This chapter investigates the case of Ocean’s films – Ocean’s 11, 12 and 13 – and its Ocean’s 8 r... more This chapter investigates the case of Ocean’s films – Ocean’s 11, 12 and 13 – and its Ocean’s 8 reboot. As in the case of some other new millennial reboots, Ocean’s 8 is a ‘gender reversal’ reboot of (in this case) a typically male-oriented heist genre that reinterprets collaboration to emphasise feminine bonding. In addition to marking out the film’s gender transformation, the chapter outlines the intricate textual and intertextual network that exists among the series of films – including its unofficial ‘reboot’, Lucky Logan – to describe Ocean’s 8 as an auteur-reboot, one that playfully absorbs commercial imperatives into the structure and narrative of each installment.
(E): Felicien Champsaur's collection of short stories, Entree de clowns (1886) features a mul... more (E): Felicien Champsaur's collection of short stories, Entree de clowns (1886) features a multitude of illustrations by almost three dozen artists. Few fin-de-siecle works were illustrated as extensively. Some scholars consider this work as representative of an aesthetic transition involving a more integrated fusion of graphic art with literature. But, while the title promises a narrative with the circus as its milieu, the composition is quite non-circus related, assuming strictly formal values through the iconography. In the context of the title, therefore, the illustrations could only serve a performative function, an idea supported by the preface's claims to reproduce a circus program's organization with a topsy-turvy entrance of clowns introducing each number. A closer examination of Champsaur's use of illustrations in this collection reveals, however, that he seized on and exploited an avant-garde icon (the clown) and its iconography, banking on familiarity with...
1. The Curtius wax collection to which the Goncourts refer is most likely the one left behind by ... more 1. The Curtius wax collection to which the Goncourts refer is most likely the one left behind by Madame Tussaud (Curtius's co-worker and beneficiary) with her feckless husband Francois, upon her departure for England at the turn of the century (Adhemar 210): unable to take all her and Curtius's wax figures and impressions with her in her flight, she left behind her least treasured models. The fact that the Goncourts refer specifically to Curtius suggests either that the current owner banked on the name of the collection's creator, or that the name "Curtius" came to refer to the general category of wax attractions. It would seem that Francois Tussaud continued to exhibit the collection, and even added to it, for Victor Fournel claims that after Madame Tussaud left France, the Grand couvert evolved with the successive political regimes up to the July Monarchy, representing "les souverains allies, Louis XVIII, Charles X, enfin Louis-Philippe, tous avec leurs ...
In Stand-In (Garnett, 1937), Atterbury Dodd/Leslie Howard, the representative of the East Coast b... more In Stand-In (Garnett, 1937), Atterbury Dodd/Leslie Howard, the representative of the East Coast bankers who own Colossal Pictures, is sent to correct the financial mismanagement of the studio. He enters Mrs. Mack’s boarding house inhabited by stand-ins, has-beens, stuntmen, and bit players and meets “Abe Lincoln” at the door. While waiting downstairs, Dodd overhears the actor wearing the familiar top hat, beard, and coat tails of the sixteenth president of the United States tell a fellow boarder, herself reduced from silent star to talkie extra, that he has been waiting for seven years for the remake of The Battle of Gettysburg to make his comeback. That there will be a remake, he is convinced. That he uses the term “remake” locates the practice as standard in current studio production. “Abe Lincoln’s” assurance that Hollywood will always return to themes of cultural, historical, and mythological importance to Americans links the remake to standard production formulas, from genre pi...
Libres variations sur le sacré dans la littérature du xxe siècle, 2000
Satanism, Magic and Mysticism in Fin-de-siecle France de Robert Ziegler fait partie de la collect... more Satanism, Magic and Mysticism in Fin-de-siecle France de Robert Ziegler fait partie de la collection Palgrave Historical Studies in Witchcraft and Magic dont les editeurs proposent d'elargir le champ des etudes consacrees a l'histoire de la sorcellerie et la magie pour examiner des aspects peu etudies jusqu'a present. Etant donne l'ambition des editeurs, le lecteur ne devrait pas s'etonner de ne rien trouver, dans ce livre, sur les sorciers et les sorcieres, ni sur les grimoires de magie et d...
This chapter investigates the case of Ocean’s films – Ocean’s 11, 12 and 13 – and its Ocean’s 8 r... more This chapter investigates the case of Ocean’s films – Ocean’s 11, 12 and 13 – and its Ocean’s 8 reboot. As in the case of some other new millennial reboots, Ocean’s 8 is a ‘gender reversal’ reboot of (in this case) a typically male-oriented heist genre that reinterprets collaboration to emphasise feminine bonding. In addition to marking out the film’s gender transformation, the chapter outlines the intricate textual and intertextual network that exists among the series of films – including its unofficial ‘reboot’, Lucky Logan – to describe Ocean’s 8 as an auteur-reboot, one that playfully absorbs commercial imperatives into the structure and narrative of each installment.
(E): Felicien Champsaur's collection of short stories, Entree de clowns (1886) features a mul... more (E): Felicien Champsaur's collection of short stories, Entree de clowns (1886) features a multitude of illustrations by almost three dozen artists. Few fin-de-siecle works were illustrated as extensively. Some scholars consider this work as representative of an aesthetic transition involving a more integrated fusion of graphic art with literature. But, while the title promises a narrative with the circus as its milieu, the composition is quite non-circus related, assuming strictly formal values through the iconography. In the context of the title, therefore, the illustrations could only serve a performative function, an idea supported by the preface's claims to reproduce a circus program's organization with a topsy-turvy entrance of clowns introducing each number. A closer examination of Champsaur's use of illustrations in this collection reveals, however, that he seized on and exploited an avant-garde icon (the clown) and its iconography, banking on familiarity with...
1. The Curtius wax collection to which the Goncourts refer is most likely the one left behind by ... more 1. The Curtius wax collection to which the Goncourts refer is most likely the one left behind by Madame Tussaud (Curtius's co-worker and beneficiary) with her feckless husband Francois, upon her departure for England at the turn of the century (Adhemar 210): unable to take all her and Curtius's wax figures and impressions with her in her flight, she left behind her least treasured models. The fact that the Goncourts refer specifically to Curtius suggests either that the current owner banked on the name of the collection's creator, or that the name "Curtius" came to refer to the general category of wax attractions. It would seem that Francois Tussaud continued to exhibit the collection, and even added to it, for Victor Fournel claims that after Madame Tussaud left France, the Grand couvert evolved with the successive political regimes up to the July Monarchy, representing "les souverains allies, Louis XVIII, Charles X, enfin Louis-Philippe, tous avec leurs ...
In Stand-In (Garnett, 1937), Atterbury Dodd/Leslie Howard, the representative of the East Coast b... more In Stand-In (Garnett, 1937), Atterbury Dodd/Leslie Howard, the representative of the East Coast bankers who own Colossal Pictures, is sent to correct the financial mismanagement of the studio. He enters Mrs. Mack’s boarding house inhabited by stand-ins, has-beens, stuntmen, and bit players and meets “Abe Lincoln” at the door. While waiting downstairs, Dodd overhears the actor wearing the familiar top hat, beard, and coat tails of the sixteenth president of the United States tell a fellow boarder, herself reduced from silent star to talkie extra, that he has been waiting for seven years for the remake of The Battle of Gettysburg to make his comeback. That there will be a remake, he is convinced. That he uses the term “remake” locates the practice as standard in current studio production. “Abe Lincoln’s” assurance that Hollywood will always return to themes of cultural, historical, and mythological importance to Americans links the remake to standard production formulas, from genre pi...
Libres variations sur le sacré dans la littérature du xxe siècle, 2000
Satanism, Magic and Mysticism in Fin-de-siecle France de Robert Ziegler fait partie de la collect... more Satanism, Magic and Mysticism in Fin-de-siecle France de Robert Ziegler fait partie de la collection Palgrave Historical Studies in Witchcraft and Magic dont les editeurs proposent d'elargir le champ des etudes consacrees a l'histoire de la sorcellerie et la magie pour examiner des aspects peu etudies jusqu'a present. Etant donne l'ambition des editeurs, le lecteur ne devrait pas s'etonner de ne rien trouver, dans ce livre, sur les sorciers et les sorcieres, ni sur les grimoires de magie et d...
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