This is a full critical discussion of the films of Latin America's most important living director. Through a discussion of his films Darlene J. Sadlier chronicles dos Santos's career.
Tells the 'story' of Pessoa in a very well-informed presentation. . . . both scholarly and suggestive in creating a rich world of literary referentiality."--K. David Jackson, Yale University Darlene Sadlier's detailed commentary on Pessoa's work explores some of the cultural, political, and personal implications of the artistic impersonation that made him one of the major figures in modern literature. He created a large gallery of authors, each with his own history, who also wrote essays commenting on one another--including Fernando Pessoa "himself." Sadlier's study demonstrates the scope of Pessoa's writing, ranging in style from "artless" simplicity to subtle, almost Borgesian irony, and it also traces the ways in which Pessoa's four major "authors" (which he called "heteronyms") are related to one another. Sadlier shows that the four poets engage in a dialogue, enabling Pessoa to dramatize the contradictions in his attitudes toward language, history, and society. And she demonstrates that, while distinct in attitude and style, they nevertheless share a preoccupation with the nature of poetry and are responsible for some of the most unusual and skillfully composed verse in the twentieth century. In striking fashion, they anticipate the postmodern deconstruction of the idea of authorship. Sadlier offers a historical context for Pessoa's work, grounding his poetry in Portuguese culture and the major political and artistic concerns of his day. She presents an especially important commentary on his childhood verse and on the early, formative stages of his writing. Finally, she discusses his posthumous reputation, showing how he has been ironically transformed into a single, apparently unified figure who has become, for many, a symbol of Portugal's national identity. Darlene J. Sadlier, professor and chair of the Department of Spanish and Portuguese at Indiana University in Bloomington, is the author of The Question of How: Women Writers and New Portuguese Literature and the editor and translator of One Hundred Years After Tomorrow: Brazilian Women's Fiction in the Twentieth Century.
This is a full critical discussion of the films of Latin America's most important living director. Through a discussion of his films Darlene J. Sadlier chronicles dos Santos's career.
The first comprehensive cultural history of Brazil to be written in English, Brazil Imagined: 1500 to the Present captures the role of the artistic imaginary in shaping Brazil's national identity. Analyzing representations of Brazil throughout the world, this ambitious survey demonstrates the ways in which life in one of the world's largest nations has been conceived and revised in visual arts, literature, film, and a variety of other media. Beginning with the first explorations of Brazil by the Portuguese, Darlene J. Sadlier incorporates extensive source material, including paintings, historiographies, letters, poetry, novels, architecture, and mass media to trace the nation's shifting sense of its own history. Topics include the oscillating themes of Edenic and cannibal encounters, Dutch representations of Brazil, regal constructs, the literary imaginary, Modernist utopias, "good neighbor" protocols, and filmmakers' revolutionary and dystopian images of Brazil. A magnificent panoramic study of race, imperialism, natural resources, and other themes in the Brazilian experience, this landmark work is a boon to the field.
Cultural diplomacy—"winning hearts and minds" through positive portrayals of the American way of life—is a key element in U.S. foreign policy, although it often takes a backseat to displays of military might. Americans All provides an in-depth, fine-grained study of a particularly successful instance of cultural diplomacy—the Office of the Coordinator of Inter-American Affairs (CIAA), a government agency established by President Franklin D. Roosevelt in 1940 and headed by Nelson A. Rockefeller that worked to promote hemispheric solidarity and combat Axis infiltration and domination by bolstering inter-American cultural ties. Darlene J. Sadlier explores how the CIAA used film, radio, the press, and various educational and high-art activities to convince people in the United States of the importance of good neighbor relations with Latin America, while also persuading Latin Americans that the United States recognized and appreciated the importance of our southern neighbors. She examines the CIAA's working relationship with Hollywood's Motion Picture Society of the Americas; its network and radio productions in North and South America; its sponsoring of Walt Disney, Orson Welles, John Ford, Gregg Toland, and many others who traveled between the United States and Latin America; and its close ties to the newly created Museum of Modern Art, which organized traveling art and photographic exhibits and produced hundreds of 16mm educational films for inter-American audiences; and its influence on the work of scores of artists, libraries, book publishers, and newspapers, as well as public schools, universities, and private organizations.
What do locks of Edgar Allan Poe’s hair, Sylvia Plath’s attractive handmade paper dolls, John Ford’s Oscars, and Ian Fleming’s James Bond 007 cigars have in common? They are just a few of the fascinating objects found in the world-famous Lilly Library, located on the campus of Indiana University Bloomington. In this beautifully illustrated A-to-Z volume, Darlene J. Sadlier journeys through the library’s wide-ranging collections to highlight dozens of intriguing items and the archives of which they are a part. Read about life and death masks of John Keats, Abraham Lincoln, and Theodore Dreiser; Walt Whitman’s last pencil; and vintage board games, mechanical puzzles, and even comic books. Among the more peculiar items are a pair of elk teeth and an eerily realistic wall-mount bust of Boris Karloff. Sadlier writes engagingly about the Lilly Library’s major historical collections, which include Civil War diaries and a panopticon of the war called the Myriopticon; War of 1812 payment receipts to spies; and the World War II letters and V-mail of journalist Ernie Pyle. This copiously illustrated, entertaining, and educational book will inspire you to take your own journey and discover for yourself the wonders of the Lilly Library.
Since the late nineteenth century, Brazilians have turned to documentaries to explain their country to themselves and to the world. In a magisterial history covering one hundred years of cinema, Darlene J. Sadlier identifies Brazilians’ unique contributions to a diverse genre while exploring how that genre has, in turn, contributed to the making and remaking of Brazil. A Century of Brazilian Documentary Film is a comprehensive tour of feature and short films that have charted the social and political story of modern Brazil. The Amazon appears repeatedly and vividly. Sometimes—as in a prize-winning 1922 feature—the rainforest is a galvanizing site of national pride; at other times, the Amazon has been a focus for land-reform and Indigenous-rights activists. Other key documentary themes include Brazil’s swings from democracy to dictatorship, tensions between cosmopolitanism and rurality, and shifting attitudes toward race and gender. Sadlier also provides critical perspectives on aesthetics and media technology, exploring how documentaries inspired dramatic depictions of poverty and migration in the country’s Northeast and examining Brazilians’ participation in streaming platforms that have suddenly democratized filmmaking.
The imperial diaspora -- The Lusophone African diaspora -- Oriental imaginings and travel at the turn of the twentieth century -- Into the wilderness : the race for Africa and the promise of Brazil -- The Casa dos Estudantes do Império and mensagem -- A Lusotropicalist tourist and soldiers, East Indians, and Cape Verdeans on the move -- War in Africa and the global economy : leaving home and returning -- Epilogue : the Portuguese-speaking diaspora and "Lusofonia
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