Showing papers in "Historical Journal of Film, Radio and Television in 2018"
TL;DR: Founded in Bogota in 1949, the Cine Club de Colombia exemplifies the transatlantic character of Latin American cinephilia after WWII, when film societies, archives, festivals, and film schools flou...
Abstract: Founded in Bogota in 1949, the Cine Club de Colombia exemplifies the transatlantic character of Latin American cinephilia after WWII, when film societies, archives, festivals, and film schools flou...
8 citations
TL;DR: While academic scholarship has been preoccupied with the textual and thematic analysis of the rising number of subversive cinema productions, the works written on extreme cinema have overlooked the... as discussed by the authors.
Abstract: While academic scholarship has been preoccupied with the textual and thematic analysis of the rising number of subversive cinema productions, the works written on extreme cinema have overlooked the...
7 citations
7 citations
TL;DR: Re-imagining DEFA as discussed by the authors is an invitation by two of the most respected scholars of East German film culture to reconsider DEFA (Deutsche Film-Aktiengesellschaft, or German joint-stock film company) as mor...
Abstract: Re-imagining DEFA is an invitation by two of the most respected scholars of East German film culture to reconsider DEFA (Deutsche Film-Aktiengesellschaft, or German joint-stock film company) as mor...
6 citations
TL;DR: Lushkov's book What You Win or You Die as discussed by the authors demonstrates the very deep cultural roots which lie beneath popular texts, and which partially account for their imaginative potency and financial profitability.
Abstract: Hollywood films, and (usually) lamentably deployed by other cinemas? It would be interesting to speculate on the notion of cultural need. Why, at this particular moment in time, should a convoluted tale about family romance, failed systems of belief, and the expedience of weaponry have such an imaginative hold over a large part of the audience? Lushkov’s book does not answer these questions. But it raises them implicitly, and is full of insights and interest. What You Win or You Die does do successfully is to demonstrate the very deep cultural roots which lie beneath popular texts, and which partially account for their imaginative potency and financial profitability.
5 citations
TL;DR: The Past in Visual Culture: Essa... as discussed by the authors explores the dynamics of memory in contemporary and converging media cultures, and the aim of the edited volume is to explore the past in visual culture.
Abstract: Over the last decade, academic research has increasingly explored the dynamics of memory in contemporary and converging media cultures. The aim of the edited volume The Past in Visual Culture: Essa...
5 citations
3 citations
TL;DR: In the field of cultural studies, there are hardly any collective works about the specific area of women film-makers as mentioned in this paper, which may be attributed to the fact that there are few collective works within cultural studies.
Abstract: Latin American cinema is usually a substantial research topic. However, within cultural studies, there are hardly any collective works about the specific area of women film-makers. The editors of t...
2 citations
TL;DR: Perman et al. as mentioned in this paper studied the history of television broadcasting and the representation on its channels, focusing on the role of public interest in media advocacy and struggle over U.S. television.
Abstract: Allison Perlman’s Public Interests: Media Advocacy and Struggles over U.S. Television fills a gap in previous research into both the history of television broadcasting and the representation on its...
2 citations
TL;DR: A detailed account of issues surrounding the vexed issue of copyright can be found in this paper, where 15 contributors contribute what will probably be the most useful explanation for professional film-makers.
Abstract: archive. What makes it particularly valuable are the technical explanations which conclude each chapter. These include the camera used, the film stock and the time at which the film was exposed – as well as rueful little notes which chronicle the deterioration of the film stock on which the images were recorded. It’s not starryeyed, and it accepts, but certainly does not celebrate, the restless pans, jump cuts and out of focus shots, which so many think of when they think of home movies. Of the 15 contributors, Melissa Dollman contributes what will probably be the most useful explanation for professional film-makers: a detailed account of issues surrounding the vexed issue of copyright. If home movies and other amateur films are to be shown on television, or for that matter on You Tube or Vimeo, it’s vital that film-makers realize that copyright in the images of friends and family belongs to those people or their estates, not to whoever was standing behind the Super-8 or 16 mm camera. Amateur Filmmaking is not a ‘How to Do It’ manual, even though it meticulously examines ‘How it Was Done’. There are no tips on how to emulate the evolutions of a steadicam with a smartphone, or how to record a snowflake on a white background, or black ink spilled on a pitch black slate roof, but what remains is a scrupulous record of everyday life in a time which is now past. Amateur Movie Making is Visual History at its best.
2 citations
TL;DR: The rapid spread of cinema throughout the British colonies in the 1920s was regarded as a major threat to the stability of the empire as mentioned in this paper, leading the British Colonial Office, the Austral...
Abstract: The rapid spread of cinema throughout the British colonies in the 1920s was regarded as a major threat to the stability of the empire. Following the lead of the British Colonial Office, the Austral...
TL;DR: This paper examined promotional material that surrounded the Kalem Company's trip to Egypt in 1912 and found that the film unit headed by Sidney Olcott (director) and Gene Gauntier (writer and actress) made a good deal of money.
Abstract: This article examines promotional material that surrounded the Kalem Company’s trip to Egypt in 1912. In 1911, the film unit headed by Sidney Olcott (director) and Gene Gauntier (writer and actress...
TL;DR: In this article, Why Harry met Sally: Subversive Jewishness, Anglo Christian Power and the Rhetoric of Modern Love offers a rich and engrossing cultural narrative of literary, stage and screen representations of modern love.
Abstract: ‘Why Harry met Sally: Subversive Jewishness, Anglo Christian Power and the Rhetoric of Modern Love’ offers a rich and engrossing cultural narrative of literary, stage and screen representations of ...
TL;DR: Martin this article argued that the Third Reich cinema did not so much identify with European art-house traditions, but emulated Hollywood models with its vertically integrated structure and its star and genre systems.
Abstract: tiated themselves from Hollywood by stressing the artistic value of its own sophisticated productions that were ‘[... ] motivated by idealistic rather than commercial values, and rooted in old and rich national traditions’ (p. 201). Yet, numerous other sources suggest the opposite. In contrast to Martin’s claim, Third Reich cinema did not so much identify with European art-house traditions. In order to challenge Hollywood and to become a film world power, it rather emulated Hollywood models with its vertically integrated structure and its star and genre systems. Additional archival research and the consultation of more sources would have counterbalanced one of the book’s weakest arguments. There are, admittedly, a number of other shortcomings. The role of service clubs such as Rotary or Lions, for example, is not dealt with. Other aspects of culture and culture policy including fine art, museums or theatre are largely missing. Significant research, moreover, needs to be undertaken to address the question of the extent to which Nazi-fascist cultural policies went on to shape post-war European culture. Many people associated with art and culture in Germany and Italy, in fact, remained in important positions and some institutions as well as legislation from the years under fascist rule also continued to play a role. Yet, Martin had to limit the content of his book and the total number of examples used for the sake of formulating a convincing over-arching argument. This ought to be commended. He opens up numerous opportunities for future research. Asking a number of questions and flagging up several opportunities for research to come, that is what makes a good and original scholarly book. Martin’s book should be seen as a much-needed companion piece to the many articles focusing on the international cultural dimension of the Third Reich and fascist Italy. It helps to link the various individual case studies and transform them to an overarching argument. It, too, reminds us to look more closely at networks and institutions rather than individuals only. The Nazi-Fascist New Order for European Culture will certainly impact such debates in a most fruitful way.
TL;DR: This paper explored the work of British documentary film-maker and film expert, Alexander Shaw, undertaken in the colonies and dependent territories of empire, and drew on films Shaw made in Mala...
Abstract: This article explores the work of British documentary film-maker and film expert, Alexander Shaw, undertaken in the colonies and dependent territories of empire. It draws on films Shaw made in Mala...
TL;DR: The stimulus for commissioning this impressive collection, according to the editors, Sue Clayton and Laura Mulvey, themselves key players in 1970s film culture, was the present "revival of interest" as discussed by the authors.
Abstract: The stimulus for commissioning this impressive collection, according to the editors, Sue Clayton and Laura Mulvey, themselves key players in 1970s film culture, was the present ‘revival of interest...
TL;DR: There can be no doubt that the BBC's foreign language services played a crucial role in supporting Britain's diplomacy during the late 1930s and war effort against the Axis powers during the Second World War.
Abstract: There can be no doubt that the BBC’s foreign language services played a crucial role in supporting Britain’s diplomacy during the late 1930s and war effort against the Axis powers during the Second...
TL;DR: In this article, the authors introduce the reader to the 1940s history of the documentary film in post-war Poland when the tense relationship between the Communist government and the small community of documentar...
Abstract: This article introduces the reader to the 1940s history of the documentary film in post-war Poland when the tense relationship between the Communist government and the small community of documentar...