Showing papers in "Historical Journal of Film, Radio and Television in 2007"
Journal Article•
14 citations
TL;DR: In his book Justice in Jerusalem, Gideon Hausner provides a detailed account on the prosecution and sentencing of SS Obersturmbannfuhrer Adolf Eichmann by an Israeli court tribunal in 1961.
Abstract: In his book Justice in Jerusalem, Gideon Hausner provides a detailed account on the prosecution and sentencing of SS Obersturmbannfuhrer Adolf Eichmann by an Israeli court tribunal in 1961. As chie...
12 citations
TL;DR: In this paper, the Last Survivors of the Great War (LSA) is described as "the last surviving survivors of the 1914-18 World War One in Colour (Channel 5, 2003)" and "Dunkirk: The Soldier's Story (BBC, 2004) D-Day to Berlin (BBC/KCET, 1996), "The Last Battle (ARTE/ZDF, 2006) The Somme (Channel 4, 2005)
Abstract: Filmography Culloden (BBC, 1964) The Great War (BBC, 1964) 1914–18 (BBC/KCET, 1996) Haig: the Unknown Soldier (BBC, 1996) Veterans: the Last Survivors of the Great War (BBC, 1998) 1900s House (Channel 4, 1999) The Western Front (BBC, 1999) History of Britain (BBC, 2000) 1940s House (Channel 4, 2001) The Ship (BBC, 2002) Surviving the Iron Age (BBC, 2001) The Trench (BBC, 2002) Frontier House (Channel 4, 2002) Lad's Army (BBC, 2002) Edwardian Country House (Channel 4, 2002) Spitfire Ace (Channel 4, 2003) World War One in Colour (Channel 5, 2003) 1914: the War Revolution (BBC, 2003) The First World War (Channel 4, 2003) Dunkirk (BBC, 2004) Dunkirk: The Soldier's Story (BBC, 2004) D-Day to Berlin (BBC, 2004) Bad Lad's Army (ITV, 2004) Destination D-Day: Raw Recruits (BBC, 2004) Bomber Crew (Channel 4, 2004) Battlefield Britain (BBC, 2004) The Last Battle (ARTE/ZDF, 2005) Who Do You Think You Are? (BBC, 2004, 2006) The Somme (Channel 4, 2005)
11 citations
TL;DR: More than ever nowadays an extended and careful vigilance is necessary, inasmuch as the dangers of moral and religious shipwreck are greater for inexperienced youth as mentioned in this paper, especially is this true of impi...
Abstract: More than ever nowadays an extended and careful vigilance is necessary, inasmuch as the dangers of moral and religious shipwreck are greater for inexperienced youth. Especially is this true of impi...
10 citations
TL;DR: The Spanish military dictator Francisco Franco was an unlikely patron of Hollywood film production as discussed by the authors, yet from the early 1950s through the end of the 1960s, independent American film-makers would tre...
Abstract: The Spanish military dictator Francisco Franco was an unlikely patron of Hollywood film production. Yet from the early 1950s through the end of the 1960s, independent American film-makers would tre...
10 citations
TL;DR: This paper examined radio broadcasts from Hawaii to examine the limits and possibilities of radio as a structuring production for the nation-state and found that radio programs broadcast from Hawaii had economic and political, as well as cultural, contexts as Hawaii's old economy (based on agricultural exports) gave way to their new tourist economy and as Hawaiian businessmen pushed for statehood to improve their standing in both of these economic sectors.
Abstract: Radio history has recently focused on broadcasting’s use in constituting Benedict Anderson’s ‘imagined community’ with radio working, in the same way as the census, maps, and museums, to construct national identity. But radio waves cross national boundaries and, in so doing, also interrogate nationalism. In this article, I use radio broadcasts from Hawaii to examine the limits and possibilities of radio as a structuring production for the nation-state. Because of radio’s special claims to improving both citizenship and national unity, it is interesting to consider how, using radio, a territory of the United States asserted a separate identity as well as reaffirmed itself as a part of the nation. Radio presentations of Hawaiian-influenced music, broadcast from the islands, were part of a wave of Hawaiianiana on the US mainland during this time. Yet, the radio programs broadcast from Hawaii had economic and political, as well as cultural, contexts as Hawaii’s old economy (based on agricultural exports) gave way to their new tourist economy and as Hawaiian businessmen pushed for statehood to improve their standing in both of these economic sectors. As a government regulated form of cultural production, radio broadcasts take a crucial place at the nexus of politics and culture. Douglas Craig, in Fireside Politics: radio and political culture in the United States, 1920–1940, described the idea of radio citizenship and showed its limits. Hawaiians used radio in the 1930s and 1940s to make a cultural claim on citizenship, despite the fact that they were, at the time, colonial subjects of the United States. US broadcasters worked hard to appear open to all Americans, but ‘shut out’ in Craig’s phrase, large groups in order to maintain a white, male, and middle class address. Programs from Hawaii proved an easy way to show diversity without really opening the floodgates. Hawaiians were already politically contained and their cultural expressions broadcast over the radio presented
10 citations
TL;DR: In this article, the authors assess the cinema-going tastes of one particular group of working-class consumers (the miners and their families) through the surviving records of the South Wales Miners' Institutes.
Abstract: There is limited evidence about the cinema-going tastes of the working classes in Britain during the 1930s. A range of contemporary sources provides information on cinema-going tastes at a general and non-class specific level—Sidney Bernstein’s Questionnaires; film popularity lists; box-office successes—but evidence about working-class tastes is scant. We can, however, assess the cinema-going tastes of one particular group of working-class consumers—the miners (and their families) of South Wales—through the surviving records of the South Wales Miners’ Institutes. These records, part of the South Wales Coalfield Collection held at the University of Wales, Swansea, UK, contain material relating to the day-to-day running of the Institutes’ cinemas. Among them are a number of cinema ledgers. To my knowledge, though, only one ledger from the 1930s remains extant. That ledger belongs to the Cwmllynfell Miners’ Welfare Hall cinema and runs from 29 March 1937 to 28 December 1939. The ledger lists first and second features, along with a number of other programmes, such as shorts and news-reels. There are a number of breaks in the ledger, so we need to cut our coat according to the cloth of the somewhat sporadic material available, but it is nevertheless a highly valuable resource when constructing a map of working-class taste in the period.
9 citations
TL;DR: The late entertainer Groucho Marx remains a giant in the history of American popular culture as mentioned in this paper, with a career on stage, film, radio, and television that spanned the better part of the 20th century.
Abstract: To this day, the late entertainer Groucho Marx remains a giant in the history of American popular culture. The immensely talented comedian enjoyed a career on stage, film, radio, and television that spanned the better part of the 20th century. During the height of his popularity before the Second World War, he also made occasional contributions as a humorist to major newspapers. In one such contribution to the Los Angeles Times entitled ‘What This Country Needs,’ Marx joked that he would run for vice president in the upcoming 1940 election. In nearly 2000 words published that June, he offered a political platform that envisioned a country with good ham sandwiches and attractive corset-wearing women. He called for a traffic-free world where people traveled on oxen. He demanded vacuum cleaners that ‘won’t scare the daylights out of you by whining like a Boeing bomber’ and envisioned a ‘national school for lovemaking.’ But when the subject shifted to foreign language broadcasting in the United States, Marx turned serious about what America needed—or did not need. ‘According to all reports, there are thousands of phony and disloyal Americans living in the United States,’ Marx wrote a month and a half after his vice presidential musings. ‘If this is true, it might be a good idea to forbid the broadcasting of foreign language programs.’ Marx was not trying to be funny. He articulated his comments not in his capacity as a comedian or a columnist, but as a concerned citizen. They appeared in a curt letter to the editor published in the August 30, 1940 edition of the Los Angeles Times. ‘The air is full of them,’ Marx railed with obvious disdain toward foreign language
8 citations
TL;DR: In this paper, the subjective maxim of my actions were to become a universal law, and what would happen if such a maxim became universal law was investigated, and the results showed that it would lead to anarchy.
Abstract: What would happen if the subjective maxim of my actions were to become a universal law. Kurt Huber1 Directors and scriptwriters of historical films are often granted a somewhat broader license in t...
6 citations
TL;DR: The Enigma of the Night of the Fourth (1937) as discussed by the authors is a radio mystery that depicts a country farmer murdered by a neighbor's boa constrictor brought back from Java.
Abstract: On December 13, 1937, a radio mystery, aired on the French national public station, Radio-Paris. From a mystery and adventure series hosted by Jacques Cossin, The Enigma of the Night of the Fourth, featured an innocent country farmer murdered cruelly in his sleep by a neighbor’s boa constrictor brought back from Java. The radio play underscored the horror of the killing by making the assassin a snake from the colonies and the retired country farmer an exemplary French citizen before his untimely demise. The lesson of the tale was simple. The exotic features of the colonial world had to stay in that world or they would pollute the fabric of the French home, even killing the nation’s best citizens. The mystery brought a worrisome tale to life that could shock the French radio listeners with its exotic and deadly invasion into their own homes and assumed safe spaces. As seen from this play, radio, the mass medium of the interwar French home, had a particular relationship to the depiction of the colonial space. In spite of a fascination with the exotic, scenes of the colonies had to penetrate into, but not alter or degrade, the safety of the French home. In order to protect the integrity of that home, the stories of the colonies focused not on satisfaction and happiness outside of France, but rather the danger that lurked beyond the national borders. After all, colonial subjects did not reflect back the image of bourgeois patriarchal morality that radio producers saw as their ideal. The colonies could only show a poor reflection of the best that was France, and make the metropole and French home more glorious in comparison. By 1937, French radio reached at least 10 million listeners, or a quarter of the nation’s citizens. Audiences were growing, and, only two years later, over 20 million people had radios in their homes. The 1930s was the decade during which a radio set
6 citations
TL;DR: In this article, Ottaviano, head of Cliomedia, a Turin-based firm, selected 65 recorded speeches and songs, 1400 pictures, 50 film extracts, and edited the CDs.
Abstract: Renzo De Felice, professor of contemporary history at the university of Rome and leading historian of Fascism wrote, between 1965 and 1990, a monumental biography of Mussolini in seven volumes, which was completed, after his death in 1996, by an edition of his notes on the last months of the Duce. There were animated debates about some of his interpretations, but even his most determined adversaries acknowledged his honesty and the quality of his research. De Felice followed his character step by step and, as Mussolini was both a prolific writer and an indefatigable speaker, it does not come as a surprise that the whole work amounts to some one thousand pages. No archival material escaped the critical look of the historian but, oddly enough, he did not take into account audiovisual documents, radio programmes, recorded speeches, photographs or films made during the fascist dictatorship. This sounds all the more surprising that Mussolini was intent on having his image widely spread in Italy and abroad. In 1925, ‘by my express will’, as he said to his ministers, the state took over from its trustees the Luce institute, a small cinematic firm, and turned it into a powerful centre of propaganda which diffused excellent newsreels, documentaries and photographs. The biography’s publisher, Einaudi, in partnership with Mondadori, a subsidiary company of Berlusconi’s Finvest specialised in audiovisual publications, decided to transfer the work from printed paper to four CD-ROMs and to enrich it with the material De Felice had ignored. Chiara Ottaviano, head of Cliomedia, a Turin-based firm, selected 65 recorded speeches and songs, 1400 pictures, 50 film extracts, and edited the CDs. It was not an easy task. To begin with, there were few photographs
TL;DR: A Burlingham filmography of 1913-18 is presented in this paper, which includes a trip to the Crater of Vesuvius, 1500 feet, from Montreux to Rochers de Naye, 424 feet, and a trip round sunny Marseilles, 474 feet.
Abstract: A Burlingham filmography 1913–18 1913 PRODUCTION COMPANY: BRITISH AND COLONIAL KINEMATOGRAPH COMPANY. AGENT: MOTION PICTURE SALES AGENCY 23 March: Winter Sports at St. Moritz, 367 feet 12 June: Europe's Winter Playground, 473 feet. Viewing copy in British National Film and Television Archive. 7 August: From Montreux to Rochers de Naye, 424 feet. Viewing copy in British National Film and Television Archive. 7 August: Ascent of the Matterhorn, 1500 feet. Distributor: Jury's Imperial Pictures. 13 October: The Grand St. Bernard Hospice, 557 feet PRODUCTION COMPANY: BRITISH AND COLONIAL KINEMATOGRAPH COMPANY. AGENT: DAVISON's FILM SALES AGENCY. 16 October: Winter Sports at Suvretta, 550 feet 27 November: A Trip to the Gornergrat, 494 feet 1914 15 January: Descent into the Crater of Vesuvius, 1500 feet. Distributor, Jury's Imperial Pictures Ltd. Viewing copy in Norwegian Film Archive. 5 February: A Trip Round Sunny Marseilles, 474 feet 5 March: In the Land of Roses, 474 feet 9 March: In a Sea Garden, 600 feet 2...
TL;DR: T.S. Eliot, when reviewing James Joyce's Ulysses (1922), defined the "mythical method" as manipulating a continuous parallel between contemporaneity and antiquity as mentioned in this paper.
Abstract: T.S. Eliot, when reviewing James Joyce's Ulysses (1922), defined the ‘mythical method’ as manipulating ‘a continuous parallel between contemporaneity and antiquity’.1 T.S. Eliot's epic poem, ‘The W...
TL;DR: In 1987, Elke Frohlich, at the Institute for Contemporary History in Munich, published four large volumes plus an int... as discussed by the authors, which were later published in 1998 and 2006, respectively.
Abstract: 14 volumes ELKEFRoLICH(ed.) Munich: Saur, 1998–2006 ISBN 3-598-23730-8 $1421.00 In 1987, Elke Frohlich, at the Institute for Contemporary History in Munich, published four large volumes plus an int...
Journal Article•
TL;DR: The Bataille du rail as discussed by the authors was published in 2004, LCJ Editions, 2004 DVD (Region 2), 85'min., [euro]19.99 Le Silence de la mer JEAN-PIERRE MELVILLE (DIR.) Paris, Editions Rene Château, 2003 DVD (Regio...
Abstract: La Bataille du rail RENE CLEMENT (DIR.) Paris, LCJ Editions, 2004 DVD (Region 2), 85 min., [euro]19.99 Le Silence de la mer JEAN-PIERRE MELVILLE (DIR.) Paris, Editions Rene Château, 2004 DVD (Regio...
TL;DR: German cinema from 1933 to 1945 was for many years an object of fierce critique and deep contempt for film historians, and one of persistent nostalgic glorification for audiences as mentioned in this paper. After the war, it...
Abstract: German cinema from 1933 to 1945 was for many years an object of fierce critique and deep contempt for film historians, and one of persistent nostalgic glorification for audiences. After the war, it...
TL;DR: It is widely known that film-maker Sam Fuller soldiered during World War II, and that his experiences as a member of the First United States Infantry Division greatly influenced the subject matter as discussed by the authors.
Abstract: It is widely known that film-maker Sam Fuller soldiered during World War II, and that his experiences as a member of the First United States Infantry Division greatly influenced the subject matter,...
TL;DR: In the early 1960s, the Australian Broadcasting Corporation broadcast a weekly five-minute programme, in its early evening slot, which was so popular that when its presenter, Noeline Pritchard, was...
Abstract: In the early 1960s, the Australian Broadcasting Corporation broadcast a weekly five-minute programme, in its early evening slot, which was so popular that when its presenter, Noeline Pritchard, was...
TL;DR: In 1950, the informer subculture in the Hollywood motion picture industry began to emerge in fits and starts as mentioned in this paper and became full-fledged in the spring of 1951, when the Committee on Un-American Activi...
Abstract: In 1950, the informer sub-culture in the Hollywood motion picture industry began to emerge in fits and starts. It became full-fledged in the spring of 1951, when the Committee on Un-American Activi...
TL;DR: The most significant film about the Holocaust ever made has a score by one of the 20th-century's most distinguished composers, a man whose politics obsc... as discussed by the authors, who was a political opponent of Resnais'.
Abstract: Alain Resnais’ famous documentary, arguably the most significant film about the Holocaust ever made, has a score by one of the 20th-century's most distinguished composers, a man whose politics obsc...
TL;DR: In the past decade there has been a proliferation of such films as a result of the 40thand 50th-anniversary commemorations, accelerating disappearance of veterans, restoration of deteriorating nitrate collections, and opening of once-restricted cinema archives in America and Europe as discussed by the authors.
Abstract: Public memory of 20th-century history, especially of the Second World War, is inescapably audio-visual, constructed in large part by the newsreel clips that constitute the essential primary material of retrospective documentaries about the period. In the past decade there has been a proliferation of such films as a result of the 40thand 50th-anniversary commemorations, accelerating disappearance of veterans, restoration of deteriorating nitrate collections, and opening of once-restricted cinema archives in America and Europe. As a result, few television viewers on either continent can claim never to have seen at least some black-and-white footage from the war. While such developments are gratifying for scholars, they also oblige us to reflect critically on the use of filmed news as a source for writing history. The newsreels distributed in France during the Second World War have traditionally been difficult for researchers to access. Whereas the Deutsche Wochenschau—official voice of the Third Reich from 1939 to 1945—became available
TL;DR: The death of Arthur Marwick, founding Professor of History at The Open University, will be mourned by his friends and colleagues in IAMHIST as mentioned in this paper. Although never a member of IAM, Marwick was a staunc...
Abstract: The death of Arthur Marwick, founding Professor of History at The Open University, will be mourned by his friends and colleagues in IAMHIST. Although never a member of IAMHIST, Marwick was a staunc...
TL;DR: On February 27, 1919, the following announcement appeared in the Berlin-based law enforcement journal, Die Polizei: Fachzeitschrift fur das Polizeiwesen: Movies as Classroom Material for Criminal I...
Abstract: On February 27, 1919, the following announcement appeared in the Berlin-based law enforcement journal, Die Polizei: Fachzeitschrift fur das Polizeiwesen: Movies as Classroom Material for Criminal I...