Raising Hell: Ken Russell and the Unmaking of the Devils by Richard Crouse

By Richard Crouse

The tale of 1 of the main arguable motion pictures in heritage How did a film through the most recognized filmmakers on the earth prove banned, censored, and shelved? Made through “the English Federico Fellini,” Ken Russell, The Devils is so contentious that even a long time after its 1971 unencumber, Warner Brothers retains its so much incendiary scene less than lock and key. that includes an particular interview with lately deceased director Ken Russell and new interviews with forged, staff, and historians, elevating Hell examines this fantastically blasphemous motion picture approximately an oversexed priest and a gaggle of sexually repressed nuns in seventeenth century France. From the film’s inception via its headline-making construction and arguable reception, Richard Crouse explores what it really is approximately Russell’s hardly noticeable cult vintage that makes it a cinematic treasure.

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Riemann-Festschrift (Leipzig: Max Hesse, 1909), pp. 60–76. Modern discussions can be found in Suzannah Clark, ‘From Nature to Logic in Schubert’s Instrumental Music’, PhD dissertation (Princeton University, 1997); Daniel Harrison, Harmonic Function in Chromatic Music (Chicago and London: University of Chicago Press, 1994); Dale A. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, Music and Letters 44 (1963), pp. , The Cambridge History of Western Music Theory (Cambridge: Cambridge University Press, 2002), pp.

37. , Beethoven, Goethe und Europa: Almanach zum Internationalen Beethovenfest Bonn 1999 (Laaber: Laaber-Verlag, 1999), pp. , pp. 63–8. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, p. 37. This definition is put forward, for instance, by Peter Rummenholler. ¨ See his ‘Moritz Hauptmann, der Begrunder ¨ einer transzendental-dialektischen Musiktheorie’, pp. 28–31. It is obvious that such revisionist attempts often go hand in hand with the desire to cleanse particular theorists from the taint of harmonic dualism and rehabilitate them as serious theorists.

Heathcote as The Nature of Harmony and Metre (reprint New York: Da Capo Press, 1991), p. xxxviii (translation modified). 23 The major triad was for Hauptmann the embodiment of the three dialectical moments in the simultaneously sounding elements. 24 All other intervals, he contended, were compounds of these three (the minor third, for instance, being the difference between the fifth and the major third). 3, as the product of these intervals in three dialectical steps: the octave (which here appears, at stage (I), as the unison) as the manifestation of unity and identity; the fifth (II), which Hauptmann heard with respect to (I) as a ‘hollow’ duality, and the synthetic third (III), which re-unites the opposed two components.

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