is about to take his own life, when he sees in a newspaper that he is dead, the crook's mangled body having been identified as Schiller's.
The time passes to twenty years later. Schiller is employed to pick up trash in a park, he sees his own family place a wreath on his grave. Following other scenes in a Christmas snowstorm, Schiller makes his way to his former home, where he sees that the son whom he had taught to play violin is now a successful musician, he walks away, carrying in his pocket a dollar that his son has given him, not recognizing that the old tramp is his father. The film is unrelated to Samuel Butler's novel The Way of All Flesh. Emil Jannings as August Schiller Belle Bennett as Mrs. Schiller Phyllis Haver as The Temptress Donald Keith as August Schiller, junior Fred Kohler as The Tough Philippe De Lacy as August Schiller, jr. as a child Mickey McBan as Evald Betsy Ann Hisle as Charlotte Carmencita Johnson as Elizabeth Gordon Thorpe as Karl Jackie Combs as Heinrich Dean Harrell as Evald Anne Sheridan Nancy Drexel Philip Sleeman The film is a melodrama starring Emil Jannings, Belle Bennett, Phyllis Haver. Jannings won the first Academy Award for Best Actor in a Leading Role for his performance in this film and his performance in The Last Command.
Only two fragments survive, both from the ending, making Jannings' the only Academy Award-winning performance with no known complete copy of the film preserved. This is one of Victor Fleming's many lost silent films of the 1920s. In her 1999 autobiography, Frederica Maas claimed that the idea for the movie had been stolen from her and her husband Ernest Maas, she said the story was based on the life of her husband's father, who had abandoned his family after making horrible mistakes in his personal life. They presented it to Emil Jannings; as a fellow German-American, Ernest had thought Jannings would help them get the script made into a movie. Instead they were shocked to learn that it had been stolen and produced without any credit or remuneration; the fact that it became an award-winning film only aggravated the situation. The movie was remade in 1940 by Paramount Pictures and starred Akim Tamiroff, Gladys George, William Henry; the Way of All Flesh on IMDb Synopsis at AllMovie Still at lostmediawiki.com
A lost film is a feature or short film, no longer known to exist in any studio archives, private collections, or public archives, such as the U. S. Library of Congress. During most of the 20th century, U. S. copyright law required at least one copy of every American film to be deposited at the Library of Congress, at the time of copyright registration, but the Librarian of Congress was not required to retain those copies: "Under the provisions of the act of March 4, 1909, authority is granted for the return to the claimant of copyright of such copyright deposits as are not required by the Library." Of American silent films, far more have been lost than have survived, of American sound films made from 1927 to 1950 half have been lost. The phrase "lost film" can be used in a literal sense for instances where footage of deleted scenes and alternative versions of feature films are known to have been created, but can no longer be accounted for. Sometimes, a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a lost film.
For example, the 1922 film Sherlock Holmes was discovered, but some of the footage is still missing. Most film studios had a still photographer with a large-format camera working on the set during production, taking pictures for potential publicity use; the high-quality photographic paper prints that resulted – some produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines – have preserved imagery from many otherwise lost films. In some cases, such as London After Midnight, the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene in the form of still photographs. Stills have been used to stand in for missing footage when making new preservation prints of lost films. Most lost films are from the silent film and early talkie era, from about 1894 to 1930. Martin Scorsese's Film Foundation estimates that more than 90% of American films made before 1929 are lost, the Library of Congress estimates that 75% of all silent films are lost forever.
The largest cause of silent film loss was intentional destruction, as silent films were perceived as having little or no commercial value after the end of the silent era by 1930. Film preservationist Robert A. Harris has said, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of saving these films, they needed vault space and the materials were expensive to house."Many other early motion pictures are lost because the nitrate film used for nearly all 35 mm negatives and prints made before 1952 is flammable. When in badly deteriorated condition and improperly stored, nitrate film can and will spontaneously combust. Fires have destroyed entire archives of films. For example, a storage vault fire in 1937 destroyed all the original negatives of Fox Pictures' pre-1935 films; the 1965 MGM vault fire resulted in the loss of early talkies. Nitrate film is chemically unstable and over time can decay into a sticky mass or a powder akin to gunpowder.
This process can be unpredictable: some nitrate film from the 1890s is still in good condition today, while some much nitrate had to be scrapped as unsalvageable when it was 20 years old. Much depends on the environment. Ideal conditions of low temperature, low humidity, adequate ventilation can preserve nitrate film for centuries, but in practice, the storage conditions were far from ideal; when a film on nitrate base is said to have been "preserved", this always means that it has been copied onto safety film or, more digitized. Eastman Kodak introduced a nonflammable 35 mm film stock in spring 1909. However, the plasticizers used to make the film flexible evaporated too making the film dry and brittle, causing splices to part and perforations to tear. By 1911, the major American film studios were back to using nitrate stock. "Safety film" was relegated to sub-35 mm formats such as 16 mm and 8 mm until improvements were made in the late 1940s. Some pre-1931 sound films made by Warner Bros. and First National have been lost because they used a sound-on-disc system with a separate soundtrack on special phonograph records.
If some of a film's soundtrack discs could not be found in the 1950s when 16 mm sound-on-film reduction prints of early "talkies" were being made for inclusion in television syndication packages, that film's chances of survival plummeted: many sound-on-disc films have survived only by way of those 16 mm prints. Before the eras of sound film and home video, films were viewed as having little future value when their theatrical runs ended. Thus, many were deliberately destroyed to save the cost of storage. Many Technicolor two-color negatives from the 1920s and 1930s were thrown out when the studios refused to reclaim their films, still being held by Technicolor in its vaults; some used prints were sold to scrap dealers and cut up into short segments for use with small, hand-cranked 35 mm movie projectors, which were sold as a toy for showing brief excerpts from Hollywood movies at home. As a consequence of this widespread lack of care, the work of many early filmmakers and performers has made its way to the present in fragmentary form.
A high-profile example is the case of Theda Bara. One of the best-known actresses of the early silent era, she made 40 films, but only six are now known to exist. Clara Bow was celebrated in her heyday, but 20 of her 57 films are lost, another five are inc