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Jules Dassin

Julius Dassin (December 18, 1911 – March 31, 2008) was an American film and theatre director, producer, writer and actor. A subject of the Hollywood blacklist, he subsequently moved to France, and later Greece, where he continued his career. He was a member of the Academy of Motion Picture Arts and Sciences and the Screen Directors' Guild.

Dassin received a Best Director Award at the Cannes Film Festival for his film Du rififi chez les hommes. He was later nominated for an Academy Award for Best Director and Best Writing, Story and Screenplay – Written Directly for the Screen for his film Never on Sunday, and was nominated for a Tony Award for Best Direction of a Musical for his Broadway production of Illya Darling.

Early life
Julius Dassin was born on December 18, 1911, to Bertha Dassin (née Vogel) and Samuel Dassin, a barber, in Middletown, Connecticut. His parents were both Jewish immigrants from Odessa, Russian Empire (now Ukraine). Julius had seven siblings, including four brothers, Louis C., Benjamin, Irving and Edward; and three sisters.

In 1915, when Julius was three years old, the Dassin family moved to Harlem, New York. He attended public grammar school where he received his first acting role in a school play. Julius was given a small part but when came time to speak his only line, he fainted due to stage fright. He also learned to play the piano at a young age. During his youth he attended Camp Kinderland, a left-wing Yiddish youth camp.

Julius attended Morris High School in the Bronx. He started acting professionally in 1926, at the age of fourteen, with the Yiddish Art Theatre in New York City. On October 13, 1929, newspaper columnist Mark Hellinger printed a story given to him by Dassin in the New York Daily News; nearly twenty years later, the two would work together in Hollywood.

On July 11, 1933, Julius' older brother Louis was arrested in Meriden, Connecticut when he confessed to the theft of $12,000 from the Puritan Bank and Trust Company, where he worked as a teller and treasurer. On September 10, 1933, when he was 21 years old, Julius married Beatrice Launer, a concert violinist and a graduate of the Juilliard School of Music.

Beginning in 1934, Julius spent three years studying dramatic technique in Europe. He spent time in Italy, France, Spain, Germany, Russia, England, Czechoslovakia, Portugal, Switzerland and Greece, working odd jobs to sustain himself.

New York theatre and radio career
After returning from Europe in 1936, Dassin joined the Children's Theatre, a division of the Federal Theatre Project during the Great Depression. It was during this time that he joined the Communist Party USA. The troupe put on children's plays at the Adelphi Theatre in New York City. During this time, he played the role of Zar in The Emperor's New Clothes in September 1936, and the role of Oakleaf in Revolt of the Beavers, which ran from May 20, 1937, to June 19, 1937. The later play was criticized as strongly communist.

He later joined up with the Artef Players, a Yiddish Proletarian Theater company in 1937, serving as an actor, set designer, set builder, stage director and even ticket salesman. Beginning on October 5, 1937, he appeared in Moyshe Kulbak's play The Outlaw, which had been adapted by Chaver Paver at The Artef Theatre He also appeared in Artef Players' Recruits and 200,000. On November 5, 1938, Dassin's wife Beatrice gave birth to their first child, son Joseph. In October 1939, he acted in Chaver Paver's Clinton Street, which was staged at the Mercury Theatre, after Orson Welles' troupe had left for Hollywood and the Radio-Keith-Orpheum circuit. Since the pay was poor with Artef Players, Dassin formed a theatre troupe to tour the Borscht Circuit in the Catskills as summer stock.

Dassin acted in a movie scripted and directed by Jack Skurnick, which was shown to a small group at a space that Skurnick rented in New York but was never exhibited beyond that.

He then wrote sketches for radio, at times directing his own radio plays, and became a stage director and producer. In April 1939, Dassin adapted Nicolai Gogol's story The Overcoat for the CBS variety program The Kate Smith Hour, which starred Burgess Meredith and was broadcast live on April 20, 1939. In early 1940, Dassin staged and directed the play Medicine Show for producer Martin Gabel, starring Isabel Bonner, Philip Bourneuf and Norman Lloyd. Although it was well received by critics,   Medicine Show only ran for 35 performances at the New Yorker Theatre, from April 12, 1940, to May 11, 1940.

RKO Radio Pictures (1940)
In June 1940, Dassin was signed to a term contract with Hollywood film studio RKO Radio Pictures as a director. He was immediately assigned as an assistant director to learn the motion picture business, working under Garson Kanin on They Knew What They Wanted (1940) and Alfred Hitchcock on Mr. and Mrs. Smith (1941), both starring Carole Lombard and both under the supervision of producer Harry E. Edington. During the filming of Mr. and Mrs. Smith, Dassin's wife Beatrice gave birth to their second child, daughter Richelle. By January 1941, after six months without a proper directorial job, Dassin was released from his RKO Radio Pictures contract.

Dassin returned to radio work in Hollywood, presenting his previously adapted Gogol story The Overcoat for a repeat performance on The Kate Smith Hour, this time starring Henry Hull, which was broadcast live on January 3, 1941. He was also one of the several actors who formed the Actors' Laboratory Theatre.

Metro-Goldwyn-Mayer and loan-out to Eagle-Lion Films (1941–1946)
Wanting to prove that he could direct motion pictures, Dassin approached Metro-Goldwyn-Mayer in the spring of 1941 offering his services for free. He told the studio that he would direct any film for free; the studio instead offered to pay him to direct a short film. Dassin made his directorial debut with a short film of Edgar Allan Poe's The Tell-Tale Heart. Filmed in June 1941 and released on October 25, 1941, the success of the picture led to his hasty promotion as a feature film director and the signing of an exclusive five-year contract in early November 1941. Dassin was promoted from the short story department to the feature film department by Metro-Goldwyn-Mayer at the same time as Fred Zinnemann and Fred Wilcox.

His feature film debut at Metro-Goldwyn-Mayer was the low-budget spy thriller Nazi Agent (originally announced under the titles Salute to Courage, House of Spies and Out of the Past), under the supervision of producer Irving Asher and starring Conrad Veidt, in the dual roles of twin brothers, and Ann Ayars. Released in early 1942, the film received immediate critical acclaim and was a box office success, with Dassin being compared to Orson Welles and Alfred Hitchcock.

Dassin followed with the romantic comedy The Affairs of Martha (originally announced under the title Once Upon a Thursday), starring Marsha Hunt and Richard Carlson, and under the supervision of producer Irving Starr. The film was made in early 1942 on a limited budget. When released in mid-1942, the film was a moderate success and again Dassin was highlighted in the reviews.

In mid-February 1942, it was reported that Dassin would direct a film titled Men at Sea from a Marine Corps story by Alma Rivkin (possibly a typo for Allen Rivkin) starring Philip Dorn. The film was presumably abandoned. In April 1942, it was reported that Dassin would be one of eight directors, along with Fred Zinenmann, Fred Wilcox, Charles Lederer, Edward Cahn, Joseph M. Newman and David Miller, to film a sequence for a planned patriotic anthology film at Metro-Goldwyn-Mayer titled Now We Are 21. The film was to be produced by B. F. Zeidman and scripted by Peter Ruric from a story by Jerry Schwartz. Actors such as Gene Kelly, Ray McDonald, Virginia O'Brien, James Warren, Tatricia Dane, Johnny Davis and Barry Wilson were to appear in the film, but it was never made.

Joan Crawford, one of Metro-Goldwyn-Mayer's biggest stars at the time, watched a private screening of Nazi Agent, after which she rushed to Louis B. Mayer's office insisting that Dassin direct her upcoming World War II drama vehicle, Reunion in France (originally announced simply as Reunion). The picture was being produced by Joseph L. Mankiewicz and was to co-star Philip Dorn and John Wayne. Crawford also requested that Ann Ayars, who co-starred in Nazi Agent, be given the second female lead in her film. Dassin was notified of this new assignment on May 19, 1942, and the press reported that he had been promoted to become an "A movie" director.   On the first day of shooting, Dassin yelled "cut" while Crawford was performing, which deeply upset the actress and led her to rush into Mayer's office. Dassin was called into Mayer's office and told that his career as a film director was over. To his surprise, Crawford invited the young director to have dinner at her house later that night and the two became dear friends; the next day, Dassin resumed his directorial duty on the film. The film opened to theatres in December 1942 but received mixed opinions from critics who found its pace too slow.

After completing Reunion in France, it was reported that Dassin received a leave of absence from Metro-Goldwyn-Mayer to act in a stage production of William Shakespeare's Richard III on Broadway. The play was to be directed by and starring John Carradine, though it is unknown if this production came through. Dassin was also employed by Frank Tuttle as one of the lecturers for Hollywood School for Writers' new film directing class, along with Fred Zinnemann, Irving Pichel and László Benedek.

In mid-November 1942, he was assigned to direct another romantic comedy, Young Ideas (originally announced as Faculty Row), under the supervision of producer Robert Sisk. The film was shot from mid-December 1942 to early 1943 and starred Susan Peters, Herbert Marshall and Mary Astor. The film was released in the summer of 1943 and received favorable reviews as a light comedy. In March 1943, Dassin joined the Academy of Motion Picture Arts and Sciences.

In September 1943, after several months without a project, Dassin took over the directorial duties on a comedy film adaptation of Oscar Wilde's The Canterville Ghost. Original director Norman Z. McLeod had departed after five weeks of shooting, following a clash with producer Arthur Field and the cast, which included Charles Laughton, Robert Young and Margaret O'Brien. The film finished shooting in December 1943 and was released in the summer of 1944. Between the filming of scenes, Laughton often asked Dassin to play Russian classical songs on the piano, of which both were fond. The Canterville Ghost was very well received by critics and won a Retro Hugo Award for Best Dramatic Presentation in 2020.

In January 1944, producer Edwin H. Knopf selected Dassin to direct the suspense drama Secrets in the Dark (originally announced as Strangers in the Dark and The Outward Room). The motion picture was based on Millen Brand's novel The Outward Room and from the existing play version The World We Make, which had been adapted by Sidney Kingsley. The plot was that of a middle-class girl who escapes from an insane asylum and develops a love affair with a blue collar steel worker, and in turn overcomes her phobias. The property was developed as a starring vehicle for Susan Peters, newly promoted Metro-Goldwyn-Mayer starlet. Gene Kelly was first cast as the male lead in January 1944, though he was replaced by Robert Young in February 1944. Other cast members included Fortunio Bononova, Katharine Balfour, Felix Bressart, Alexander Granach, Peggy Maley, Marta Linden, Morris Ankrum, Sharon McManus and Betty Lawler.

Secrets in the Dark was to start shooting on February 20, 1944, with cinematographer Robert Planck, but was pushed back to early March 1944 due to production delays. On April 1, 1944, Peters was admitted into Santa Monica Hospital for abdominal pain and underwent major surgery. Her recovery took several months, postponing the films' production indefinitely. Reports varied as to how much footage was shot; some reported as little as ten-day of filming, while others stated that the film was nearly completed. By the time that Peters had recovered in the summer of 1944, Dassin was on a voluntary leave from the studio, so Peters was instead assigned to Keep Your Powder Dry (originally announced as Women in Uniform) for director Edward Buzzell. When Dassin finally returned to work for Metro-Goldwyn-Mayer in mid-1945, Peters had undergone another series of surgeries (due to an accidental shotgun discharge on January 1, 1945), which put her in a wheelchair. Peter's character in Secrets in the Dark was to be rewritten as a paraplegic, but the film was instead permanently shelved.

When Secrets in the Dark was first postponed in early April 1944, Dassin started acting in night plays at the Actors' Laboratory Theatre as part of the War Charities benefits. The first play in which he acted was Night Lodging, followed by The Lower Depths. In May 1944, Dassin teamed up with Arthur Lubin to set up the Soldier Shows Stock Company, a project to put on plays featuring wounded war veterans at Torney General Hospital in Palm Springs, California.

In June 1944, Metro-Goldwyn-Mayer announced that Dassin had been assigned to direct the company's 20th Anniversary film, Some of the Best. The five-reel picture was to include excerpts from prior Metro-Goldwyn-Mayer films, spanning 1924–1943, along with wrap-around pieces starring Lewis Stone. Dassin, however, became weary of his directorial duties at Metro-Goldwyn-Mayer and asked Louis B. Mayer to be released from his exclusive contract. Mayer sternly refused, even after Dassin offered to sign a promissory document that he would never work for another Hollywood studio. In a later interview conducted in December 1946, Dassin revealed that he was ashamed of some of the directorial duties he was forced to accept while at Metro-Goldwyn-Mayer. Dassin had hoped to return to work on the New York stage but instead took a thirteen-month voluntary hiatus from Metro-Goldwyn-Mayer, filling his time by reading books on the beach and working on local plays. On July 30, 1944, Dassin's wife Beatrice gave birth to their third child, daughter Julie.

In November 1944, actor Ralph Bellamy approached Dassin to direct The Democrats, a play he was producing on Broadway. The Democrats was written by Melvin Levy and was so co-star Frances Dee. Although the production received good publicity throughout the month of November 1944, it would appear that it never came to fruition, perhaps because Dassin was unable to receive a leave of absence from Metro-Goldwyn-Mayer.

In December 1944, Metro-Goldwyn-Mayer assigned Dassin to direct the crime-mystery film Dangerous Partners (originally announced as Paper Chase) for producer Arthur Field. Dassin took over the directorial duties from Fred Zinnemann (who was then suspended from Metro-Goldywn-Mayer for refusing to finish the picture), and had anticipated casting Susan Peters in the lead. But when Peters suffered a gun shot wound accident on January 1, 1945, Dassin pulled out of the project. Director Edward Cahn was ultimately hired for the job and recast the female lead role with Signe Hasso, successfully completing the picture.

Returning to Metro-Goldwyn-Mayer in May 1945, after thirteen months away from cameras, Dassin was immediately assigned to direct the romantic comedy film A Letter for Evie for producer William H. Wright. The picture began shooting in early June 1945 and included Marsha Hunt, Hume Cronyn, John Carroll, Norman Lloyd and Pamela Britton. A Letter for Evie briefly changed title to All the Things You Are in late 1945, but its original title was restored in time for release in November 1945.

It was announced that once Dassin completed the shooting of A Letter for Evie, he would fly to Europe to direct a series of plays sponsored by the Actors' Laboratory Theatre. The plays were to star soldiers as part of war-time moral-building entertainment. Again, he was denied a leave of absence from Metro-Goldwyn-Mayer and in early August 1945 was assigned to direct the romantic comedy thriller (with strong film noir tones), Two Smart People (originally announced as Time for Two) for producer Ralph Wheelwright. The picture began filming in September 1945 and starred Lucille Ball, John Hodiak and Lloyd Nolan, and was released in late 1946. Following Two Smart People, Dassin would spend more than a year without successfully shooting another film.

In March 1946, Dassin and Joseph Losey co-directed Viola Brothers Shore's stage play Birthday for the Actors' Laboratory Theatre. The production, which unfolds a narrative of a girl's 18th birthday, was staged at the Phoenix Theater starring actress Karen Morley. The cast also included Howard Duff, Jocelyn Brando and Don Hanmer. In August 1946, it was reported that Dassin had been signed to direct the film noir Repeat Performance for Eagle-Lion Films, through a loan-out arrangement with Metro-Goldwyn-Mayer. The picture was to be made under the supervision of writer-producer Marion Parsonnet and set to star Franchot Tone, Sylvia Sidney, Constance Dowling and Tom Conway. Unfortunately, disagreements about the budget and script caused the whole production to fall apart and the entire cast and crew resigned. The picture was eventually made with a completely new team a year later. Dassin was finally released from Metro-Goldwyn-Mayer once his exclusive five-year contract expired in November 1946.

Mark Hellinger Productions and Universal-International Pictures (1946–1948)
As soon as the news hit that Dassin was free from contractual obligations with Metro-Goldwyn-Mayer, writer-turned-producer Mark Hellinger scooped up the director, signing him to a non-exclusive three-picture freelance contract with his film production company, Mark Hellinger Productions. The contract gave Dassin the freedom to choose his own three projects to direct at Mark Hellinger Productions, without an expiry date. The producer had an existing financing and distribution deal with Universal-International Pictures, where Dassin was set to direct one of Hollywood's biggest new stars, Burt Lancaster, in a violent prison film noir, Brute Force.

With new freedom, and support from executive producer Hellinger and associate producer Jules Buck, Dassin announced that he would shoot the picture using realism and a documentary-style. He also employed a total of thirteen actors with whom he had worked at the Actors' Laboratory Theatre, including Hume Cronyn, Howard Duff, Roman Bohnen, Whit Bissell, Art Smith, Jeff Corey, Sam Levene, Charles McGraw, Will Lee, Ray Teal, Crane Whitley, Kenneth Patterson and James O'Rear. The cast also included noted Hollywood actors Charles Bickford, Yvonne De Carlo, Ann Blyth, Ella Raines and Anita Colby. Brute Force was shot from March to April 1947 on the Universal-International Pictures lot, with reshoots taking place in early May 1947 to appease objections from the Motion Picture Association of America, shortly before a preview audience. The film, which featured a score composed and conducted by Miklós Rózsa, was released to theatres in July 1947 through Universal-International Pictures; that same month, Cosmopolitan magazine awarded Dassin with the Movie Citations of the Month Award for Best Director. Less than a year after its release, Dassin revealed that he did not like the film.

In early May 1947, Dassin was announced as the director of Hellinger's next production, The Naked City (originally announced as Homicide) Dassin planned to push the realism and documentary-style filming technique of the police story flic further by shooting it entirely on location in New York City. The production received full cooperation from New York City's Homicide Squad during its two and a half months of location shooting, from June to August 1947. 107 different locations were shot in New York City, and to distract the crowd and keep them looking natural, Dassin hired a juggler to draw their attention away from the cameras.

Dassin, Hellinger and associate producer Buck worked with several of the same cast and crew members from Brute Force on The Naked City, including actors Howard Duff, Ralph Brooks and Chuck Hamilton, assistant director Fred Frank, cinematographer William H. Daniels, art director John F. DeCuir, set decorator Russell A. Gausman and composer Miklós Rózsa. The film also starred Barry Fitzgerald, Don Taylor and Dorothy Hart. After overseeing the editing of the film in Hollywood during September and October 1947, Dassin flew back to New York City in early November 1947 to work on the pre-production of the stage play Strange Bedfellows. Unbeknownst to Dassin, Hellinger and Buck wound up re-cutting the film in his absence; the director only finding out at the film's premiere on March 3, 1948, when he saw a highly edited version of his film projected on the screen. Furthermore, Hellinger died suddenly on December 21, 1947, months before the film was premiered and released to theatres by Universal-International Pictures.

Although Dassin was unhappy about the final cut of The Naked City, the film was a huge success (one of the top movies of 1948), and it was nominated for and won several accolades, including Academy Awards for Best Film Editing and Best Cinematography, Black-and-White, an Academy Award nomination for Best Writing, Motion Picture Story; a British Academy of Film and Television Arts nomination for Best Film from any Source; and Writers Guild of America Award nominations for Best Written American Drama and The Robert Meltzer Award. In 2007, the film was deemed "culturally, historically, or aesthetically significant" by the United States National Film Preservation Board and was selected for preservation in the Library of Congress' National Film Registry.

Dassin's third and final film under his Mark Hellinger Productions contract was up in limbo following Hellinger's death. The film production unit had undergone considerable changes in the months prior to Hellinger's passing, including the addition of Humphrey Bogart as vice-president, and the signing of a six-picture financing and distribution deal with David O. Selznick's Selznick Releasing Organization. Mark Hellinger Productions owned the filming rights to several Ernest Hemingway stories, Forest Rosaire's novel East of Midnight, Arthur Cohn's screenplay Disbarred, Gordon Macker's screenplay Race Track, Philip G. Epstein's screenplay Mistakes Will Happen, and Jerry D. Lewis' screenplay Twinkle, Twinkle; in addition to three films in development: Knock on Any Door, Criss Cross and Act of Violence. Any of these properties may have been picked for Dassin to direct in 1948. The company also held contracts with actors Bogart, Burt Lancaster, Don Taylor and Howard Duff, and with cinematographer William Daniels.

Bogart, Selznick and secretary-treasurer A. Morgan Marie announced their plan to continue Mark Hellinger Productions in January 1948, by co-heading the company and honoring the late producers' namesake with the previously planned films in development. However, difficulty lay in finding a new executive producer to head the production; Jerry Wald was first approached but was unable to free himself from his Warner Bros. contract. Robert Lord was then offered the post and freed himself from his Metro-Goldwyn-Mayer contract to accept the new position. Unfortunately, Hellinger's widow, former actress Gladys Glad Hellinger, decided to liquidate the company and all of its assets in early February 1948. The story properties and actor, director and cinematographer contracts were sold to other studios via the William Morris Agency. This lead Bogart, Lord and Marie to form their own film production company, Santana Productions, and secure a financing and distribution deal with Columbia Pictures with some of the properties they managed to purchase. It is unknown which, or if a studio bought out Dassin's remaining one-picture deal, though news reports hinted towards Universal-International Pictures or Metro-Goldwyn-Mayer.

In late December 1947, before Bogart, Selznick and Marie had decided upon continuing the Mark Hellinger Productions firm, Dassin took the opportunity of his non-exclusive contract to partner with stage actor and producer Luther Adler in an independent film venture. Adler had recently purchased Jack Iams' novel Prophet by Experience in September 1947 and hired Ben Hecht to adapt it and write the screenplay. The story dealt with a hermit who is taken out of seclusion by a magazine writer, and who has a unique set of experiences in the outside world. Adler, who was solely to act as producer in his new film production company, approached Dassin to direct the picture and negotiations were underway for a financing and distribution deal with Columbia Pictures. For reasons unknown, the film was never made.

While still in New York City, Dassin was hired by producers John Houseman and William R. Katzell to direct Allan Scott's play Joy to the World; a comedy about a ruthless Hollywood producer. The play began rehearsals on January 26, 1948, and opened on Broadway at the Plymouth Theatre on March 18, 1948. It would run for 124 performances, until July 3, 1948. The cast included Alfred Drake, Marsha Hunt, Morris Carnovsky, Mary Welch, Lois Hall, Peggy Maley, Myron McCormick, Clay Clement, Bert Freed, Kurt Kasznar and Theodore Newton.

20th Century-Fox Film and the blacklist years (1948–1953)
In February 1948, Dassin was approached by theatre producer Mike Todd, who was planning to venture into the film producing business. Todd planned to produce a series of low-budget, $500,000 films and had secured a financing and distribution deal with 20th Century-Fox Film. The first picture in Todd's new deal was Busman's Holiday, an original story based on newspaper accounts of a Bronx bus driver who took off for Florida with his family using his company's bus. Todd cast Joan Blondell as one of the leads and planned to film the entire picture using real locations, from New York City to Florida. Motivated by the success and filming style of The Naked City, Todd immediately approached Dassin to direct the film. The picture was never made, but Todd later produced the similarly scenic picture Around the World in 80 Days.

On April 3, 1948, Dassin returned to Hollywood to meet with executives from three different studios: Metro-Goldwyn-Mayer, 20th Century-Fox Film and Columbia Pictures, each of which had offered the director a contract. Dassin connected best with Darryl F. Zanuck and opted to sign with 20th Century-Fox Film. In addition to Busman's Holiday, during the spring of 1948 Dassin was tied to two film projects with actress Paulette Goddard at 20th Century-Fox Film. The first was to be a film adaptation of Jean-Paul Sartre's latest novel and recently opened Broadway hit The Respectful Prostitute, for which Goddard and actor Burgess Meredith had negotiated the screen rights, hoping to play the leads. Dassin, who had promised to direct, was the only director Goddard wanted.

By June 1948, Dassin was tied to direct Anna Lucasta at Columbia Pictures, a play, written by Philip Yordan, about a young prostitute whose family tries to use her to steal money from a potential husband. Goddard was set to play the lead in the film and reportedly insisted that Dassin be hired to direct. During negotiations with 20th Century-Fox, Zanuck considered loaning Linda Darnell to Columbia Pictures as part of a package deal, but things fell through. Irving Rapper ultimately directed the film at Columbia Pictures.

During the summer of 1948, Dassin directed Magdalena on Broadway, a play produced by Edwin Lester, which ran for 88 performances from September 20, 1948, to December 4, 1948. By the time that Magdalena closed, Dassin was already back in Hollywood, having signed a contract with producer Darryl F. Zanuck at 20th Century-Fox Film. His inaugural project for the studio was Thieves' Highway (originally announced as Thieves' Market and Hard Bargain), starring Richard Conte, Lee J. Cobb and Valentina Cortese. In November 1949, the film won the Photoplay Award for Best Picture of the Month.

Contrary to an often-quoted 1958 article in Time magazine, Dassin was not blacklisted because of a sole denunciation from a witness at a congressional hearing. His name had been mentioned a number of times, at various hearings of the United States House of Representatives Committee on Un-American Activities, and by different witnesses, as early as 1947. He was also linked to several Communist-front organizations.

On October 22, 1947, while Dassin was still working on The Naked City, Metro-Goldwyn-Mayer chief supervisor and executive producer James Kevin McGuinness testified before the House Un-American Activities Committee. He described an event at Metro-Goldwyn-Mayer in 1941, shortly after Dassin had joined the studio, when an attempt was made to halt the production of Tennessee Johnson, a biographical picture about the life of former United States President Andrew Johnson. McGuinness explained that after the death of the original producer of the picture, J. Walter Ruben, he took over the production as part of his executive function. He was then presented with a petition, signed by Dassin, Ring Lardner Jr., Donald Ogden Stewart, Hy S. Kraft and Richard Collins, which was addressed to Metro-Goldwyn-Mayer executive vice-president Al Lichtman, demanding that the picture be aborted. All five signees were known Communists. The news hit the media quickly.

In 1948 and 1949, Dassin's name was connected with at least three Communist-front organizations. Firstly, he was an executive board member of the Actors' Laboratory Theatre, which the Committee did not find was Communist in itself but rather its board of directors was made up almost exclusively of known Communist Party members or Communist sympathizers, including Dassin. Secondly, he had been a member of the Artists' Front to Win the War gathering on October 16, 1942, which the Committee on Un-American Activities cited as subversive. Thirdly, he was a sponsor of the National Council of the Arts, Sciences and Professions' Scientific and Cultural Conference for World Peace, held from March 25–27, 1949, and which the Committee on Un-American Activities also cited as subversive.

In the late spring of 1949, Zanuck called Dassin into his office to warn him that he was on the verge of being blacklisted, but that he still had enough time to make one more movie for 20th Century-Fox Film. Zanuck gave Dassin a copy of Gerald Kersh's novel Night and the City and rushed him to England to make the film unhindered by the Un-American Activities Committee hearings. Night and the City, later released in mid-1950, was filmed entirely on location in London between July and October 1949 and starred Richard Widmark, Gene Tierney, Googie Withers, Hugh Marlowe and Mike Mazurki. Dassin was unofficially blacklisted by Hollywood during the production and was not allowed back on the studio property to edit the film nor oversee the musical scoring.

Nevertheless, Zanuck and producer Julian Blaustein hired Dassin as director for 20th Century-Fox Film's Half Angel, a Technicolor comedy starring Loretta Young, scheduled to begin shooting in mid-June 1950. Dassin was however replaced by Richard Sale after pressure from Hollywood politics.

On April 25, 1951, film director Edward Dmytryk, one of the "Hollywood Ten" who had been blacklisted in 1947 after refusing to testify, gave a wilful and revised testimony to the House Committee on Un-American Activities. In his revised testimony, Dmyrtyk revealed that the Screen Directors' Guild included seven known Communists. That was one of the first times that the Un-American Activities Committee heard of film directors being Communists, because it had previously concentrated on screenwriters in the Screen Writers' Guild. Dassin was named as one of the seven directors, along with Frank Tuttle, Herbert Biberman, John Berry, Bernard Vorhaus and Dmytryk himself, who were present at a Communist meeting at Berry's house, for the purpose of electing themselves on the board of directors of the Screen Directors' Guild. Dmytryk explained that, at the time, the Communist Party wanted to get as many people as it could on the board of directors of the Screen Directors' Guild, the Screen Writers' Guild and the Screen Actors' Guild, so that they could eventually control the policy of those guilds, particularly in relation to an eventual coalition for the backing of the various unions.

On May 24, 1951, film director Frank Tuttle gave a testimony to the House Un-American Activities Committee. He testified that, during the 1930s and 1940s, a group of seven Communists existed within the Screen Directors' Guild. Dassin was again named as one of the seven Communist directors, along with Herbert Biberman, Edward Dmytryk, Bernard Vorhaus, John Berry, Michael Gordon and Tuttle himself. Tuttle explained that the purpose of the Communist members in the Screen Directors' Guild was to elect its members to the board of directors, but that only he, Dmytryk and Biberman had succeeded in being appointed to executive positions, with the help of votes from the seven Communist members.

Dassin's name was further mentioned during the Un-American Activities Committee hearings involving actor José Ferrer on May 25, 1951, and film director Michael Gordon on September 17, 1951. Dassin was from that point on, officially listed as an identified past or present member of the Communist Party.

In 1952, after Dassin had been out of work for two years, actress Bette Davis hired him to direct her in the Broadway revue Two's Company. The show ran for 90 performances, closing on March 8, 1953, due to Davis' poor health, and Dassin returned to Europe to avoid the issuing of a subpoena to testify before the Un-American Activities Committee.

France
In March 1953, Dassin was hired by French producer Jacques Bar to direct the comedy-crime film The Most Wanted Man, starring Fernandel and Zsa Zsa Gabor in a spoof of American gangster films. Dassin maintains that two days before the film was to begin shooting, Bar relented to pressure from a noted Hollywood politician not to work with him, receiving threats that the film, and any future Bar productions, would not be granted American distribution. In a hearing before the United States House of Representatives, Committee on Un-American Activities on July 12, 1956, Allied Artists Pictures Corporation manager of branch operations Roy M. Brewer stated that a worrisome Gabor phoned him from France after hearing rumors that Dassin had been identified as a Communist. The next day, he received a telegram from American Federation of Labor's European representative Irving Brown, also questioning Dassin's political views. Brewer further stated that at no point did he recommend the dismissal of Dassin as a director, and that he merely reported the facts to the inquirers, which was that Dassin had been identified as a Communist. The Most Wanted Man was ultimately directed by Henri Verneuil (a frequent collaborator of Fernandel), who went on to become a noted neo-noir director. Dassin later stated that he had further difficulty finding work in Europe as American film distribution companies forbade the exhibition of any film, regardless of its origin, associated with artists blacklisted in Hollywood. He later admitted that he worked as an uncredited writer on a number of scripts that were sent back to Hollywood through Zanuck.

Dassin did not work as a film director again until Rififi in 1955 (a French production), his most influential film and an early work in the "heist film" genre. He won the Best Director award for the film at the 1955 Cannes Film Festival.

It inspired later heist films, such as Ocean's Eleven (1960). Another film it inspired was Dassin's own heist film Topkapi (1964), filmed in France and Istanbul, Turkey with his future second wife, Melina Mercouri and Oscar winner Peter Ustinov.

Most of Dassin's films in the decades following the blacklist are European productions. His later career in Europe and the affiliation with Greece through his second wife, combined with the Frenchified pronunciation of his surname in Europe (as "Da-SAn" instead of the common American "DASS-ine") led to a common misconception that he was a native European director.

Melina Mercouri
At the Cannes Film Festival in May 1955 he met Melina Mercouri, Greek actress and wife of Panos Harokopos. At about the same time, he discovered the literary works of Nikos Kazantzakis; these two elements created a bond with Greece. Dassin next made He Who Must Die (1957) based on Kazantzakis' Christ Recrucified and in which Mercouri appeared. She went on to star in his Never on Sunday (1960) for which she won best actress at the Cannes Film Festival. She then starred in his next three films – Phaedra (1962), Topkapi (1964) and 10:30 P.M. Summer (1966).

He divorced his first wife, Beatrice Launer, in 1962 and married Mercouri in 1966. She later starred in his Promise at Dawn (1970)—during the filming of which, Dassin broke both his legs —and later A Dream of Passion (1978).

Affiliation with Greece
Dassin was considered a major Philhellene to the point of Greek officials describing him as a "first generation Greek". Along with Mercouri, he opposed the Greek military junta.

The couple had to leave Greece after the colonels' coup in 1967. In 1970 they were accused of having financed an attempt to overthrow the dictatorship, but the charges were quickly dropped. Dassin and Mercouri lived in New York City during the 1970s; then, when the military dictatorship in Greece fell in 1974, they returned to Greece and lived out their lives there. In 1974 he and Mercouri made The Rehearsal about the junta.

While Mercouri became involved with politics and won a parliamentary seat, Dassin stayed with movie-making in Europe. In 1982 he was a member of the jury at the 34th Berlin International Film Festival.

Marriages
Dassin married twice. Before his marriage to Melina Mercouri, he married Beatrice Launer in 1933; she was a New-York–born, Jewish–American  concert violinist (aka Beatrice Launer-Dassin; 1913–1994), a graduate of the Juilliard School of Music. They divorced in 1962. Their children were Joseph Ira Dassin, better known as Joe Dassin (1938–80), a popular French singer in the 1970s; songwriter Richelle "Rickie" Dassin (born 1940); and actress–singer Julie Dassin (born 1944; also known as Julie D.).

Death
Dassin died from complications of influenza at the age of 96; he was survived by his two daughters and his grandchildren. Upon his death, the Greek prime minister Costas Karamanlis released a statement: "Greece mourns the loss of a rare human being, a significant artist and true friend. His passion, his relentless creative energy, his fighting spirit and his nobility will remain unforgettable."

A major supporter of the return of the Parthenon Marbles to Athens, for which he established the Melina Mercouri Institution in her memory after her death in 1994, he died a few months before the opening ceremony of the New Acropolis Museum.

Preservation
The Academy Film Archive has preserved Jules Dassin's film Night and the City, including the British and pre-release versions.

In 2000, Rialto Pictures restored and released Rififi theatrically. It was subsequently released on home video through The Criterion Collection and Arrow Films.

title: Jules Dassin


text: User talk:213.122.179.132

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:213.122.179.132


text:
Martin Walser

Martin Johannes Walser (24 March 1927 – 26 July 2023) was a German writer, especially known as a novelist. He began his career as journalist for Süddeutscher Rundfunk, where he wrote and directed audio plays. He was part of Group 47 from 1953. His first novel, Ehen in Philippsburg (Marriage in Philippsburg), a satirical portrait of postwar society, became a success in 1957. He then turned to freelance writing. He published a trilogy of novels around Anselm Kristlein, beginning with Halbzeit in 1960, Das Einhorn (The Unicorn) in 1966 and ending with Der Sturz (The Fall) in 1973. Most of his major works were translated into English, such as the 1978 novella Ein fliehendes Pferd, successful with both readers and critics, as Runaway Horse when it first appeared. He also wrote plays (Die Zimmerschlacht), screen plays, story collections and essays. Several of his books were adapted to the screen, Runaway Horse both in 1986 and 2007.

Walser received many awards including the Georg Büchner Prize in 1981 and the Peace Prize of the German Book Trade in 1998. He caused controversy when he criticised in his acceptance speech for the Peace Prize the "monumentalization of shame" that risks to turn remembrance of the Holocaust into a "lip service" ritual, and again in 2002 when his portrait of literary critic Marcel Reich-Ranicki in his 2002 novel Tod eines Kritikers was regarded as anti-Semitic.

Walser is regarded, along with Heinrich Böll, Günter Grass, and Siegfried Lenz, as one of Germany's most influential postwar authors.

Early life and education
Walser was born on 24 March 1927, in Wasserburg am Bodensee, on Lake Constance. His parents were coal merchants, who also kept an inn next to the train station in Wasserburg. The second of three children, Walser lost his father at age ten. He described the environment in which he grew up in his novel Ein springender Brunnen (A Gushing Fountain). From 1938 to 1943 he was a pupil at the secondary school in Lindau and served in an unit. According to documents released in June 2007, he became a member of the Nazi Party on 20 April 1944 at age 17. Walser denied that he knowingly entered the party, and assumed that he was enrolled by the Standortführer as part of a larger group without his knowledge. The claim was disputed by Hans-Dieter Kreikamp from the Bundesarchiv who said that a personal signature was needed formally even in times of war. By the end of the Second World War, Walser was a soldier of the Wehrmacht.

After the war, he completed his Abitur in Lindau in 1946. He then studied literature, history, and philosophy at the University of Regensburg and the University of Tübingen, achieving his doctorate in literature in 1951 with a thesis on Franz Kafka.

Career
While studying, Walser worked as a reporter for broadcasting company Süddeutscher Rundfunk, and wrote and directed his first audio plays. He travelled to Czechoslovakia, England, France, Italy, and Poland as part of his job. In 1950 Walser married Katharina "Käthe" Neuner-Jehle; the couple had four daughters.

Beginning in 1953, Walser was regularly invited to conferences of the Gruppe 47, which was focused on literature for a new democratic Germany; it awarded him a prize for his story Templones Ende in 1955. His first novel, Ehen in Philippsburg (Marriage in Philippsburg), was published in 1957. As his books to come, it was set in Southern Germany in a postwar society, and satirically portrayed the "conservative middle class" during the "so-called economic miracle". The novel appeared in English three years later as The Gadarene Club.

The book became a huge success, which enabled Walser to work as a freelance author and reside in Friedrichshafen. In 1958 Walser lived in the U.S. for three months and participated in the Harvard International Seminary. He would continue to return over many years, invited by American universities to observe political conditions there.

Walser's most famous and best-selling work was the novella Ein fliehendes Pferd (Runaway Horse), published in 1978. It was not only a commercial but also a critical success, and was described as "Walser's most beautiful and mature book and a masterful, searing critique of society".

In 2004 Walser left his long-time publisher Suhrkamp Verlag for Rowohlt Verlag, after the death of Suhrkamp director Siegfried Unseld. An unusual clause in his contract with Suhrkamp made it possible to take publishing rights for all his works with him. According to Walser, a decisive factor in making the switch was the lack of active support by his publisher during the controversy over his novel Tod eines Kritikers (Death of a Critic).

Walser was a member of Akademie der Künste in Berlin, Sächsische Akademie der Künste, Deutsche Akademie für Sprache und Dichtung in Darmstadt, and a member of the German P.E.N.

In 2007 the German political magazine Cicero placed Walser second on its list of the 500 most important German intellectuals, behind Pope Benedict XVI and ahead of Nobel Prize winner Günter Grass.

Work
Walser's subjects were often broken heroes, who found it difficult to live up to the requirements of society or their own expectations. Walser said: "I think that world literature is about losers. That's just the way it is. From Antigone to Josef K. — there are no winners, no champions. And furthermore, anyone can confirm that in their circle of acquaintances: People are always more interesting when they are losing than when they are winning."

He wrote his most successful book, the novella Runaway Horse, in just two weeks. Its protagonists are two very different men, former school friends who experience a mid-life crisis.

Walser's books have been translated into many languages. In 2007 he gave many of his manuscripts to the Deutsches Literaturarchiv Marbach vor preservation, as a Vorlass. Some of them feature in a permanent exhibition at the Literaturmuseum der Moderne in Marbach, including Ein springender Brunnen.

Death of a Critic
In his 2002 roman-à-clef Death of a Critic, Walser, who disliked literary critics in general, denounced one of the most prominent in Germany, Marcel Reich-Ranicki of the Frankfurter Allgemeine Zeitung (FAZ); critics accused his portrayal as "playing to numerous anti-Semitic cliches". Its publication started a scandal, especially considering Reich-Ranicki's Jewish heritage and Walser's former membership in the Nazi Party. Even before the novel was released, the book was hotly debated. Frank Schirrmacher, editor of the FAZ, refused the traditional Vorabdruck of the novel in the paper.

In May 2010, Reich-Ranicki commented in an interview with Der Spiegel: "I don't think that he is an anti-Semite. But it is important to him to demonstrate that the critic, who allegedly tortured him most, is a Jew, too. He expects his public to follow him in this. You see, there never was an anti-Semitic line or remark from Grass, not one. And I certainly haven't written only positively about his books." After the scandal, Walser was not welcome in the U.S. for a long time.

Political engagement
Walser was known for his political activity. He was in 1961 the first literary writer to support the Social Democratic Party of Germany (SPD) for an election.

In 1964, he attended the Frankfurt Auschwitz Trial, and was involved in protests against the Vietnam War. During the late 1960s, Walser, like many leftist German intellectuals including Günter Grass, supported Willy Brandt for the election to the office of chancellor of West Germany.

In the 1960s and 1970s Walser moved further to the left and was considered a sympathizer of the DKP, the newly formed West German Communist Party. He was friends with leading German Marxists such as Robert Steigerwald and even visited Moscow during this time. By the 1980s, Walser began shifting back to the political right. In 1988 he gave a series of lectures entitled "Speeches About One's Own Country," in which he made clear that he considered German division to be a painful gap which he could not accept. This was also the topic of his story "Dorle und Wolf".

Personal life
In 1950, Walser married Katharina "Käthe" Neuner-Jehle. The couple had four daughters: actress Franziska Walser, writer and painter Alissa Walser, writer Johanna Walser, and writer Theresia Walser. German journalist Jakob Augstein is Walser's son from a relationship with translator Maria Carlsson.

Walser died in Nussdorf on 26 July 2023, at age 96.

Awards
Walser was awarded the Hermann Hesse Prize in 1957 for his first novel. He received the Georg Büchner Prize in 1981, the Ricarda Huch Prize of Darmstadt in 1990, the Peace Prize of the German Book Trade in 1998, and the Friedrich Nietzsche Prize in 2015 for his life's achievements, among many other awards.

Peace Prize of the German Book Trade
In 1998 Walser was awarded the Peace Prize of the German Book Trade. His acceptance speech, given at St. Paul's Church in Frankfurt, invoked issues of historical memory and political engagement in contemporary German politics and unleashed a controversy that roiled German intellectual circles. Walser's acceptance speech was titled: "Erfahrungen beim Verfassen einer Sonntagsrede" (Experiences while drafting a soap box speech): "Everybody knows our historical burden, the never ending shame, not a day on which the shame is not presented to us. [...] But when every day in the media this past is presented to me, I notice that something inside me is opposing this permanent show of our shame. Instead of being grateful for the continuous show of our shame — I start looking away. I would like to understand why in this decade the past is shown like never before. When I notice that something within me is opposing it, I try to hear the motives of this reproach of our shame, and I am almost glad when I think I can discover that more often not the remembrance, the not-allowed-to-forget is the motive, but the exploitation / utilization [Instrumentalisierung] of our shame for current goals. Always for the right purpose, for sure. But yet the exploitation. [...] Auschwitz is not suitable for becoming a routine-of-threat, an always available intimidation or a moral club [Moralkeule] or also just an obligation. What is produced by ritualisation has the quality of a lip service [...]. The debate about the Holocaust Memorial in Berlin will show, in posterity, what people do who feel responsible for the conscience of others. Turning the centre of the capital into concrete with a nightmare [Alptraum], the size of a football pitch. Turning shame into monument."

At first the speech caused no great stir; the audience received the speech with applause, though Ignatz Bubis, president of the Central Council of Jews in Germany, did not applaud, as confirmed by television footage of the event. Some days after the event, and again on 9November, the 60th anniversary of the Kristallnacht pogrom against German Jews, Bubis accused Walser of "intellectual arson" (geistige Brandstiftung) and claimed that Walser's speech was both "trying to block out history or, respectively, to eliminate the remembrance" and pleading "for a culture of looking away and thinking away". Then the controversy started. As described by Karsten Luttmer: Walser replied by accusing Bubis to have stepped out of dialogue between people. Walser and Bubis met on 12 December to discuss the heated controversy and settle the dispute. Bubis withdrew his claim that Walser had been intentionally incendiary, and Walser maintained that his speech was unambiguous. They agreed that no appropriate language had yet been found to deal with Germany's past.

Works
Walser's books were published by Suhrkamp Verlag, Frankfurt, until 2003. The publisher printed an edition of his works in 12 volumes in 1997. Beginning in 2004, Walser's works were published by Rowohlt, Reinbek. His works include:
 * Beschreibung einer Form: Versuch über die epische Dichtung Franz Kafkas, dissertation (1951)
 * Ein Flugzeug über dem Haus und andere Geschichten, story collection (1955), ISBN 3-518-39288-3
 * Ehen in Philippsburg, novel (1957) ISBN 978-3-499-10557-9 – The Gadarene Club (1960) / Marriage in Philippsburg (1961)
 * Halbzeit, novel (1960) ISBN 3-518-04623-3, first part of the Anselm Kristlein trilogy
 * Eiche und Angora, play (1962) – The Rabbit Race (1963) – adapted by Ronald Duncan, ISBN 978-0-7145-0497-1
 * Der Schwarze Schwan, play (1964)
 * Überlebensgroß Herr Krott: Requiem für einen Unsterblichen (1964) ISBN 3-518-00055-1
 * Lügengeschichten, story collection (1964) ISBN 3-518-38236-5
 * Erfahrungen und Leseerfahrungen (1965)
 * Das Einhorn, novel (1966) ISBN 3-518-06659-5, second part of the Anselm Kristlein trilogy – The Unicorn (1971) ISBN 0-7145-0886-1
 * Der Abstecher, Die Zimmerschlacht, two plays (1967) Der Abstecher translated as – The Detour – by Richard Grunberger
 * Heimatkunde: Aufsätze und Reden, essays and speeches (1968)
 * Ein Kinderspiel, play in two acts (1970) ISBN 3-518-00400-X
 * Fiction, story (1970)
 * Aus dem Wortschatz unserer Kämpfe (1971) ISBN 3-87365-009-6
 * Die Gallistl'sche Krankheit, novel (1972) ISBN 3-518-04626-8
 * Der Sturz (1973) ISBN 3-518-04627-6, third part of the Anselm Kristlein trilogy
 * Das Sauspiel: Szenen aus dem 16. Jahrhundert (1975) ISBN 3-518-04628-4
 * Jenseits der Liebe, novel (1976) ISBN 3-518-04619-5 – Beyond All Love (1983) ISBN 978-0-7145-3917-1
 * Ein fliehendes Pferd (1978) – Runaway Horse: A Novel (1987) ISBN 978-0-8050-0359-8
 * Seelenarbeit, novel (1979) ISBN 3-518-37401-X – The Inner Man (1984)
 * Das Schwanenhaus, novel (1980) ISBN 3-518-37300-5 – The Swan Villa (1983)
 * Selbstbewußtsein und Ironie, Frankfurt lectures (1981) ISBN 3-518-11090-X
 * Brief an Lord Liszt, novel (1982) ISBN 3-518-04632-2 – Letter to Lord Liszt (1985)
 * In Goethes Hand: Szenen aus dem 19. Jahrhundert (1982) ISBN 3-518-04629-2
 * Liebeserklärungen (1983) ISBN 3-518-04521-0
 * Brandung, novel (1985) ISBN 3-518-03570-3 – Breakers: A Novel (1988) ISBN 978-0-8050-0415-1
 * Meßmers Gedanken (1985) ISBN 3-518-03222-4
 * Geständnis auf Raten (1986) ISBN 3-518-11374-7
 * Die Amerikareise: Versuch, ein Gefühl zu verstehen (with André Ficus, Kunstverlag Weingarten, 1986) ISBN 3-458-32943-9
 * Dorle und Wolf, novella (1987) ISBN 3-518-02668-2 – No Man's Land (1988) ISBN 978-0-8050-0667-4
 * Jagd (novel), novel (1988) ISBN 3-518-40130-0
 * Über Deutschland reden (1988) ISBN 3-518-11553-7
 * Die Verteidigung der Kindheit, novel (1991) ISBN 3-518-40380-X
 * Das Sofa (written 1961, published 1992) ISBN 3-518-40458-X
 * Ohne einander, novel (1993) ISBN 3-518-40542-X
 * Vormittag eines Schriftstellers (1994) ISBN 3-518-40603-5
 * Kaschmir in Parching: Szenen aus der Gegenwart (1995) ISBN 3-518-40740-6
 * Finks Krieg, novel (1996) ISBN 3-518-40791-0
 * Deutsche Sorgen (1997) ISBN 3-518-39158-5
 * Heimatlob: Ein Bodensee-Buch, illustrated book about Lake Constance (with Ficus, Insel Verlag, 1998) ISBN 3-458-34074-2
 * Ein springender Brunnen, novel (1998) ISBN 3-518-41010-5 – A Gushing Fountain (2015)
 * Der Lebenslauf der Liebe, novel (2000) ISBN 3-518-41270-1
 * Tod eines Kritikers, novel (2002) ISBN 3-518-41378-3
 * Meßmers Reisen (2003) ISBN 3-518-41463-1
 * Der Augenblick der Liebe, novel (2004) ISBN 3-498-07353-2
 * Die Verwaltung des Nichts, essays (2004) ISBN 3-498-07354-0
 * Leben und Schreiben: Tagebücher 1951–1962, diaries (2005) ISBN 978-3-499-24427-8
 * Angstblüte, novel (2006) ISBN 3-498-07357-5
 * Der Lebensroman des Andreas Beck, novel about Andreas Beck (Author) (Edition Isele, Eggingen, 2006) ISBN 3-86142-401-0
 * Das geschundene Tier, 39 ballads (2007) ISBN 978-3-498-07359-6.
 * The Burden of the Past: Martin Walser on Modern German Identity (in English, 2008), ISBN 978-1-57113-789-0,
 * Ein liebender Mann, novel about the aging Goethe (2008) ISBN 978-3-498-07363-3 – A Man in Love
 * Leben und Schreiben. Tagebücher 1963–1973, diaries (2008) ISBN 978-3-498-07358-9.
 * Mein Jenseits, novella (Berlin University Press, 2010) ISBN 978-3-940432-77-3.
 * Leben und Schreiben. Tagebücher 1974–1978, diaries (2010) ISBN 978-3-498-07369-5
 * Muttersohn novel (2011) ISBN 978-3-498-07378-7
 * Meine Lebensreisen (Corso, Hamburg, 2012) ISBN 978-3-86260-045-8
 * Über Rechtfertigung, eine Versuchung: Zeugen und Zeugnisse (2012) ISBN 978-3-498-07381-7
 * Das dreizehnte Kapitel (2012) ISBN 978-3-498-07382-4
 * Meßmers Momente (2013) ISBN 978-3-498-07383-1
 * Die Inszenierung (2013) ISBN 978-3-498-07384-8
 * Shmekendike blumen. Ein Denkmal / A dermonung für Sholem Yankev Abramovitsh. (2014) ISBN 978-3-498-07387-9
 * Schreiben und Leben. Tagebücher 1979–1981, diaries (2014) ISBN 978-3-498-07386-2
 * Ein sterbender Mann (2016) ISBN 978-3-498-07388-6
 * Statt etwas, oder Der letzte Rank (2017) ISBN 978-3-498-07392-3
 * Ewig aktuell : aus gegebenem Anlass. (2017) ISBN 978-3-498-07393-0
 * with Jakob Augstein: Das Leben wortwörtlich. Ein Gespräch., conversation (2017) ISBN 978-3-498-00680-8
 * Gar alles oder Briefe an eine unbekannte Geliebte. (2018) ISBN 978-3-498-07400-5
 * Spätdienst. Bekenntnis und Stimmung, with illustrations by Alissa Walser (2018) ISBN 978-3-498-07407-4
 * Mädchenleben oder Die Heiligsprechung. Legende. (2019) ISBN 978-3-498-00196-4
 * Sprachlaub oder: Wahr ist, was schön ist (2021) ISBN 978-3-498-00239-8
 * Das Traumbuch. Postkarten aus dem Schlaf, with Cornelia Schleime (2022) ISBN 978-3-498-00319-7

Film scripts

 * Chiarevalle wird entdeckt, directed by Hannes Tannert (1963, TV film)
 * Das Unheil (Havoc), directed by Peter Fleischmann (1972)
 * Weak Spot, directed by Peter Fleischmann (1975)
 * Tatort: Armer Nanosh, 1989 episode directed by Stanislav Barabáš
 * Tassilo, directed by Hajo Gies (1991, TV series, 6 episodes)

Films of Walser's novels and plays

 * Der Abstecher, directed by Günter Gräwert (1962, TV film, based on the play of the same name)
 * Eiche und Angora, directed by Rainer Wolffhardt (1964, TV film, based on the play of the same name)
 * Eiche und Angora, directed by Helmut Schiemann (East Germany, 1965, TV film, based on the play of the same name)
 * Die Zimmerschlacht, directed by Franz Peter Wirth (1969, TV film, based on the play of the same name)
 * Überlebensgroß Herr Krott, directed by Martin Batty and Karl Vibach (1971, TV film, based on the play of the same name)
 * Das Einhorn, directed by Peter Patzak (1978, based on the novel of the same name)
 * The Fall (1979 film), directed by Alf Brustellin (1979, based on the novel of the same name)
 * Runaway Horse (1986 film), directed by Peter Beauvais (1986, TV film, based on the novella of the same name)
 * Alles aus Liebe, directed by Rainer Boldt (1986, TV film, based on the story Säntis)
 * Ohne einander, directed by Diethard Klante (2007, TV film, based on the novel of the same name)
 * Ein fliehendes Pferd (2007 film), directed by Rainer Kaufmann (2007, based on the novella of the same name)

title: Martin Walser


text:
Vasa Museum

The Vasa Museum (Vasamuseet) is a maritime museum in Stockholm, Sweden. Located on the island of Djurgården, the museum displays the only almost fully intact 17th-century ship that has ever been salvaged, the 64-gun warship Vasa that sank on her maiden voyage in 1628. The Vasa Museum opened in 1990 and, according to the official website, is the most visited museum in Scandinavia. Together with other museums such as the Stockholm Maritime Museum, it belongs to the Swedish National Maritime Museums (SNMM).

History
From the beginning of 1961 to 1983, Vasa was housed in a temporary structure called Wasavarvet ("The Vasa Shipyard") where she was treated with polyethylene glycol. Visitors could only view the ship from two levels and the maximum distance was only 5 m (17 ft). In 1981, the Swedish government decided that a permanent Vasa museum was to be constructed and a competition for the design of the museum building was organized. A total of 384 architects sent in models of their ideas and the final winners were Marianne Dahlbäck and Göran Månsson with Ask ("box"). The construction of the new building began on and around the dry dock of the old naval yard with an inauguration ceremony hosted by Prince Bertil on 2 November 1987. Vasa was towed into the flooded dry dock under the new building in December 1987, and during the summer of 1989, when visitors were allowed onto the construction site, 228,000 people visited the half-finished museum. The museum was officially opened on 15 June 1990. So far, Vasa has been seen by over 25 million people. In 2017, the museum had a total of 1,495,760 visitors.

The main hall contains the ship itself, and various exhibits related to the archaeological findings of the ships and early 17th-century Sweden. Vasa has been fitted with the lower sections of all three masts, a new bowsprit, winter rigging, and has had certain parts that were missing or heavily damaged replaced. The replacement parts have not been treated or painted and are therefore clearly visible against the original material that has been darkened after three centuries under water.

The new museum is dominated by a large copper roof with stylized masts that represent the actual height of Vasa when she was fully rigged. Parts of the building are covered in wooden panels painted in dark red, blue, tar black, ochre yellow and dark green. The interior is similarly decorated, with large sections of bare, unpainted concrete, including the entire ceiling. Inside the museum the ship can be seen from six levels, from her keel to the very top of the sterncastle. Around the ship are numerous exhibits and models portraying the construction, sinking, location, and recovery of the ship. There are also exhibits that expand on the history of Sweden in the 17th century, providing background information for why the ship was built. A movie theatre shows a film in alternating languages on the recovery of the Vasa.

The museum is in the process of publishing an 8-volume archaeological report to commemorate the 50th anniversary of the salvage. Vasa I: The Archaeology of a Swedish Warship of 1628 was published at the end of 2006. Subsequent volumes will be published annually.

The museum also features four other museum ships moored in the harbour outside: the ice breaker Sankt Erik (launched 1915), the lightvessel Finngrundet (1903), the torpedo boat Spica (1966) and the rescue boat Bernhard Ingelsson (1944).

title: Vasa Museum


text:
User:Miernik

My homepage is at http://miernik.name/

E-mail: mailto:public@public.miernik.name

You can contact me on Jabber xmpp:miernik@amessage.info

title: User:Miernik


text:
Talk:Clifford module

Initial comments
This has become a useful page for explicit information. It would be good also to have a statement of the basic Atiyah-Bott-Shapiro result on Clifford modules.

Charles Matthews 19:30, 16 Jul 2004 (UTC)

Where are the Spinors?
Elements of Clifford modules are usually called spinors, or more precisely, pinors. This page needs a link to something about spinors. Maybe it should even be merged in. John Baez (talk) 03:12, 7 October 2009 (UTC)

Real Clifford algebra R(3,1)
The section on the real Clifford algebra R3,1 says: "The four basis vectors are the three Pauli matrices and a fourth antihermitian matrix. The signature is (+++−). For the signatures (+−−−) and (−−−+) often used in physics, 4×4 complex matrices or 8×8 real matrices are needed." This does not seem to make sense - 4x4 complex matrix = 32 real coefficients, 8x8 real matrix = 64 real coefficients. Also the article "Classification of Clifford algebras" lists (+---) as a 2x2 quaternion matrix, and (-+++) as a real 4x4 matrix, though perhaps the context is different. This section is very sketchy, it seems to convey no substantive information. Someone who knows more about this should revise and expand this section.Enon (talk) 21:26, 1 July 2012 (UTC)
 * What is written is correct. While a general 8x8 matrix has 64 independent components, not all of this freedom is used when representing an arbitrary member of R(3,1) -- instead a member of R(3,1) is represented by a linear combination of sixteen particular 8x8 matrices which represent the full linear basis of the algebra.  It is found to be necessary to represent each of these basis elements as an 8x8 matrix, in order for their matrix representations to have the correct products to match the multiplication group of the basis elements, and the correct signatures. Jheald (talk) 09:14, 2 July 2012 (UTC)
 * Thanks, Jheald. That would be good information to add, though I think a bit more context and working through the reasoning and implications is needed for this section to convey much to anyone who isn't already familiar with the topic. This way of using the Pauli matrices seems quite a different approach than that used in Geometric Algebra. (For other readers, Jheald is a frequent contributor to the geometric algebra article. GA has methods for avoiding using the Pauli matrices directly, although it is also a style of using Clifford algebras.) I also hope somebody will address John Baez's long-standing request for more in the article on the connections to (IIRC) spinors, spin and pin groups.Enon (talk) 17:25, 2 July 2012 (UTC)

title: Talk:Clifford module


text: Category:Houston County, Minnesota

title: Category:Houston County, Minnesota


text:
Peter Weiss

Peter Ulrich Weiss (8 November 1916 – 10 May 1982) was a German writer, painter, graphic artist, and experimental filmmaker of adopted Swedish nationality. He is particularly known for his plays Marat/Sade and The Investigation and his novel The Aesthetics of Resistance.

Peter Weiss earned his reputation in the post-war German literary world as the proponent of an avant-garde, meticulously descriptive writing, as an exponent of autobiographical prose, and also as a politically engaged dramatist. He gained international success with Marat/Sade, the American production of which was awarded a Tony Award and its subsequent film adaptation directed by Peter Brook. His "Auschwitz Oratorium," The Investigation, served to broaden the debates over the so-called "Aufarbeitung der Vergangenheit" (or formerly) "Vergangenheitsbewältigung" or "politics of history." Weiss's magnum opus was The Aesthetics of Resistance, called one of the "most important German-language work[s] of the 70s and 80s." His early, surrealist-inspired work as a painter and experimental filmmaker remains less well known.

Life
Weiss was born in Nowawes (now part of Potsdam-Babelsberg) near Berlin, to a Hungarian Jewish father and a Christian mother. After the First World War and the break-up of the Austro-Hungarian Empire Weiss's father became a Czech citizen and the son acquired his father's citizenship – Weiss was never a German citizen. At age three he moved with his family to the German port city of Bremen, and during his adolescence back to Berlin where he began training as a painter. In 1935 he emigrated with his family to Chislehurst, near London, where he studied photography at the Polytechnic School of Photography. In 1936–1937 the family moved to Czechoslovakia. Weiss attended the Prague Art Academy. After the German occupation of the Czech Sudetenland in 1938, his family moved to Sweden, while Weiss was visiting Hermann Hesse in Switzerland. In 1939 he joined his family in Stockholm, Sweden, where he lived for the rest of his life. He became a Swedish citizen in 1946. Weiss was married three times: to the painter Helga Henschen, 1943–47; to Carlota Dethorey, 1949; and from 1964 until his death to the Swedish artist and stage designer Gunilla Palmstierna-Weiss.

In the 1960s Weiss became increasingly politically radical, taking stands for revolutionary Cuba and against US intervention in Vietnam and visiting both countries. In 1966 he visited the United States together with the West German writers group Gruppe 47. During a conference at Princeton University he denounced the US war against North Vietnam which seems to have scandalized his German colleagues more than his US hosts. In 1967 he participated in the anti-war Russell Tribunal in Stockholm and in 1968 he joined the eurocommunist Swedish Left Party (VPK). During the same year he also visited North Vietnam and published a book about his trip.

In 1970 Weiss suffered a heart attack. During the following decade, he wrote his monumental three-part novel, The Aesthetics of Resistance, as well as two very different stage versions of Kafka's novel The Trial. He died in Stockholm in 1982.

Painting, Film, and Literature
During his early life as a painter – 1930 to 1950 – Weiss was influenced by old Dutch masters such as Pieter Breughel, and Hieronymus Bosch. After World War II his painting, as well as his work in film and literature, came under the lasting influence of Surrealism. He taught painting at Stockholm's People's University, and illustrated a Swedish edition of The Book of One Thousand and One Nights. In 1952 he joined the Swedish Experimental Film Studio, where he directed several experimental short films, followed by several socially conscious documentary shorts: Gesichter im Schatten (Faces in the Shadow, 1956), Im Namen des Gesetzes (In the Name of the Law, 1957), Was machen wir jetzt? (What Do We Do Now?, 1958). In 1959 he directed his only full length (experimental) film Hägringen (The Disappeared). In the early 1950s, Weiss had begun to write again, producing a number of prose works, some in German, others in Swedish. Most are short, intense, surrealist text which suggest the influence of Kafka (whose work Weiss would later adapt for the stage).

The most important of these prose texts is Der Schatten des Körpers des Kutschers (The Shadow of the Body of the Coachman, 1952). It is a nearly hermetic experimental work which explores language through the use of surreal, disturbing imagery whereby an apparent rural idyll is transformed into a kafkaesque nightmare. The Surrealist effect was enhanced by collages in the style of Max Ernst, so-called xylography, which Peter Weiss created for the book. Coachman has been linked both to the French nouveau roman of Alain Robbe-Grillet and Raymond Queneau, as well as to French absurdist works by Samuel Beckett, Eugene Ionesco, and Jean Genet. When it was eventually published in Germany in 1960 it put its 45-year-old writer at the forefront of the West German literary scene. Weiss abandoned painting and filmmaking and turned exclusively to writing. Nearly all his subsequent works – and all of the major ones – are written in German. His next prose work, Abschied von den Eltern (Leavetaking, 1959/60) was less hermetic than Coachman and strongly autobiographical. It was not only a critical but also a public success, as was its follow-up Fluchtpunkt (Vanishing Point, 1962)

Since the early 1950 Weiss had also been writing plays: Der Turm (The Tower, 1950), Die Versicherung (The Insurance, 1952), Nacht mit Gästen (Night with Guests, 1963), Wie dem Herrn Mockinpott das Leiden ausgetrieben wird (How Mister Mockinpott was Cured of His Sufferings, 1963/68). But none of these stage works prepared the public for what came next: A play about the French Revolution which through its title alone became an overnight a sensation: "Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade (The Persecution and Assassination of Jean Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of Monsieur de Sade). First performed in West Berlin in 1964, it quickly brought Weiss notoriety. The following year, 1965, British director Peter Brook staged it at the Royal Shakespeare Theatre in London. Brook's film version (1967) turned Marat/Sade into an international cultural icon. Set in an insane asylum and constantly in danger of being overwhelmed by madness and chaos, the play explores the place of writers and intellectuals in a time of revolutionary upheaval. At its center are two very different historical figures, Jean-Paul Marat, a writer and leading intellectual of the French Revolution, and the Marquis de Sade, a writer and intellectual as well, whose attitude towards the revolution is much more ambivalent and who is solipsistically obsessed with sex, violence, and pain. In the play Weiss draws both on Antonin Artaud's Theater of Cruelty and on its opposite: Brecht's theater of reason. In the words of de Sade: "Our intent in creating such dialogues as these / was to experiment with various antitheses / to oppose each to each so that we might / upon our many doubts shed some light". Much of the discussion of the play has focused on whether it is Marat's or Sade's position which prevails.

Beginning with Marat/Sade Weiss's work increasingly attracted the attention of communist East Germany. The play and all the ones to follow were staged in exemplary fashion in Rostock and other theaters in the GDR. Weiss frequently visited East Berlin and became friends with many East German writers and artists. He developed a collaborative relationship and eventually a close friendship with Manfred Haiduk, professor of literature in Rostock. After Weiss wrote his play about Trotsky, which East German party functionaries interpreted as an anti-Leninist provocation, he for a while became persona non grata, but the relationship soon revived. Weiss was one of only a handful of western artists and intellectuals whose work attracted wide interest in both Germanies though in both states he was also subjected to distrust and denunciations.

During this period Brecht's influence on Weiss's plays became more evident. He also became obsessed with Dante's Divine Comedy the influence of which is present in all his works from the mid-1960s until his death. In 1965, Weiss wrote the documentary play The Investigation (Die Ermittlung) on the Frankfurt Auschwitz Trials. Like Marat/Sade it attracted wide international attention and became the focus of heated debates about the 'right' way of representing Auschwitz and about who gets to decide what is acceptable and what is not. This was followed by two experimental plays about the struggle for self-determination in the 'Third World': Gesang vom lusitanischen Popanz (Song of the Lusitanian Bogey [a better translation would be Canto of the Lusitanian Bogey] 1967) about Angola, and Viet Nam Diskurs (Viet Nam Discourse, 1968). The next two plays once again focused on intellectuals and writers in times of upheaval: Trotzki im Exil (Trotsky in Exile, 1970) and Hölderlin (1971). Between 1971 and 1981 Weiss worked on his opus magnum: his three part 1000 page novel on the European resistance against Nazi Germany, The Aesthetics of Resistance.

Weiss received numerous awards, among them the Charles Veillon Award, 1963; the Lessing Prize, 1965; the Heinrich Mann Prize, 1966; the Carl Albert Anderson Prize, 1967; the Thomas Dehler Prize, 1978; the Cologne Literature Prize, 1981; the Bremen Literature Prize, 1982; the Swedish Theatre Critics Prize, 1982; and finally the highest German literary award, the Georg Büchner Prize, 1982.

Selected works
All works were originally written in German unless otherwise noted. English translations and, where applicable, place of publication, publisher and date of English language publication, are in parentheses.

Plays

 * 1949 Der Turm (The Tower. New York: Dutton, 1967, pp. 315–48)
 * 1952 Die Versicherung
 * 1963 Nacht mit Gästen (Night with Guests. In: The Best Short Plays 1968. Philadelphia New York London: Chilton, 1968. 131-58.)
 * 1963/5 Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade (The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of Monsieur de Sade [Marat/Sade]). In: Peter Weiss: Marat/Sade, The Investigation, and The Shadow of the Body of the Coachman. New York: Continuum, 1998. 41–114.)
 * 1963/8 Wie dem Herrn Mockinpott das Leiden ausgetrieben wird (How Mr. Mockinpott was Cured of his Sufferings. In: The Contemporary German Theater. New York: Avon, 1972, 163–211.)
 * 1965 Die Ermittlung (The Investigation. Oratorio In 11 Cantos. In: Peter Weiss: Marat/Sade, The Investigation, and The Shadow of the Body of the Coachman. New York: Continuum, 1998. 117–296.)
 * 1967 Gesang vom lusitanischen Popanz (Song of the Lusitanian Bogey. In: Peter Weiss. Two Plays. New York: Atheneum, 1970. 1–63)
 * 1968 Diskurs über die Vorgeschichte und den Verlauf des lang andauernden Befreiungskrieges in Viet Nam als Beispiel für die Notwendigkeit des bewaffneten Kampfes der Unterdrückten gegen ihre Unterdrücker sowie über die Versuche der Vereinigten Staaten von Amerika die Grundlagen der Revolution zu vernichten (Discourse on the Progress of the Prolonged War of Liberation in Viet Nam and the Events Leading up to it as Illustration of the Necessity for Armed Resistance against Oppression and on the Attempts of the United States of America to Destroy the Foundations of Revolution [Viet Nam Discourse]. In: Peter Weiss. Two Plays. New York: Atheneum, 1970. 65–249.)
 * 1969 Trotzki im Exil (Trotsky in Exile. New York: Atheneum, 1972.)
 * 1971 Hölderlin (Hölderlin. London New York Calcutta: Seagull Press. 2010.)
 * 1974 Der Prozeß – adaptation of Franz Kafka's novel
 * 1982 Der neue Prozeß (The New Trial. Durham: Duke UP, 2001.)

Prose Fiction
These two pieces (Leavetaking & Vanishing Point) were published in English (from a translation by Christopher Levenson) in 1966 and published by Calder & Boyars
 * 1944 Från ö till ö (From Island to Island; written in Swedish; German: Von Insel zu Insel)
 * 1948 De besegrade (The Conquered; written in Swedish; German: Die Besiegten)
 * 1948 Der Vogelfreie (published as Dokument I in Swedish (1949) and in German as Der Fremde under the pseudonym Sinclair)
 * 1951 Duellen (The Duel; written in Swedish; German: Das Duell)
 * 1952 Der Schatten des Körpers des Kutschers (The Shadow of the Body of the Coachman. In: Peter Weiss: Marat/Sade, The Investigation, and The Shadow of the Body of the Coachman. New York: Continuum, 1998. 1–39.)
 * 1956 Situationen (The Situation; written in Swedish; German: Die Situation)
 * 1960 Abschied von den Eltern (Leavetaking. In: Peter Weiss, Exile. New York: Delacorte, 1968, 1–88)
 * 1961 Fluchtpunkt (Vanishing Point. In: Weiss, Exile. New York: Delacorte, 1968. 89–245.)
 * 1962 Das Gespräch der drei Gehenden (Conversation of the Three Wayfarers. In: Peter Weiss, Bodies and Shadows, New York: Delacorte, 1969. 59–120.)
 * 1975–1981 Die Ästhetik des Widerstands, 3 vols., I: 1975; II: 1978; III: 1981. (The Aesthetics of Resistance. Vol. I. Durham: Duke UP, 2005. Vol. II. Durham: Duke UP, 2020)

Other writings

 * 1956 Avantgarde Film (written in Swedish)
 * 1964 "Meine Ortschaft" ("My Place." In: German Writing Today. Harmondsworth: Penguin, 1967. 20–28.)
 * 1965 "10 Arbeitspunkte eines Autors in der geteilten Welt." ("The Necessary Decision. 10 Working Theses of an Author in the Divided World." Chalk Circle, vol. 1, 1 (April–May)/1966, 3–7.
 * 1966 "I Come out of my hiding place." The Nation, 30 May 1966, pp. 652, 655. (Written in English by Peter Weiss.)
 * 1968 Rapporte (Collected essays)
 * 1968 Notizen zum kulturellen Leben der Demokratischen Republik Viet Nam. (Notes on the Cultural Life of the Democratic Republic of Vietnam. London: Calder & Boyars, 1971.)
 * 1968 "Notizen zum dokumentarischen Theater" ("Notes on the Contemporary Theater." In: Essays on German Theater. New York: Continuum, 1985. 294–301.)
 * 1969  'Limited Bombing' in Vietnam (Report on the attacks against the Democratic Republic of Vietnam by the US Air Force, after the declaration of 'limited bombing' by President Lyndon B. Johnson on March 31 1968. With Gunilla Palmstierna-Weiss. Bertrand Russell Peace Foundation.)
 * 1970 Rekonvaleszenz
 * 1971 Rapporte 2 (Collected essays)
 * 1981 Notizbücher 1971–1980 (Notebooks 1971–1980, 2 vols.)
 * 1982 Notizbücher 1960–1971 (Notebooks 1960–1972, 2 vols.)

Films

 * 1952 Studie I (Uppvaknandet) Sweden, 16mm, 6min)
 * 1952 Studie II (Hallucinationer) / Study II (Hallucinations) (Sweden, 16mm, 6min)
 * 1953 Studie III / Study III (Sweden, 16mm, 6min)
 * 1954 Studie IV (Frigörelse) / Study IV (Liberation), (Sweden, 16mm, 9min)
 * 1955 Studie V (Växelspel)/Study V (Interplay),(Sweden, 16mm, 9min)
 * 1956 Ateljeinteriör / Dr. Fausts Studierstube(Atelierinterieur) (Sweden, 10 min)
 * 1956 Ansikten I Skugga / Faces in the shadow (Sweden, 13 min)
 * 1957 Enligt Lag / According To Law (co-dir. Hans Nordenström, Sweden, 16mm, 18 min)
 * 1958 Vad ska vi göra nu da? / Was machen wir jetzt? (Sweden, 20min)
 * 1959 Hägringen / Fata Morgana (Sweden, 81min) Starring: Staffan Lamm and Gunilla Palmstierna.
 * 1961 Svenska flickor i Paris / Swedish Girls in Paris (co-director)

Published correspondence

 * 1992 Peter Weiss. Briefe an Hermann Levin Goldschmidt|Hermann Lewin Goldschmidt und Robert Jungk 1938–1980. Leipzig: Reclam.
 * 2007 Siegfried Unseld, Peter Weiss: Der Briefwechsel. Hrsg. von Rainer Gerlach. Frankfurt am Main: Suhrkamp.
 * 2009 Hermann Hesse, Peter Weiss. "Verehrter großer Zauberer" – Briefwechsel 1937–1962. Hrsg. von Beat Mazenauer und Volker Michels. Frankfurt am Main: Suhrkamp.
 * 2010 Diesseits und jenseits der Grenze. Peter Weiss – Manfred Haiduk. Der Briefwechsel 1965–1982. Hrsg. von Rainer Gerlach und Jürgen Schutte. St. Ingbert: Röhrig.
 * 2011 Peter Weiss – Briefe an Henriette Itta Blumenthal. Hrsg. von Angela Abmeier und Hannes Bajohr. Berlin: Matthes und Seitz.

Interviews

 * Alvarez, A., "The Truths That are Uttered in a Madhouse." The New York Times, 26 December 1965, Section X, p. 3, 14.
 * Clausen, Oliver, "Weiss/Propagandist and Weiss/Playwright." The New York Times Magazine, 2 October 1966, pp. 28–29, 124–34.
 * Gray, Paul, "A Living World: An Interview with Peter Weiss." Tulane Drama Review 11.1 (1966).
 * Roloff, Michael, "An Interview with Peter Weiss." Partisan Review 32/1965, 220–32.
 * Shepard, Richard F., "Peter Weiss, Visiting Here, Talks About his Auschwitz Trial Play." The New York Times, 22 April 1966, S. 30.
 * Wager, Walter, "Peter Weiss", in: Wager (ed.), The Playwrights Speak, New York, Delacorte 1967, 189–212.

title: Peter Weiss


text:
Mazda Porter

The Mazda Porter and Porter Cab are a series of small kei trucks that were produced from 1961 to 1989 (as the B360/B600 until 1968) by Mazda, mainly for sale in the domestic Japanese market. Export versions of the Porter were labelled E360. The Porter was replaced by the Autozam Scrum, a rebadged Suzuki Carry.

B360/B600
The predecessor of the Porter, introduced in February 1961, the Mazda B360, was available as a pickup (KBBA33) or light van (KBBAV) version of the R360 kei passenger car. It had a 356 cc OHV V-twin producing 13 PS (BA) and weighed 535 kg. The 1961 export only Mazda B600 (KBEA) was similar to the B360 except that it received an enlarged 577 cc version of the air-cooled V-twin. This engine produced 20 PS and 3.8 kgm of torque.

In September 1963 the B360 gained the four-cylinder, 358 cc 20 PS DB OHV engine from the Carol. It also received a facelift, with a larger grille using the same look as the B1500 truck. The modelcodes changed to KBDA33/KBDAV, and a DeLuxe Van version was added. Top speed went up from 67 to 79 km/h. In October 1966 the B360 received another facelift, giving it a much more modern look.

The two-cylinder B600 was one of the first Japanese cars to have an impact in the Indonesian market. The B600, nicknamed "Soap Box" (Kotak Sabun) in Indonesia for its square shape, was used by numerous government agencies and public utilities. It was only ever sold with van bodywork there. The B600 was a common sight in Indonesia for decades, so common that its V-twin engine has become popular for use in custom motorcycles. Since 2010, the supply of B600 engines has begun to dry up, however, with prices increasing accordingly.

In 1972, the B360/600 entered license production in Burma (today's Myanmar). Mazda's investment consisted of shipping the production equipment to Burma; this was part of Japanese war reparations to Myanmar. After strict sanctions were imposed in 1988 and the import of Japanese parts became impossible, manufacture shifted to MADI (Myanmar Automobile and Diesel Engine Industries). The little trucks were built in the "No 2 Automobile Industry" plant in the small town of Tonbo, at Kwinhla Station, Pandaung Township, Bago Division (just north of Yangon), where MADI also assembled the Mazda Pathfinder and the Hino TE truck. The truck was kept in production until the mid-1990s with 100 percent local content. Always painted in blue from the factory, these were ubiquitous as taxis in Burma (Mandalay in particular) until after the markets opened up in 2011.

Porter
Available either as a pickup truck (KBDB33) or a small van (KBDBV), the first Porter (E360 in export markets) was produced from November 1968 to April 1976. The car was closely based on the B360 predecessor, but with all-new body panels. This model was briefly assembled in South Africa by Motor Assemblies. 942 examples of the E360 were built there in 1969 and 1970.

The initial engine was the carry-over four-stroke, 20 PS 358 cc inline-four from the B360. The engine was changed to the Chantez' 35 PS 359 cc water-cooled, two-stroke two-cylinder in April 1973, which brought with it some cosmetic changes (KBAA/KBAAV). In 1975 the Porter was modified to fit new, larger license plates and the engine downgraded to 32 PS to match new, stricter emissions regulations.

The wheelbase was 1995 mm with leaf springs in the rear, weight was 475 kg and maximum cargo capacity was 300 kg when first introduced.

Porter Cab (1st generation)

The Porter Cab (KECA53) was introduced in March 1969. It was a small, cabover pickup truck on a 1835 mm wheelbase, equipped with a live rear axle and a 23 PS at 5500 rpm, 359 cc water-cooled, two-stroke two-cylinder. This, the CC, was Mazda's first two-stroke engine. Top speed was 90 km/h. The Porter Cab, with its peculiar cowlings around the headlights carried an instantly recognizable "surprised" appearance.

In 1970 new doors were developed, with the original sliding windows exchanged for roll-down items, incorporating a quarter window. A ventilation vent was also added to the front. Like the Porter, the Porter Cab received the Chantez-derived AA engine in April 1973, which offered 30 PS at 6000 rpm, five less than in the Chantez.

In January 1975, the Porter Cab too was lightly modified to fit the new larger license plates - hitherto, kei cars had carried smaller license plates than regular cars (230 mm x 125 mm rather than 330 x 165 mm). In April 1976 the Porter Cab also received an engine which met the new, tougher 1975 emissions regulations and the model code PC3A. The only color available was changed too, from light green to white. Like the Porter before it, the Porter Cab was labelled E360 in export markets.

Porter Cab (2nd generation)
When Kei car regulations were changed for 1976, due to shrinking sales in the category, Mazda did not think it a worthwhile expenditure to develop a new, clean 550 cc engine. Instead, they discontinued the Chantez passenger car and the Porter pickup, and began buying Mitsubishi's 2G23 engines to equip the New Porter Cab which appeared in 1977 (PC4D). The Porter Cab was stretched by 200 mm (almost entirely behind the rear axle, with the 1835 mm wheelbase remaining unchanged) and widened by 100 mm. Dimensions were now 3195 mm x 1395 mm as per the updated standards, and the 546 cc Vulcan S two-cylinder developed 29 PS at 5500 rpm. The headlight bezels were squared off, lending the car a more conventional appearance. In 1979 the car gained two more horsepower.

The second generation Porter Cab was only available in a bright blue color with light grey trim (bumpers, headlight bezels) and black interior, until the 1983 facelift after which only white was available. The facelifted version gained the cleaner Vulcan II engine (G23B), although power output remained the same. Trim pieces were now in a darker grey, interior brown.

In 1985 there was another minor facelift, with trim pieces now in black and a black band between the headlights. The engine switched from a timing chain to a timing belt, and the interior changed to gray. Air conditioning was now available as an option. In 1987 the Mitsubishi Minicab received Mitsubishi's new three-cylinder engine, but the Porter Cab had to soldier on with the old two-cylinder. In June 1989, after twenty years of continuous production with nothing more than facelifts, the Porter Cab was finally retired. It was replaced by the Autozam Scrum, a badge-engineered Suzuki Carry.

title: Mazda Porter


text:
Mazda Chantez

The Mazda Chantez (chassis code KMAA) is a two-door kei car that was introduced by Mazda in July 1972. The Chantez had a longer wheelbase at 2200 mm than most of its competitors and featured the powerful two-stroke "AA" engine also seen in the Porter. With 35 PS, top speed was 115 km/h and the 400 m sprint was dispatched in a sprightly 20.6 seconds. In more recent testing (early 2000s) of a 1972 GF II, 0–100 km/h came up in 35.8 seconds. The engine was installed longitudinally in the front of the vehicle powering the rear wheels, and the spare tire was installed next to the engine on the right side.

The name chantez is second-person plural present indicative of chanter, which in French means 'to sing'.

Originally, the Chantez had been planned to use a single-rotor Wankel engine, a slimmed down derivative of the R100's 10A engine, and test cars were seen in 1970. Mazda's financial situation and lobbying from other Kei manufacturers, who considered this engine type an unfair advantage, to disallow rotary engines in this class meant that Mazda chose not to bring this version to market. As a result of not being able to build the car they had originally planned, Mazda lost interest in the Kei class and sales halted without a replacement in 1976, on the eve of new Kei car regulations. Mazda did not market another Kei passenger car until 1989 with a reintroduction of the Carol, which was a rebadged Suzuki Alto, and to this day still choose not to make their own engines for the Kei class.

Equipment levels ranged from the lowest spec L (less chrome, body colored bumpers and B-pillars), via the LX, GL, GF, and GL II to the top-of-the-line GF II, which featured a sports interior, radial tires, and available two-tone paint.

In late 1974, anticipating a changing law at the turn of the year, the trunk lid and front bumper were modified to fit larger-size license plates.

title: Mazda Chantez


text:
Gareth Williams

Gareth Williams may refer to:

Arts and entertainment

 * Gareth Williams (British musician) (1953–2001), member of English group This Heat
 * Gareth F. Williams (1955–2016), Welsh novelist and television writer
 * Gareth Williams (composer) (born 1977), Irish composer
 * Gareth Williams (New Zealand actor) (born 1987), New Zealand television, film and theater actor
 * Gareth Williams (American actor) (fl. 1990s), American actor

Association football (soccer)

 * Gareth Williams (footballer, born 1941) (1941–2018), English-born Welsh footballer
 * Gareth Williams (footballer, born 1967), English footballer
 * Gareth Williams (footballer, born 1981), Scottish footballer
 * Gareth Williams (footballer, born 1982), South African-born Welsh footballer

Rugby

 * Gareth Williams (rugby union, born 1954) (1954–2018), Wales and British Lions international rugby union player
 * Gareth Williams (rugby union, born 1978), Wales international rugby union hooker
 * Gareth Williams (rugby union, born 1981), Welsh rugby union flanker
 * Gareth Williams (rugby union, born 1988), Welsh rugby union scrum-half

Other sports

 * Gareth Williams (cricketer) (born 1973), English cricketer
 * Gareth Williams (tennis), South African tennis player

Others

 * Gareth Williams, Baron Williams of Mostyn (1941–2003), Welsh barrister and Labour politician
 * Gareth V. Williams (born 1965), English-American astronomer at the Minor Planet Center
 * Gareth Wyn Williams (1978–2010), Welsh mathematician, employee of Britain's GCHQ signals intelligence agency, found dead in 2010
 * Gareth Williams (Latin Americanist) (fl. 1990s), Latin Americanist, member of Latin American subaltern studies group

title: Gareth Williams