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Hanna Stein

Bio: Hanna Stein is an academic researcher. The author has contributed to research in topics: World War II & Eastern european. The author has an hindex of 1, co-authored 1 publications receiving 3 citations.

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TL;DR: As in other Eastern European countries, film industry and culture were of central interest for the newly established socialist Yugoslav state after the Second World War as mentioned in this paper, and they were of great importance to the new country.
Abstract: As in other Eastern European Countries, film industry and culture were of central interest for the newly established socialist Yugoslav state after the Second World War. Besides the institutionalis...

3 citations


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TL;DR: In this article, the authors analyze the institutional developments in East German film culture during the 1950s and focus on the so far under-researched filmaktiv movement (groups of individuals engaged in the promotion and discussion of films along political guidelines), and on a first wave of film clubs that arose around 1956.
Abstract: This article analyses the institutional developments in East German film culture during the 1950s and focuses on the so far under-researched filmaktiv movement (groups of individuals engaged in the promotion and discussion of films along political guidelines), and on a first wave of film clubs that arose around 1956. The study will illuminate the role played by both initiatives in the context of the state cultural policies as well as within a broader, international history of film culture. Even though they were rapidly integrated into state structures, in 1951 the aktivs opened up a new field of cultural exchange and cinematic activism. Openly opposed by the Ministry for Culture, the clubs challenged the state policies in a different way by successfully implementing an alternative approach to film consumption. In film cultural terms, the film clubs represented both an adaptation to national realities and a reaction to contemporary international trends. Compared to the work of the aktivs, they embodied a s...

2 citations

Journal ArticleDOI
TL;DR: In this paper, the authors show the impact of institutionalization and close collaboration with professional film-makers on the development of the amateur film workshop movement in the Soviet avant-garde.
Abstract: Film workshops were the most visible part of Soviet amateur film movement that has never been associated with home movies in the first place. Two distinct features of this movement were its high degree of institutionalization and close collaboration with professional film-makers. This article shows the impact of both conditions on the Soviet film workshop movement. It seeks the roots of Soviet amateur film culture in the 1920s avant-garde, and links the development of this culture to historic events and shifts in the Soviet official paradigm. The system of state funding for amateur film workshops created due to the efforts of professional film-makers in 1957 provided support, but was ideologically restrictive. Referring to examples from the 1970s and 80s, such as the studio Lomofilm in Leningrad, Iug-Film in Buguruslan, and underground film movements, such as the Necrorealist group, I will argue that that despite the dependence of film workshops on state funding, being on service of state ideology...

2 citations

Journal ArticleDOI
15 Apr 2018
TL;DR: Kružic et al. as mentioned in this paper discussed the historical presentation of avant-garde streams and the interpretation of their general characteristics, with the aim of carrying out a theoretical platform for the analysis and interpretation of the structural film by Yugoslav film experimentalist Mihovil Pansini.
Abstract: This paper concerns the historical presentation of avant-garde streams and the interpretation of their general characteristics. Emphasis has been placed on the neo-avant-garde art practice, especially European and American neo-avant-garde film, with the aim of carrying out a theoretical platform for the analysis and interpretation of the structural film by Yugoslav film experimentalist Mihovil Pansini. Its aim is also to understand and interpret the events that caused the establishment of world’s first experimental film festival, the GEFF (Genre Film Festival). The idea of film innovation, as a film experiment, was at that time much more feasible in democratically open Western societies than under the conditions that governed the hermetically strict environment of the socialist realism of postwar Yugoslavia. The paper will attempt to prove that the phenomenon of Yugoslavian amateur cinema clubs as such was an ideal and perhaps only possible solution for the realization of innovative, radically subversive and experimental film ideas. Article received: December 30, 2017; Article accepted: January 10, 2018; Published online: Aprul 15, 2018; Original scholarly paper How to cite this article: Kružic, Dragana. "Experimental (Structural Film) as the Concept of Film Innovation (Mihovil Pansini and Geff)." AM Journal of Art and Media Studies 15 (2018): 11–22. doi: 10.25038/am.v0i15.226

2 citations