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Ecclesiastes
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Ecclesiastes (/ɪˌkliːziˈæstiːz/; Greek: Ἐκκλησιαστής, Ekklēsiastēs, Hebrew: קֹהֶלֶת, qōheleṯ) is one of 24 books of the Tanakh or Hebrew Bible, where it is classified as one of the Ketuvim (or "Writings"). Originally written c. 450-180 BCE, it is also among the canonical Wisdom Books in the Old Testament of most denominations of Christianity. The title Ecclesiastes is a Latin transliteration of the Greek translation of the Hebrew Kohelet, the pseudonym used by the author of the book.
The book is a musing by a King of Jerusalem as he relates his experiences and draws lessons from them, often self-critical. The author, introducing himself as the son of David, discusses the meaning of life and the best way to live. He proclaims all the actions of man to be inherently hevel, meaning "vain" or "futile", ("mere breath"), as both wise and foolish end in death. Kohelet clearly endorses wisdom as a means for a well-lived earthly life. In light of this senselessness, one should enjoy the simple pleasures of daily life, such as eating, drinking, and taking enjoyment in one's work, which are gifts from the hand of God. The book concludes with the injunction: "Fear God, and keep his commandments; for that is the whole duty of everyone" (12:13).
Ecclesiastes has had a deep influence on Western literature. It contains several phrases that have resonated in British and American culture, and was quoted by Abraham Lincoln addressing Congress in 1862. American novelist Thomas Wolfe wrote: "[O]f all I have ever seen or learned, that book seems to me the noblest, the wisest, and the most powerful expression of man's life upon this earth—and also the highest flower of poetry, eloquence, and truth. I am not given to dogmatic judgments in the matter of literary creation, but if I had to make one I could say that Ecclesiastes is the greatest single piece of writing I have ever known, and the wisdom expressed in it the most lasting and profound."[1]
Contents
[hide]
1 Structure
2 Summary
3 Composition
3.1 Title, date and author
3.2 Genre and setting
3.3 Canonicity
4 Themes
5 Judaism
6 Catholicism
7 Influence on Western literature
8 See also
9 Citations
10 References
11 Further reading
12 External links
Structure[edit]
Ecclesiastes is presented as an autobiography of "Kohelet" (or "Qoheleth", meaning "Assembler", but traditionally translated as "Teacher" or "Preacher"[2]). Kohelet's story is framed by voice of the narrator, who refers to Kohelet in the third person, praises his wisdom, but reminds the reader that wisdom has its limitations and is not man's main concern. Kohelet reports what he planned, did, experienced and thought. His journey to knowledge is, in the end, incomplete. The reader is not only to hear Kohelet's wisdom, but to observe his journey towards understanding and acceptance of life's frustrations and uncertainties: the journey itself is important.[3]
Few of the many attempts to uncover an underlying structure to Ecclesiastes have met with widespread acceptance; among them, the following is one of the more influential:[4]
Title (1:1)
Initial poem (1:2–11)
I: Kohelet's investigation of life (1:12–6:9)
II: Kohelet's conclusions (6:10–11:6)
Introduction (6:10–12)
A: Man cannot discover what is good for him to do (7:1–8:17)
B: Man does not know what will come after him (9:1–11:6)
Concluding poem (11:7–12:8)
Epilogue (12:9–14)
Verse 1:1 is a superscription, the ancient equivalent of a title page: it introduces the book as "the words of Kohelet, son of David, king in Jerusalem."[5]
Most, though not all, modern commentators regard the epilogue (12:9–14) as an addition by a later scribe. Some have identified certain other statements as further additions intended to make the book more religiously orthodox (e.g., the affirmations of God's justice and the need for piety).[6]
Summary[edit]
The ten-verse introduction in verses 1:2–11 are the words of the frame narrator; they set the mood for what is to follow: Kohelet's message is that all is meaningless.[5]
After the introduction come the words of Kohelet. As king he has experienced everything and done everything, but nothing is ultimately reliable. Death levels all. The only good is to partake of life in the present, for enjoyment is from the hand of God. Everything is ordered in time and people are subject to time in contrast to God's eternal character. The world is filled with injustice, which only God will adjudicate. God and humans do not belong in the same realm and it is therefore necessary to have a right attitude before God. People should enjoy, but should not be greedy; no-one knows what is good for humanity; righteousness and wisdom escape us. Kohelet reflects on the limits of human power: all people face death, and death is better than life, but we should enjoy life when we can. The world is full of risk: he gives advice on living with risk, both political and economic. Mortals should take pleasure when they can, for a time may come when no one can. Kohelet's words finish with imagery of nature languishing and humanity marching to the grave.[7]
The frame narrator returns with an epilogue: the words of the wise are hard, but they are applied as the shepherd applies goads and pricks to his flock. The original ending of the book was probably the words: "The end of the matter" (12:13) but the text we have continues: "Fear God" (a phrase used often in Kohelet's speech) "and keep his commandments" (which he never uses), "for God will bring every deed to judgement."[8]
Composition[edit]
Title, date and author[edit]
The book takes its name from the Greek ekklesiastes, a translation of the title by which the central figure refers to himself: Kohelet, meaning something like "one who convenes or addresses an assembly".[9] According to rabbinic tradition, Ecclesiastes was written by Solomon in his old age.[10] (An alternative tradition that "Hezekiah and his colleagues wrote Isaiah, Proverbs, the Song of Songs and Ecclesiastes" probably means simply that the book was edited under Hezekiah.)[11] Nevertheless, critical scholars have long rejected the idea of a pre-exilic origin.[12][13] The presence of Persian loan-words and Aramaisms points to a date no earlier than about 450 BCE,[2] while the latest possible date for its composition is 180 BCE, when another Jewish writer, Ben Sira, quotes from it.[14] The dispute as to whether Ecclesiastes belongs to the Persian or the Hellenistic periods (i.e., the earlier or later part of this period) revolves around the degree of Hellenization (influence of Greek culture and thought) present in the book. Scholars arguing for a Persian date (c. 450–330 BCE) hold that there is a complete lack of Greek influence;[2] those who argue for a Hellenistic date (c. 330–180 BCE) argue that it shows internal evidence of Greek thought and social setting.[15]
Also unresolved is whether the author and narrator of Kohelet are one and the same person. Some scholars have argued that the third-person narrative structure is an artificial literary device along the lines of Uncle Remus, although the description of the Teacher in 12:8–14 seems to favour a historical person whose thoughts are presented by the narrator.[16] The question, however, has no theological importance,[16] and one scholar (Roland Murphy) has commented that Kohelet himself would have regarded the time and ingenuity put into interpreting his book as "one more example of the futility of human effort".[17]
Genre and setting[edit]
Ecclesiastes has taken its literary form from the Middle Eastern tradition of the fictional autobiography, in which a character, often a king, relates his experiences and draws lessons from them, often self-critical: Kohelet likewise identifies himself as a king, speaks of his search for wisdom, relates his conclusions, and recognises his limitations.[3] It belongs to the category of wisdom literature, the body of biblical writings which give advice on life, together with reflections on its problems and meanings—other examples include the Book of Job, Proverbs, and some of the Psalms. Ecclesiastes differs from the other biblical Wisdom books in being deeply skeptical of the usefulness of Wisdom itself.[18] Ecclesiastes in turn influenced the deuterocanonical works, Wisdom of Solomon and Sirach, both of which contain vocal rejections of the Ecclesiastical philosophy of futility.
Wisdom was a popular genre in the ancient world, where it was cultivated in scribal circles and directed towards young men who would take up careers in high officialdom and royal courts; there is strong evidence that some of these books, or at least sayings and teachings, were translated into Hebrew and influenced the Book of Proverbs, and the author of Ecclesiastes was probably familiar with examples from Egypt and Mesopotamia.[19] He may also have been influenced by Greek philosophy, specifically the schools of Stoicism, which held that all things are fated, and Epicureanism, which held that happiness was best pursued through the quiet cultivation of life's simpler pleasures.[20]
Canonicity[edit]
The presence of Ecclesiastes in the Bible is something of a puzzle, as the common themes of the Hebrew canon—a God who reveals and redeems, who elects and cares for a chosen people—are absent from it, which suggests that Kohelet had lost his faith in his old age. Understanding the book was a topic of the earliest recorded discussions (the hypothetical Council of Jamnia in the 1st century CE). One argument advanced then was that the name of Solomon carried enough authority to ensure its inclusion, but other works which appeared with Solomon's name were excluded despite being more orthodox than Ecclesiastes.[21] Another was that the words of the epilogue, in which the reader is told to fear God and keep his commands, made it orthodox; but all later attempts to find anything in the rest of the book which would reflect this orthodoxy have failed. A modern suggestion treats the book as a dialogue in which different statements belong to different voices, with Kohelet himself answering and refuting unorthodox opinions, but there are no explicit markers for this in the book, as there are, for example in the Book of Job. Yet another suggestion is that Ecclesiastes is simply the most extreme example of a tradition of skepticism, but none of the proposed examples match Ecclesiastes for a sustained denial of faith and doubt in the goodness of God. "In short, we do not know why or how this book found its way into such esteemed company," summarizes Martin A. Shields in his 2006 book The End of Wisdom: A Reappraisal of the Historical and Canonical Function of Ecclesiastes[22]
Themes[edit]
Scholars disagree about the themes of Ecclesiastes. Is it positive and life-affirming, or deeply pessimistic?[23] Is Kohelet coherent or incoherent, insightful or confused, orthodox or heterodox? Is the ultimate message of the book to copy Kohelet, the wise man, or to avoid his errors?[24] At times Kohelet raises deep questions; he "doubted every aspect of religion, from the very ideal of righteousness, to the by now traditional idea of divine justice for individuals."[25] Some passages of Ecclesiastes seem to contradict other portions of the Old Testament, and even itself.[23] One suggestion for resolving the contradictions is to read the book as the record of Kohelet's quest for knowledge: opposing judgments (e.g., "the dead are better off than the living" (4:2) vs. "a living dog is better off than a dead lion" (9:4)) are therefore provisional, and it is only at the conclusion that the verdict is delivered (11–12:7). On this reading, Kohelet's sayings are goads, designed to provoke dialogue and reflection in his readers, rather than to reach premature and self-assured conclusions.[26]
The subjects of Ecclesiastes are the pain and frustration engendered by observing and meditating on the distortions and inequities pervading the world, the uselessness of human deeds, and the limitations of wisdom and righteousness. The phrase "under the sun" appears thirty times in connection with these observations; all this coexists with a firm belief in God, whose power, justice and unpredictability are sovereign.[27] History and nature move in cycles, so that all events are predetermined and unchangeable, and life has no meaning or purpose: the wise man and the man who does not study wisdom will both die and be forgotten: man should be reverent ("Fear God"), but in this life it is best to simply enjoy God's gifts.[20]
Judaism[edit]
In Judaism, Ecclesiastes is read either on Shemini Atzeret (by Yemenites, Italians, some Sepharadim, and the mediaeval French Jewish rite) or on the Shabbat of the Intermediate Days of Sukkot (by Ashkenazim). If there is no Intermediate Sabbath of Sukkot, even the Ashkenazim read it on Shemini Atzeret (or, for Ashkenazim in the Land of Israel, on the first Shabbat of Sukkot). It is read on Sukkot as a reminder to not get too caught up in the festivities of the holiday, as well as to carry over the happiness of Sukkot to the rest of the year by telling the listeners that, without God, life is meaningless. When the listeners take this to heart, then true happiness can be achieved throughout the year.
The final poem of Kohelet (Ecclesiastes 12:1–8) has been interpreted in the Targum, Talmud and Midrash, and by the rabbis Rashi, Rashbam and ibn Ezra, as an allegory of old age.
Catholicism[edit]
Ecclesiastes has been cited in the writings of past and current Catholic Church leaders. For example, doctors of the Church have cited Ecclesiastes. St. Augustine of Hippo cited Ecclesiastes in Book XX of City of God.[28] Saint Jerome wrote a commentary on Ecclesiastes.[29] St. Thomas Aquinas cited Ecclesiastes ("The number of fools is infinite.") in his Summa Theologica.[30]
The book continues to be cited by recent popes, including Pope John Paul II and Pope Francis. Pope John Paul II, in his general audience of October 20, 2004, called the author of Ecclesiastes "an ancient biblical sage" whose description of death "makes frantic clinging to earthly things completely pointless."[31] Pope Francis cited Ecclesiastes on his address on September 9, 2014. Speaking of vain people, he said, "How many Christians live for appearances? Their life seems like a soap bubble."[32]
Influence on Western literature[edit]
Ecclesiastes has had a deep influence on Western literature. It contains several phrases that have resonated in British and American culture, such as "eat, drink and be merry," "nothing new under the sun," "a time to be born and a time to die," and "vanity of vanities; all is vanity."[33] Abraham Lincoln quoted Ecclesiastes 1:4 in his address to the reconvening Congress on December 1, 1862, during the darkest hours of the American Civil War: "'One generation passeth away, and another generation cometh: but the earth abideth for ever.'...Our strife pertains to ourselves—to the passing generations of men; and it can without convulsion be hushed forever with the passing of one generation."[34] American novelist Thomas Wolfe wrote: "[O]f all I have ever seen or learned, that book seems to me the noblest, the wisest, and the most powerful expression of man's life upon this earth—and also the highest flower of poetry, eloquence, and truth. I am not given to dogmatic judgments in the matter of literary creation, but if I had to make one I could say that Ecclesiastes is the greatest single piece of writing I have ever known, and the wisdom expressed in it the most lasting and profound."[1]
The opening of William Shakespeare's Sonnet 59 references Ecclesiastes 1:9–10.
Leo Tolstoy's Confession describes how the reading of Ecclesiastes affected his life.
Robert Burns' "Address to the Unco Guid" begins with a verse appeal to Ecclesiastes 7:16.
The title of Ernest Hemingway's first novel The Sun Also Rises was taken from Ecclesiastes 1:5.
The title of Edith Wharton’s novel House of Mirth was taken from Ecclesiastes 7:4 ("The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.").
The title of Laura Lippman's novel, Every Secret Thing, and of its film adaptation, come from Ecclesiastes 12:14, ("For God shall bring every work into judgment, with every secret thing, whether it be good, or whether it be evil.")
The main character in George Bernard Shaw's novel The Adventures of the Black Girl in her Search for God[35] meets Koheleth "known to many as Ecclesiastes".
The title and theme of George R. Stewart's post-apocalyptic novel Earth Abides is from Ecclesiastes 1:4.
In the dystopian novel "Fahrenheit 451," Ray Bradbury's main character, Montag, memorizes much of Ecclesiastes and Revelation in a world where books are forbidden and burned.
Pete Seeger's cautionary song "Turn! Turn! Turn!" takes many of its lyrics from the Book of Ecclesiastes.
See also[edit]
Bible
Q, novel by Luther Blissett
A Rose for Ecclesiastes
Tanakh
Turn! Turn! Turn!
Vanitas
Vier ernste Gesänge
Wisdom of Sirach
The Song
Citations[edit]
^ Jump up to: a b Christianson 2007, p. 70.
^ Jump up to: a b c Seow 2007, p. 944.
^ Jump up to: a b Fox 2004, p. xiii.
Jump up ^ Fox 2004, p. xvi.
^ Jump up to: a b Longman 1998, pp. 57–59.
Jump up ^ Fox 2004, p. xvii.
Jump up ^ Seow 2007, pp. 946–57.
Jump up ^ Seow 2007, pp. 957–58.
Jump up ^ Gilbert 2009, pp. 124–25.
Jump up ^ Brown 2011, p. 11.
Jump up ^ Smith 2007, p. 692.
Jump up ^ Fox 2004, p. x.
Jump up ^ Bartholomew 2009, pp. 50–52.
Jump up ^ Fox 2004, p. xiv.
Jump up ^ Bartholomew 2009, pp. 54–55.
^ Jump up to: a b Bartholomew 2009, p. 48.
Jump up ^ Ingram 2006, p. 45.
Jump up ^ Brettler 2007, p. 721.
Jump up ^ Fox 2004, pp. x–xi.
^ Jump up to: a b Gilbert 2009, p. 125.
Jump up ^ Diderot, Denis (1752). Canon. pp. 601–04.
Jump up ^ Shields 2006, pp. 1-5.
^ Jump up to: a b Bartholomew 2009, p. 17.
Jump up ^ Enns 2011, p. 21.
Jump up ^ Hecht, Jennifer Michael (2003). Doubt: A History. New York: Harper Collins. p. 75. ISBN 978-0-06-009795-0.
Jump up ^ Brown 2011, pp. 17–18.
Jump up ^ Fox 2004, p. ix.
Jump up ^ Augustine, The City of God, Book XX. Accessed 2015-06-28.
Jump up ^ Jerome, Commentary on Ecclesiastes. Accessed 2015-09-09.
Jump up ^ Thomas Aquinas, Summa Theologica. Accessed 2015-09-09.
Jump up ^ Manhardt, Laurie (2009). Come and See: Wisdom of the Bible. Emmaus Road Publishing. p. 115. ISBN 9781931018555.
Jump up ^ Pope Francis, "Pope Francis: Vain Christians are like soap bubbles". Accessed 2015-09-09.
Jump up ^ Hirsch, E.D. (2002). The New Dictionary of Cultural Literacy. Houghton Mifflin Harcourt. p. 8. ISBN 0618226478.
Jump up ^ Foote, Shelby (1986). The Civil War, a narrative, vol. 1. Vintage Books. pp. 807–08. ISBN 9780307744678.
Jump up ^ 1856-1950., Shaw, Bernard, (2006). The adventures of the black girl in her search for God. London: Hesperus. ISBN 1843914220. OCLC 65469757.
References[edit]
Bartholomew, Craig (2009). Ecclesiastes. Baker Academic Press. ISBN 9780801026911.
Brettler, Mark Zvi (2007). "The Poetical and Wisdom Books". In Coogan, Michael D. The New Oxford Annotated Bible (3rd ed.). Oxford University Press. ISBN 9780195288803.
Brown, William P. (2011). Ecclesiastes: Interpretation: A Bible Commentary for Teaching and Preaching. Westminster John Knox Press. ISBN 9780664238247.
Christianson, Eric S. (2007). Ecclesiastes Through the Centuries. Wiley-Blackwell. ISBN 9780631225294.
Coogan, Michael D. (2008). The Old Testament: A Very Short Introduction. Oxford University Press. ISBN 9780199719464.
Diderot, Denis (1752). Canon.
Eaton, Michael (2009). Ecclesiastes. IVP Academic.
Enns, Peter (2011). Ecclesiastes. Eerdmans. ISBN 9780802866493.
Fredricks, D.C. (2010). Ecclesiastes and Song of Songs. IVP Academic.
Fox, Michael V. (2004). The JPS Bible Commentary: Ecclesiastes. Jewish Publication Society. ISBN 9780827609655.
Gilbert, Christopher (2009). A Complete Introduction to the Bible: A Literary and Historical Introduction to the Bible. Paulist Press. ISBN 9780809145522.
Hecht, Jennifer Michael (2003). Doubt: A History. New York: HarperCollins. ISBN 978-0-06-009795-0.
Ingram, Doug (2006). Ambiguity in Ecclesiastes. Continuum.
Krüger, Thomas (2004). Qohelet: A Commentary. Fortress.
Longman, Tremper (1998). The Book of Ecclesiastes. Eerdmans. ISBN 9780802823663.
Miller, Adam S. (2016). Nothing Under the Sun. CreateSpace. ASIN 1530872804. ISBN 978-1530872800. CS1 maint: ASIN uses ISBN (link)
Rudman, Dominic (2001). Determinism in the Book of Ecclesiastes. Sheffield Academic Press. ISBN 9780567215635.
Seow, C.L. (2007). "Ecclesiastes". In Coogan, Michael D. The New Oxford Annotated Bible (3rd ed.). Oxford University Press. ISBN 9780195288803.
Shields, Martin A. (2006). The End of Wisdom: A Reappraisal of the Historical and Canonical Function of Ecclesiastes. Eisenbrauns. ISBN 9781575061023.
Smith, James (1996). The Wisdom Literature and Psalms. College Press. ASIN 0899004393. ISBN 9780899004396. CS1 maint: ASIN uses ISBN (link)
Further reading[edit]
Ranston, Harry (1925). Ecclesiastes and the Early Greek Wisdom Literature. First ed. Epworth Press.
External links[edit]
Wikisource has original text related to this article:
Ecclesiastes (Bible)
Wikiquote has quotations related to: Ecclesiastes
Wikimedia Commons has media related to Book of Ecclesiastes.
Translations
Kohelet – Ecclesiastes (Judaica Press) translation [with Rashi's commentary] at Chabad.org
Ecclesiastes: New Revised Standard Version
Ecclesiastes: Douay Rheims Bible Version
Ecclesiastes at Wikisource (Authorised King James Version)
Ecclesiastes at United States Conference of Catholic Bishops (New American Bible)
Ecclesiastes at Bible Gateway (New King James Version)
A Metaphrase of the Book Of Ecclesiastes by Gregory Thaumaturgus.
Introduction to Ecclesiastes a Forward Movement publication
Ecclesiastes public domain audiobook at LibriVox – Various versions
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Star system (filmmaking)
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The star system was the method of creating, promoting and exploiting stars in Hollywood films. Movie studios would select promising young actors and glamorise and create personas for them, often inventing new names and even new backgrounds. Examples of stars who went through the star system include Cary Grant (born Archie Leach), Joan Crawford (born Lucille Fay LeSueur), and Rock Hudson (born Roy Harold Scherer, Jr.).
The star system put an emphasis on the image rather than the acting, although discreet acting, voice, and dancing lessons were a common part of the regimen. Women were expected to behave like ladies, and were never to leave the house without makeup and stylish clothes. Men were expected to be seen in public as gentlemen. Morality clauses were a common part of actors' studio contracts.
Just as studio executives, public relations staffs, and agents worked together with the actor to create a star persona, so they would work together to cover up incidents or lifestyles that would damage the star's public image. It was common, for example, to arrange sham dates between single (male) stars and starlets to generate publicity. Tabloids and gossip columnists would be tipped off, and photographers would appear to capture the romantic moment. At the same time, a star's drug use (such as Robert Mitchum's arrest for marijuana possession), drinking problems, divorce, or adultery would be covered up with hush money for witnesses or promises of exclusive stories (or the withholding of future stories) to gossip columnists.
Contents
[hide]
1 Beginnings
2 Decline of the studio system
2.1 Contemporary stardom
3 See also
4 References
Beginnings[edit]
In the early years of the cinema (1890s–1900s), performers were not identified in films. There are two main reasons for this. First, from the perspective of actors who were trained in the theatre, they were embarrassed to be working in film and feared it would ruin their reputation. Silent film was thought of as mere pantomime and one of theatre actors' main skills was their command of their voice. Theatre actors were also ashamed to be in films because early films were aimed for the uneducated working class. Film was seen as only a step above appearing in carnivals and freak shows. Second, from the perspective of early film producers, they feared that actors would gain more prestige and power and demand more money if they were named.
Thomas Edison and the Motion Picture Patents Company (MPPC) forced filmmakers to use their equipment and follow their rules, since they owned the patents of much of the motion picture equipment. The MPPC frowned on star promotion, although, according to research done by Janet Staiger, the MPPC did promote some stars around this time.
The main catalyst for change was the public's desire to know the actors' names. Film audiences repeatedly recognized certain performers in movies that they liked. Since they did not know the performers' names they gave them nicknames (such as "the Biograph Girl", Florence Lawrence, who was featured in Biograph movies). Audiences began to want movie stars.[1]
Producer Carl Laemmle promoted the first movie star. He was independent of the MPPC and used star promotion to fight the MPPC's control. Laemmle acquired Lawrence from Biograph. He spread a rumor that she had been killed in a streetcar accident. Then he combated this rumor by saying that she was doing fine and would be starring in an up-coming movie produced by his company, the Independent Moving Pictures Company (IMP).
The development of film fan magazines gave fans knowledge about the actors outside of their film roles. Motion Picture Story Magazine (1911–1977) and Photoplay were initially focused on movies' stories, but soon found that more copies could be sold if they emphasized the actors.
Also, precedents set by legitimate theater encouraged film to emulate the star system of the Broadway stage. Broadway stars in the late 19th century were treated much like film stars came to be treated by the middle of the 20th century. The main practitioner of the star system on Broadway was Charles Frohman, a man whom Zukor, Laemmle, Mayer, Fox and the Warner Brothers emulated and who later perished in the Lusitania sinking.
Moreover, the star system existed in forms of entertainment before the cinema and may be tracked back at least to P. T. Barnum in the mid 19th century, who developed a system of promotion for his "Museum of Freaks" and later his Greatest Show on Earth circus. Barnum's biggest stars were Jenny Lind, Tom Thumb and Jumbo.
Decline of the studio system[edit]
From the 1930s to the 1960s, it was common practice for studios to arrange the contractual exchange of talent (directors, actors) for prestige pictures. Stars would sometimes pursue these swaps themselves. Stars were becoming selective. Although punished and frowned upon by studio heads, several strong-willed stars received studio censure and publicity for refusing certain parts, on the belief that they knew better than the studio heads about the parts that were right for them. In one instance, Jane Greer negotiated her contract out of Howard Hawks' hands over the roles she felt were inappropriate for her. Olivia de Havilland and Bette Davis both sued their studios to be free of their gag orders (Davis lost, de Havilland won). After completing The Seven Year Itch, Marilyn Monroe walked out on 20th Century Fox and only returned when they acquiesced to her contract demands. The publicity accompanying these incidents fostered a growing suspicion among actors that a system more like being a free agent would be more personally beneficial to them than the suffocating star system. In 1959 Shirley MacLaine sued famed producer Hal Wallis over a contractual dispute, contributing further to the star system's demise.[2] By the 1960s the star system was in decline.
The conspiratorial aspect of the studio system manipulating images and reality eventually began to falter as the world and the news media began to accept the dismantling of social boundaries and the manufactured virtue and wholesomeness of stars began to be questioned; taboos began to fall. By the 60s and 70s a new, more natural style of acting ("the Stanislavski Method") had emerged, been mythologized, and enshrined; and individuality had been transformed into a treasured personal quality. With competition from TV, and entire studios changing hands, the star system faltered and did not recover. The studio system could no longer resist the changes occurring in entertainment, culture, labor, and news, and by 1970 the star system had disappeared.
Contemporary stardom[edit]
The phenomenon of stardom has remained essential to Hollywood because of its ability to lure spectators into the theater. Following the demise of the studio system in the 1950s and 60s, the star system became the most important stabilizing feature of the movie industry. This is because stars provide film makers with built in audiences who regularly watch films in which their favorite actors and actresses appear.[3]
Contemporary Hollywood talent agencies must now be licensed under the California Labor Code, which defines an agent as any "person or corporation who engages in the occupation of procuring, offering, promising, or attempting to procure employment for artist or artists."[4]:167 Talent agencies such as William Morris Agency (WMA), International Creative Management (ICM), Creative Artists Agency (CAA), and many more started to arise in the mid-1970s. CAA represented the modern agency, with new ways of marketing talent by packaging actors, agencies are able to influence production schedules, budgeting of the film, and which talent will be playing each particular character. Packaging gained notoriety in the 1980s and 1990s with films such Ghost Busters, Tootsie, Stripes, and A League of Their Own. This practice continues to be prominent in films today such as Big Daddy, Happy Gilmore, Waterboy, and Billy Madison. The ease of selling a packaged group of actors to a particular film insures that certain fan groups will see that movie, reducing risk of failure and increasing profits.[4]:167–180
See also[edit]
Classical Hollywood cinema
Movie star
Studio system
References[edit]
Jump up ^ Basinger, Jeanine (2007). The Star Machine. NY: Alfred A. Knopf. p. 18. ISBN 978-1-4000-4130-5.
Jump up ^ Hanrihan v. Parker, 19 Misc. 2d 467, 469 (N.Y. Misc. 1959)
Jump up ^ Belton, John (2008-11-10). American cinema/American culture. McGraw-Hill. p. 120. ISBN 978-0-07-338615-7.
^ Jump up to: a b McDonald, Paul, and Janet Wasko. The Contemporary Hollywood Film Industry. Malden, MA: Blackwell Pub., 2008. Print.
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Shaddap You Face
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"Shaddap You Face"
Single by Joe Dolce Music Theatre
B-side
"Ain't in No Hurry"
Released
1980 (International)
April 1981 (U.S.)
Format
7"
Recorded
1980
Genre
Pop, comedy
Label
Full Moon Records
Epic Records (UK)[1]
Songwriter(s)
Joe Dolce[1]
Producer(s)
Joe Dolce and Ian McKenzie[1]
"Shaddap You Face" is a song written and performed by Joe Dolce (known at the time as the Joe Dolce Music Theatre) about a fictitious rebellious Italian boy. Released in late 1980, it set a number of sales and longevity records. The song is notable for keeping Ultravox's "Vienna" from reaching #1 on the UK music charts.
Contents
[hide]
1 Sales and chart positions
2 Charts
2.1 Weekly charts
2.2 Year-end charts
3 References
4 External links
Sales and chart positions[edit]
"Shaddap You Face" went to #1 for eight weeks on the Australian pop charts in 1980.[2] It reached Number 1 in the UK Singles Chart on 21 February 1981 and stayed there for three weeks until 14 March 1981—keeping Ultravox's single Vienna out of the top spot for all the three weeks it was there.[3] The song became the 15th biggest hit of 1981 in the UK.[4]
"Shaddap You Face" was also Number 1 in 11 other countries. There have been over 50 different foreign language cover versions, and hundreds more published informally on YouTube with new versions being recorded and uploaded every year. The original release sold over 6 million copies and has remained the most successful Australian-produced single in Australian music history for 38 years straight, with sales of over 450,000 copies. It was Australia's first triple platinum recording by the old count of 100,000 units equalling platinum status, which has since changed to 75,000 units, then 50,000, and finally 70,000 units.[citation needed]
In the US, the song peaked at No. 53 in the summer of 1981 on the Billboard Hot 100, No. 43 on the Cash Box Top 100,[5] and No. 24 on Record World. However, it was regularly played on the Dr. Demento show to the point of being No. 6 on the year-end Funny 25 that year. In Canada, "Shaddap You Face" reached number two for two weeks.[6]
Lou Monte released a cover of the song in 1981.[7] Other notable cover versions have been done by KRS-One (hip-hop),[8] EMF (British),[9] Andrew Sachs (Manuel, of Fawlty Towers), Werner Böhm, alias: Gottlieb Wendehals (German, title: Mensch, ärger dich nicht),[10] Sheila (French, titled: Et Ne La Ramène Pas),[11] Dingetje (Dutch, titled: Houtochdiekop),[12] De Strangers (muziekgroep (Dutch, titled: Agget Mor Fret),[13] Volker Rosin und die Lollypops (German, titled: Hörst du nicht die Kuh - Muh!), Franco Franchi with the duo, Franco e Ciccio (Italian, title: Alì Alì Alè),[14] an Aboriginal language version by Gnarnyarrhe Waitairie, a Papua New Guinean version by The Breeze Band (title: "Pasim Pes Bilong Yu" – pidgin version),[15] and even a spoken word interpretation by Samuel L. Jackson.[16]
The National Folk Festival in Canberra featured 'The Inspired Shaddap You Face Contest' in April 2006. Festival artists were invited to perform their interpretations of the classic song. The Cygnet Folk Festival in Tasmania featured the second 'Inspired Shaddap You Face Contest' in the following year. Joe Dolce was invited to be the MC at both events.
Charts[edit]
Weekly charts[edit]
Chart (1980–81)
Peak
position
Australia[2] 1
Canada 2
Belgium 1
France 1
Germany 1
Ireland 1
Netherlands (Single Top 100)[17] 4
New Zealand [18] 1
South Africa (Springbok Radio)[19] 1
UK 1
U.S. Billboard Hot 100 53
U.S. Cash Box Top 100[5] 43
U.S. Record World 24
Year-end charts[edit]
Chart (1980)
Rank
Australia [2] 45
Chart (1981)
Rank
Australia [2] 31
Canada [20] 20
Netherlands [21] 42
UK [22] 8
References[edit]
^ Jump up to: a b c Rice, Jo (1982). The Guinness Book of 500 Number One Hits (1st ed.). Enfield, Middlesex: Guinness Superlatives Ltd. p. 212. ISBN 0-85112-250-7.
^ Jump up to: a b c d "ARIA Charts – End Of Year Charts – Top 50 Singles 1988". Aria.com.au. Archived from the original on 4 February 2014. Retrieved 2016-10-23.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. pp. 390–1. ISBN 1-904994-10-5.
Jump up ^ "Top 100 1981 – UK Music Charts". Uk-charts.top-source.info. Retrieved 2016-10-23.
^ Jump up to: a b "Archived copy". Archived from the original on 4 April 2015. Retrieved 2015-05-13.
Jump up ^ "Item Display – RPM – Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-23.
Jump up ^ Lou Monte, "Shaddap You Face," YouTube
Jump up ^ KRS One, "Shaddap You Face," YouTube
Jump up ^ EMF, "Shaddap your face," YouTube
Jump up ^ Gottlieb Wendehals, "Mensch, ärger dich nicht," YouTube
Jump up ^ SHEILA, "Et ne la ramene pas," YouTube
Jump up ^ Dingetje, "Houtochdiekop," YouTube
Jump up ^ De Strangers, "Agget mor fret," YouTube
Jump up ^ Franco e Ciccio, "Alì Alì Alè," YouTube
Jump up ^ Papua New Guinea Breeze Band, "Pasim Pes Bilong Yu," YouTube
Jump up ^ Samuel L. Jackson, "Shaddap You Face," YouTube
Jump up ^ Dutch Charts Annual Reviews - Single 1981
Jump up ^ "NZ Top 40 Singles Chart | The Official New Zealand Music Chart". Nztop40.co.nz. 1980-12-28. Retrieved 2016-10-23.
Jump up ^ "SA Number 1s 1965 - 1989". rock.co.za. Retrieved 2018-05-26.
Jump up ^ The 1981 Top 100 Singles chart is identified by the RPM Year-End article "Top 100 Singles (1981)". RPM. Retrieved 2018-01-05.
Jump up ^ "Jaaroverzichten – Single 1981" (in Dutch). Single Top 100. Hung Medien. Retrieved March 13, 2018.
Jump up ^ "Chart File Top 100" (PDF). Record Mirror. London: Spotlight Publications. December 26, 1981. p. 27. Retrieved June 13, 2016.
External links[edit]
Lyrics of this song at MetroLyrics
Joe Dolce official website
Joe Dolce official Facebook Page
Preceded by
"Woman in Love" by Barbra Streisand Australian Kent Music Report number-one single
24 November 1980 – 12 January 1981 Succeeded by
"(Just Like) Starting Over" by John Lennon
Preceded by
"Woman" by John Lennon UK number one single
21 February 1981 – 7 March 1981 Succeeded by
"Jealous Guy" by Roxy Music
Retrieved from "https://en.wikipedia.org/w/index.php?title=Shaddap_You_Face&oldid=843120169"
Categories:
1981 singles
Australian pop songs
Debut singles
European Hot 100 Singles number-one singles
Novelty songs
Number-one singles in Australia
Number-one singles in Germany
Number-one singles in Switzerland
UK Singles Chart number-one singles
1980 songs
Number-one singles in Austria
Number-one singles in Belgium
Number-one singles in New Zealand
Number-one singles in South Africa
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This page was last edited on 27 May 2018, at 01:00.
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