Showing papers in "Historical Journal of Film, Radio and Television in 2006"
TL;DR: Race is not nowadays mentioned in polite company. Indeed, it is rarely discussed freely at all as mentioned in this paper. And just like with Victorian sex, one suspepe..., race is the new sex.
Abstract: Race is the new sex. Just as with sex in Victorian times, race is not nowadays mentioned in polite company. Indeed, it is rarely discussed freely at all. And just like with Victorian sex, one suspe...
22 citations
TL;DR: In March 1927, the film columnist for the Daily Express declared that British film audiences' enjoyment of American films was inextricably linked to their appreciation of the United States itself as mentioned in this paper.
Abstract: In March 1927, the film columnist for the Daily Express declared that British film audiences’ enjoyment of American films was inextricably linked to their appreciation of the United States itself: ...
21 citations
TL;DR: When radio broadcasting emerged during the early 1920s in the United States, many observers believed they were witnessing a revolutionary new form of communications as mentioned in this paper. But historians of broadcasting have pointed out that radio broadcasting was not a new technology.
Abstract: When radio broadcasting emerged during the early 1920s in the United States, many observers believed they were witnessing a revolutionary new form of communications. But historians of broadcasting ...
16 citations
TL;DR: There is some evidence about British film taste in the 1940s. as discussed by the authors published a major article in this journal on film taste at the Majestic, Macclesfield, from 1939 to 1946.
Abstract: There is some evidence about British film taste in the 1940s. Julian Poole published a major article in this journal on film taste at the Majestic, Macclesfield, from 1939 to 1946.1 This was taken ...
11 citations
TL;DR: In the spring of 1928, Italian dirigible designer and Arctic explorer Umberto Nobile led an expedition to cross the North Pole in the airship Italia as discussed by the authors with 15 Italian crewmembers.
Abstract: In the spring of 1928, Italian dirigible designer and Arctic explorer Umberto Nobile led an expedition to cross the North Pole in the airship Italia. Under Nobile's command were 15 Italian crewmemb...
8 citations
TL;DR: Renoir's Salut a la France/A Salute to France (1944) is considered a lost film of negligible importance in the director's impressive body of work as discussed by the authors.
Abstract: French film historians have traditionally considered Jean Renoir's Salut a la France/A Salute to France (1944) a ‘lost’ film of negligible importance in the director's impressive body of work. Virt...
7 citations
TL;DR: A Salute to France is often treated as a footnote in Jean Renoir's filmography as mentioned in this paper, and sometimes it is omitted altogether on the grounds that Renoir was not completely responsible for this documentary.
Abstract: A Salute to France is often treated as a footnote in Jean Renoir's filmography. Sometimes it is omitted altogether on the grounds that Renoir was not completely responsible for this documentary, wh...
7 citations
TL;DR: In this paper, the authors present and discuss four recent and very good books on African cinema from American and European publishing houses and university presses, which are not published in Africa, but come from America and Europe.
Abstract: 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
5 citations
TL;DR: One of my most potent memories as a child is being traumatized by the film Lassie Come Home (1943). I was four years old and my mother and aunt May had taken me to see the first of the LASSie serie...
Abstract: One of my most potent memories as a child is being traumatized by the film Lassie Come Home (1943). I was four years old and my mother and aunt May had taken me to see the first of the Lassie serie...
4 citations
TL;DR: When the soccer World Cup began in June 2006, the issue of Britain's relationship with Germany at the level of popular culture was so widely discussed that it merited even special reports on Americ...
Abstract: When the soccer World Cup began in June 2006, the issue of Britain's relationship with Germany at the level of popular culture was so widely discussed that it merited even special reports on Americ...
3 citations
TL;DR: Boone City, the fictional place to which three World War II veterans return in The Best Years of Our Lives (1946), could be Anytown, USA as mentioned in this paper, where there are fancy apartment buildings, modest homes on quiet streets.
Abstract: Boone City, the fictional place to which three World War II veterans return in The Best Years of Our Lives (1946), could be Anytown, USA. There are fancy apartment buildings, modest homes on quiet ...
TL;DR: For instance, in highly politicised and state-controlled film industries, such as those of East Germany and the Soviet Union, female allegories of nation were a useful encoding strategy, which afforded film-makers a certain degree of ideological latitude as discussed by the authors.
Abstract: Nations have traditionally been represented as female allegories, and Mother Russia and the French Marianne, the famous icon of revolutionary France, are prime examples. The enduring convention of allegorical representations of nation, be it in the pictorial arts, literature or film, can be explained by the close affinity between allegory and ideology. As Angus Fletcher aptly puts it in Allegory: theory of a symbolic mode, ‘allegory is the natural mirror of ideology’. It is thus not surprising that allegory is particularly common in highly politicised cultures, which are frequently subject to censorial interference by the state. In such cultural contexts, allegory fulfils a dual, seemingly contradictory function. On the one hand, allegory is used for propaganda while, on the other hand, it is a form of subterfuge to circumvent censorship. This explains why in highly politicised and state-controlled film industries, such as those of East Germany and the Soviet Union, female allegories of nation were a useful encoding strategy, which afforded film-makers a certain degree of ideological latitude. The growing interest in female subjectivity, which manifested itself in a number of Soviet and East German films from the 1960s onwards, transformed the way in which female allegorical figures were constructed. They ceased to be onedimensional personifications of abstract concepts but instead they became psychologically plausible individuals. At the same time, female subjectivity provided further opportunities for ideological unorthodoxy. Whereas films about national
TL;DR: The Truth About Hollywood as mentioned in this paper is based on a novel by Adela Rogers St. Johns, which was developed from St Johns's original story and dealt elliptically with the events of Bow's meteoric rise to fame and tragic retirement.
Abstract: In 1931, Clara Bow, arguably Paramount Studios’ most famous and exploited actress, was ravaged in the rag press during a prolonged and vicious slander suit. Although she returned briefly to the screen to make the successful Call Her Savage (1932) (figure 1) and Hoopla (1933) for Fox, Bow had lost her joy of film-making. And in spite of her considerable powers as an actress, her multiple public and personal battles had devastated her box-office reputation. In 1933, despite pleas from loyal friends, Clara Bow retired from the screen. Surprisingly, one of her staunchest supporters was producer David O. Selznick, who had gotten to know Bow well a few years previously when they had both worked at Paramount for the dictatorial B. P. Schulberg. Known as one of Hollywood’s toughest and most financially canny film-makers, Selznick nonetheless defended Bow’s reputation in the industry and after he left Paramount to head production at RKO, planned a new film for her based on her life. He cabled the New York offices, ‘Suggest sensational comeback for Clara Bow in a Hollywood picture titled The Truth About Hollywood. Feel very strongly any objections to Hollywood story as such have no basis whatever.’ The film would eventually be released in 1932 as What Price Hollywood?, although the price was too high for the studio to chance casting Bow. Selznick’s script, developed from Adela Rogers St. Johns’s original story, dealt elliptically with the events of Bow’s meteoric rise to fame and tragic retirement. Selznick’s motivation was not solely his friendship with Bow and his regret about her deteriorating mental state. He had seen before how cruel Hollywood critics, producers, directors, exhibitors, and the public could be. One of the earliest victims
TL;DR: The 1951 melodrama Awāra ( ‘The Tramp’) established Raj Kapoor as one of India's preeminent actor-producer-directors and launched a new sub-genre of commercial film, the Hindi musical l...
Abstract: The 1951 melodrama Awāra (‘The Tramp’)1 established Raj Kapoor (1924–1988) as one of India's preeminent actor–producer–directors and launched a new sub-genre of commercial film, the Hindi musical l...
TL;DR: A slender young woman with dark hair and large dark feline-shaped eyes hurries along the streets of Rome in one of the opening scenes of Mario Monicelli's film Donatella (1956) as mentioned in this paper.
Abstract: A slender young woman, with dark hair and large dark feline-shaped eyes hurries along the streets of Rome in one of the opening scenes of Mario Monicelli's film Donatella (1956). Her beige-coloured...
TL;DR: Among the many varieties or junior branches of Episodic Cinema, perhaps none is as unique in the... as discussed by the authors, as is the case in the case of the sketch film genre.
Abstract: Among the many varieties or junior branches of ‘episodic cinema’ (an umbrella category encompassing anthology, compilation, omnibus, portmanteau, and sketch films), perhaps none is as unique in the...
Journal Article•
TL;DR: Barthe et al. as discussed by the authors bid farewell to a large but diminishing audience, leaving behind a trail of frustrated villains and with over 700 performances to his credit, Dick Barton to-day bids farewell.
Abstract: Leaving behind him a trail of frustrated villains and with over 700 performances to his credit, Dick Barton to-day bids farewell to a large but diminishing audience. Even those who could not bring ...
TL;DR: The imagination of disaster associated with the classic science-fiction films of the 1950s really offered precious little to alleviate public anxiety about the nuclear bomb as discussed by the authors.1 The Day the Earth St...
Abstract: The ‘imagination of disaster’ associated with the classic science-fiction films of the 1950s really offered precious little to alleviate public anxiety about the nuclear bomb.1 The Day the Earth St...
TL;DR: On the evening of 7 November 1960 Admiral the Earl Mountbatten of Burma, Chief of the Defence Staff, dined in the splendour of Cleopatra's palace, one of the most expensive and elaborate sets ever constructed.
Abstract: On the evening of 7 November 1960 Admiral the Earl Mountbatten of Burma, Chief of the Defence Staff, dined in the splendour of Cleopatra's palace—one of the most expensive and elaborate sets ever c...
TL;DR: Dussel, K., 2004. 'Deutsche Rundfunkgeschichte'. Konstanz: UVK Verlagsgesellschaft as discussed by the authors, 2004.
Abstract: Review of: Dussel, K., 2004. 'Deutsche Rundfunkgeschichte'. Konstanz: UVK Verlagsgesellschaft.
TL;DR: Riefenstahl as discussed by the authors made very few films: four documentaries during the Third Reich, three on the annual Nazi party rallies, commissioned by Hitler, and the fourth on the 1936 Olympic games.
Abstract: Leni Riefenstahl (1902–2003) made very few films: four documentaries during the Third Reich—three on the annual Nazi party rallies, commissioned by Hitler, and the fourth on the 1936 Olympic games,...
Journal Article•
Journal Article•
TL;DR: The Best Years of Our Lives (1946) as mentioned in this paper is one of the most celebrated feature films ever made by Hollywood and won seven Academy Awards in 1946, including best picture, best actor and best screenplay.
Abstract: The Best Years of Our Lives (1946), directed by William Wyler, is one of the most-celebrated feature films ever made by Hollywood. It received seven Academy Awards in 1946, including best picture, ...
TL;DR: Kirchner as discussed by the authors was a 16-year-old high school student from the Bronx, seldom seen without a camera hanging from his neck, who persuaded a newspaper to run a story about the death of Franklin D. Roosevelt.
Abstract: When Franklin D. Roosevelt died on April 12, 1945, Stanley Kubrick was a 16-year-old high school student from the Bronx, seldom seen without a camera hanging from his neck. He persuaded a newspaper...