By Elia Kazan
Elia Kazan was once the 20th century's so much celebrated director of either degree and display, and this enormous, revelatory publication indicates us the grasp at paintings. Kazan's checklist of Broadway and Hollywood successes--A Streetcar Named wish, demise of a salesperson, at the Waterfront, to call a few--is a testomony to his profound impression at the paintings of directing. This impressive ebook, drawn from his notebooks, letters, interviews, and autobiography, unearths Kazan's process: how he exposed the "spine," or middle, of every script; how he analyzed every piece by way of his personal event; and the way he made up our minds the specifics of his construction. And within the ultimate part, "The Pleasures of Directing"--written in the course of Kazan's ultimate years--he turns into a sensible previous seasoned delivering suggestion and perception for budding artists, writers, actors, and directors.
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Lu-dsin 3. mu-ni-im 4. nig-sam-ma-ni 5. ) gin kù-babbar Break. Rev. 1. i-[si]-la 2. d en . . ma ( ? ) -ka-sè 10 3. mu lugal in-pà10 1. 2. 3. 4. 5. One male slave Lu-Sin by name, his price four [ ? ] shekels of silver [X] 1. has paid. 2. . 3. By the king he has sworn Beginning with the Sargonid period, slave-sale documents often contain the bukannu (Sumerian: gis-gan-na) clause. The exact meaning of this term is as yet not clear. It was undoubtedly a symbolical act consisting of the seller's handing over some kind of object to the buyer and thus legalizing the act of transfer of the sold commodity.
She went to the temple authorities and showed them her star mark. That proved the case. 87 On the other hand, a certain Shamash-shum-iddin was claimed by a temple as its slave on the ground that his grandmother had been a branded slave. Fortunately for the man, he found a witness who testified in court: 'The star and branding upon the hand of H . . '88 This testimony, given under oath, freed the man from service in the temple. 88 In Nuzi some slaves appear to have been marked. The abbuttum is mentioned in two documents,90 and it is quite clear that it was a tag attached to a I,EGAL STATUS 49 chain.
MSL I, Tf. 2, col. IV. 1-15 may be cited in support of the theory that the practice of incising 44 SLAVERY IN T H E NEAR EAST marks on slaves was known in Ancient Babylonia. This paragraph deals either with a fugitive slave or with a fugitive pledge. ' We thus have clear evidence that fugitive slaves (or fugitive pledges) were branded. The abbuttum may have been a general mark, while in the case of the fugitive an added mark was incised upon his face, proclaiming his status for all to see. " A second possibility, judging from the numerous references to tattooing of the slave's wrists in the Neo-Babylonian period, is that the abbuttum was a mark tattooed on some visible part of the slave's body.
Kazan on Directing by Elia Kazan