❤️ Solomon Schechter 🐾

"Solomon Schechter (; 7 December 1847 - 19 November 1915) was a Moldavian-born American rabbi, academic scholar and educator, most famous for his roles as founder and President of the United Synagogue of America, President of the Jewish Theological Seminary of America, and architect of American Conservative Judaism. Early life He was born in Focşani, Moldavia (now Romania) to Rabbi Yitzchok Hakohen, a shochet ("ritual slaughterer") and member of Chabad hasidim. He was named after its founder, Shneur Zalman of Liadi. Schechter received his early education from his father. Reportedly, he learned to read Hebrew by age 3, and by 5 mastered Chumash. He went to a yeshiva in Piatra Neamţ at age 10 and at age thirteen studied with one of the major Talmudic scholars, Rabbi Joseph Saul Nathanson of Lemberg.Librarian's Lobby October 2000 Heroes of learning at home.earthlink.net In his 20s, he went to the Rabbinical College in Vienna, where he studied under the more modern Talmudic scholar Meir Friedmann, before moving on in 1879 to undertake further studies at the Berlin Hochschule für die Wissenschaft des Judentums and at the University of Berlin. In 1882, he was invited to Britain, to be tutor of rabbinics under Claude Montefiore in London. Academic career In 1890, after the death of Solomon Marcus Schiller-Szinessy, he was appointed to the faculty at Cambridge University, serving as a lecturer in Talmudics and reader in Rabbinics. To this day, the students of the Cambridge University Jewish Society hold an annual Solomon Schechter Memorial Lecture. His greatest academic fame came from his excavation in 1896 of the papers of the Cairo Geniza, an extraordinary collection of over 100,000 pages (around 300,000 documents) of rare Hebrew religious manuscripts and medieval Jewish texts that were preserved at an Egyptian synagogue. The find revolutionized the study of Medieval Judaism. Jacob Saphir was the first Jewish researcher to recognize the significance of the Cairo Geniza, as well as the first to publicize the existence of the Midrash ha-Gadol. Schechter was alerted to the existence of the Geniza's papers in May 1896 by two Scottish sisters, Mrs. Lewis and Mrs. Gibson, who showed him some leaves from the Geniza that contained the Hebrew text of Sirach, which had for centuries only been known in Greek and Latin translation.Soskice, Janet (2010) Sisters of Sinai. London: Vintage, 239–40 Letters, written at Schechter's prompting, by Agnes Smith to The Athenaeum and The Academy quickly revealed the existence of another nine leaves of the same manuscript in the possession of Archibald Sayce at Oxford University.Soskice, Janet (2010) Sisters of Sinai. London: Vintage, 241–2 Schechter quickly found support for another expedition to the Cairo Geniza, and arrived there in December 1896 with an introduction from the Chief Rabbi, Hermann Adler, to the Chief Rabbi of Cairo, Aaron Raphael Ben Shim'on.Soskice, Janet (2010) Sisters of Sinai. London: Vintage, 246 He carefully selected for the Cambridge University Library a trove three times the size of any other collection: this is now part of the Taylor-Schechter Collection. The find was instrumental in Schechter resolving a dispute with David Margoliouth as to the likely Hebrew language origins of Sirach.Soskice, Janet (2010) Sisters of Sinai. London: Vintage, 240–41 Charles Taylor took a great interest in Solomon Schechter's work in Cairo, and the genizah fragments presented to the University of Cambridge are known as the Taylor-Schechter Collection. He was joint editor with Schechter of The Wisdom of Ben Sira, 1899. He published separately Cairo Genizah Palimpsests, 1900. He became a Professor of Hebrew at University College London in 1899 and remained until 1902 when he moved to the United States and was replaced by Israel Abrahams. American Jewish community In 1902, traditional Jews reacting against the progress of the American Reform Judaism movement, which was trying to establish an authoritative "synod" of American rabbis, recruited Schechter to become President of the Jewish Theological Seminary of America (JTSA). Schechter served as the second President of the JTSA, from 1902 to 1915, during which time he founded the United Synagogue of America, later renamed as the United Synagogue of Conservative Judaism. Religious and cultural beliefs Schechter emphasized the centrality of Jewish law (Halakha) in Jewish life in a speech in his inaugural address as President of the JTSA in 1902: :"Judaism is not a religion which does not oppose itself to anything in particular. Judaism is opposed to any number of things and says distinctly "thou shalt not." It permeates the whole of your life. It demands control over all of your actions, and interferes even with your menu. It sanctifies the seasons, and regulates your history, both in the past and in the future. Above all, it teaches that disobedience is the strength of sin. It insists upon the observance of both the spirit and of the letter; spirit without letter belongs to the species known to the mystics as "nude souls" (nishmatim artilain), wandering about in the universe without balance and without consistency...In a word, Judaism is absolutely incompatible with the abandonment of the Torah." Schechter, on the other hand, believed in what he termed "Catholic Israel." The basic idea being that Jewish law, Halacha, is formed and evolves based on the behavior of the people. This concept of modifying the law based on national consensus is an untraditional viewpoint. Schechter was an early advocate of Zionism. He was the chairman of the committee that edited the Jewish Publication Society of America Version of the Hebrew Bible. Legacy The late Solomon Schechter (1912/1913), etching by Hermann Struck Schechter's name is synonymous with the findings of the Cairo Geniza. He placed the JTSA on an institutional footing strong enough to endure for over a century. He became identified as the foremost personality of Conservative Judaism and is regarded as its founder. A network of Conservative Jewish day schools is named in his honor, as well as a summer camp in Olympia, Washington. There are several dozen Solomon Schechter Day Schools across the United States and Canada. Bibliography * Schechter, Solomon (1896) Studies in Judaism. 3 vols. London: A. & C. Black, 1896-1924 (Ser. III published by The Jewish Publication Society of America, Philadelphia PA) * Schechter, Solomon (1909) Some Aspects of Rabbinic Theology London: A. and C. Black (Reissued by Schocken Books, New York, 1961; again by Jewish Lights, Woodstock, Vt., 1993: including the original preface of 1909 & the introduction by Louis Finkelstein; new introduction by Neil Gilman [i.e. Gillman]) References Further reading * * External links * Solomon Schechter, from Neil Gillman's book on Conservative Judaism * Biography at the Jewish Virtual Library * Louis Jacobs, From Cairo to Catholic Israel: Solomon Schechter, in The Jewish Religion: a Companion, OUP, 1995 * Solomon Schechter Collection at the Jewish Theological Seminary of America * * Solomon Schechter School of Greater Boston * AHRC Rylands Cairo Genizah Project * Solomon Schechter School of Queens * Solomon Schechter School of Westchester Category:1847 births Category:1915 deaths Category:American Conservative rabbis Category:American Zionists Category:Jews from the Principality of Moldavia Category:Kohanim writers of Rabbinic literature Category:Academics of University College London Category:Academics of the University of Cambridge Category:19th-century rabbis Category:20th-century rabbis Category:Jewish Theological Seminary of America people Category:Jewish Egyptian history Category:American people of Romanian-Jewish descent Category:People from Focșani Category:Romanian emigrants to the United States "

❤️ Spaghetti Western 🐾

"Clint Eastwood as the Man with No Name in a publicity image of A Fistful of Dollars, a film by Sergio Leone (1964) The Spaghetti Western, also known as Italian Western or (primarily in Japan) Macaroni Western, is a broad subgenre of Western films that emerged in the mid-1960s in the wake of Sergio Leone's film-making style and international box-office success. The term was used by American critics and those in other countries because most of these Westerns were produced and directed by Italians. According to veteran Spaghetti Western actor Aldo Sambrell, the phrase "Spaghetti Western" was coined by Spanish journalist Alfonso Sánchez.Joyner, C. Courtney Aldo Sambrell Interview The Westerners: Interviews with Actors, Directors, Writers and Producers McFarland, 14 October 2009, p. 180 The denomination for these films in Italy is western all'italiana (Italian-style Western). Italo-Western is also used, especially in Germany. These movies were originally released in Italian or with Italian dubbing, but as most of the films featured multilingual casts and sound was post-synched, most "western all'italiana" do not have an official dominant language.Frayling (2006) pp. 68-70 The typical Spaghetti Western team was made up of an Italian director, Italo-SpanishFridlund (2006) p.5 technical staff, and a cast of Italian, Spanish, German, and American actors. Clint Eastwood starred in three of Sergio Leone's films, now known as the Dollars Trilogy—A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966). Leone also made Once Upon a Time in the West in 1968, starring Charles Bronson and Henry Fonda. These films have been listed among the best Westerns of any variety. The term Paella Western has been used for the many Western films produced in Spain.p. xxi Frayling, Christopher Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone I.B.Tauris, 27 Jan 2006 The term Eurowesterns may be used to also include similar Western movies that were produced in Continental Europe but without involvement by Italians, like the West German Winnetou films or the Soviet Ostern (Eastern) films. The majority of the films in the Spaghetti Western genre were actually international co-productions between Italy and Spain, and sometimes France, West Germany, Portugal, Greece, Israel, Yugoslavia, or the United States. Over six hundred European Westerns were made between 1960 and 1978.Riling (2011) p. 334. Common elements Sergio Leone's A Fistful of Dollars established the Spaghetti Western as a novel kind of Western. In this seminal film, the hero enters a town that is ruled by two outlaw gangs, and ordinary social relations are non-existent. He betrays and plays the gangs against one another in order to make money. Then he uses his cunning and exceptional weapons skill to assist a family threatened by both gangs. His treachery is exposed and he is severely beaten, but in the end, he defeats the remaining gang. The interaction in this story between cunning and irony (the tricks, deceits, unexpected actions and sarcasm of the hero) on the one hand, and pathos (terror and brutality against defenseless people and against the hero after his double-cross has been revealed) on the other, was aspired to and sometimes attained by the imitations that soon flooded the cinemas. Italian cinema often borrowed from other films without regard for infringement, and Leone famously borrowed the plot for A Fistful of Dollars, receiving a letter from Japanese director Akira Kurosawa congratulating him on making "...a very fine film. But it is my film". Leone had imitated one of the most highly respected directors in the world by remaking his film Yojimbo as A Fistful of Dollars and consequently surrendered Asian rights to Kurosawa, plus 15% of the international box office proceeds. Leone later moved from borrowing and established his own oft-imitated style and plots. Leone's films and other "core" Spaghetti Westerns are often described as having eschewed, criticised or even "demythologized" many of the conventions of traditional U.S. Westerns. This was partly intentional and partly the context of a different cultural background.Frayling (2006) pp. 39–67 Use of pathos received a big boost with Sergio Corbucci's influential Django. In the years following, the use of cunning and irony became more prominent. This was seen in Leone's next two Westerns, with their emphasis on unstable partnerships. In the last phase of the Spaghetti Western, with the Trinity films, the Leone legacy had been transformed almost beyond recognition, as terror and deadly violence gave way to harmless brawling and low comedy. Filming locations Most Spaghetti Westerns filmed between 1964 and 1978 were made on low budgets and shot at Cinecittà studios and various locations around southern Italy and Spain. Many of the stories take place in the dry landscapes of the American Southwest and Northern Mexico, hence common filming locations were the Tabernas Desert and the Cabo de Gata-Níjar Natural Park, an area of volcanic origin known for its wide sandy beaches, both of which are in the Province of Almería in southeastern Spain. Some sets and studios built for Spaghetti Westerns survive as theme parks, Texas Hollywood, Mini Hollywood, and Western Leone, and continue to be used as film sets. Other filming locations used were in central and southern Italy, such as the parks of Valle del Treja (between Rome and Viterbo), the area of Camposecco (next to Camerata Nuova, characterized by a karst topography), the hills around Castelluccio, the area around the Gran Sasso mountain, and the Tivoli's quarries and Sardinia. God's Gun was filmed in Israel. Reception In the 1960s, critics recognized that the American genres were rapidly changing. The genre most identifiably American, the Western, seemed to be evolving into a new, rougher form. For many critics, Sergio Leone's films were part of the problem. Leone's Dollars Trilogy (1964–1966) was not the beginning of the "Spaghetti Western" cycle in Italy, but for some Americans Leone's films represented the true beginning of the Italian invasion of an American genre. Christopher Frayling, in his noted book on the Italian Western, describes American critical reception of the Spaghetti Western cycle as, to "a large extent, confined to a sterile debate about the 'cultural roots' of the American/Hollywood Western."Frayling (2006) pp. 121–137 He remarks that few critics dared admit that they were, in fact, "bored with an exhausted Hollywood genre." Pauline Kael, he notes, was willing to acknowledge this critical ennui and thus appreciate how a film such as Akira Kurosawa's Yojimbo (1961) "could exploit the conventions of the Western genre, while debunking its morality." Frayling and other film scholars such as Bondanella argue that this revisionism was the key to Leone's success and, to some degree, to that of the Spaghetti Western genre as a whole.Frayling (2006) pp. 39–40 Rise and fall =European Westerns from the beginning= European Westerns are as old as filmmaking itself. The Lumière brothers made their first public screening of films in 1895 and already in 1896 Gabriel Veyre shot Repas d'Indien ("Indian Banquet") for them. Joe Hamman starred as Arizona Bill in films made in the French horse country of Camargue 1911–12.Charles Ford: Histoire du Western (Paris: Ed. Albin Michel, 1976) p. 263ff; George N. Fenin and William K. Everson (New York : Orion Press, 1962) p. 322ff In Italy, the American West as a dramatic setting for spectacles goes back at least as far as Giacomo Puccini's 1910 opera La fanciulla del West; it is sometimes considered to be the first Spaghetti Western. The first Italian Western movie was La Vampira Indiana (1913) – a combination of Western and vampire film. It was directed by Vincenzo Leone, father of Sergio Leone, and starred his mother Bice Waleran in the title role as Indian princess Fatale.Frayling (2000) p. 29ff The Italians also made Wild Bill Hickok films, while the German twenties saw back-woods Westerns featuring Bela Lugosi as Uncas. Of the Western-related European films before 1964, the one attracting most attention is probably Luis Trenker's Der Kaiser von Kalifornien (1936), about John Sutter.Frayling (2006) p. 1ff During and after the Second World War there were scattered European uses of Western settings, mostly for comedy or musical comedy. First Spaghetti Western A forerunner of the genre had appeared in 1943 Giorgio Ferroni's Il fanciullo del West (The Boy in the West) and a cycle of Western comedies was initiated 1959 with La sceriffa and Il terrore dell’Oklahoma, followed by other films starring comedy specialists like Walter Chiari, Ugo Tognazzi, Raimondo Vianello or Fernandel. An Italian critic has compared these comedies to American Bob Hope vehicles.Mario Molinari, Prima che arrivassero gli ’spaghetti’ Segnocinema 22 (March 1986), Vicenza The first American-British western filmed in Spain was The Sheriff of Fractured Jaw (1958), directed by Raoul Walsh. It was followed in 1961 by Savage Guns, a British-Spanish western, again filmed in Spain. This marked the beginning of Spain as a suitable film shooting location for any kind of European western. In 1963, three non-comedy Italo-Spanish westerns were produced: Gunfight at Red Sands, Implacable Three and Gunfight at High Noon. In 1961 an Italian company co-produced the French Taste of Violence, with a Mexican Revolution theme. In 1965, Bruno Bozzetto released his traditionally animated feature film West and Soda, a Western parody with a marked Spaghetti Western-theme; despite having been released a year after Sergio Leone's seminal Spaghetti Western A Fistful of Dollars, development of West and Soda actually began a year earlier than Fistful's and lasted longer, mainly because of the use of more time-demanding animation over regular acting. For this reason, Bozzetto himself claims to have invented the Spaghetti Western genre. Since there is no real consensus about where to draw the exact line between Spaghetti Westerns and other Eurowesterns (or other Westerns in general) one cannot say which one of the films mentioned so far was the first Spaghetti Western. However, 1964 saw the breakthrough of this genre, with more than twenty productions or co-productions from Italian companies, and more than half a dozen Westerns by Spanish or Spanish/American companies. Furthermore, by far the most commercially successful of this lot was Sergio Leone's A Fistful of Dollars whose innovations in cinematic style, music, acting and story decided the future for the genre. =Impact of A Fistful of Dollars= The Spaghetti Western was born, flourished and faded in a highly commercial production environment. The Italian "low" popular film production was usually low-budget and low-profit, and the easiest way to success was imitating a proven success.Frayling (2006) pp. 68–102 When the typically low-budget production A Fistful of Dollars turned into a remarkable box office success, the industry eagerly lapped up its innovations. Most succeeding Spaghetti Westerns tried to get a ragged, laconic hero with superhuman weapon skill, preferably one who looked like Clint Eastwood: Franco Nero, Giuliano Gemma, John Garko and Terence Hill started out that way; Anthony Steffen and others stayed that way all their Spaghetti Western career. Whoever the hero was, he would join an outlaw gang to further his own secret agenda, like in A Pistol for Ringo, Blood for a Silver Dollar, Vengeance Is a Dish Served Cold, Renegade Riders and others, while Beyond the Law instead has a bandit infiltrate society and become a sheriff. There would be a flamboyant Mexican bandit (Gian Maria Volonté from A Fistful of Dollars, otherwise Tomas Milian or most often Fernando Sancho) and a grumpy old man – more often than not an undertaker, to serve as sidekick for the hero. For love interest, rancher's daughters, schoolmarms and barroom maidens were overshadowed by young Latin women desired by dangerous men, where actresses like Nicoletta Machiavelli or Rosalba Neri carried on Marianne Koch's role of Marisol in the Leone film. The terror of the villains against their defenseless victims became just as ruthless as in A Fistful of Dollars, or more, and their brutalization of the hero when his treachery is disclosed became just as merciless, or more – just like the cunning used to secure the latter's retribution. In the beginning some films mixed some of these new devices with the borrowed US Western devices typical for most of the 1963–64 Spaghetti Westerns. For example, in Sergio Corbucci's Minnesota Clay (1964) that appeared two months after A Fistful of Dollars, an American style "tragic gunfighter" hero confronts two evil gangs, one Mexican and one Anglo, and (just as in A Fistful of Dollars) the leader of the latter is the town sheriff. Sergio Leone, one of the most representative directors of the genre In the same director's Johnny Oro (1966) a traditional Western sheriff and a half-breed bounty killer are forced into an uneasy alliance when Mexican bandits and Native Americans together assault the town. In A Pistol for Ringo a traditional sheriff commissions a money- oriented hero played by Giuliano Gemma (with more pleasing manners than Eastwood's character) to infiltrate a gang of Mexican bandits whose leader is played typically by Fernando Sancho. =For a Few Dollars More and its followers= After 1965 when Leone's second Western For a Few Dollars More brought a larger box office success, the profession of bounty hunter became the choice of occupation of Spaghetti Western heroes in films like Arizona Colt, Vengeance Is Mine, Ten Thousand Dollars for a Massacre, The Ugly Ones, Dead Men Don't Count and Any Gun Can Play. In The Great Silence and A Minute to Pray, a Second to Die, the heroes instead fight bounty killers. This was also the time when every other hero or villain in Spaghetti Westerns started carrying a musical watch, after its ingenious use in For a Few Dollars More. Spaghetti Westerns also began featuring a pair of different heroes. In Leone's film Eastwood's character is an unshaven bounty hunter, dressed similarly to his character in A Fistful of Dollars, who enters an unstable partnership with Colonel Mortimer (Lee Van Cleef), an older bounty killer who uses more sophisticated weaponry and wears a suit, and in the end turns out to also be an avenger. In the following years there was a deluge of Spaghetti Westerns with a pair of heroes with (most often) conflicting motives. Examples include: a lawman and an outlaw (And the Crows Will Dig Your Grave), an army officer and an outlaw (Bury Them Deep), an avenger and a (covert) army officer (The Hills Run Red), an avenger and a (covert) guilty party (Viva! Django aka W Django!), an avenger and a con-man (The Dirty Outlaws), an outlaw posing as a sheriff and a bounty hunter (Man With the Golden Pistol aka Doc, Hands of Steel) and an outlaw posing as his twin and a bounty hunter posing as a sheriff (A Few Dollars for Django). The theme of age in For a Few Dollars More, where the younger bounty killer learns valuable lessons from his more experienced colleague and eventually becomes his equal, is taken up in Day of Anger and Death Rides a Horse. In both cases Lee Van Cleef carries on as the older hero versus Giuliano Gemma and John Phillip Law, respectively. =Zapata Westerns= One variant of the hero pair was a revolutionary Mexican bandit and a mostly money-oriented American from the United States frontier. These films are sometimes called Zapata Westerns. Academic Search Premier. EBSCO. Web. 25 April 2011. The first was Damiano Damiani's A Bullet for the General and then followed Sergio Sollima's trilogy: The Big Gundown, Face to Face and Run, Man, Run. Sergio Corbucci's The Mercenary and Compañeros also belong here, as does Tepepa by Giulio Petroni – among others. Many of these films enjoyed both good takes at the box office and attention from critics. They are often interpreted as a leftist critique of the typical Hollywood handling of Mexican revolutions, and of imperialism in general.Frayling (2006) pp. 217–44, Fridlund (2006) pp.173–99 =Betrayal stories= Gianni Garko and Cris Huerta in Uomo avvisato mezzo ammazzato... parola di Spirito Santo (1972) In Leone's The Good, the Bad and the Ugly there is still the scheme of a pair of heroes vs. a villain but it is somewhat relaxed, as here all three parties were driven by a money motive. In subsequent films like Any Gun Can Play, One Dollar Too Many and Kill Them All and Come Back Alone several main characters repeatedly form alliances and betray each other for monetary gain. Sabata and If You Meet Sartana Pray for Your Death, directed by Gianfranco Parolini, introduce into similar betrayal environments a kind of hero molded on the Mortimer character from For a Few Dollars More, only without any vengeance motive and with more outrageous trick weapons. Fittingly enough Sabata is portrayed by Lee Van Cleef himself, while John Garko plays the very similar Sartana protagonist. Parolini made some more Sabata movies while Giuliano Carnimeo made a whole series of Sartana films with Garko. =Django and the tragic heroes= Beside the first three Spaghetti Westerns by Leone, a most influential film was Sergio Corbucci's Django starring Franco Nero. The titular character is torn between several motives – money or revenge – and his choices bring misery to him and to a woman close to him. Indicative of this film's influence on the Spaghetti Western style, Django is the hero's name in a plenitude of subsequent westerns.Frayling (2006) pp.82 finds over thirty Django films, with renaming in French versions included. Fridlund (2006) pp. 98–100 finds only 47 German titles containing the word "Django". Even though his character is not named Django, Franco Nero brings a similar ambience to Texas, Adios and Massacre Time where the hero must confront surprising and dangerous family relations. Similar "prodigal son"The term is used by Fridlund (2006) pp. 101–09 stories followed, including Chuck Moll, Keoma, The Return of Ringo, The Forgotten Pistolero, One Thousand Dollars on the Black, Johnny Hamlet and also Seven Dollars on the Red. Another type of wronged hero is set up and must clear himself from accusations. Giuliano Gemma starred in a series of successful films carrying this theme – Adiós gringo, For a Few Extra Dollars, Long Days of Vengeance, Wanted, and to some extent Blood for a Silver Dollar – where most often his character is called "Gary". The wronged hero who becomes an avenger appears in many Spaghetti Westerns. Among the more commercially successful films with a hero dedicated to vengeance – For a Few Dollars More, Once Upon a Time in the West, Today We Kill... Tomorrow We Die!, A Reason to Live, a Reason to Die, Death Rides a Horse, Django, Prepare a Coffin, The Deserter (1971 film), Hate for Hate, Halleluja for Django – those with whom he cooperates typically have conflicting motivations. =Comedy Westerns= Bud Spencer and Terence Hill in They Call Me Trinity (1970) In 1968, the wave of Spaghetti Westerns reached its crest, comprising one-third of the Italian film production, only to collapse to one-tenth in 1969. However, the considerable box office success of Enzo Barboni's They Call Me Trinity and the pyramidal one of its follow-up Trinity Is Still My Name gave Italian filmmakers a new model to emulate. The main characters were played by Terence Hill and Bud Spencer, who had already cooperated as hero pair in the "old style" Spaghetti Westerns God Forgives... I Don't!, Boot Hill and Ace High directed by Giuseppe Colizzi. The humor started in those movies already, with scenes with comedic fighting, but the Barboni films became burlesque comedies. They feature the quick but lazy Trinity (Hill) and his big, strong and irritable brother Bambino (Spencer). The stories make fun of U.S. Western- style diligent farmers and Spaghetti Western-style bounty hunters. There was a wave of Trinity-inspired films with quick and strong heroes, the former kind often called Trinity or perhaps coming from "a place called Trinity", and with no or few killings. Because the two model stories contained religious pacifists to account for the absence of gunplay, all the successors contained religious groups or at least priests, sometimes as one of the heroes.Fridlund (2006) p.238-40 The music for the two Trinity westerns (composed by Franco Micalizzi and Guido & Maurizio De Angelis, respectively) also reflected the change into a lighter and more sentimental mood. The Trinity-inspired films also adopted this style.Fridlund (2006) p.237,245 Some critics deplore these post-Trinity films as a degeneration of the "real" Spaghetti Westerns, and that Hill's and Spencer's skilful use of body language was a hard act to follow. It is significant that the most successful of the post-Trinity films featured Hill (Man of the East, A Genius, Two Partners and a Dupe), Spencer (It Can Be Done Amigo) and a pair of Hill/Spencer look-alikes in Carambola. Spaghetti Western old hand Franco Nero also worked in this subgenre with Cipolla Colt and Tomas Milian plays an outrageous "quick" bounty hunter modeled on Charlie Chaplin's Little Tramp in Sometimes Life Is Hard – Right Providence? and Here We Go Again, Eh, Providence?Fridlund (2006) p.237,248-51 =Other notable films= Some movies that were not very successful at the box officeCatalogo Bolaffi del cinema italiano, (Turin: Giulio Bolaffi Editore, 1967); Poppi, Roberto/Pecorari, Mario, Dizonario del Cinema Italiano, I Film del 1960 al 1969, . I Film del 1970 al 1979, (Gremese Editore 1992 and 1996 respectively); Associazione Generalo Italiana Dello Spettacolo (A.G.I.S.), Catalogo generale dei film italiani dal 1965 al 1978, (Rome V edizione 1978). still earn a "cult" status in some segment of the audience because of certain exceptional features in story and/or presentation. One "cult" Spaghetti Western that also has drawn attention from critics is Giulio Questi's Django Kill. Other "cult" items are Cesare Canevari's Matalo!, Tony Anthony's Blindman and Joaquín Luis Romero Marchent's Cut-Throats Nine (the latter among gore film audiences). Special interest audiences might also nurture a cult of the "Worst", as exemplified in the interest for a director like Ed Wood. His Spaghetti Western equivalent would be the Western œuvre of Demofilo Fidani. The Stranger (1995) is essentially, the Woman with No Name, with a motorcycle instead of a horse. The few Spaghetti Westerns containing historical characters like Buffalo Bill, Wyatt Earp, Billy the Kid etc. mainly appear before A Fistful of Dollars had put its mark on the genre. Likewise, and in contrast to the contemporary German Westerns, few films feature Native Americans. When they appear they are more often portrayed as victims of discrimination than as dangerous foes. The only fairly successful Spaghetti Western with an Indian main character (played by Burt Reynolds in his only European Western outing) is Sergio Corbucci's Navajo Joe, where the Indian village is wiped out by bandits during the first minutes, and the avenger hero spends the rest of the film dealing mostly with Anglos and Mexicans until the final showdown at an Indian burial ground. Several Spaghetti Westerns are inspired by classical myths and dramas. Titles like Fedra West (also called Ballad of a Bounty Hunter) and Johnny Hamlet signify the connection to the Greek myth and possibly the plays by Euripides and Racine and the play by William Shakespeare, respectively. The latter also inspired Dust in the Sun (1972), which follows its original more closely than Johnny Hamlet, where the hero survives. The Forgotten Pistolero is based on the vengeance of Orestes. There are similarities between the story of The Return of Ringo and the last canto of Homer's Odyssey. Fury of Johnny Kid follows Shakespeare's Romeo and Juliet, but (again) with a different ending – the loving couple leave together while their families annihilate each other. The story of A Fistful of Dollars was closely based on Akira Kurosawa's Yojimbo. Kurosawa in fact sued Sergio Leone for plagiarism, and was compensated with the exclusive distribution rights to the movie in Japan, where its hero, Clint Eastwood, was already a huge star due to the popularity of the TV series Rawhide: Leone would have done far better financially by obtaining Kurosawa's advance permission to use Yojimbo's script.Clint: The Life and Legend. Patrick McGilligan. OR Books (2015). .An agreement was signed to compensate the authors of Yojimbo for the resemblance. See Frayling (2000) pp. 148–49. Requiem for a Gringo shows many traces from another well-known Japanese film, Masaki Kobayashi's Harakiri. When Asian martial arts films started to draw crowds in European cinema houses, the producers of Spaghetti Westerns tried to hang on, this time not by adapting story-lines but rather by directly including martial arts in the films, performed by Eastern actors – for example Chen Lee in My Name Is Shanghai Joe or Lo Lieh teaming up with Lee Van Cleef in The Stranger and the Gunfighter. Some Italian Western films were made as vehicles for musical stars, like Ferdinando Baldi's Rita of the West featuring Rita Pavone and Terence Hill. In non-singing roles were Ringo Starr as a villain in Blindman and French rock 'n' roll veteran Johnny Hallyday as the gunfighter/avenger hero in Sergio Corbucci's The Specialists. A celebrity from another sphere of culture is Italian author/film director Pier Paolo Pasolini, who plays a revolutionary man of the church in Requiescant. This film concerns oppression of poor Mexicans by rich Anglos and ends on a call for arms but it does not fit easily as a Zapata Western. The same can be said for The Price of Power, a political allegory where an American president is assassinated in Dallas by a conspiracy of Southern racists who frame an innocent Afro-American. They are opposed by an unstable partnership between a whistle-blower (Giuliano Gemma) and a political aide. Though the Spaghetti Westerns from A Fistful of Dollars and on featured more violence and killings than earlier American Western films, they generally shared the parental genre's restrictive attitude toward explicit sexuality. However, in response to the growing commercial success of various shades of sex films, there was a greater exposure of naked skin in some Spaghetti Westerns, among others Dead Men Ride (1971) and Heads or Tails (1969). In the former and partly the latter, the sex scenes feature coercion and violence against women. Even though it is hinted at in some films, like Django Kill and Requiescant, open homosexuality plays a marginal part in Spaghetti Westerns. The exception is Giorgio Capitani's The Ruthless Four – in effect a gay version of John Huston's The Treasure of the Sierra Madre – where the explicit homosexual relation between two of its male main characters and some gay cueing scenes are embedded with other forms of man-to-man relations through the story.Fridlund (2006) pp. 216-17 Legacy Spaghetti Westerns have left their mark on popular culture, strongly influencing numerous works produced outside of Italy. In later years there were "return of stories", Django 2 with Franco Nero and Troublemakers with Terence Hill and Bud Spencer. Clint Eastwood's first American Western film, Hang 'Em High (1968), incorporates elements of Spaghetti Westerns. The Bollywood film Sholay (1975) was often referred to as a "Curry Western". A more accurate genre label for the film is the "Dacoit Western", as it combined the conventions of Indian dacoit films such as Mother India (1957) and Gunga Jumna (1961) with that of Spaghetti Westerns. Sholay spawned its own genre of "Dacoit Western" films in Bollywood during the 1970s. In the Soviet Union, the Spaghetti Western was adapted into the Ostern ("Eastern") genre of Soviet films. The Wild West setting was replaced by an Eastern setting in the steppes of the Caucasus, while Western stock characters such as "cowboys and Indians" were replaced by Caucasian stock characters such as bandits and harems. A famous example of the genre was White Sun of the Desert (1970), which was popular in the Soviet Union. The 1985 Japanese film Tampopo was promoted as a "ramen Western". Japanese director Takashi Miike paid tribute to the genre with Sukiyaki Western Django, a Western set in Japan which derives influence from both Django and Sergio Leone's Dollars Trilogy. American director Quentin Tarantino has utilized elements of Spaghetti Westerns in his films Kill Bill (combined with kung fu movies), Inglourious Basterds (set in Nazi-occupied France), Django Unchained (set in the American South during the time of slavery)., The Hateful Eight (set in Wyoming post-US Civil War), and Once Upon a Time in Hollywood (about a fictional spaghetti western actor). The American animated film Rango incorporates elements of Spaghetti Westerns, including a character modeled after The Man With No Name. American heavy metal band Metallica has used Ennio Morricone's composition "The Ecstasy of Gold" from The Good, the Bad and the Ugly to open several of their concerts. The Australian band The Tango Saloon combines elements of Tango music with influences from Spaghetti Western scores. The psychobilly band Ghoultown also derives influence from Spaghetti Westerns. The music video for the song "Knights of Cydonia" by the English rock band Muse was influenced by Spaghetti Westerns. The band Big Audio Dynamite used music samples from Spaghetti Westerns when mixing their song "Medicine Show". Within the song you can hear samples from Spaghetti Western movies such as A Fistful of Dollars, The Good, The Bad and The Ugly, and Duck You Sucker. Notable personalities See also * List of Spaghetti Western films * Co-productions in Spanish cinema * Ostern * Revisionist Western * ZWAM, a youth movement in Madagascar inspired by Spaghetti Westerns References References Frayling, Christopher: Sergio Leone: Something to Do with Death (London: Faber, 2000) * Fridlund, Bert: The Spaghetti Western. A Thematic Analysis. Jefferson, NC and London: McFarland & Company Inc., 2006. Print. * *Liehm, Mira. Passion and Defiance: Film in Italy from 1942 to the Present. Berkeley: U of California P, 1984. Print. * *Riling, Yngve P, The Spaghetti Western Bible. Limited Edition, (Riling, 2011). Print *Weisser, Thomas, Spaghetti Westerns: the Good, the Bad and the Violent — 558 Eurowesterns and Their Personnel, 1961–1977. (Jefferson, N.C.: McFarland, 1992) External links * The Spaghetti Western Database * 10,000 Ways to Die, a book about Spaghetti Westerns made between 1963 and 1973, released under a Creative Commons license by its author Alex Cox * Western Category:Western (genre) films by genre Category:Film genres Category:Exploitation films Category:Metaphors referring to spaghetti "

❤️ Spaghetti 🐾

"Spaghetti () is a long, thin, solid, cylindrical noodle pasta.spaghetti. Dictionary.com. Dictionary.com Unabridged (v 1.1). Random House, Inc. (accessed: June 03, 2008). It is a staple food of traditional Italian cuisine. Like other pasta, spaghetti is made of milled wheat and water and sometimes enriched with vitamins and minerals. Italian spaghetti is typically made from durum wheat semolina. Retrieved on 22 December 2014. Usually the pasta is white because refined flour is used, but whole wheat flour may be added. Spaghettoni is a thicker form of spaghetti, while capellini is a very thin spaghetti. Originally, spaghetti was notably long, but shorter lengths gained in popularity during the latter half of the 20th century and now it is most commonly available in lengths. A variety of pasta dishes are based on it and it is frequently served with tomato sauce or meat or vegetables. Etymology Spaghetti is the plural form of the Italian word spaghetto, which is a diminutive of spago, meaning "thin string" or "twine". History The first written record of pasta comes from the Talmud in the 5th century AD and refers to dried pasta that could be cooked through boiling, Retrieved on 22 December 2014. which was conveniently portable. Some historians think that Berbers introduced pasta to Europe during a conquest of Sicily. In the West, it may have first been worked into long, thin forms in Sicily around the 12th century, as the Tabula Rogeriana of Muhammad al-Idrisi attested, reporting some traditions about the Sicilian kingdom. The popularity of spaghetti spread throughout Italy after the establishment of spaghetti factories in the 19th century, enabling the mass production of spaghetti for the Italian market. In the United States around the end of the 19th century, spaghetti was offered in restaurants as Spaghetti Italienne (which likely consisted of noodles cooked past al dente, and a mild tomato sauce flavored with easily found spices and vegetables such as cloves, bay leaves, and garlic) and it was not until decades later that it came to be commonly prepared with oregano or basil. Ingredients Spaghetti is made from ground grain (flour) and water. Whole- wheat and multigrain spaghetti are also available. Production = Fresh spaghetti = Fresh spaghetti being prepared using a pasta machine At its simplest, imitation spaghetti can be formed using no more than a rolling pin and a knife. A home pasta machine simplifies the rolling and makes the cutting more uniform. But of course cutting sheets produces pasta with a rectangular rather than a cylindrical cross-section and the result is a variant of Fettucine. Some pasta machines have a spaghetti attachment with circular holes that extrude spaghetti or shaped rollers that form cylindrical noodles. Spaghetti can be made by hand by manually rolling a ball of dough on a surface to make a long sausage shape. The ends of the sausage are pulled apart to make a long thin sausage. The ends are brought together and the loop pulled to make two long sausages. The process is repeated until the pasta is sufficiently thin. The pasta knobs at each end are cut off leaving many strands which may be hung up to dry. Fresh spaghetti would normally be cooked within hours of being formed. Commercial versions of fresh spaghetti are manufactured. = Dried spaghetti = The bulk of dried spaghetti is produced in factories using auger extruders. While essentially simple, the process requires attention to detail to ensure that the mixing and kneading of the ingredients produces a homogeneous mix, without air bubbles. The forming dies have to be water cooled to prevent spoiling of the pasta by overheating. Drying of the newly formed spaghetti has to be carefully controlled to prevent strands sticking together, and to leave it with sufficient moisture so that it is not too brittle. Packaging for protection and display has developed from paper wrapping to plastic bags and boxes. File:Hydraulic Spaghetti Press with Automatic Spreader built by Consolidated Macaroni Machine Corporation 001.jpgA hydraulic press with automatic spreader built by Consolidated Macaroni Machine Corporation, Brooklyn, New York. This machine was the first ever made to spread long cut alimentary paste products on to a drying stick for the automatic production of spaghetti. File:Industrial spaghetti dryer built by Consolidated Macaroni Machine Corporation 01.jpgAn industrial dryer for spaghetti or other long goods pasta products. Built by Consolidated Macaroni Machine Corporation File:Spaghetti spiral, 2008.jpgDried spaghetti File:Spaghetti measure macro.jpgDried spaghetti being measured with a "spaghetti measure". 1 portion of dried pasta equals , twice the amount of 1 serving on the package (12 mm circle or 60 g.). The measure can portion out 1, 2, 3, or 4 servings based on the diameter of the circle. This spaghetti is an enriched macaroni product made with 100% semolina. Preparation Fresh or dry spaghetti is cooked in a large pot of salted, boiling water and then drained in a colander (). In Italy, spaghetti is generally cooked al dente (Italian for "to the tooth"), fully cooked but still firm to the bite. It may also be cooked to a softer consistency. Spaghettoni is a thicker spaghetti which takes more time to cook. Spaghettini is a thinner form which takes less time to cook. Capellini is a very thin form of spaghetti (it is also called "angel hair spaghetti" or "angel hair pasta") which cooks very quickly. Utensils used in spaghetti preparation include the spaghetti scoop and spaghetti tongs. File:Spaghetti- cooking.jpgSpaghetti being placed into a pot of boiling water for cooking File:Spaghetti draining.jpgDraining the water from boiled spaghetti File:Spaghettiheber-02.jpgA spaghetti scoop File:Spaghettizaang.jpgSpaghetti tongs Serving = Italian cuisine = Classic Spaghetti alla carbonara An emblem of Italian cuisine, spaghetti is frequently served with tomato sauce, which may contain various herbs (especially oregano and basil), olive oil, meat, or vegetables. Other spaghetti preparations include amatriciana or carbonara. Grated hard cheeses, such as Pecorino Romano, Parmesan and Grana Padano, are often sprinkled on top. = International cuisine = In some countries, spaghetti is sold in cans/tins with sauce. In the United States, it is sometimes served with chili con carne. Unlike in Italy, in other countries spaghetti is often served with Bolognese sauce. Filipino spaghetti with the characteristically sweet and meaty sauce In the Philippines, an immensely popular variant is the Filipino spaghetti, which is distinctively sweet with the tomato sauce sweetened with banana ketchup or sugar. It typically uses a large amount of giniling (ground meat), sliced hotdogs, and cheese. The dish dates back to the period between the 1940s to the 1960s. During the American Commonwealth Period, a shortage of tomato supplies in the Second World War forced the development of the banana ketchup. Spaghetti was introduced by the Americans and was tweaked to suit the local Filipino predilection for sweet dishes. Sapaketti phat khi mao (Spaghetti fried drunken noodle style) is a popular dish in Thai cuisine. = Spaghetti dishes = * Spaghetti aglio e olio – ("spaghetti with garlic and oil" in Italian), a traditional Italian pasta dish coming from Naples. * Spaghetti alla puttanesca – (literally "spaghetti whore-style" in Italian), a tangy, somewhat salty Italian pasta dish invented in the mid-20th century. The ingredients are typical of Southern Italian cuisine: tomatoes, olive oil, olives, capers and garlic. * Spaghetti alla Nerano - from the village of Nerano, near Naples. With fried zucchinis and a local variant of provolone. * Spaghetti alle vongole – Italian for "spaghetti with clams", it is very popular throughout Italy, especially its central regions, including Rome and further south in Campania (where it is part of traditional Neapolitan cuisine). * Spaghetti and meatballs – an Italian-American dish that usually consists of spaghetti, tomato sauce and meatballs * Spaghetti Bolognese - Spaghetti with minced beef and tomato sauce File:Spaghetti di Gragnano e colatura di alici.jpgSpaghetti aglio e olio File:Pasta Puttanesca.jpgSpaghetti alla puttanesca File:Spaghetti cacio e pepe.jpgSpaghetti cacio e pepe (cheese and pepper) at a restaurant in Rome File:Pollo funghi spaghetti - Paesano Restaurant.jpgSpaghetti con pollo e funghi File:Spaghettata.JPGSpaghetti pomodoro & basilico (tomato sauce and basil) File:Spaghetti alle vongole.jpgSpaghetti alle vongole File:Spaghetti with Meatballs (cropped).jpgSpaghetti with meatballs File:Spaghetti TARAKO Sauce, at Saizeriya.jpgPollock roe (Saizeriya) File:Spaghetti (nero di seppia) of Saizeriya (trim).jpgCephalopod ink (Saizeriya) File:Spaghetti al mare at restaurant Limone.jpgSpaghetti al mare File:Pesto pasta - Stierch.jpgWith pesto, Italian sauce Market = Consumption = By 1955, annual consumption of spaghetti in Italy doubled from per person before World War II to . By that year, Italy produced 1,432,990 tons of spaghetti, of which 74,000 were exported, and had a production capacity of 3 million tons. Nutrition Pasta provides carbohydrates, along with some protein, iron, dietary fiber, potassium and B vitamins. Pasta prepared with whole wheat grain provides more dietary fiber than that prepared with degermed flour. Records The world record for the largest bowl of spaghetti was set in March 2009 and reset in March 2010 when a Buca di Beppo restaurant in Garden Grove, California, filled a swimming pool with more than of pasta. In popular culture Spaghetti Westerns have little to do with spaghetti other than using the name as a shorthand for Italian. The BBC television program Panorama featured a hoax program about the spaghetti harvest in Switzerland on April Fools' Day, 1957. See also * List of pasta * Spaghetti alla chitarra * Spaghetti sandwich * Spaghetti squash * Spaghettieis * SpaghettiOs References Bibliography * Further reading * External links Category:Types of pasta Category:Italian words and phrases "