Showing papers in "Historical Journal of Film, Radio and Television in 1992"
TL;DR: In this paper, the Eddie Mannix Ledger story is described in the context of the MGM film grosses, 1924-1948: The Eddie MannIX Ledger Story.
Abstract: (1992). MGM film grosses, 1924–1948: The Eddie Mannix Ledger. Historical Journal of Film, Radio and Television: Vol. 12, No. 2, pp. 127-144.
43 citations
TL;DR: The Post-War Career of the Colonial Film Unit in Africa: 1946-1955 as discussed by the authors, is a detailed account of the post-war career of the film unit in Africa.
Abstract: (1992). The Post-War Career of the Colonial Film Unit in Africa: 1946–1955. Historical Journal of Film, Radio and Television: Vol. 12, No. 2, pp. 163-177.
20 citations
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TL;DR: In this article, Goebbels' unequaled monument to anti-Semitism, Der ewige jude (1940), is described as a symbol of anti-semitism.
Abstract: (1992). ‘Der ewige jude’ (1940): Joseph Goebbels' unequaled monument to anti-Semitism. Historical Journal of Film, Radio and Television: Vol. 12, No. 1, pp. 41-67.
13 citations
TL;DR: The female form could be employed to signify forbidden wilfulness (The Wicked Lady), ratified monogamy (In Which We Serve), innocent sensuality (Lady Hamilton), doomed feminism (Thunder Rock), proletarian doggedness (Millions Like Us) or aging support (The Prime Minister).
Abstract: In periods of acute social change and insecurity, popular cultural forms have a threefold function. They provide reassurance for marginal groups by according them a symbolic presence, they produce pleasure for the audience by temporarily resolving real tensions in their lives, and they clarify confusions about moral or social boundaries.1 These three processes — persuasion, pleasure and ritual clarification — must be taken into account in any analysis of the fictional representation of subordinate groups. Of these, women constitute the largest — and arguably the most important. extraordinarily wide variety of purposes. Endlessly polysemic, the female form could be employed to signify forbidden wilfulness (The Wicked Lady), ratified monogamy (In Which We Serve), innocent sensuality (Lady Hamilton), doomed feminism (Thunder Rock), proletarian doggedness (Millions Like Us) or aging support (The Prime Minister). But ‘employed’ by whom? By those in control of government agencies and film production companies — all of whom were male. There were comparatively few female workers in wartime feature film, as any attention to Kine Weekly records will show.
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TL;DR: In this article, a German response to British radio propaganda during World War II is presented, where the author describes the response of Oskar Zuversichtlich to British propaganda during the war.
Abstract: (1992). ‘Oskar Zuversichtlich’: a German's response to British radio propaganda during World War II. Historical Journal of Film, Radio and Television: Vol. 12, No. 1, pp. 69-85.