#Jacques Orth

[fridaythe13ththeseries]

Demon Hunter

Episode Recap #55: Demon Hunter Original Airdate: October 14, 1989

Starring: Louise Robey as Micki Foster Steve Monarque as Johnny Ventura (as Steven Monarque) Chris Wiggins as Jack Marshak

Guest cast: Dale Wilson as Faron Cassidy Allison Mang as Bonnie Cassidy David Orth as Vance Cassidy David Stratton as Travis Cassidy Jacques Fortier as Ahriman

Written by Jim Henshaw Directed by Armand Mastroianni

~~~~~~~~~~~~~

We open right into the show this week, a van driving at night, with a man and a woman tracking someone via computer and an on screen time stamp telling us it is 11:00pm. We then see a couple of men in a field with some sort of detector tracking device. One relates codes to another, saying he's found their prey. Travis doesn't see the creature, even though Bonnie says he's almost on top of him. Travis runs as something chases him, then attacks, throwing him onto a farm thresher. Vance, Bonnie and Faron Cassidy all arrive too late. Travis is dead.

Cut to the opening, with Steven Monarque listed after Robey and before Chris Wiggins. John D. LeMay is really gone.

Now we are at Curious Goods, it is 11:06pm, Jack is sitting with the lights flickering. Micki says she checked the fuse box. She tells Jack to "just sign it" and he does. They toast to him now being her partner in the store, since Ryan is gone. She tells Jack that Ryan will always be part of her, but just in case, she wants the store in good hands. Jack reluctantly agrees. He then opens a box that arrived from a museum. The museum is answering their mailer. They bought no items from Lewis, but sent them an item that was donated to them in his name. It is an Enochian dagger, from a demon worshipper.

The Cassidy family load Travis into the van, and the dad, Faron, thinks back to him and his boys going after someone or some group that took Bonnie, his daughter. In the present, Vance gets the dad to go with him. We then hear the creature growl.

In the van, the dad says they have to find the creature and avenge Travis. A spot of high evil energy keeps showing on the radar. The dad tells Bonnie to keep working at it and takes Vance out to hunt.

At the store, the lights continue to flicker. Jack is telling Micki what he knows about the demon lore involved with the dagger. A human sacrifice would ressurrect the demon. The caller then sends the demon out to commit tasks for him. They take the dagger into the vault, the power goes out, Jack accidentally cuts himself with it and drops it. Micki lights a match and they see Jack's blood absorb into the vault floor and vanish.

Back at the farm, Faron and Vance continue to hunt the demon, who they believe knows they are there, too. Another memory, of Faron and his sons bursting in on the demonic cult that kidnapped Bonnie. A big fight ensued, and they found Bonnie and snapped her out of the cult's hold on her. Faron then went wild, shooting and killing all of the cult members as his daughter screamed.

11:18pm, Johnny is at home listening to the game and working on a model ship. Micki calls him for help, but their call is broken off. Johnny rushes out.

In the van, Bonnie listens to the others as she works the computer and radar. The men seem to close in on the demon, but Bonnie says interference is blocking her. Faron remembers talking to her after the cult, she says the demon was sent to stop him from killing cult members and their demons. She cries but her father comforts her.

Johnny arrives at the darkened store, calling out. He finds them in the basement with a lantern, trying to figure out why the blood vanished. Johnny gets a hammer, and sees more of Jack's blood vanish on the floor. All the clocks and watches have stopped, as well. Jack taps with the hammer, looking for a hollow sound on the floor. With a crowbar, he gets to work.

At the farm, the men close in as the demon lurks.

Jack pulls up a floorboard with Johnny's help and they find a big space beneath the floor of the vault. Jack looks around and says it is a church of necromancy, where demons are raised from Hell.

Bonnie continues searching with the radar as father and son search the barn and find traces of blood.

In the underground church, the trio explores, Johnny saying there are many tunnels connecting, and Jack says they'll get cement down in the morning to seal off the passageways. Johnny is skeptical that real demons were conjured, but Jack finds demonic contracts the church must have written to raise demons. Jack then figures out why Lewis built the vault in the first place: to hold any uncontrollable demons the church conjured. Jack says only the person who called forth the demon could help it escape. Micki says they need to break whatever contract was written, and Jack says the only way is to kill the caller with the dagger used in the sacrifice. Micki notices more symbols and apparently fresh blood on the doorway arch.

Faron and Vance continue through buildings and passageways searching for the demon.

Johnny finds more blood on the walls, dripping down from all around. Jack tells Johnny to stand guard here so Micki and him can go up and try and decipher the scrolls and parchments he's gathered. Johnny isn't thrilled.

The other men still hunt through old buildings, their demon-Geiger counter still alerting them to the creature. It breaks through the floor to attack and Faron opens fire. Bonnie hears and speeds off to join them. The demon tries to pull Vance through the floor. Faron tries to pull him back, but the monster is stronger. Vance falls, and tries to battle the creature. The monster tosses the man up through the floor and Faron finds him, dead. Bonnie sees the creature and joins her father, who is enraged at his second loss of the night.

At 11:33, Faron and Bonnie are driving the van towards the strange energy force. Bonnie says it is going back to where it was made, then tells her father they should have let the cult have her and he wouldn't have lost both his sons. He dismisses her plea to let the demon go, but her father won't hear of it.

Somewhere, the wounded demon pulls at the knife Vance stabbed it with.

Jack and Micki scour the documents, Micki said the scrolls are signed with the current date. Jack said the demonic scrolls are dated to when they are due, and that's tonight, with the full moon. Jack says that explains the power fluctuations they have been experiencing. The demon is returning.

Johnny finds more blood on the church floor and hears ghostly moans. In the blood, he sees a face, and Jack says souls are gathering. The cult called forth the demon because someone was killing their members and they wanted vengeance. Jack says if the demon kills all it was sent for by midnight, the cult members will be resurrected. Micki wonders if the vault can keep it out, but Jack says the caller will have to return, too, and Micki says that might be someone they can stop. Jack says the symbol on the contract will be somewhere on the caller's body. Just then, a gun cocks behind them.

Outside of Curious Goods, the demon arrives.

Back under the vault, Faron and Bonnie have arrived, setting detonators to blow so they can kill the demon. Faron continues to hold the gun on Jack and crew, believing them to be part of the demonic cult. Bonnie says to kill them now, but Faron wants to stop from scaring the demon away and will kill them after it is dead.

The demon gets closer and closer to the store.

Jack realizes Faron and family were the ones attacking the cult and tries to convince him they are on the same side. Faron doesn't buy it, because he found them in this satanic church. Micki says they just found this tonight, but they don't buy it. Jack tries to show them the demonic contract, but Bonnie snatches it and says it must be one of their prayer books. Micki appeals to them, but Faron isn't listening. He says they loaded the tunnels with TNT. They leave them under the vault, and then Johnny wants to go into the vault to use a cursed antique to help. Jack says no way, they won't use any of those items.

Micki looks around at the faces moaning on the floor. Jack says they are waiting for the demon to finish its tasks. Suddenly a hand reaches up through the floor.

In the store, Faron and Bonnie continue to set up TNT to blow the whole place up. Bonnie goes upstairs. She slips into Micki's room, rubbing her neck. She opens the windows to the outside.

Down below, Jack, Micki and Johnny try to figure out how to stop the caller and in turn, the demon. Johnny again goes toward the vault for a cursed item.

It is now 11:48pm, Johnny gets the floor open and they go into the vault above.

Bonnie is looking at a book as the demon comes in the window. She shows the creature the mark on her chest, letting it know that she is its caller.

Johnny finds the dagger and they head upstairs. Faron is looking around the store, unaware his daughter let the demon in.

Micki says they don't know which to use the dagger on, but Johnny hopes they get lucky the first time.

Faron's counter goes off, he wonders what took Bonnie so long. He tells her to go check on the others downstairs and he heads up as the counter clicks faster. Gun in hand, he searches and is suddenly attacked by the demon, calling out to his daughter as he shoots wildly into the dark. The demon is hit and falls out the window.

Johnny goes to head into the store, but Jack takes the dagger from him.

Faron comes down into the store and sees the demon outside the front door. One of the bombs goes off.

At the vault, Micki and Jack hold the doors open as Johnny struggles with Bonnie, who shoots her gun wildly, then drops it. Micki quickly picks it up, telling Bonnie to freeze. Upstairs, the demon advances on Faron, who runs off.

Micki notices the mark on Bonnie's chest. Faron comes down, then the demon slowly follows. Jack tells everyone to get in the vault, and shuts it behind them. The demon works to get inside. Faron says there has to be a way to stop it, and Jack tells him "or someone" as Micki continues to hold the gun on Bonnie. She gives Faron the gun to prove they are on his side, and Bonnie tells him to kill them. Micki says the demon is there because of Bonnie, and finally she comes clean to her father, admitting she was never kidnapped, unleased the demon and has been hampering his hunt all along. Faron doesn't know what to believe. She said she did all this to protect the cult and tonight can ressurrect those he killed.

Johnny grabs the dagger to stab her, but Faron stops him and the dagger falls. Bonnie opens the vault, and calls to the demon. Faron tosses a grenade, sending the demon to the room below the vault, and Johnny as well. Micki and Bonnie struggle, Johnny fights off the demon, but is losing badly. Micki and Jack watch as Bonnie and her father struggle, then stop. The demon moans and lets Johnny go, and we see Bonnie fall. Her father stabbed her with the dagger. The demon falls into a hole in the floor, apparently to Hell. Faron is distraught, holding the bloody dagger as his last child dies.

Next day, Jack carves the same spell into fresh cement on the church floor as was used on the vault above to keep the cursed antiques safe. Johnny says the dagger can be the first item in his expanded vault, and Jack comments it was used once more than he'd have liked, but sometimes things happen for the best. Johnny wonders if there could have been another way, Micki says maybe if Faron had seen his daughter for who she was sooner. Jack ends with a saying about blind fanaticism.

My thoughts:

Wow. Okay. Lots to unpack here. Definitely see we are in new territory with the show now beginning with a "cold open", as in opening right into the show with the first scene and then the credits after. And LeMay is out of the credits and Monarque is in. I remember watching that the first time and feeling that last bit of the possibility of Ryan being her going away. He is gone.

One thing about this episode I also remember from the first viewing is how dark it is! Back then in '89 on my little TV, it was extremely hard at points to figure out what was going on. Now, it is somewhat clearer, but still not great. When Johnny picked up the dagger at one point I was unsure just what he had picked up.

I liked the little aftermath of Ryan being gone dealt with between Jack and Micki. Smart to keep the future of the store safe, with the stakes at hand. And good to hear them talk about Ryan and not just pretend he was never a part of their lives.

The time stamps on screen counting closer and closer to midnight I get, but all of this happened within one hour? Including them driving all over, going from the farm to Curious Goods, and also putting TNT in all the tunnels? And why wouldn't Bonnie have dissuaded her father from that, if her goal was to resurrect the cult in that chamber? Makes no sense.

The demon acted scared for parts of the hunt. Why was he hiding from the brother? It was a freaking demon! And when it was approaching the store, what would the neighbors have thought?

I liked Johnny's eagerness to use a cursed item to help them, it shows his relative newness to their task, and a bit of innocence. Also liked Jack's steadfast refusal, but then acknowledging that it was needed. But this would have played better if it was a random antique. He himself had said earlier the only way to stop this was to kill the caller with the dagger used. So, why so reluctant other than to have conflict with Johnny?

Micki has come a long way from the start of the show. Here, she's taken charge of making sure the store is safe, is missing Ryan but moving on, and is quick to snatch up the gun and hold it on Bonnie. She's grown so much.

Chaotic episode, a bid muddled, but an okay step into season three. And so much more vault space! Now they have room for things like the mulcher, the magic box and the trephinator!

Next week: Crippled Inside

[mariocki]

La fiancée de Dracula (Dracula's Fiancee, 2002)

"A figure in white. She was moving."

"Alive?"

"She's dead, but retains a semblance of life, thanks to him."

"He loves her that much?"

"Passionately."

[moviesandmania]

Dracula's Fiancée - France, 1999

Dracula’s Fiancée – France, 1999

Dracula’s Fiancée – aka La fiancée de Dracula – is a 1999 French horror feature film written and directed by Jean Rollin. (Grapes of Death; The Iron Rose; Requiem for a Vampire; The Nude Vampire; et al). The movie stars Jacques Orth, Thomas Smith and Sandrine Thoquet. Brigitte Lahaie has a cameo role.

While searching for the earthly remains of Count Dracula, a professor an his young assistant…

[detournementsmineurs]

“La Fiancée de Dracula” de Jean Rollin (2002) avec Cyrille Iste, Magalie Madison, Sandrine Thoquet, Jacques Orth, Denis Tallaron, Céline Mauge, Marie-Laurence, Bernard Musson, Nathalie Perrey, Brigitte Lahaie, Thomas Desfossé et Thomas Smith, décembre 2021.

[arianepouchkine]

The rules: Spell your URL using only movies you’ve enjoyed (each title only once) and tag 10 of your mutuals. 

I was tagged by @classic-flicks-chick ​, whom I thank very much. it wasn’t as easy as it seems (I suppose it depends of your tumblr name), and I just realize there are not one or two, but THREE (3!) films of the Archers on my list!

Atalante (l’) (1934, Jean Vigo)

Red shoes (the) (1948, Michael Powell and Emeric Pressburger)

I know where I’m going !  (1945, Michael Powell and Emeric Pressburger)

An angel at my table (1990, Jane Campion)

North by Northwest (1959, Alfred Hitchcock)

Earrings of Madame de… (the) (1953, Max Ophüls)

Private life of Sherlock Homes (the) (1970, Billy Wilder)

Oh… Rosalinda !! (1955, Michael Powell and Emeric Pressburger)

Unfaithfully yours (1948, Preston Sturges)

City lights (1931, Charlie Chaplin)

House of mirth (the) (2000, Terence Davies)

Killing (the) (1956, Stanley Kubrick)

I walked with a zombie (1943, Jacques Tourneur)

Naked kiss (the) (1964, Samuel Fuller)

Everyone says I love you (1996, Woody Allen)

Now I tag @tea-with-theo  @olivethomas  @wohlbruecks  @missholson  @rosy-under-your-bed  @taptaptappy-203  @littlehorrorshop  @inamedmycatgeorgesanders  @cinemaocd 

Enjoy

[artwalktv]

Directors : Jean-Pierre Jeunet and Romain Segaud Production : Tapioca Films Based on « Chanson des escargots qui vont à l’enterrement » poem by Jacques Prévert, Gallimard Editions Script : Jean-Pierre Jeunet Dialogue : Jacques Prévert Animation : Romain Segaud Creatures: Jean-Pierre Jeunet, Inspired by Jephan de Villiers work of art Music : Raphaël Beau Line Producer : Emmanuelle Sterpin, Marjorie Orth Photographer : Elske Koelstra Head Film Editor : Julien Lecat Sound Recordist : Julien Lecat Sound Effects Editor : Sélim Azazi Re recording Mixer : Vincent Arnardi Colorist : Didier Lefouest English Translation: Victoria Britten Cast : Sarah Bauer, Jean-Pierre Becker, Dominique Bettenfeld, Urbain Cancelier, Clovis Cornillac, Lorànt Deutsch, Jean-Claude Dreyfus, Albert Dupontel, Marina Fois, Youssef Hajdi, Irène Jacob, Mathieu Kassovitz, Jérôme Kircher, Nicolas Marié, Jean-Pierre Marielle, Laure Marsac, Serge Merlin, Yolande Moreau, Chantal Neuwirth, Patrick Paroux, Claude Perron, Ludovic Pinette, Dominique Pinon, Audrey Tautou, Florence Thomassin, Juliette Wiatr Distributor : La maison du Film Court English Translation : For a dead leaf's funeral Two snails set off They've blacked up their shells Put black bands on their horns They set off in the evening A lovely autumn eve Alas, when they arrive Spring has already come The leaves, which were dead Have all come back to life And the two snails Are very downhearted But out comes the sun And the sun says to them Take, take the trouble The trouble to sit down Take a glass of beer If that's what you fancy Take, if you'd like to The coach up to Paris It's leaving tonight You'll see the world But don't wear mourning You mark my words It makes you look ugly And blacks out your eyes All this coffin business Is grim and not nice Take back your colours The colours of life And then all the animals Trees and plants too Break out into song And sing loud and true They sing the song of life The song of summer And they all have a drink And their glasses they clink It's a beautiful evening A lovely summer's eve And so our two snails Back for home they leave They leave full of emotion They leave full of joy And they leave full of beer So they stumble and swoon But up in the sky Looking down is the moon

[todayclassical]

February 02 in Music History

1594 Death of Italian composer Giovanni Pierluigi Palestrina in Rome at age 68. 

1669 Birth of French composer and organist Louis Marchand, in Lyons.  1673 Death of German composer Kaspar Forster, at age 56 in Oliva. 

1687 FP of Pallavicino's La Gierusalemme Liberata at the Hoftheater in Dresden.

1714 Birth of German organist and composer Gottfried August Homilius in Rosenthal. 

1727 FP of J. S. Bach's Sacred Cantata No. 52 Ich habe genug on the Feast of the Purification, was part of Bach's third annual Sacred Cantata cycle in Leipzig.

1731 FP of Handel's opera Porus, King of India which ran for sixteen performances.

1748 Birth of German composer Christian Gottfried Thomas.

1750 Death of German composer Johann Graf, at age 65.

1762 Birth of castrato Girolamo Crescentini in Urbino. 

1770 Birth of bass Giuseppe Naldi in Bologna. 

1773 Birth of composer Vincenc Tomas Vaclav Tucek.

1779 Death of German composer Georg Philipp Kress, at age 59.

1780 Birth of American composer Ananias Davisson

1785 Birth of mezzo-soprano Isabella Colbran in Madrid.

1789 Death of French composer and organist Armand-Louis Couperin, at 63.

1790 Birth of tenor Domenico Donzelli in Bergamo. 

1794 Death of soprano Marie Fel.

1795 FP of Joseph Haydn's Symphony No. 102 in B.

1804 Birth of composer Leopold Eugen Mechura.

1817 Birth of composer Jose Maria de la Purificación Ventura.

1822 Death of French composer and violinist Jean-Baptiste Davaux, at age 79 in Paris.  1827 Death of composer Johann Nepomuk Kalcher, at age 62. 1837 Birth of German-Bavarian conductor and composer Max Zenger in Munich.  1840 Birth of French composer Louis Bourgault-Ducoudray.  1844 Birth of Dutch composer and Haarlem music school director, Leander Schlegel, in Oegstgeest.

1847 Birth of pianist and composer Jules Francois Blasini, in Curacaos. 1850 Birth of composer Makar Grigori Yekmalyan.

1869 Birth of baritone Jean Perier in Paris. 

1873 Birth of Austrian operetta composer Leopold Fall in Olmütz. 1875 Birth of Austrian-American violinist Fritz Kreisler in Vienna. 

1875 Death of bass Luigi Agnesi. 

1877 Birth of tenor Frantisek Krampera in Prague.  

1882 Birth of soprano Evgeniya Bronskaya in St Petersburg.  

1882 Death of Italian composer Fabio Campana, at age 63. 1883 Birth of Russian composer Mikhail Fabianovich Gnesin in Rostov on Don.  1883 Birth of Mexican composer Candelario Huízar in Jerez, Zacatecas, Mexico. 

1887 Death of tenor Georg Unger. 

1888 Birth of English pianist Irene Scharrer in London. 

1890 FP of Antonin Dvorák's Symphony No. 8, Op. 88, in Prague. Composer conducting. 

1893 Birth of soprano Jeanne Dusseau in Glasgow. 

1900 FP of Gustave Charpentiers opera Louise at the Opéra-Comique in Paris.

1900 Birth of soprano Anni Frind in Nixdorf, Czech.

1901 Birth of Russian-American violinist Jascha Heifetz in Vilnius. 

1901 Birth of German baritone Gerhard Hüsch in Hanover. 

1902 Death of composer Emanuil Mandlov, at age 42. 1904 Birth of composer Jose Enrique Pedreira. 1908 Birth of Slovenian composer Pavel Sivic in Slovenia. 

1908 Birth of Italian composer Renzo Rossellini.

1909 Death of German composer Johann Georg Herzog, at age 86. 1911 Birth of French organist and composer Jean-Jacques Grunenwald. 

1914 Birth of tenor Donat Antonovich Donatov in Pietrovich.  

1919 Birth of Swiss soprano Lisa Della Casa in Berne. 

1919 Death of composer Xavier Henry Napoleon Leroux, at age 55. 

1920 FP of Igor Stravinsky's ballet, The Song of the Nightingale at the Paris Opéra with choreography by Massine. 

1921 FP of Luis Bretan's opera Luceafarul 'The Evening Star', in Cluj, Romania. 

1923 Death of baritone Robert Leonhardt. 

1926 FP of Henry Cowell's String Quartet No. 1 Quartett Pedantic at Aeolian Hall by the Ralph Henkle String Quartet in NYC.

1921 Death of composer Luigi Mancinelli, at 72.

1925 Birth of composer Michel Paul Philippot.

1927 Birth of composer Richard Vance Maxfield in Seattle, WA. 

1928 Death of English composer Frederick Iliffe in Oxford.

1929 Birth of composer Reiner Bredeemeyer.

1929 Birth of tenor Waldemar Kmentt in Vienna.

1930 Birth of bass Reiner Suss in Chemnitz. 

1930 Birth of American composer Herbert Bielawa.

1933 Birth of baritone Patrick McGuigan in Dublin. 

1934 Birth of mezzo-soprano Maura Moreira in Brazil. 

1937 Birth of American soprano Martina Arroyo in NYC.  1941 Birth of French-American composer Serge Tcherepnin near Paris. 1944 Birth of English conductor Andrew Frank Davis in Ashbridge. 1944 Birth of American pianist Ursula Oppens in NYC. 1951 Birth of American composer Andrew Gelt in Albuquerque, NM.

1952 Death of German composer Gustav Strube, at age 85. 1954 Death of composer Theodor Rogalski, at age 52. 1956 Death of mezzo-soprano Marie Klanova-Panznerova. 

1960 Birth of American composer Harold Colin Cowherd.

1960 Death of composer Jeno Huszka, at age 84. 1961 Death of composer Adolf Vogl, at age 87. 1965 Death of composer Richard Wurz, at age 79. 1968 Birth of English composer Simon Wickham-Smith in Rustington.

1969 Death of MET Opera tenor Giovanni Martinelli at age 83.  1970 Death of composer Jaroslav Vogel, at age 76.

1971 Death of soprano and coach Franziska Martiensson-Lohmann. 

1974 Death of Belgian composer Jean Absil in Brussels at age 80. 1976 Death of composer Maurice Jacobson, at age 80. 1977 FP of Ned Rorem's A Quaker Reader for organ, in NYC.

1979 Birth of composer Marcus Hoffman.

1981 Death of soprano Xenia Belmas. 

1984 Death of soprano Margherita Perras.

1985 Death of bass Marco Stefanoni.

1986 Death of coach Margaret Krauss. 1987 Death of English composer and conductor Spike Partick Hughes.

1988 Death of British pianist Solomon Cutner.

1993 FP of Liebermann's Quintet for Piano & Strings, Peter Orth, piano; the Franciscan Quartet. 1993 Death of baritone Gino Bechi.

2000 Death of tenor Marcel Vercammen. 

2002 FP of Philip Glass' Symphony No. 6. American Composers Orchestra conducted by Dennis Russell Davies at Carnegie Hall in NYC.

2003 Death of American composer Lou Harrison at age 85 in Lafayette, Indiana.

[ozkamal]

Directors : Jean-Pierre Jeunet and Romain Segaud Production : Tapioca Films Based on « Chanson des escargots qui vont à l’enterrement » poem by Jacques Prévert, Gallimard Editions Script : Jean-Pierre Jeunet Dialogue : Jacques Prévert Animation : Romain Segaud Creatures: Jean-Pierre Jeunet, Inspired by Jephan de Villiers work of art Music : Raphaël Beau Line Producer : Emmanuelle Sterpin, Marjorie Orth Photographer : Elske Koelstra Head Film Editor : Julien Lecat Sound Recordist : Julien Lecat Sound Effects Editor : Sélim Azazi Re recording Mixer : Vincent Arnardi Colorist : Didier Lefouest English Translation: Victoria Britten Cast : Sarah Bauer, Jean-Pierre Becker, Dominique Bettenfeld, Urbain Cancelier, Clovis Cornillac, Lorànt Deutsch, Jean-Claude Dreyfus, Albert Dupontel, Marina Fois, Youssef Hajdi, Irène Jacob, Mathieu Kassovitz, Jérôme Kircher, Nicolas Marié, Jean-Pierre Marielle, Laure Marsac, Serge Merlin, Yolande Moreau, Chantal Neuwirth, Patrick Paroux, Claude Perron, Ludovic Pinette, Dominique Pinon, Audrey Tautou, Florence Thomassin, Juliette Wiatr Distributor : La maison du Film Court English Translation : For a dead leaf's funeral Two snails set off They've blacked up their shells Put black bands on their horns They set off in the evening A lovely autumn eve Alas, when they arrive Spring has already come The leaves, which were dead Have all come back to life And the two snails Are very downhearted But out comes the sun And the sun says to them Take, take the trouble The trouble to sit down Take a glass of beer If that's what you fancy Take, if you'd like to The coach up to Paris It's leaving tonight You'll see the world But don't wear mourning You mark my words It makes you look ugly And blacks out your eyes All this coffin business Is grim and not nice Take back your colours The colours of life And then all the animals Trees and plants too Break out into song And sing loud and true They sing the song of life The song of summer And they all have a drink And their glasses they clink It's a beautiful evening A lovely summer's eve And so our two snails Back for home they leave They leave full of emotion They leave full of joy And they leave full of beer So they stumble and swoon But up in the sky Looking down is the moon

[miriadonline]

CFP: A holiday from War? 'Resting' behind the lines during the First World War - Sorbonne Nouvelle, June 22 & 23, 2018

A Holiday from War? ‘Resting’ behind the lines during the First World War

Université Paris III – Sorbonne Nouvelle

June 22 & 23, 2018

Maison de la Recherche

Organised by Sarah Montin (EA PRISMES) et Clémentine Tholas-Disset (EA CREW)

Confirmed Keynote Speaker: Tim Kendall (University of Exeter)

His men threw the discus and the javelin, and practiced archery on the shore, and their horses, un-harnessed, munched idly on cress and parsley from the marsh, the covered chariots housed in their masters¹ huts. Longing for their warlike leader, his warriors roamed their camp, out of the fight. (lliad, Book II)

What do the soldiers do when they are not on the battlefield? The broadening of the definition of war experience in recent historiography has transformed our spatial and temporal understanding of the conflict, shifting the scope away from the front lines and the activities of combat. Beyond the battlefield and its traditional martial associations emerges another representation of the warrior and the soldier, along with another experience of the war.

Situated a few kilometres behind the front lines, the rear area is the space where soldiers rotated after several days burrowed at the front or in reserve lines, surfacing from the trenches to join rest stations, training installations, ammunition and food supply depots, hospitals, brothels, command headquarters or soldiers¹ shelters. In that space in-between which is neither the site of combat nor that of civilian life, the soldiers were less exposed to danger and followed a barracks routine enlivened by relaxing activities which aimed to restore morale. If some soldiers found there a form of rest far from the fury of the guns, others suffered from the encroaching discipline, the imposition of training orthe promiscuity with soldiers that were no longer brothers-in-arms in thas buffer zone where they spent 3/5ths of their time. Both a place of abandonment and a place of control, the rear area merges at times with the civilian world as it occupies farms and villages and hosts non-combatants such as doctors, nurses or volunteers. With battles being waged close by, the ³back of the front² (Paul Cazin) is a meeting place for soldiers of different armies and allied countries, as well as for officers and privates, soldiers and civilians, men and women, foreign troops and locals living in occupied zones. The rear area is not only a spatial concept but also a temporal one: it is a moment of reprieve, of passing forgetfulness and illusive freedom; a moment of ³liberated time² Thierry Hardier and Jean-François Jagielski) indicating a period of relative rest between combat and leave, a short-lived respite before returning to the front. If the combatant is entitled to repose and time to himself, military regulations demand that he never cease to be a soldier. As such we have to consider these moments of relaxation within the strict frame of military life at the front and the role played by civilian organizations such as the YMCA or the Salvation Army, who managed the shelters for soldiers on the Western Front.

Though seemingly incompatible with war experience, certain recreational activities specific to civilian life make their way to the rear area with the approval of military command. Moments of relaxation and leisure are encouraged in order to maintain or restore the soldier¹s physical and emotional well-being, thus sustaining the war effort. They also ensure that the soldier is not entirely cut off from ³normal² life and bring comfort to those who are not granted leave. Liberated time is not free time, just as periods without war are not periods of peace. These ³holidays from war² are not wholly synonymous with rest as the men are almost constantly occupied (review, training exercises, instruction) in order to fight idleness and ensure the soldiers stay fit for duty. The rear is thus also a place of heightened collective practises such as sports, hunting and fishing, walking, bathing, discussions, creation of trench journals, film projections, concert parties, theatre productions, religious services as well as individual activities such as reading, writing and artistic creation.

Between communion with the group and meditative isolation, experiences vary from one soldier to another, depending on social origins, level of education and rank, all of which take on a new meaning at the rear where the egalitarian spirit fostered during combat is often put to the test. Sociability differs in periods of fighting and periods of recovery, and is not always considered positively by the soldiers. However, despite the tensions induced by life at the rear, these ³holidays from war² and spells of idleness are often represented as idyllic ³pastoral moments² (Paul Fussell) in the visual and written productions of the combatants. The enchanted interlude sandwiched between two bouts of war becomes thus a literary and artistic trope, evoking, by contrast, a fleeting yet exhilarating return to life, innocence and harmony, a rediscovery of the pleasures of the body following its alienation and humiliation during combat.

In order to further our understanding of the historical, political and aesthetic concerns of life at the rear, long considered a parenthesis in the experience of war, this interdisciplinary conference will address, but will not be limited to, the following themes:

The ideological, medical and administrative construction of the notion of ‘rest’ in the First World War (as it applied to combatants but also auxiliary corps and personnel). Paramilitary, recreational and artistic activities at the rear; the organisation of activities in particular leisure and entertainment, the role of the army and independent contractors (civilian organisations, etc.) Sociability between soldiers (hierarchy, tensions, camaraderie); the rear area as meeting place with the other (between soldiers/auxiliary personnel, combatants, locals, men/women, foreign troops, etc.), site of passage, exploration, initiation or ³return to the norm² (³rest huts² built to offer a ³home away from home²), testimonies from inhabitants of the occupied zones Articulations and dissonances between community life and time to oneself, collective experience and individual experience The historic and artistic conceptualisation of the rear area, specific artistic and literary modes at the rear by contrast with writings at the front Staging life at the rear: scenes of country-life, idyllic representations of non-combat as farniente or hellscapes, bathing parties or penitentiary universes, the figure of the soldier as dilettante, flâneur and solitary rambler, in the productions (memoirs, accounts, correspondence, novels, poetry, visual arts, etc.) of combatants and non-combatants; Cultural, political and media (re)construction of the figure of the ³soldier at rest² (war photography, postcards, songs, etc.); representations of the male and female body at rest, constructions of a new model of masculinity (sexuality and sport), and their place in war production.

In order to foster dialogue between the Anglophone, Francophone and Germanophone areas of study, the conference will mainly focus on the Western Front. However proposals dealing with other fronts will be examined. Presentations will preferably be in English.

Please send a 250-word proposal and a short bio before November 20, 2017 to : montin.sarah@gmail.com and clementine.tholas@univ-paris3.fr Notification of decision: December 15th 2017

  Proposals will be reviewed by the Conference scientific committee: Jacub Kazecki (Bates College) Jennifer Kilgore-Caradec (Université de Caen) Catherine Lanone (Université Sorbonne-Nouvelle) Mark Meigs (Université Paris Diderot) Sarah Montin (Université Sorbonne-Nouvelle) John Mullen (Université de Rouen) Karen Randell (Nottingham Trent University) Serge Ricard (Université Sorbonne-Nouvelle) Clémentine Tholas-Disset (Université Sorbonne-Nouvelle)

Bibliography

AUDOUIN ROUZEAU, Stéphane & Jean-Jacques Becker (ed.) Encyclopédie de la Grande Guerre 1914-1918, Paris: Perrin, 2012 (Bayard, 2004). BOURKE, Joanna, Dismembering the Male: Men’s Bodies, Britain and the Great War, London: Reaktion Books, 1996. CAZALS, Rémy et André Loez, 14-18. Vivre et mourir dans les tranchées, Paris: Tallandier, 2012. COCHET, François La Grande Guerre: Fin d’un monde, début d’un siècle, Paris: Perrin, 2004. DAS, Santanu, Race, Empire and First World War Writing, Cambridge: Cambridge University Press, 2011. DAS, Santanu, Touch and Intimacy in First World War Literature, Cambridge: Cambridge University Press, 2005. FULLER, J. G. Troop Morale and Popular Culture in the British and Dominion Armies, 1914-1918, London : Clarendon Press, 1990. FUSSELL, Paul, The Great War and Modern Memory, Oxford: Oxford University Press, 1975. HARDIER, Thierry & Jean-François Jagielski, Oublier l’apocalypse ? Loisirs et distractions des combattants pendant la Grande Guerre, Paris: Imago, 2014. HARTER, Hélène, Les Etats-Unis dans la Grande Guerre, Paris: Tallandier, 2017. LAFON, Alexandre, La Camaraderie au front, 1914-1918, Paris: Armand Colin, 2014. MAROT, Nicolas, Tous Unis dans la tranchée? 1914-1918, les intellectuels rencontrent le peuple, Paris: Seuil, 2013. MEIGS, Mark, Optimism at Armageddon: Voices of American Participants in the First World War, New York: Palgrave Macmillan, 1997. REZNICK, Jeffrey, Healing the Nation: Soldiers and the Culture of Caregiving in Britain during the First World War, Manchester : Manchester University Press, 2004. SMITH, Angela K. & Krista Cowman (ed.), Landscapes and Voices of the Great War, New York: Routledge, 2017. TERRER Thierry & J.A. Magan (ed.), Sport, Militarism and the Great War: Martial Manliness and Armageddon, New York: Routledge, 2012. THOLAS DISSET, Clémentine & Karen Ritzenhoff (ed.), Humor, Entertainment and Popular Culture during World War One, New York: Palgrave MacMillan, 2015. WINTER, Jay (ed.), The Cambridge History of the First World War, Cambridge: Cambridge University Press, 2013

[detournementsmineurs]

Cyrille Iste, Jacques Orth et Denis Tallaron dans “La Fiancée de Dracula” de Jean Rollin (2002), décembre 2021.

[detournementsmineurs]

Denis Tallaron et Jacques Orth dans “La Fiancée de Dracula” de Jean Rollin (2002), décembre 2021.