Get Alistair Cooke at the Movies PDF

By Alistair Cooke

ISBN-10: 0141957980

ISBN-13: 9780141957982

At the eighth of October 1934, lengthy prior to the broader global knew him from his Letter from the USA announces, his tv sequence the United States, or his introductions to Masterpiece Theatre, Alistair Cooke sat down at a BBC microphone to offer his first radio speak. His topic was once cinema. Cooke begun movie reviewing within the Nineteen Twenties as a Cambridge undergraduate, and persisted to broadcast on cinema from long island. below his watchful gaze, Hollywood reached its Golden Age, merely to be tarnished via tv; he clocked each new technological improvement, from the arriving of talkies to the video cassette. He additionally saw cinema's personalities, writing tributes to Marilyn Monroe, Gary Cooper, James Cagney and others, continuously illuminating their distinct presents and how they mirrored the yankee scene.

Since the Thirties, Alistair Cooke's full of life movie studies have mostly slumbered unpublished and unheard. Alistair Cooke on the video clips selects the main glowing. We meet Cooke the biographer, affectionately recalling quite a few stars he knew and fashionable, between them Charlie Chaplin and Humphrey Bogart. this can be a interesting new assortment for Cooke's committed readers and listeners, and for somebody attracted to the twentieth century parade of yank and ecu motion pictures.

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He proposes emending exarchontes to exarchontos, thus creating a rather peculiar genitive ab­ solute in which the bard himself is said to be exarchdn. From the point of view of Homeric diction this is not a very satisfactory solution, but the tirade in which he insists on his point is worth listening to: For it was not the acrobats who were exarchontes, but they clearly danced while the bard himself was exarchdn; for leading is proper to the lyre. 180d-e This last citation is from the great hymn to the lyre with which Pin­ dar begins Pythian 1, and I shall return to it.

4) Here I must apply the bit to my argument. To speak of the collapse of time and the fusion of everything present into everything else is to speak the language of Dionysos, and however powerful it may be, the Pin­ daric ode is not Dionysian. Dionysos may well have taken over once the formal ode was finished and abandonment to the real \5mos be­ came the law of the feast. But an intelligent victor would have made his cups moderate long enough to keep his sensorium sharp for the extraordinarily complicated spectacle the poet had contrived for him; only after that was over would he let himself drink so deep that every­ thing started spinning around him.

That Pindar had the requisite skills the testimonia suggest many times over. 25 Lasus is also said to have been the next major figure after Arion in the development of the "dancing chorus" (ho choros ho orchoumenos) at Corinth, and thus may have taught Pindar lyre-playing, dancing, and choreography integrally. 26 This story in itself is evidence for Pin­ dar's training in the dance, since it goes without saying that one does not become a choreographer without being a dancer first. But it is not the external testimonia that should stand as final au­ thorities for Pindar's participation as musician or dancer in the per­ formance of his odes.

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Alistair Cooke at the Movies by Alistair Cooke

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