Making Good Farmers by Making Better Farms:: Farmstead Architecture and Social Engineering in Belgium After the Great War

Research methods, aids and materials Printed documentary sources Maps and plans Archives – descriptions and examples Guides to the literature and printed documentary sources Urban history, definitions and aims Historiography Theory of urbanization Empirical studies of urbanization History, growth and fortunes of individual towns Portraits of towns literary, photographic Literary portrayals and personal reminiscences Graphic and photographic portrayals

Bibliography of urban history 2016

Cette these porte sur les representations des peuples autochtones du Nord forgees par les films et telefilms sovietiques de fiction. Mobilisant plusieurs approches — l’analyse filmique, l’histoire culturelle du cinema, l’histoire des representations et l’histoire politique sovietique —, elle confronte les films a des sources non-films (presse, archives papier, entretiens), afin de mettre en lumiere la construction d’une subjectivite et d’un regard. Il s’agit egalement de decortiquer la fabrication des representations, dans ses dimensions a la fois les plus concretes et les plus symboliques. En ce sens, la question de la participation ou de la non-participation des autochtones a la creation de leur image filmique, que ce soit devant ou derriere la camera, constitue une autre interrogation centrale. Les representations filmiques des peuples du Nord, tiraillees en permanence entre visions du « progres » et de l’« authenticite », operent a l’ecran comme autant d’images qui permettent a l’Union sovietique d’evaluer sa propre perception de la modernite. Des annees 1920 aux annees 1980, les figures cinematographiques autochtones circulent entre deux poles d’un continuum, qui va de l’incarnation d’une arrieration a eliminer au nom de la sovietisation a celle d’une harmonie avec la nature, desormais perdue ou menacee. Par ailleurs, en prenant en compte la question de la contribution des autochtones a la creation de leur propre image, cette these s’attache a montrer que le film constitue un espace complexe, ou plusieurs lectures et usages sont possibles selon la position des participants.

Fabriquer les peuples du Nord dans les films soviétiques : acteurs, pratiques et représentations

Since the turn of the century, serial television drama is increasingly associated with quality. This reappraisal has been widely documented, but such accounts are strongly Anglocentric. Is this ris...

It's Not HBO, it's TV: The View of Critics and Producers on Flemish ‘Quality TV’

The crisis of traditional images of manhood in Western cultures, the disruption of nation-state primacy, and the revival of self-determination movements in the aftermath of globalization and the rise of neoliberal policies have caused a rupture in the stability of such concepts as nation and masculinity. This dissertation investigates the impact of these ruptures on the representation of gendered subjects in the subnational cinemas of Flanders, Scotland, and Quebec—that is film industries and imaginaries located in geopolitical contexts that lack nation-state recognition, but operate along the lines of national-belonging principles. Combining the methodologies of production history, film, and cultural analysis, this work looks at subnational cinemas from the interconnected standpoints of their institutional and representational developments. One the one hand, it maps how film production and funding infrastructures emerged in recent subnational contexts at the convergence of national and transnational interests. On the other hand, it considers how performances of gender and national identity are renegotiated in such complex geopolitical and cinematic scenarios. It is the central contention of this dissertation that subnational contexts, by virtue of their cultural and geopolitical hybridity, offer a significant set of possibilities for revisiting monolithic paradigms of national cinemas, identities, and gender power structures in the globalized era.

Mosaic Men: Critical Masculinities and National Identities in Contemporary Subnational Cinemas

A Captivated Audience studies the organization, regulation and consumption of culture in occupied Belgium during the First World War Through a case-study of the founding and day-to-day operations of Cinema Zoologie, the film theatre located at the Antwerp Zoo, it is demonstrated how tensions between organizers, audiences and the occupying force are played out in the leisure sphere The film theatre is presented as an arena of conflicting interests where politics, business and patriotism clash Cinema Zoologie was operated by the Royal Zoological Society of Antwerp (owner of the Antwerp Zoo), a bourgeois society with an international membership and ties with the German community in Antwerp As a movie theatre located in this thoroughly bourgeois environment, Cinema Zoologie is also an ideal microcosm to study wartime reactions to filmed entertainment and information as well as bourgeois cinema-going experiences The research presented here is largely based on primary sources from the extensive arc

A Captivated Audience. Cinema-going at the zoological garden in occupied Antwerp, 1915-1918

The Great War broke out at the moment that the film industry at all levels, production, distribution and exhibition was becoming established. Here the attention is on the local cinema cultures of three spaces: Louvain in Belgium, Southampton in England, and Stevens Point, Wisconsin, in the United States. The areas share marked differences: Louvain suffered considerably, including direct damage to its buildings, reprisal executions of its citizens and German occupation for the four years of the war; Southampton witnessed the parade of war through its role as the main embarkation point for British troops, as well as suffering the loss in unprecedented number of casualties which the British people endured; and Stevens Point was different again in that the war directly touched the local community, with its considerable German and Polish immigrant population, as the politics of the nation shifted from isolation to engagement. These were all factors in the exhibition strategies of local cinema exhibitors who ne...

‘Snapshots”: local cinema cultures in the Great War

African films only rarely hit the screens of European and American (and even African) film theatres. Their screening is often limited to African film festivals like FESPACO or the Milanese Festival del Cinema Africano, where adepts meet to watch and discuss the latest films and the urging problems of the African film industry. Yet, (scholarly) books on African cinema are starting to trickle down and are becoming available to Western readers. Let it be clear, most of these books are not published in Africa, but come from American and European publishing houses and university presses. In this review article, I want to present and discuss four recent and very

Leen Engelen

Papers

A Captivated Audience. Cinema-going at the zoological garden in occupied Antwerp, 1915-1918

‘Snapshots”: local cinema cultures in the Great War

The Black Face Of Cinema In Africa

Perspectives on European film and history

Made in Flanders (redux): Film production, government funding and television participation in Flanders, Belgium