A revolving stage is a mechanically controlled platform within a theatre that can be rotated in order to speed up the changing of a scene within a show. A fully revolving set was an innovation constructed by the hydraulics engineer Tommaso Francini for an elaborately produced pageant, Le ballet de la délivrance de Renaud, which was presented for Marie de Medici in January 1617 at the Palais du Louvre and noted with admiration by contemporaries. Such a stage is also commonly referred to as a turntable.

Kabuki theatre development

Background
Kabuki theatre began in Japan around 1603 when Okuni, a Shinto priestess of the Izumi shrine, traveled with a group of priestesses to Kyoto to become performers. Okuni and her nuns danced sensualized versions of Buddhist and Shinto ritual dances, using the shows as a shop window for their services at night. They originally performed in the dry river bed of the River Kamo on a makeshift wooden stage, but as Okuni's shows gained popularity they began to tour, performing at the imperial court at least once. Eventually, they were able to build a permanent theatre in 1604, modeled after Japan's aristocratic Nōh theatre which had dominated the previous era. Kabuki, with its origins in popular entertainment, drew crowds of common folk, along with high-class samurai looking to win their favorite performer for the night. This mixing of social classes troubled the Tokugawa Shogunate, who stressed the strict separation of different classes. When rivalries between Okuni's samurai clients grew too intense, the shogunate took advantage of the conflict and banned women from performing onstage in 1629. The women were replaced by beautiful teenage boys who took part in the same after-dark activities, leading Kabuki to be banned from the stage completely in 1652. An actor-manager in Kyoto, Murayama Matabei, went to the authorities responsible and staged a hunger strike outside their offices. In 1654 Kabuki was allowed to return with restrictions. The shogunate declared that only adult men with "shaved pates" were allowed to perform, the shows must be fully acted plays and not variety shows, and actors had to remain in their own quarter of the city and refrain from mixing with the general public in their private life. With the dampened sensuality of Kabuki theatre, performers turned to exploiting art and spectacle to keep their audiences engaged.

The Genroku period of 1688 saw the solidification of the aesthetics of Kabuki under the new restrictions placed by the shogunate. Nōh theatre of the previous period was the theatre of aristocrats. After the embarrassment Kabuki brought to upper class society, it needed to develop into a more serious art form in order to survive. However, Kabuki theatre did not lose the influence of its origins as popular entertainment.  A majority of the Kabuki repertoire was adapted from Bunraku puppet theatre, another popular entertainment of the same period. New innovations had to be made to adapt small scale puppet theatre into full scale plays, as well as elevate the source material to a higher class of art.

The Mawari-Butai
The revolving stage, called the mawari-butai, was invented by Edo playwright Nakimi Shozo in 1729 and solved the issue of moving heavy scenic properties quickly as Kabuki adopted Bunraku into full scale designs. The mawari-butai also served to capture the audience's interest in the rambunctious theatre atmosphere. The mawari-butai was originally a raised mechanical platform that had to be operated manually by stage hands. The audience would have been able to see the stage hands turning the set as the action of the actors carried on continuously into the next scene. By the 1800s the mawari-butai had evolved to become flush with the stage, and to include an inner revolve and an outer revolve that could be spun simultaneously to achieve certain special effects. Stage hands now moved under stage, requiring the strength of at least four people to push the revolving stage to its next position. The mawari-butai in Kabuki theatre was always manually operated by stage hands.

The mawari-butai allowed great spectacle and ease of set changes, but it also provided a great opportunity for story and aesthetic choices. No more than two sets were constructed on the revolve. These sets could be entirely different settings or show a change in mood or time within one setting. By walking on the revolve in the opposite direction of its motion, actors could appear to go on long journeys through woods, down city streets, etc. The addition of the inner revolve allowed for set pieces to move in relation to each other. For example, two boats could sail past each other in an epic sea battle like in Chikamatsu Monzaemon's The Girl From Hakata. The inner revolve sometimes was fitted with a lift that could be used to make set pieces rise from the floor, or to make buildings appear as if they are crashing down. The mawari-butai takes on a filmic effect and "fades the actor in and out of the realm of the performance". Kabuki does not strive to be realistic, it strives to be a decorated space. Kabuki is first and foremost an actor's theatre and asks the audience to suspend reality of setting, instead adapting to the conventions of Kabuki.

Japanese Influence on the West
Following the Meiji Restoration in 1868, Japan ended a long period of isolation and reopened trade with European countries. After so long in isolation, Japanese art flooded the European market, sparking a great "Japonism" fever. The conventions of Japanese Kabuki theatre developed in isolation from the rest of the world, so the innovations quickly spread to European theatre. Karl Lautenschlager built the first revolving stage in western theatre in 1896 for Mozart's Don Giovanni at the Residenz Theatre. This revolving stage was raised slightly above the stage level and was electrically powered by motors that turned wheels along a track. With the proscenium arch, only a quarter of the revolve was visible to the audience. Four sets were constructed on Lautenschlager's revolving stage as opposed to Kabuki's limit of two. In 1889 Lautenschlager was hired by the Munich court theatre to design an efficient revolving stage for productions of Shakespeare. Here marks the greatest role of the revolving stage in its western history as the new Shakespeare stage. The revolving stage trickled into the designs of Germany and Russia's Reinhardt and Meyerhold as its popularity grew. Revolving stages are still a fixture of both Kabuki theatre and western theatre today. The automation of the revolving stage and lifts has allowed many more aesthetic possibilities in shows such as Cats and Les Miserable, as well as the automated double revolve, or concentric revolve, in Hamilton, further solidifying these Kabuki innovations into the western mainstream.

Ten years after Lautenschlager's stage, Max Reinhardt employed it in the premiere of Frühlings Erwachen by Frank Wedekind. Soon this revolving stage was a trend in Berlin. Another adaptation of the Kabuki stage popular among German directors was the Blumensteg, a jutting extension of the stage into the audience. The European acquaintance with Kabuki came either from travels in Japan or from texts, but also  from Japanese troupes touring Europe. In 1893, Kawakami Otojiro and his troupe of actors arrived in Paris, returning again in 1900 and playing in Berlin in 1902. Kawakami's troop performed two pieces, Kesa and Shogun, both of which were westernized and were performed without music and with the majority of the dialogue eliminated. This being the case, these performances tended toward pantomime and dance. Dramatists and critics quickly latched on to what they saw as a "re-theatricalization of the theater." Among the actors in these plays was Sada Yacco, first Japanese star in Europe, who influenced pioneers of modern dance such as Loie Fuller and Isadora Duncan, she performed for Queen Victoria in 1900, and enjoyed the status of a European star.

Early western development
The first modern revolving stage in the western world was built by Karl Lautenschläger (1843–1906) in 1896 in Munich, Germany. Lautenschläger studied under Carl Brandt at the court theatre in Darmstad. From there he went to Munich, where he worked for 22 years and became the head machinist at the Royal theatre. He is known for his revolving stage, sometimes called the Lautenschläger stage, which later acquired the legacy of being called the new Shakespeare stage. The stage was installed at the Residenz Theatre for a performance of Don Giovanni, an opera by Wolfgang Mozart. The revolve at the Residenz Theatre was fifty feet in diameter and was raised slightly off of the regular stage floor. With the proscenium, a little less than a fourth of the revolve was visible to the audience.  Lautenschläger used electricity to power the turntable, with the table turning on rollers, which ran on a circular track. This particular revolve was split into quarter sections and allowed four scenes to be set at the top of the show. The revolving stage allowed for depth, like landscapes with views in the distance and a more three-dimensional set in front of the walls of the revolve.

For theatres like the Dresden, that did not have an underside to their stage, each sector of the revolve would have two wheels operating directly on the stage floor and propelled by a small motor fixed to the underside of the turntable. Some revolves had only two separate sections while some had as many as seven. Not all sections had to be split into equal proportions. Sections could be very shallow or very deep, according to what the scene required. Rectangular sections were even used many times for indoor scenes. Some revolves had sections that connected to each other to give the appearance of travel and help give the set perspective. Eventually traps, elevators and revolving stages combined in some theatres. The individual sections of the turntable could be lowered and raised to and from underneath the stage to make scene changes even more efficient.

In 1889, the Munich court theatre hired Lautenschläger to design a stage that was more efficient for Shakespearean productions, which required many changes of scenery. His revolving stage seemed to be the perfect solution. Other theatres and other companies performing Shakespeare quickly began to use the revolving stage, and it started to become known as the new Shakespeare stage. This was probably the biggest role for the revolving stage in its history.

Pros of early western designs

 As a designer lays out the taverns, houses, and cobblestone streets to have sectioned off on the circular set, he could imagine an actor walking from one location to the next as a part of the scene. Some directors even employed the rotation of the stage with a purposeful view from the audience allowing them to see the characters walk from one setting to the next.
 The sectioned design created wall structures to build usually costly sets on.  The structure provided for much more interesting scenic designs, especially when concerning the outdoor hills and mountains.  The angled frames of the stage dividers were often used to support tree structures or tall rolling hills.
 Time was the biggest problem solved by the revolving stage.  There was a particular problem with Shakespearean plays that required so many changes of scenery that some runs were as long as one could imagine a 20-act play would be.  Using the revolving stage, the scene changes were a fraction of their previous length.  It only took the time to rotate a 1/4 or even a 1/6 way around the circular stage.

Cons of early western design

 Angled walls often provided a problem.  It was impossible, as a scenic designer, to incorporate a horizon for anything on stage because there was no such back wall to support the perspective of it.
 The height of certain sets in certain sections proved to be an issue as well. When large buildings or tall constructions of the inside of a house were built in one section, they generally exceeded the length of the framing walls. When the stage spun, the audience could then see the buildings in other scenes.  This would offset other places such as the inside of a house or a wide-open field.
 The vibrations from the early designs of the mechanical revolving stage were off-putting in an auditorium.

Present-day use
Revolving stages are still in use in theater, but benefit from the rise of automation in scenic design. The use of a revolving stage in the original staging of Cats was considered revolutionary at the time, with a section of the stalls mounted onto the revolve as well. The original London staging of Les Misérables is one of the most notable modern uses of a revolving stage, considered "iconic"; it made sixty-three rotations in each performance. Director Trevor Nunn's decision to use the feature was informed by the need for rapid changes of location, especially in light of scenes added to the musical in its adaptation from the original French version. The turntable also provided "cinematic" changes of perspective on a scene, and, crucially, permitted the cast to walk against the revolve for dramatic motion. Double-rotating stages, known as a concentric revolve, have also been used in theater productions such as Hamilton.  Having one revolving stage inside of the other allows for more flexibility by allowing each to rotate in different directions or at different speeds.

Other uses

Today revolving stage are primarily used in marketing and trade shows and constructed in a modular design that can be set up and taken down quickly in different types of venues. Driven from the central core or indirectly from an external hub, these stages take advantage of rotating ring couplers to provide rotating power to the stage deck so there is no twisting of power cords or need to reverse the stage. In many cases the stage is left rotating for days at a time, carrying a load up to an SUV.

The revolving stage is also sometimes used at concerts and music festivals, especially larger ones, to allow one band to set up and check their equipment while another opening band is performing. This allows for a much faster transition between an opening band and the next one on the lineup. One such example was the Goose Lake International Music Festival, held in Michigan in August, 1970.

A notable revolving stage show that is used for the concept for Walt Disney's Carousel of Progress  in Tomorrowland at Magic Kingdom in Walt Disney World Resort in Bay Lake, Florida just outside of Orlando Florida, where the stage remains stationary while the auditorium revolves around it.

See also
Stagecraft

References

General references
The American Architect and Building News. Volume 53. Boston: American. Architect and Building News Co, 1896.
Ackermann, Friedrich Adolf. The Oberammergau Passion Play, 1890. Fifth Edition. Munich: Friedrich Adolf Ackermann, 1890.
Fuerst, Walter René and Hume, Samuel J. Twentieth-Century Stage Decoration. Volume 1. New York: Dover Publications, 1967.
Hoffer, Charles. Music Listening Today. Fourth Edition. Boston: Schirmer Cengage Learning, 2009.
Izenour, George C. Theater Technology. New Haven: Yale University Press, 1996.
MacGowan, Kenneth. The Theatre of Tomorrow. New York: Boni and Liveright, 1921. Print.
Ortolano, Benito. The Japanese theatre: from shamanistic ritual to contemporary	pluralism. Princeton: Princeton University Press, 1990.
Randl, Chad. Revolving architecture. New York: Princeton Architectural Press, 2008. Print.
Sachs, Edwin. Modern Theatre Stages. New York: Engineering, 1897. Print.
Vermette, Margaret. The Musical World of Boublil and Schönberg: The Creators of Les Misérables, Miss Saigon, Martin *Guerre, and The Pirate Queen.	New York: Applause Theatre & Cinema Books, 2006.
Williams, Simon. Shakespeare on the German stage: 1586–1914. Volume 1.	Cambridge: Cambridge University Press, 1990.
WPG, . The Revolving Stage at the Munich Royal Residential and Court Theatre. New York: American Architect and Architecture, 1896. Print.

Stagecraft
Parts of a theatre
History of theatre
Rotation
Japanese inventions

Revolving stage


ALCO Stores, Inc. (formerly Duckwall-ALCO Stores)  was a retail chain operating 198 stores in 23 states, primarily in the United States Midwest. The company was founded in 1901 in Kansas by Alva Lease Duckwall.

It had its headquarters in Coppell, Texas. The company's  distribution center was located in Abilene, Kansas, where it was previously headquartered.

In October 2014, ALCO filed for Chapter 11 bankruptcy; subsequently, the chain was sold to a liquidation firm and closed all of its stores by March 2015.

History

In its early years the company operated five and dime (or "variety") stores called Duckwall's.  In 1968 it began to move into the discount retail business and opened stores that were bigger than their five and dime counterparts called ALCO.  ALCO stores (somewhat smaller than a non-supercenter Walmart) provided the full selection of merchandise offered by the company, while the Duckwall stores provided a limited selection.

In 1985, after three acquisitions, the company went through a management-led leveraged buy-out.  The company had 127 ALCO stores, and 33 Duckwalls in 14 states at that time.

First bankruptcy and later history
In May 1989, Duckwall-ALCO filed Chapter 11 bankruptcy, emerging in 1991 after securing financing from GE Capital, its primary creditor. At least 52 stores were closed during this period.  After 1989 they switched to the business strategy of targeting communities where no direct retail competitor existed (such as Walmart, Target or Kmart).  The strategy initially proved to be successful for the chain, and there were 205 ALCO stores and 59 Duckwall stores as of June 2008.

The company previously experimented with a combination discount and food store called C.O.L.A. (Cost of Living Adjusters) in Mineral Wells, Texas, which was discontinued. The company also began a supercenter concept, ALCO Market Place, by providing limited perishable goods. These stores were considerably smaller than Walmart's or Target's supercenter stores.

Duckwall-ALCO stores announced on November 29, 2010, the closure of all 44 of its Duckwall stores, thus ending the Duckwall name.  The store in Hettinger, North Dakota, was reopened as an ALCO while the remaining 43 stores permanently closed.  Subsequently, the chain dropped the Duckwall name and renamed itself simply as ALCO Stores, Inc.

In the Fall of 2011, ALCO stores opened its first store in the Dallas-Fort Worth Metroplex suburb of Grand Prairie, Texas, but closed the store in May 2014 due to lackluster sales.

On April 10, 2013, ALCO Stores, Inc. moved its corporate headquarters from Abilene, Kansas, to Coppell, Texas.

Second Bankruptcy and Closure

On October 12, 2014, ALCO Stores Inc. filed for Chapter 11 bankruptcy citing "increased competition" and "declining consumer and business confidence, which has led to decreased customer traffic and reduced levels of consumer spending, particularly on discretionary items." On November 17, bidding on the company through bankruptcy court ended with a liquidation firm joint venture, which provided a "stalking horse bid" and the only bid received by the court, being approved as the new owner.

Going out of business sales at all locations started on November 21, 2014. The last ALCO store closed in March 2015.

20 locations were acquired by Shopko, and were converted into Shopko Hometown stores. Bomgaars took over 12 former locations. Orscheln Farm & Home acquired ALCO's former distribution center in Abilene, Kansas.  Other locations were acquired by various entities, either before closure or afterwards (for example, Brookshire Brothers acquired the ALCO location in Pilot Point, Texas).

Acquisitions
1983 - Sterling Stores Co. Inc was acquired.  Based in Little Rock, Arkansas, it operated 48 stores under the  Sterling and Magic Mart names in Mississippi and Arkansas.  The majority of these stores were converted to either ALCO or Duckwall stores, though the Sterling nameplate was maintained until 2005 when the final Sterling store in Little Rock, Arkansas was closed.
1984 - David's in Wichita, Kansas
1985 - Hornsby, a 9-store chain based in Morris, Illinois, was acquired.
1996 - Val chain of 14 stores in Indiana and Ohio, with headquarters in New Castle, Indiana, was acquired.
1997 - Acquired 18 stores from Perry Brothers, located in Texas and New Mexico, which were converted to Duckwall stores.

External links

Duckwall-ALCO History
Photo of a Duckwall's store in Concordia, Kansas

References

Companies based in Texas
Companies that have filed for Chapter 11 bankruptcy
Companies that filed for Chapter 11 bankruptcy in 1989
Companies that filed for Chapter 11 bankruptcy in 2014
Economy of the Midwestern United States
Defunct discount stores of the United States
Companies formerly listed on the Nasdaq
American companies disestablished in 2015
American companies established in 1901
Retail companies established in 1901
Retail companies disestablished in 2015
Five and dimes
1901 establishments in Kansas
2015 disestablishments in Texas

ALCO Stores


Jeff Causey (born October 19, 1971) is an American former professional soccer player. He played as a goalkeeper who spent six seasons in Major League Soccer. He later served as an assistant coach at the collegiate and professional levels.

College soccer
Causey was born in Manassas, Virginia. He attended the University of Virginia where he played on the men's soccer team from 1990 to 1993.  He was a member of the Cavaliers teams which won the 1991, 1992, and 1993 NCAA Championships, taking Tournament Defensive MVP in 1991.  He was a 1993 third team All American, graduating that year with a bachelor's degree in history.  He holds the school record for 88 saves in the 1990 season and is tied for third with 10 shutouts that season.

Professional career
In 1994, Causey signed with the Boston Storm of the USISL.  In 1994, he moved to the Richmond Kickers, winning the 1995 USISL Championship and US Open Cup Championship.

On February 6, 1996, the Kansas City Wiz selected Causey in the 5th round (46th overall) in the 1996 MLS Inaugural Player Draft.  The team then traded him to D.C. United in exchange for Garth Lagerway and the first overall pick in the 1996 MLS College Draft.  Causey played nineteen games with United in 1996 as the team won both the MLS Cup and Open Cup.  He began the year with United, but was waived on June 27, 1997.  On July 20, 1997, Causey signed with the New England Revolution.  Causey was a part of the New England Revolution until April 2002 when he retired from playing professionally.

Causey was actively involved in the community and in 2000 & 2001, he received the New York Life "Humanitarian of the Year" as well the 2001 Boston Sports Awards "Ron Burton Community Hero".  In 2008, Causey was inducted into the New England Soccer Hall of Fame.

Coaching career
In 1995, Causey served as an assistant coach with the University of Virginia's soccer team.  On May 7, 2002, the University of Maryland, College Park announced it had hired Causey as an assistant with the men's soccer team.  In 2003, he was an assistant coach with the Boston Breakers in the WUSA.  With the collapse of the WUSA, Causey went into the financial services sector with Smith Barney in Manchester, New Hampshire.  At the present time he is a Certified Financial Planner with TIAA-CREF.  On January 19, 2012, it was announced that Causey would be joining the New England Revolution broadcast team for the 2012 season.  Causey is still involved in soccer, coaching youth teams and players in the Massachusetts and New Hampshire area.

References

External links

1971 births
Living people
American soccer coaches
American men's soccer players
Men's association football goalkeepers
Virginia Cavaliers men's soccer players
USISL players
Boston Storm (soccer) players
Richmond Kickers players
D.C. United players
New England Revolution players
Boston Breakers (WUSA) non-playing staff
Virginia Cavaliers men's soccer coaches
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Soccer players from Virginia
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Jeff Causey


St Mary's Church is the main Anglican church in the town of Calne, Wiltshire, England. The church is large and cruciform, with a tall north tower; it stands in a triangular churchyard at the heart of the town. Begun in the 12th century, it is described by Pevsner as "the proud church of a prosperous clothiers' town". The church is a Grade I listed building.

History and architecture
A church was recorded at Calne in 1066 and was almost certainly on the site of the present church. By 1116 the church's estate endowed a prebend at Salisbury Cathedral. The present building dates from c. 1160–70, and Norman work survives in the nave and part of a doorway, later moved to the north porch door.

The church was lengthened in the 14th century and St Edmund's chapel was added on the north side. The 15th century saw the addition of a clerestory and north and south porches, together with the re-roofing of the nave.

In 1638 the crossing tower and spire collapsed, damaging the north and east of the chancel. The tower was rebuilt over the north transept and is a notable example of the Gothic survival style, with four stages; Pevsner states that its buttress shafts and pinnacles are "in the Somerset fashion".

The church was restored to designs of William Slater in 1864, when the south and west parts were rebuilt, including the south chapel, and the pulpit and organ were moved. In 1882–3, under the direction of J.L. Pearson, the organ was again moved and the north-east chapel became a vestry; Pearson also designed restoration of the chancel in 1890–91.

Interior

The 15th-century roof can be seen in the nave, and the 17th-century roof in the chancel. Bench pews are from the mid-19th century. The three-panel reredos of 1890 was designed by J.L. Pearson.

A new organ by Conacher and Co was installed in 1908. The large organ case, and the altar in the south chapel, are in Arts and Crafts style from the first decade of the 20th century. They were designed by C.R. Ashbee and carved by Alec Miller, from Ashbee's Guild at Chipping Campden.

Parish
The ancient parish of Calne covered a wide area, including Berwick Bassett, Cherhill and Studley, each with churches or chapels dependent on St Mary's. In the 19th century Berwick Bassett and Cherhill became independent, and much of the west of the parish was transferred to the new church at Derry Hill, including Sandy Lane, Studley and Bowood; also Stockley was transferred to Heddington.

Today St Mary's is the head church of the parish of Calne and Blackland, which comprises Holy Trinity at Quemerford, a Victorian church, and (since 1881) the small 13th-century church at Blackland, south-east of the town. Since 2010 the parish, together with Derry Hill, Bremhill and Foxham, has been served by the Marden Vale Team Ministry.

Registers dating from 1528 are held in the Wiltshire and Swindon Record Office.

Sources

References

External links

Church of England church buildings in Wiltshire
Grade I listed churches in Wiltshire
12th-century church buildings in England
Saint Mary

St Mary's Church, Calne


Pauline Oberdorfer Minor (c. 1885 – January 23, 1963) was an American teacher, singer and composer who was one of the 22 founders of Delta Sigma Theta sorority.

Biography
Pauline Oberdorfer was born around 1885 in Charlottesville, Virginia.  Her mother worked as a washerwoman.  Oberdorfer was sent to further her education in Philadelphia, Pennsylvania and was raised by an aunt and uncle.  She did not know her parents nor her exact date of birth.

In 1910, she graduated from the Philadelphia High School for Girls. She was a member of the Union Baptist Church in Philadelphia, sang in the choir and through the influence of Lewis B. Moore, the dean of the Howard Teacher's College, obtained a church scholarship to attend Howard University.

At Howard, Oberdorfer along with 22 fellow students, co-founded the Delta Sigma Theta sorority on January 13, 1913. She served as the first treasurer of the Alpha Chapter. She served as president of the Teacher's Club at Howard for one year and her achievements were noted in the NAACP's Crisis magazine edited by W.E.B. DuBois.  After graduating as valedictorian of the class of 1914, she pursued a teaching career in Pennsylvania, Alabama and South Carolina.

Oberdorfer also embarked on a career as a mezzo-soprano recitalist and composer of spirituals. Her book, Soul Echoes featured forty of her compositions including "Get Off the Judgment Seat" and "My Lord Is a Refuge".

She married a Mr. Minor, but they divorced. Oberdorfer Minor died on January 23, 1963. She was working as a housekeeper when she died and was interred in a pauper's grave alongside three other people in Eden Cemetery in Collingdale, Pennsylvania.

Legacy

In 2015, a monument to Oberdorfer Minor was erected in Eden Cemetery by the Philadelphia Alumnae chapter of the Delta Sigma Theta sorority.

A scholarship at the Philadelphia High School for Girls and a college internship in Charlottesville, Virginia were established in her name.

References
Citations

Sources

1880s births
1963 deaths
20th-century African-American educators
20th-century American educators
20th-century African-American women singers
American mezzo-sopranos
American women educators
Burials at Eden Cemetery (Collingdale, Pennsylvania)
Date of birth unknown
Delta Sigma Theta founders
Delta Sigma Theta members
Educators from Virginia
People from Charlottesville, Virginia
Philadelphia High School for Girls alumni
Year of birth uncertain
20th-century American composers
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Singers from Philadelphia
Musicians from Charlottesville, Virginia
African-American schoolteachers
Schoolteachers from Pennsylvania
African-American women composers

Pauline Oberdorfer Minor


Alexei "Alexandrovich" Rumiantsev (born May 31, 1969) is a Russian jazz and ragtime pianist and classical music composer. His nickname is "RAGTIMEPA", thus he named his band "GRANDPA'S RAGTIME BAND".

Biography
At the age of six, Alexei Rumiantsev took piano lessons and learned the basic technique of playing as well as music theory under Mrs. Tatiana Tavrovskaya. He attended music school for children in Cherepovets and participated in several competitions among young pianists. In 1983, he moved to St. Petersburg in order to attend the preparatory school for the St. Petersburg state conservatory, then studied composition under Prof. Alexander Mnatsakanian. In 1992, he went to Germany to study both classic compositions under Prof. Christoph Meyer and jazz piano under Prof. John Tailor at the Cologne Conservatory as a student on a scholarship.

After eight years, he went back to Cherepovets to work as a jazz pianist and as a composer and participated in international jazz festivals and gave concerts in Europe, Russia and Japan, including radio recordings. He has been living in Japan since 2003, where he gives concerts and participates in different projects and festivals. He recorded his first ragtime CD Silks and Rags in 2004 and teaches jazz and ragtime to the younger pianists in his spare time. He recorded his second ragtime CD Floating Along in 2018.

Rumiantsev is married to a ragtime and jazz singer Hiromi Rumiantseva who works for MA Trust Co., Ltd. as a multilingual consultant.

Discography

Piano solo
Silks and Rags (Akasaka Kougei Onken AKL Label, 2004)
Floating Along (YPM Label, 2018)

with the jazz band
Paradise by Koji Matsumoto Swing System with Alexei Rumiantsev (YPM Label, 2016)

References

The Japan Times "LIFE"  Alexei Rumiantsev  by Vivienne Kenrick
 cloud" by ALEXEI RUMIANTSEV
  Foreigner Artist:Alexei Rumiantsev piano

External links

1969 births
Living people
Russian jazz pianists
Russian male composers
Ragtime pianists
21st-century pianists
21st-century Russian male musicians

Alexei Rumiantsev


Francisco Correa de Araujo (or Arauxo, or Acebedo) (1584–1654) was a Spanish organist, composer, and theorist of the late Renaissance.

Life
Correa de Araujo was born in Seville.  Like most Spanish organists from this era, details of his life are clouded by obscurity. For some time even the years of his birth and death were disputed.  His musical background is unclear; he claimed to have learned theory by studying the works of Francisco de Peraza and Diego del Castillo.  In 1599 he received an organ appointment in Seville, but became embroiled in a lawsuit with rival Juan Picafort, which delayed confirmation of this appointment for six years.  In 1608, he was ordained as a priest.  He maintained the post at Seville until 1636. Several times he applied unsuccessfully for other positions, and once again in 1630, he became embroiled in lawsuits which culminated in a brief period of imprisonment.  In 1636, he left Seville and took up a post at Jaén Cathedral.  In 1640, he was appointed as a prebendary at Segovia Cathedral, and remained there for the last fourteen years of his life.  He died in Segovia in abject poverty.

Works
Correa's writings make reference to two other publications (a Libro de versos and a book on music theory), that were not published yet by that time; however, all his surviving works are contained in a single publication entitled Libro de tientos y discursos de música practica, y theorica de organo intitulado Facultad organica, published in 1626. This publication serves not only as a book of compositions, but as a treatise on music theory and performance practice, and it is one of the most important works of its kind to emerge from Spain in the 17th century. Correa's compositions take advantage of all the devices available to Spanish organists of the time, most notably the medio registro, or divided keyboard, an innovation unique to the Iberian peninsula which appeared towards the end of the 16th century, while his theoretical writings give great insight into his ideas of harmony and counterpoint.

The Libro de tientos contains 69 works, of which 62 are tientos (that is, fantasias), ordered by increasing levels of difficulty - an indication that the purpose behind this work was at least partly pedagogical.  By way of contrast with the works of his Portuguese contemporary, Coelho, Correa's works are considerably shorter and show a stronger tendency towards monothematicism. He employs virtuosic figurations (the so-called glosa) in his works to a much greater extent, often at the expense of contrapuntal development; after the initial exposition, restatements of the theme are rare, and thematic development and use of contrapuntal devices such as inversion or augmentation are almost non-existent.  Correa's harmonic language, while not devoid of tonally suggestive progressions, is quite distinctly modal and represents a continuation of the idiom established by Cabezón and Aguilera de Heredia.

The music of Correa is not devoid of innovation. Correa makes use of many devices unique to Spanish organ music of this period: unusual sonorities such as the augmented triad, unusual rhythmic groupings, and a notable dissonance which he vigorously defends, referred to as punto intenso contra remisso: the simultaneous sounding of a note and its chromatic alteration (e.g., C and C#). The theoretical aspect of this work also discusses ornamentation, notes inegales, registration, and use of the different modes and key signatures.

Correa's organ music was inspired by the unique tonal qualities of Spanish organs, unequal temperament, and such devices as the divided keyboard. Modern-day recording technology, coupled with an increased interest in studying ancient organs and building newer instruments to replicate them, has made these works more readily accessible to both performer and listener.

A complete edition of Correa's works has been compiled by Macario Santiago Kastner and released by Masters Music Publications.

Recordings
Francisco Correa de Araujo: Facultad organica.  José Enrique Ayarra, organist.  Almaviva.
Organ works. Bernard Foccroulle (1992 Auvidis / Valois. V 4646)
Correa in the New World: The Complete Organ Works of Francisco Correa de Arauxo.  Robert Bates, organist.  Loft, 2017.

Notes

References

Print
Apel, Willi. The History of Keyboard Music to 1700.  trans. and rev. by Hans Tischler.  Bloomington: Indiana Univ. Press, 1972.  (Originally published as Geschichte der Orgel- und Klaviermusik bis 1700, 1967.)
Jacobs, Charles. Francisco Correa de Arauxo. Den Haag: Nijhoff, 1973.
Ayarra Jarne, José Enrique. Francisco Correa de Arauxo. Organista Sevillano del Siglo XVII. Sevilla, 1986.
Silbiger, Alexander, ed. Keyboard Music before 1700.  Ch. 6: "Spain and Portugal" (Robert Parkins). London: Routledge, 2004.
Serna Medrano, Marta. Orden y sentido en los tientos o discursos prácticos de Francisco Correa de Arauxo. La Facultad orgánica (Alcalá, 1626) en contexto. Madrid: Sociedad Española de Musicología, 2017.

Online
Rees, Owen. Correa (de Araujo), Francisco. In The Oxford Companion to Music, ed. by Alison Latham. Oxford Music Online, (accessed April 16, 2010). .

External links

1584 births
1654 deaths
Spanish classical organists
Male classical organists
Renaissance composers
Spanish male classical composers
Spanish Baroque composers
Composers for pipe organ
Musicians from Andalusia
17th-century classical composers
17th-century male musicians

Francisco Correa de Arauxo


Malayalam cinema is the segment of Indian cinema dedicated to the production of motion pictures in the Malayalam language widely spoken in the state of Kerala, India. In 1982, Elippathayam won the Sutherland Trophy at the London Film Festival, and Most Original Imaginative Film of 1982 by the British Film Institute. Rajiv Anchal's Guru (1997), Salim Ahamed's Adaminte Makan Abu (2011), Lijo Jose Pellissery's Jallikkattu (2019) and Jude Anthany Joseph's 2018 (2023) were Malayalam films sent by India as its official entries for the Best Foreign Language Film category at the Academy Awards.

Other films which achieved global acclaim include Chemmeen (1965), which received a Certificate of Merit at the Chicago International Film Festival, and a gold medal at the Cannes Film Festival for Best Cinematography. Swaham (1994) won the Bronze Rosa Camuna at the Bergamo Film Meeting in Italy. The first 3D film produced in India, My Dear Kuttichathan (1984), was made in Malayalam. The first CinemaScope film produced in Malayalam was Thacholi Ambu (1978).

The first Malayalam feature film was Vigathakumaran, a silent film directed and produced by J. C. Daniel. Production started in 1928, and it was released at the Capitol Theatre in Thiruvananthapuram on 23 October 1930. The first talkie in Malayalam was Balan (1938) directed by S. Nottani. During the 1920s, the Malayalam film industry was based in Thiruvananthapuram, although the film industry started to develop and flourish only by the late 1940s. Later the industry shifted to Chennai (formerly Madras), which then was the capital of the South Indian film industry.

By the late 1980s, the Malayalam film industry returned and established itself in Kerala with the majority of locations, studios, production and post-production facilities being located in Thiruvananthapuram and Kochi. Several media sources describe Kochi as the hub of the film industry. As of 2018, Malayalam cinema has got 14 awards for the best actor, 6 for the best actress, 12 for the best film, and 13 for the best film director at the National Film Awards, India.

History

Active Malayalam film production did not take place until the second half of the 20th century: there were only two silent films, and three Malayalam-language films before 1947. With support from the Kerala state government production climbed from around 6 a year in the 1950s, to 30 a year in the 1960s, 40 a year in the 1970s, to 127 films in 1980.

Origins 1928
The first cinema hall in Kerala, with a manually operated film projector, was opened in Thrissur by Jose Kattookkaran in 1907. In 1913, the first permanent theatre in Kerala was established in Thrissur town by Kattookkaran and was called the Jose Electrical Bioscope, now Jos Theatre.

The first film made in Malayalam was Vigathakumaran. Production started in 1928, and it was released at the Capitol Theatre in Thiruvananthapuram on 23 October 1930. It was produced and directed by J. C. Daniel, a businessman with no prior film experience, who is credited as the father of Malayalam cinema. Daniel founded the first film studio, The Travancore National Pictures Limited, in Kerala. A second film, Marthanda Varma, based on a novel by C. V. Raman Pillai, was produced by R. Sundar Raj in 1933. However, after only being shown for four days, the film prints were confiscated due to a legal battle over copyright.

The first talkie in Malayalam was Balan, released in 1938. It was directed by S. Nottani with a screenplay and songs written by Muthukulam Raghavan Pillai. It was produced by Modern Theatres at Salem in the neighbouring state of Tamil Nadu.  Balan was followed by Gnanambika in 1940, which was directed by S. Nottani. Then came Prahlada in 1941, directed by K. Subramoniam of Madras and featuring Guru Gopinath and Thankamani Gopinath.

Until 1947 most Malayalam films were made by Tamil producers, P. J. Cherian was the first Malayali producer to venture into this field after JC Daniel. PJ Cherian produced Nirmala in 1948 with Joseph Cherian and Baby Joseph his son and daughter-in-law as hero and heroine. He also cast many other family members in other roles, trying to break the taboo that noble family people do not take up acting. Thus Nirmala set many firsts for introducing play-back singing. P.J. Cherian introduced play-back singing in Malayalam cinema. The lyrics of the film written by G. Sankara Kurup became popular.

Udaya Studios' Vellinakshatram (1949) was the first movie with audio to be made completely in Kerala.

1950s
Malayalam cinema has always taken its themes from relevant social issues and has been interwoven with material from literature, drama, and politics since its inception. One such film, Jeevitha Nouka (1951), was a musical drama that spoke about the problems in a joint family.

In 1954, the film Neelakuyil captured national interest by winning the President's silver medal. It was scripted by the well-known Malayalam novelist Uroob, and directed by P. Bhaskaran and Ramu Kariat.

Newspaper Boy (1955) contained elements of Italian neorealism. This film is notable as the product of a group of amateur college filmmakers. It told the story of a printing press employee and his family being stricken with extreme poverty.

The music took a turn away from the trend of copying Tamil and Hindi songs. The poets Tirunainaarkurichy Madhavan Nair – Thirunaiyarkurichy, P. Bhaskaran, O. N. V. Kurup, and Vayalar Ramavarma rose up in this period as film lyricists. Brother Lakshmanan, Dakshinamurthy, K. Raghavan, G. Devarajan, M. S. Baburaj, and Pukhenthey Velappan Nair started a distinct style of Malayalam music. Kamukara Purushotaman, Mehboob, Kozhikode Abdul Kader, AM Raja, P. B. Sreenivas, K. P. Udayabhanu, Santha P. Nair, P. Leela, S. Janaki, P. Susheela, B. Vasantha, Renuka, and Jikki were the most prominent singers of the 1950s. The drama artist and school teacher Muthukulam Raghavan Pillai lent many of his skills to the cinema in this period.

1960s
Ramu Kariat, one of the directors of Neelakuyil (along with P. Bhaskaran), went on to become a successful director in the 1960s and 1970s. P. Bhaskaran directed many acclaimed and hit films in the 1960s and 70s. The cameraman of Neelakkuyil, A. Vincent, also became a noted director of the 1960s and 1970s. Notable films of this decade include Odayil Ninnu, Bhargavi Nilayam (1964), Chemmeen (1965), Murappennu (1965) and Iruttinte Athmavu (1966).

Malayalam cinema's first colour film was Kandam Bacha Coat (1961).

Chemmeen (1965), directed by Ramu Kariat and based on a novel of the same name by Thakazhi Sivasankara Pillai, went on to become very popular and became the first South Indian film to win the National Film Award for Best Feature Film.

Most of the films of the 1960s were animated by the nationalist and socialist projects and centered on issues relating to caste and class exploitation, the fight against obscurantist beliefs, the degeneration of the feudal class, and the break-up of the joint-family system.

In the 1960s, M. Krishnan Nair, Kunchacko and P. Subramaniam were the leading Malayali producers. Thikkurusi Sukumaran Nair, Prem Nazir, Sathyan, Madhu, Adoor Bhasi, Bahadur, S.P. Pillai, K.P. Ummer, Kottarakara Sreedharan Nair, Raghavan, G.K. Pillai, Muthukulam, Joseprakash, Paravur Bharatan, Muthayya, Shankaradi, Govindankutty, K.R. Vijaya, Padmini, Ragini, Sharada, Sheela, Ambika, Jayabharathi, Arumula Ponnamma and Sadahna were among the more popular actors active in this period.

During the 1950s, 1960s and 1970s, Kunchacko made significant contributions to Malayalam cinema, both as a producer and as director of some notable movies. He started Udaya Studios in Alleppey (Alappuzha) in 1947, reducing the travel to Madras (Chennai) for film crew and actors. This boosted Malayalam film production in Kerala.

Many directors sprang up in this period. P.N. Menon made Rosy and later Chemparanthi. G. Aravindan and Adoor Gopalakrishnan also started work in 1960s and became famous later.

1970s

The 70s saw the emergence of a new wave of cinema in Malayalam. The growth of the film society movement in Kerala introduced the works of the French and Italian New Wave directors to the discerning Malayali film enthusiasts. Adoor Gopalakrishnan's first film, Swayamvaram (1972), brought Malayalam cinema to the international film arena. In 1973 M. T. Vasudevan Nair, who was by then recognised as an important author in Malayalam, directed his first film, Nirmalyam, which won the National Film Award for Best Feature Film. G. Aravindan followed Adoor's lead with his Uttarayanam in 1974. K. P. Kumaran's Adhithi (1974) was another film that was acclaimed by the critics. Cinematographers who won the National Award for their work on Malayalam films in the 1970s were Mankada Ravi Varma for Swayamvaram (1972), P. S. Nivas for Mohiniyattam (1977), and Shaji N. Karun for Thampu (1979). John Abraham, K. R. Mohanan, K. G. George, and G. S. Panikkar were products of the Pune Film Institute who made significant contributions.

During the late 1970s, some young artists started seeing Malayalam cinema as a medium of expression and thought of it as a tool to revitalise society. A noted director, Aravindan, was famous in Kerala as a cartoonist before he started making films. His important movies include Kanchana Sita (1977), Thampu (1978), Kummatty (1979), Chidambaram (1985), Oridathu (1986), and Vasthuhara (1990).

The 1970s also saw the emergence of the notable director P. G. Viswambharan with his debut film Ozhukinethire and the mythical film Satyavan Savithri, which were well accepted.

Also, commercial cinema in this period saw several worker-class themed films which mostly had M. G. Soman, Sukumaran and Sudheer in the lead followed by the emergence of a new genre of pure action-themed films, in a movement led by Jayan. However, this was short-lived, and almost ended when Jayan died while performing a stunt in Kolilakkam (1980).

1980s

The Malayalam cinema of this period was characterised by detailed screenplays dealing with everyday life with a lucid narration of plot intermingling with humour and melancholy. This was aided by the cinematography and lighting. The films had warm background music.

In 1981 Fazil directed Manjil Virinja Pookal the film also introduced then Romantic star Shankar (actor) and later actor Mohanlal to the world. Adoor Gopalakrishnan made Elippathayam in 1981. This movie won the British Film Institute award. The year 1981 also saw the rise of actor Mammootty  through the movie Sphodanam directed by P. G. Viswambharan .

In the 1980s Padmarajan made some of the landmark motion pictures in Malayalam cinema, including masterpieces like Oridathoru Phayalvaan (1981), Koodevide (1983), Thinkalaazhcha Nalla Divasam(1985), Arappatta Kettiya Gramathil (1986), Namukku Parkkan Munthirithoppukal (1986), Thoovanathumbikal (1987),Moonnam Pakkam (1988), Innale (1989) and Season (1989). He wrote several short stories that were unique in content and presentation. His novels handled the darkest emotions and considered as Classics. Most plots were nascent for that age literature. All works were so cinematic and Can be easily visualized to the celluloid version.

K. G. George released films including  Yavanika and Adaminte Vaariyellu. This was the period during which script writer M. T. Vasudevan Nair started teaming up with director Hariharan to produce works like Panchagni, Nakhakshathangal, Aranyakam and Oru Vadakkan Veeragatha. John Abraham's films such as Amma Ariyaan addressed people's issues and raised the finance directly from people. The period had movies with humour from directors like Priyadarshan, Sathyan Anthikad, Kamal and Siddique-Lal. Piravi (1989) by Shaji N. Karun was the first Malayalam film to win the Caméra d'Or-Mention at the Cannes Film Festival.

Ratheesh and Sukumaran also were leading stars in the industry in the early eighties. By the end of 80s, Mammooty and Mohanlal also established themselves as the leading actors in Malayalam.

The mid of 80s saw the emergence of low-quality Malayalam softcore films made with fairly low budgets. They were remarked as B-grade films, and were certified as fit for adults only (A rated). These films emerged parallel with the mainstream Malayalam cinema. In 1986, roughly 14 of the 32-odd films released were classified as B-grade films.

1990s

Some examples are Mathilukal (1990) directed by Adoor Gopalakrishnan, Kattukuthira (1990) directed by P. G. Viswambharan, Amaram (1991) directed by Bharathan, Ulladakkam (1992) directed by Kamal, Kilukkam (1991) directed by Priyadarshan, Kamaladalam (1992) by Sibi Malayil, Vidheyan (1993) by Adoor Gopalakrishnan, Devaasuram (1993) by I. V. Sasi, Manichitrathazhu (1993) by Fazil, Ponthan Mada (1993) by T. V. Chandran, Spadikam (1995) by Bhadran, Commissioner(1994)  The King (1995) by Shaji Kailas, Hitler (1996) by Siddique and Desadanam (1997) by Jayaraj. Due to a series of comedy films produced between the late 1980s and late 1990s made actors like Jagadish, Siddique, Mukesh, Sreenivasan and Jayaram became very popular for their comedy roles. This series of comedy films begun in the late 1980s and early 1990s, with comedy films by Sathyan Anthikad and Siddique-Lal, like Ponmuttayidunna Tharavu, Mazhavilkavadi, Ramji Rao Speaking, Thalayana Manthram, In Harihar Nagar, and Godfather, and some of them went on to be remade by other directors in Tamil, Hindi, Telugu, and other languages. The success of In Harihar Nagar led to the production of a series of comedy films in the early and mid-1990s.

Swaham (1994), directed by Shaji N. Karun, was the first Malayalam film entry for the competition in the Cannes International Film Festival, where it was a nominee for the Palme d'Or. Murali Nair's Marana Simhasanam later won the Caméra d'Or at the 1999 Cannes Film Festival. Guru (1997), directed by Rajiv Anchal, was chosen as India's official entry to the Oscars to be considered for nomination in the Best Foreign Film category for that year, making it the first film in Malayalam to be chosen for Oscar nomination. Noted script writer A.K. Lohithadas made his directorial debut with Bhoothakkannadi, for which he won the Indira Gandhi Award for Best Debut Film of a Director.

2000s

The millennium started with a blockbuster hit Narasimham starring Mohanlal
. In 2001 came the world's first film with only one actor in the cast, The Guard. Slapstick comedy was the predominant theme of the films of this era. C.I.D. Moosa (2003) by Johny Antony, Meesa Madhavan (2002) by Lal Jose and Kunjikoonan (2002) directed by Sasi Shanker are examples. Sequels to a number of successful films were made. Some movies were examples of exemplary film making, such as Meghamalhar, Madhuranombarakattu, Nandanam, Perumazhakkalam, and Kaazhcha. In 2008, Malayalam movie artists came together in the multistar film Twenty:20 to raise funds for the AMMA.

The 2000-2003 period also saw witnessed the Shakeela tharangam, that resulted in the series of production of low budget softporn films in Malayalam cinema. The continued failure of comedy films and the theater strikes in Kerala, that started in the early 2000s, were the major reasons behind the comeback of B-grade films in Malayalam. Around 57 of the total 89 films released in 2001 belonged to the soft-porn category and Shakeela featured in many of them.

2010s

After several years of quality deterioration, Malayalam films saw the signs of massive resurgence after 2010 with the release of several experimental films (known as New Wave or New Generation films), mostly from new directors.  New Wave is characterised by fresh and unusual themes and new narrative techniques. These films differ from conventional themes of the 1990s and 2000s and have introduced several new trends to the Malayalam industry. While the new generation's formats and styles are deeply influenced by global and Indian trends, their themes are firmly rooted in Malayali life and mindscapes. The new generation also helped the Malayalam film industry regain its past glory.

Salim Ahamed's Adaminte Makan Abu was chosen as India's official entry to the Academy Awards to be considered for nomination in the Best Foreign Film category in 2011.

Christian Brothers (2011) was released worldwide with a total of 310 prints on 18 March; it went to 154 centres in Kerala, 90 centres outside Kerala and 80 centres overseas, making it the widest release for a Malayalam film at that time. This record was later broken by Peruchazhi (2014), which released in 500 screens worldwide on 29 August. Drishyam (2013) became the first Malayalam film to cross the 500 million mark at the box office. The film was critically acclaimed and was remade in four languages. Later, in 2016, Pulimurugan directed by Vyshak became the first Malayalam film to cross the 1 billion mark at the box office.

In recent years, Malayalam films have gained popularity in Sri Lanka, with fans citing cultural similarities between Sinhalese people and Malayalis as a reason. In 2019, Lucifer became the highest grossing Malayalam film of all time. Lucifer became the highest grossing Indian film in Dubai. The film collected a final gross of 2000 million at the box office.

2020s
In November 2020, Lijo Jose Pellissery's film Jallikattu was selected as India's submission for Oscar for best foreign language film making as third Malayalam film as entry. In 2020 a mid the COVID-19 lockdown, Sufiyum Sujatayum, starring Jayasurya and Aditi Rao Hydari, has become the first Malayalam film to be released on the Amazon Prime Video (OTT) platform as theatres remain shut in Kerala due to the pandemic. In 2021, Drishyam 2, Nayattu, Kala, Joji, The Great Indian Kitchen and Malik made their list in the highest rated 2021 movies in Imdb.

Malayalam Cinema's first ever original superhero Minnal Murali was released through Netflix on 24th December 2021. Tovino Thomas as Minnal Murali which was directed by Basil Joseph under Weekend Blockbusters gained great reviews by critics and became top watched Non-English movie on Netflix. It broke all records of Malayalam Cinema trailers on YouTube crossing 6 Million Views and 500K+ likes in 24 hours. In March 2022, Amal Neeerad's Bheeshma Parvam took the record for the biggest opening weekend ever in Kerala for a Malayalam movie. The Mammooty starring action thriller grossed Rs. 21-21.25 crores in the state during its 4-days weekend, besting the previous record held by Lucifer which earned Rs. 20 crores. in 2023 , disaster film 2018 was selected as India's submission for Oscar for best international film

Pioneering film-making techniques

Newspaper Boy (1955), a neorealistic film, drew inspiration from Italian neorealism. Padayottam (1982) was India's first indigenously produced 70 mm film, while  My Dear Kuttichathan (1984) was India's first 3D film. O' Faby (1993) was India's first Live action/animation hybrid film.

Amma Ariyan (1986) was the first film made in India with money collected from the public. It was produced by Odessa Collective, founded by the director John Abraham and friends. The money was raised by collecting donations and screening Charlie Chaplin's film The Kid.

Moonnamathoral (2006) was the first Indian film to be shot and distributed in digital format.

Jalachhayam (2010) was the world first feature film shot entirely on a cell phone camera and it was also an experimental film directed by Sathish Kalathil who is the director of Veena Vaadanam, the first documentary film in India shot with the same movie capture medium.

Villain (2017) is the first Indian film to be shot entirely in 8K resolution.

Vazhiye (2022) is the first Found footage film of Malayalam Cinema.

Notable personalities

Directors
Malayalam cinema's directors have included J. C. Daniel, the director and producer of the first Malayalam film, Vigathakumaran (1928). Unlike other Indian films at that time, most of them were based on the Puranas, he chose to base his film on a social theme. Though it failed commercially, he paved the way for the Malayalam film industry and is widely considered the "father of  Malayalam cinema". Until the 1950s, Malayalam film didn't see many talented film directors. The milestone film Neelakuyil (1954), directed by Ramu Kariat and P. Bhaskaran, shed a lot of limelight over its directors. Ramu Kariat went on to become a celebrated director in the 1960s and 1970s. P. Bhaskaran directed a few acclaimed films in the 1960s. The cameraman of Neelakuyil, A. Vincent, also became a noted director of the 1960s and 1970s. Another noted director of the 1950s was P. Ramadas, the director of the neorealistic film Newspaper Boy (1955).

In the 1970s, the Malayalam film industry saw the rise of film societies. It triggered a new genre of films known as "parallel cinema". The main driving forces of the movement, who gave priority to serious cinema, were Adoor Gopalakrishnan and G. Aravindan. People like John Abraham and P. A. Backer gave a new dimension to Malayalam cinema through their political themes. The late 1970s witnessed the emergence of another stream of Malayalam films, known as "middle-stream cinema", which seamlessly integrated the seriousness of the parallel cinema and the popularity of the mainstream cinema. Most of the films belonging to this stream were directed by PN Menon, I. V. Sasi, P. G. Viswambharan, K. G. George, Bharathan and Padmarajan.

In the 1980s and early 1990s, a new array of directors joined the stalwarts who had already made a mark in the industry. This period saw the narrowing of the gap between the different streams of the industry. Directors like P. G. Viswambharan, K. G. George, Priyadarshan, I. V. Sasi, John Abraham, Fazil, Joshiy, Bhadran, Kamal, Sibi Malayil, Hariharan, Sathyan Anthikad, K. Madhu and Siddique–Lal contributed significantly .  There were also extraordinary screenwriters like M. T. Vasudevan Nair, T. Damodaran, A. K. Lohithadas and Sreenivasan, whose contributions were also commendable.

The 2000s saw a decline in the quality of Malayalam films. Many directors who had excelled in the Golden Age struggled as many of their films continuously failed critically and commercially. As a result, the gap between parallel cinema (now known as art cinema) and mainstream cinema (now known as commercial cinema) widened. The 2000s also saw a commercial film formula being created in line with Tamil cinema and Hindi cinema films. Directors like Shaji Kailas, Rafi–Mecartin and Anwar Rasheed directed blockbusters which had few artistic merits to boast of. Despite the overall decline, some directors stood apart and made quality cinema. Shaji N. Karun, Lenin Rajendran, Shyamaprasad and Jayaraj made films that won laurels. Notable directors who debuted in this time include Blessy, Lal Jose, R.Sharath, Ranjith, Rosshan Andrrews, Amal Neerad, Aashiq Abu, Dr. Biju, Vineeth Sreenivasan and Lijo Jose Pellissery.

Out of the 40 National Film Award for Best Direction given away till 2007, Malayalam directors have received 12. The directors who have won include Adoor Gopalakrishnan (1973, 1985, 1988, 1990, 2007), G. Aravindan (1978, 1979, 1987), Shaji N. Karun (1989), T. V. Chandran (1994), Jayaraj (1998, 2017) and Rajivnath (1999). There are several recipients of the Special Jury Award as well: Mankada Ravi Varma (1984), John Abraham (1987), Shaji N. Karun (1995) and Pradeep Nair (2005).

Film music
Film score, which refers to Playback singer in the context of Indian music, forms the most important canon of popular music in India. The film music of Kerala in particular is the most popular form of music in the state. Before Malayalam cinema and Malayalam film music developed, the Malayali eagerly followed Tamil and Hindi film songs, and that habit has stayed with them until now. The history of Malayalam film songs begins with the 1948 film Nirmala which was produced by artist P. J. Cherian who introduced play-back singing for the first time in the film. The film's music composer was P. S. Divakar, and the songs were sung by P. Leela, T. K. Govindarao, Vasudeva Kurup, C. K. Raghavan, Sarojini Menon and Vimala B. Varma, who is credited as the first playback singer of Malayalam cinema.

The main trend in the early years was to use the tune of hit Hindi or Tamil songs in Malayalam songs. This trend changed in the early 1950s with the arrival of a number of poets and musicians to the Malayalam music scene. By the middle of the 1950s, the Malayalam film music industry started finding its own identity. This reformation was led by the music directors Brother Laxmanan, G. Devarajan, V. Dakshinamoorthy, M. S. Baburaj and K. Raghavan along with the lyricists Vayalar Ramavarma, P. Bhaskaran, O. N. V. Kurup and Sreekumaran Thampi. Major playback singers of that time were Kamukara Purushothaman, K. P. Udayabhanu, A. M. Rajah, P. Leela, Santha P. Nair, Ayiroor Sadasivan, Lalitha Thampi, C. S. Radhadevi, A. K. Sukumaran, B. Vasantha, P. Susheela, P. Madhuri and S. Janaki.  Despite that, these singers got high popularity throughout Kerala and were part of the Golden age of Malayalam music (1960 to 1970).

In the later years many non-Malayalis like Manna Dey, Talat Mahmood, Lata Mangeshkar, Asha Bhosle, Hemlata, Kishore Kumar, Mahendra Kapoor and S. P. Balasubrahmanyam sang for Malayalam films. This trend was also found among composers to an extent, with film composers from other languages including Naushad, Usha Khanna, M. B. Sreenivasan, Ravi, Shyam, Bappi Lahiri, Laxmikant–Pyarelal, Salil Chowdhury, Ilaiyaraaja, Vishal Bhardwaj and A. R. Rahman scoring music for Malayalam films. This can be attributed to the fact that film music in South India had a parallel growth pattern with many instances of cross-industry contributions. The late 1950s through the mid-1970s can be considered as the golden period of Malayalam film music in its own identity. Along with the leading music directors, the likes of M. B. Sreenivasan, M. K. Arjunan, Pukezhenty Vellappan Nair, M. S. Viswanathan, A. T. Ummer, R. K. Shekhar, Salil Chowdhury and lyricists like Thirunainar Kurichi Madhavan Nair, Mankombu Gopalakrishnan and Bharanikkavu Sivakumar, numerous everlasting and hit songs were delivered to the music lovers. The soft melodious music and high quality lyrics were the highlights of these songs.

K. J. Yesudas, who debuted in 1961, virtually revolutionised the Malayalam film music industry and became the most popular Malayalam singer ever along with K. S. Chithra. The trio of Vayalar, G. Devarajan and Yesudas also made unforgettable songs like the earlier trio of Kamukara, Tirunainaarkurichy and Brother Laxmanan. Yesudas became equally popular with classical music audience and people who patronised film music. He along with P. Jayachandran gave a major face-lift to Malayalam playback singing in the 1960s and 1970s. K. S. Chithra debuted in 1979, and by the mid-eighties, she became the most sought after female singer in South India.

By the late 1970s, the trends in music started changing and more rhythm oriented songs with a western touch came with the dominance of music directors like Shyam, K. J. Joy, and Jerry Amaldev. The lyricists were forced to write lyrics according to the tune in these days and were often criticised for quality issues. However, from 1979 to 1980, the revolutionary music director Raveendran along with Johnson and M. G. Radhakrishnan led the second reformation of Malayalam film music by creating melodious and classical oriented music with the soul of the culture of Kerala. Lyricists like Poovachal Khader, Kavalam Narayana Panicker and Bichu Thirumala in 1980s and Kaithapram Damodaran Namboothiri, V. Madhusoodanan Nair and Girish Puthenchery in the 1990s were part of this musical success.  Contributions from Kannur Rajan, Ravi, S. P. Venkatesh, Mohan Sithara, Ouseppachan, Sharath, Vidyadharan, Raghukumar and Vidyasagar were also notable in this period. K. J. Yesudas and K. S. Chithra and singers like M. G. Sreekumar, G. Venugopal, Radhika Thilak, Unni Menon and Sujatha Mohan were also active then. A notable aspect in the later years was the extensive of classical carnatic music in many film songs of the 1980s and 1990s. Classical Carnatic music was heavily used in films like Chithram (1988), His Highness Abdullah (1990), Bharatham (1991), Sargam (1992), Kudumbasametham (1992), Sopanam (1993) etc.

At present, the major players in the scene are composers like A. R. Rahman, M. Jayachandran, Bijibal, Deepak Dev, Rex Vijayan, Jakes Bejoy, Rahul Raj, Prashant Pillai, Shaan Rahman, Sushin Shyam, Gopi Sundar, Alphons Joseph, Rajesh Murugesan, Jassie Gift, Shahabaz Aman, Vishnu Vijay, lyricists Rafeeq Ahamed, Anwar Ali, B. K. Harinarayanan, Vinayak Sasikumar, Sarath and Anil Panachooran, and singers Vineeth Sreenivasan, Shreya Ghoshal, Shankar Mahadevan, Vijay Yesudas, Shweta Mohan, Karthik, Naresh Iyer, Manjari, Haricharan, Shahabaz Aman, Sithara Krishnakumar, Vaikom Vijayalakshmi, K. S. Harisankar, Sayanora Philip, Benny Dayal and Jyotsna Radhakrishnan, along with stalwarts in the field.

Young composers like Deepak Dev, Rex Vijayan, Rahul Raj, Jakes Bejoy, Sushin Shyam, and Prashant Pillai are not only known for their catchy tunes, but also for bringing in a lot of electronics, digital sound and a variety of genres in Malayalam film scores and songs.

The National Award-winning music composers of Malayalam cinema are Johnson (1994, 1995), Ravi (1995), Ouseppachan (2008), Ilaiyaraaja (2010), Isaac Thomas Kottukapally (2011), Bijibal (2012) and M. Jayachandran (2016). Until 2009, the 1995 National Award that Johnson received for the film score of Sukrutham (1994) was the only instance in the history of the award in which the awardee composed the Soundtrack rather than its Playback singer. He shared that award with Bombay Ravi, who received the award for composing songs for the same film. In 2010 and 2011, the awards given to film scores were won by Malayalam films: Kerala Varma Pazhassi Raja (Ilaiyaraaja) and Adaminte Makan Abu (Isaac Thomas Kottukapally). Raveendran also received a Special Mention in 1991 for composing songs for the film Bharatham.

The lyricists who have won the National Award are Vayalar Ramavarma (1973), O. N. V. Kurup (1989) and Yusufali Kechery (2001). The male singers who have received the National Award are K. J. Yesudas (1973, 1974, 1988, 1992, 1994, 2017), P. Jayachandran (1986) and M. G. Sreekumar (1991, 2000). Yesudas has won two more National Awards for singing in Hindi (1977) and Telugu (1983) films, which makes him the person who has won the most National Film Award for Best Male Playback Singer, with eight. The female singers who have won the award are S. Janaki (1981) and K. S. Chithra (1987, 1989). Chitra had also won the award for Tamil (1986, 1997, 2005) and Hindi (1998) film songs, which makes her the person with the most National Film Award for Best Female Playback Singer awards, six times.

Landmark films

Kerala State Film Awards

The Kerala State Film Awards are given to motion pictures made in the Malayalam language. The awards have been bestowed by Kerala State Chalachitra Academy since 1998 on behalf of the Department of Cultural Affairs of the government of Kerala. The awards were started in 1969. The awardees are decided by an independent jury formed by the academy and the Department of Cultural Affairs. The jury usually consists of personalities from the film field. For the awards for literature on cinema, a separate jury is formed. The academy annually invites films for the award and the jury analyses the films before deciding the winners. The awards intend to promote films with artistic values and encourage artists and technicians.

International Film Festival of Kerala

The International Film Festival of Kerala (IFFK) is held annually in Thiruvananthapuram, the capital city of Kerala. It was started in 1996 and is organised by Kerala State Chalachitra Academy on behalf of the Department of Cultural Affairs of the State Government. It is held in November/December every year and is acknowledged as one of the leading film festivals in India.

Film studios

The Travancore National Pictures was the first film studio in Kerala. It was established by J. C. Daniel in 1926 in Thiruvananthapuram, which was then a part of Travancore. Producer-director Kunchacko and film distributor K. V. Koshy established Udaya Studios in Alappuzha in 1947. The studio influenced the gradual shift of Malayalam film industry from its original base of Chennai, Tamil Nadu to Kerala. In 1951, P. Subramaniam established Merryland Studio in Nemom, Thiruvananthapuram. The other major studios are Sreekrishna (1952, Thiruvananthapuram), Ajantha (1958, Keezhmadu – now extinct), Chithralekha (1965, Aakkulam, Thiruvananthapuram), Uma Studio (1975, Thiruvananthapuram), Navodaya (1978, Thrikkakkara) and Chitranjali Studio (1980, Thiruvananthapuram).

Organisations
The Association of Malayalam Movie Artists (A.M.M.A) is an organisation formed by artists of Malayalam cinema. It aims to act against piracy, to safeguard the interests of member actors and actresses, and to serve as a common forum to raise concerns and address issues. The activities of AMMA include endowments, insurance schemes, and committees on wages and benefits on revision, funds for research, pensions, and education loans for the children of the members. The organisation ventured into film production in 2008 with Twenty:20 to raise funds for its activities.

Organizations such as Kerala Film Producers Association, Kerala Film Distributors Association, Kerala Cine Exhibitors Federation, Hyperlink Film Club and Kerala Film Exhibitors Association have coordinated work stoppages.

See also

 List of highest-grossing Malayalam films
 List of Malayalam film actors
 New generation (Malayalam film movement)
 Malayalam softcore pornography
 Cinema of South India
 List of cinema of the world
 Lists of Malayalam films
 K. R. Narayanan National Institute of Visual Science and Arts

References

Sources

External links

Indian film industries

Malayalam cinema


The Hegeler Carus Mansion, located at 1307 Seventh Street in La Salle, Illinois is one of the Midwest's great Second Empire structures. Completed in 1876 for Edward C. Hegeler, a partner in the nearby Matthiessen Hegeler Zinc Company, the mansion was designed in 1874 by noted Chicago architect William W. Boyington. The mansion is now owned and operated by the Hegeler Carus Foundation, and is open to the public.  It was designated a National Historic Landmark in 2007.

History
Boyington, the architect who designed the mansion, is noted for the Chicago Water Tower, the Joliet State Penitentiary, and for completing the Illinois State Capitol. The interior was done by  August Fiedler, who designed a unique parquet floor and hand-painted ceiling for each public room. The mansion, which has seven levels, has 57 rooms with a total of about 16,000 square feet of interior space.

The Hegeler Carus Mansion was initially home to Hegeler, his wife Camilla Hegeler, and their large family. In 1887, Hegeler launched the Open Court Publishing Company to provide a forum for the discussion of philosophy, science and religion, and hired the German scholar Dr. Paul Carus to serve as managing editor. The company was located on the first level of the house. In 1888, Carus married Hegelers' daughter Mary Hegeler, who had worked alongside her father as a young girl and was the first woman to graduate from the University of Michigan with a bachelor's degree in engineering in 1882. The couple had seven children, six living to adulthood and raised them in the mansion.

The mansion is where Carus wrote over 70 books, countless articles and served as editor of two scholarly publications, The Open Court and The Monist. Carus invited editorial contributions from the likes of Charles Sanders Peirce, William James, Leo Tolstoy, F. Max Müller, Gottlob Frege and Bertrand Russell. Carus hosted a historical meeting of East and West immediately after the 1893 Chicago Columbian Exposition, bringing together eminent Oriental religious scholars. This led to Open Court's publishing program emphasizing classics of eastern religious thought. Zen scholar D. T. Suzuki spent 11 years in La Salle working with Carus on this programme.

Mary Hegeler Carus took over running the Matthiessen Hegeler Zinc Company from her father and also ran part of Open Court, eventually taking over as editor with Carus' death.

Paul Carus died in 1919, and Mary lived in the house until her death in 1936. The house was occupied mainly by their children. In 2001, its sole resident was 99-year-old Alwin Carus, one of six children of Paul and Mary, who died in 2004.

Recent developments
In 1995, the Hegeler Carus Foundation was created. That year, the mansion was put on the National Register of Historic Places. In recent years, members of the Carus family and others have done much restoration of the mansion.  On March 29, 2007, the Hegeler Carus Mansion was designated a National Historic Landmark.

In 2008, the foundation launched a project  to reassemble the mansion's gymnasium and its apparatus, considered to be a unique surviving example of a late 19th-century turnverein-style physical culture facility. The foundation also owns the Julius W. Hegeler I House, located directly across the street, which is undergoing restoration.

In celebration of the 2018 Illinois Bicentennial, Hegeler Carus Mansion was selected as one of the Illinois 200 Great Places  by the American Institute of Architects Illinois component (AIA Illinois).

Current uses

The mansion hosts numerous public programs, and is open for public tours. It is particularly notable for its high Victorian stencils and wall and ceiling paintings, its woodwork, and its history.

References

Further reading
Harold Henderson, Catalyst for Controversy:Paul Carus of Open Court, Southern Illinois University Press (March 10, 2009),
Todd Volker,  "The Hegeler-Carus Mansion", in German Life magazine, June–July 2001.

External links

 The Hegeler Carus Foundation
Hegler Carus Mansion
Society of Architectural Historians SAH ARCHIPEDIA entry on Hegler Carus Mansion

Houses completed in 1876
Houses in LaSalle County, Illinois
National Register of Historic Places in LaSalle County, Illinois
Second Empire architecture in Illinois
National Historic Landmarks in Illinois
Historic house museums in Illinois
Museums in LaSalle County, Illinois
Houses on the National Register of Historic Places in Illinois
Gilded Age mansions

Hegeler Carus Mansion


Berkeley George Andrew Moynihan, 1st Baron Moynihan,  (2 October 1865 – 7 September 1936), known as Sir Berkeley Moynihan, 1st Baronet, from 1922 to 1929, was a noted British abdominal surgeon.

Early years
Moynihan was born in Malta in 1865, the son of Captain Andrew Moynihan, VC.  His father died in 1867 and Moynihan moved with his mother to Leeds, Yorkshire. He was educated in Leeds and the Christ's Hospital, Newgate, London (1875–1881).

Medical career
After two years at the Royal Naval School, Eltham, he returned to Leeds to study medicine at the Leeds School of Medicine. He graduated MB BS at the University of London in 1887 and joined Leeds General Infirmary as house surgeon. He was then successively demonstrator of anatomy in the Medical School (1893–96), assistant surgeon to the infirmary (1896), surgeon from 1906 and consulting surgeon from 1927 until his death.

In parallel with his appointment as surgeon, Moynihan was lecturer in surgery from 1896 to 1909, and from 1910 to 1927 Professor of Clinical Surgery (from 1925 Surgery) at the University of Leeds.

By the end of the Great War Moynihan held the rank of major-general in the British Army and had been chairman of the Army Advisory Board from 1916 and chairman of the council of consultants 1916 to 1919.

He delivered the Bradshaw Lecture in 1920 and the Hunterian oration in 1927. He served as President of the Royal College of Surgeons of England from 1926 to 1932.

In 1935, a year before his death, Moynihan and Dr Killick Millard had founded the British Voluntary Euthanasia Society.

Moynihan's surgery on Park Square, Leeds in the city centre still stands, now used as private offices.  Their former use and connection to Moynihan is marked with a Leeds Civic Society blue plaque.

He would say that the perfect surgeon must have the heart of a lion and the hands of a lady, not the claws of a lion and the heart of a sheep. Or again, " Infinite gentleness, scrupulous care, light handling and purposeful, effective, quiet movements which are no more than a caress, are all necessary if an operation is to be the work of an artist and not merely of a hewer of flesh."  -

Honours
Moynihan was knighted in 1912, appointed a Companion of the Order of the Bath (CB) in 1917, a Knight Commander of the Order of St Michael & St George (KCMG) in 1918 and created a Baronet of Carr Manor in 1922. On 19 March 1929 he was raised to the peerage as Baron Moynihan, of Leeds in the County of York.

There is a lecture theatre/conference space at Thackray Medical Museum, Leeds, named the "Moynihan Auditorium".

Family
Moynihan married Isabella Wellesley Jessop, the daughter of prominent Leeds surgeon Thomas Jessop, on 17 April 1895.  They had three children:

 Hon Dorothy Wellesley Moynihan (born 1897)
 Hon Shelagh Berkeley Moynihan (born 1902), married Henry Wynn Parry, BCh in 1923
 Patrick Berkeley Moynihan, 2nd Baron Moynihan (born 29 July 1906, died 30 April 1965)

Lady Moynihan died on 1 September 1936.  Lord Moynihan died six days later at the age of 70 and was succeeded in the barony and baronetcy by his only son Patrick.

Arms

References

Kidd, Charles, Williamson, David (editors). Debrett's Peerage and Baronetage (1990 edition). New York: St Martin's Press, 1990.

Short biography of Lord Moynihan
Biography of Lord Moynihan

1865 births
1936 deaths
People educated at Christ's Hospital
Alumni of University of London Worldwide
Alumni of the University of London
Barons in the Peerage of the United Kingdom
English surgeons
Fellows of the Royal College of Surgeons of England
Royal Army Medical Corps officers
British Army generals of World War I
English people of Irish descent
Academics of the University of Leeds
Knights Commander of the Order of St Michael and St George
Companions of the Order of the Bath
19th-century surgeons
19th-century British medical doctors
20th-century surgeons
20th-century British medical doctors
Leeds Blue Plaques
Barons created by George V
Crown Colony of Malta people

Berkeley Moynihan, 1st Baron Moynihan


Matthew Kelly (21 September 1814 – 30 October 1858) was an Irish Roman Catholic priest, academic and antiquary.

Life
Born at Kilkenny, he was eldest son of James Kelly, by Margaret Sauphy. An uncle, Patrick Kelly, was Bishop of Waterford. Kelly was taught in very early years by Michael John Brenan, author of the Ecclesiastical History of Ireland. When about seven years of age he entered the Kilkenny diocesan seminary, and in 1831 he began theological studies at Maynooth College, where he was elected a Dunboyne student in 1836.

From 1839 to 1841 Kelly was professor successively of philosophy and theology in the Irish College at Paris, and on 5 November 1841 was appointed to the chair of belles-lettres and French at Maynooth; on 20 October 1857 he became professor there of ecclesiastical history. In 1854 he was made D.D. by the pope, and about the same time a canon of Ossory. Kelly died on 30 October 1858, and was buried in the cemetery of Maynooth.

Works
Kelly was a student of Irish antiquities and ecclesiastical history. He made large collections for a work on 'The Ecclesiastical Annals of Ireland from the Invasion to the Reformation,' as a continuation of the work of John Lanigan, and was superintending the publication of the 'Collections on Irish Church History' by Laurence Renehan. He edited John Lynch's 'Cambrensis Eversus,' Dublin, 3 vols. 1848–52 (for the Celtic Society, of whose council he was a member); Stephen White's 'Apologia pro Hibernia,' Dublin, 1849; and Philip O'Sullivan's 'Historiæ Catholicæ Iberniæ Compendium,' Dublin, 1850. He also translated Jean-Edmé-Auguste Gosselin's 'Power of the Popes during the Middle Ages,' London, 1853 (vol. i. of the 'Library of Translations from Select Foreign Literature'), and published a 'Calendar of Irish Saints, the Martyrology of Tullagh; with Notices of the Patron Saints of Ireland. And Select Poems and Hymns,' Dublin, 1857.

Kelly contributed to various periodicals, notably the Dublin Review, and a collection of his essays, entitled 'Dissertations chiefly on Irish Church History,' was edited, with a memoir, by D. McCarthy, Dublin, 1864.

References

Attribution

1814 births
1858 deaths
19th-century Irish Roman Catholic priests
Irish antiquarians
Alumni of St Patrick's College, Maynooth
Academics of St Patrick's College, Maynooth
Burials at Maynooth College Cemetery

Matthew Kelly (historian)


Convent pornography, convent erotica, friar erotica, priest erotica, monk erotica, or clergy erotica includes paintings, sculpture, photographs, dramatic arts, music and writings that show scenes of erotic or sexual nature involving clergy.

In Europe

In France
During the Enlightenment, many of the French free-thinkers began to exploit pornography as a medium of social criticism and satire. Libertine pornography was a subversive social commentary and often targeted the Catholic Church and general attitudes of sexual repression. The market for the mass-produced, inexpensive pamphlets soon became the bourgeoisie, making the upper class worry, as in England, that the morals of the lower class and weak-minded would be corrupted since women, slaves and the uneducated were seen as especially vulnerable during that time. The stories and illustrations (sold in the galleries of the Palais Royal, along with the services of prostitutes) were often anti-clerical and full of misbehaving priests, monks and nuns, a tradition that in French pornography continued into the 20th century. In the period leading up to the French Revolution, pornography was also used as political commentary; Marie Antoinette was often targeted with fantasies involving orgies, lesbian activities and the paternity of her children, and rumours circulated about the supposed sexual inadequacies of Louis XVI. During and after the Revolution, the famous works of the Marquis de Sade were printed. They were often accompanied by illustrations and served as political commentary for their author.

In South-east Asia

In the Philippines
Filipino historian Ambeth R. Ocampo described that in the 19th-century Philippines the sexually attractive female body parts of the time were the "bare arms, a good neck or nape" and "tiny rosy feet". This is exemplified by Ocampo's chosen passages from Soledad Lacson-Locsin's unabridged English-language translation of the 25th chapter of José Rizal's Spanish-language novel, the Noli Me Tangere:

"At last, Maria Clara emerged from the bath accompanied by her friends, fresh as a rose opening its petals with the first dew, covered with sparks of fire from the early morning sun. Her first smile was for Crisostomo (Ibarra), and the first cloud on her brow for Padre Salvi..." (Padre Salvi, although a priest, is an admirer of Maria Clara.) "Their legs were up to the knees, the wide folds of their bathing skirts outlining the gracious curves of their thighs. Their hair hung loose and their arms were bare. They wore striped gay-colored blouses... Pale and motionless, the religious Actaeon (i.e. Padre Salvi, who was hiding in the bushes, acting as a voyeur) watched this chaste Diana (i.e. Maria Clara): his sunken eyes glistening at the sight of her beautifully molded white arms, the graceful neck ending in a suggestion of a bosom. The diminutive rosy feet playing in the water aroused strange sensations and feelings in his impoverished, starved being and made him dream of new visions in his fevered mind."

In My Sad Republic, Eric Gamalinda incorporated the genre of erotica such as what Angela Stuart-Santiago described as a "dash of friar erotica" (also known as "priest erotica") witnessed during the diminishing decades of the rule of the Spanish friars in the Philippines. Gamalinda described the love scene between a Spanish parish priest nicknamed Padre Batchoy and a native lass as if the friar was inserting a sacred host into the lips of a native girl's sex organ. There was another love scene – during a secret rendezvous between the novel's hero Magbuela and his beloved De Urquiza – wherein (according to Stuart-Santiago) De Urquiza did a "strange thing", lifting her a head a little to give Magbuela a prolonged bite on the hard and firm muscle located above Magbuela's collarbone, as if De Urquiza wanted to remain forever connected to Magbuela's body.

See also
Erotic literature
History of erotic depictions
Erotic film
Nunsploitation

References

Erotica
Articles containing video clips

Convent pornography


The British Library Leyden Medical Dissertations Collection is a collection of medical dissertations submitted to Dutch universities at Amsterdam, Utrecht, Harlingen, and Leyden. It includes, in particular, a fine set of Leyden medical dissertations and disputations for the period 1593 to 1746. The collection is in 53 volumes, all bound in white vellum, with 20 to 75 documents in each volume. The collection was formed principally by Hans Sloane.

References

Leyden Medical Dissertations Collection
History of medicine
Theses


Dr Carmen Mary Lawrence (born 2 March 1948) was the 25th Premier of Western Australia from 12 February 1990 to 16 February 1993. She was from the Labor Party. She became Premier after Peter Dowding resigned. She was the first woman to become Premier of an Australian state and she is Western Australia's only woman Premier. After she was Premier she became of member of the Australian parliament. She served as federal Health Minister from 1994 to 1996, under Paul Keating.

References

1948 births
Living people
Lawrence, Carmen
Australian Labor Party politicians
Government ministers of Australia

Carmen Lawrence


Bernard Henri Maris (; 23 September 19467 January 2015), also known as "Oncle Bernard", was a French economist, writer and journalist who was also a shareholder in Charlie Hebdo magazine. He was murdered on 7 January 2015, during the shooting at the headquarters of the magazine in Paris.

Biography

Studies and academic career
After graduating from Sciences Po Toulouse in 1968, Bernard Maris earned a doctorate in economics at the University of Toulouse I in 1975 with a thesis entitled La distribution personnelle des revenus: une approche théorique dans le cadre de la croissance équilibrée ("The personal distribution of income: A theoretical approach to balanced growth"), prepared under the direction of Jean Vincens. He taught as an assistant professor then from 1984 on as a senior lecturer at the University of Toulouse I. In September 1994 he earned his full professorship (Professeur des Universités) through the Agrégation d'Économie Générale (a competitive examination on the subject of General Economic Science)  at the Institut d'Études Politiques [Institute of Political Science] in Toulouse.

At the time of his death, he was a professor at the Institute of European studies of the University of Paris-VIII. He also taught microeconomics at the University of Iowa in the United States and the Central Bank of Peru.

Journalism
Bernard Maris wrote for various journals: Marianne, Le Nouvel Observateur, Le Figaro Magazine, Le Monde and Charlie Hebdo, in which he used the pen name "Oncle Bernard". At Charlie Hebdo, he was the Deputy Editorial Director until 2008. As its founder, during the rebirth of the title in 1992, he was an 11% shareholder.

On the radio, Bernard Maris had a weekly column entitled J'ai tout compris à l'économie, each Saturday on France Inter, and took part each Friday in a debate on topical economic issues with the economic journalist of Les Échos, Dominique Seux, from 7:50.

He also presented on television, on the i-Télé channel, where he participated as a columnist in Y'a pas que le CAC. There he commented with another professor of Economics, Philippe Chalmin (close to the neoclassical school), on the economic news until June 2009. He also regularly appeared on the programme C dans l'air on France 5.

Associations and political life
Bernard Maris was often presented as alter-globalization, because of his earlier participation with the Scientific Council of ATTAC Association for the Taxation of Financial Transactions and for Citizens' Action.

He lived in the 16th arrondissement of Paris, and was a candidate in 2002 at the city-council elections of the 10th arrondissement of Paris for The Greens. He was also a candidate for the CFDT in the 2009 elections for the Commission de la carte d'identité des journalistes professionnels.

Novelist
Bernard Maris published several novels including L'enfant qui voulait être muet, and was awarded the Leclerc's booksellers award in 2003.

Family
He was married to Sylvie Genevoix, a journalist and a former member of the CSA, who died on 20 September 2012. She was Maurice Genevoix's daughter.

Freemasonry
Bernard Maris was initiated at Roger Leray lodge in Paris (Grand Orient de France) in 2008.

Death
Maris was killed, along with seven of his colleagues, two police officers, and two others on 7 January 2015 in the Charlie Hebdo shooting when armed gunmen stormed the Charlie Hebdo newspaper offices in Paris.

Work in economics
Maris was a great admirer of John Maynard Keynes, to whom he dedicated a book, Keynes ou l'économiste citoyen, and has published many popular economic books. He is known, amongst others, by titles such as Ah Dieu! Que la guerre économique est jolie! (1998), Lettre ouverte aux gourous de l'économie qui nous prennent pour des imbéciles (1999) and La Bourse ou la vie (2000).

With incisive style, he tried to explain the nature and the interests of the real economy, unveiling its negative aspects, but also highlighting concepts and alternatives such as the gratuity, the gift economy and basic income, which were, in his eyes, of significance.

Le Nouvel Économiste magazine assigned him the title of "Best Economist of the Year", in 1995.

Bank of France
On 21 December 2011, Jean-Pierre Bel, president of the Senate, appointed him a member of the General Council of the Banque de France.

Publications

Economics

Analyses

Novels

Filmography
2008: Encirclement by Richard Brouillette
2010: Film Socialisme by Jean-Luc Godard

See also
List of journalists killed in Europe

References

External links

1946 births
2015 deaths
Assassinated French journalists
Terrorism deaths in France
20th-century French novelists
21st-century French novelists
University of Toulouse alumni
Academic staff of Paris 8 University Vincennes-Saint-Denis
Academic staff of the University of Paris
University of Iowa faculty
20th-century  French  economists
21st-century  French economists
Academic staff of the University of Toulouse
Victims of the Charlie Hebdo shooting
French Freemasons
Charlie Hebdo people
French male novelists
21st-century assassinated people
20th-century French male writers
21st-century French male writers

Bernard Maris