Showing papers on "Movie theater published in 1993"

Framing Blackness: The African American Image in Film

Abstract: Illustrations Acknowledgments Introduction 1. From Birth To Blaxploitation: Hollywood's Inscription of Slavery 2. Slaves, Monsters, and Others: Racial Fragment, Metaphor, and Allegory on the Commercial Screen 3. The Rise and Fall of Blaxploitation 4. Recuperation, Representation, and Resistance: Black Cinema through the 1980s 5. Black Film in the 1990s: The New Black Movie Boom and Its Portents Notes Bibliography Index

Projections of War: Hollywood, American Culture, and World War II

Abstract: In this cultural history of the USA during World War II, Thomas Doherty examines the interaction between Hollywood cinema and America's involvement in the war. He reveals how and why Hollywood marshalled its artistic resources on behalf of the war effort, giving a voice to many different groups' viewpoints: the motion picture industry itself; government agencies; and audiences at home and overseas. Doherty proves that war-time Hollywood was not a rigidly controlled propaganda machine, as is often assumed, but an ad-hoc collaborative effort between the government and the film industry. He explains the social, political and economic forces that created genre classics such as "Mrs Miniver" and "Air Force" as well as comedies, musicals, newsreels, documentaries, cartoons and army training films.

Blood Cinema: The Reconstruction of National Identity in Spain

Abstract: In this innovative synthesis of film history and cultural analysis, Marsha Kinder examines the films of such key directors as Bunuel, Saura, Erice, and Almodovar, as well as works from the popular cinema and television, exploring how they manifest political and cultural tensions related to the production of Spanish national identity within a changing global context. Concentrated on the decades from the 1950s to the 1990s, Kinder's work is broadly historical but essentially conceptual, moving backward and forward in time, drawing examples from earlier films and from works of art and literature, and providing close readings of a wide range of texts. Her questioning and internationalizing of the 'national cinema' concept and her application of contemporary critical theory - especially insights from feminism, Marxism, psychoanalysis, cultural studies, and discourse theory - distinguish "Blood Cinema" from previous film histories. The author also makes use of a variety of sources within Spain such as the commentaries on Spanish character and culture by Unamunov and others, the contemporary debate over the restructuring of Spanish television. Kinder's book moves Spanish cinema into the mainstream of film studies by demonstrating that a knowledge of its history alters and enriches our understanding of world cinema. The interactive CD-ROM is available from CINE-DISCS, 2021 Holly Hill Terrace, Los Angeles, CA 90068, (213) 876-7678.

French national cinema

Abstract: Introduction: Defining the 'National' of a Country's Cinematographic Production 1. A Brief Ecohistory of France's Cinema Industry 1895-2003 2. Magical Moments of Musical Silence: French Cinema's Classical Age 1895-1929 3. From Clarity to Obscurity: French Cinema's Age of Modernism 1930-1958 4. From Ideology to Narcissism: French Cinema's Age of the Postmodern 1958-1991 5. Towards a Multiplicity of Voices: French Cinema's Age of the Postmodern, Part Two 1992-2004

The Place of the Audience: Cultural Geographies of Film Consumption

Abstract: Part One: Introduction Chapter One: From Spectatorship to Film Consumption Chapter Two: Contexts of Film Consumption Section Two: The Construction the Cinema: Fairgrounds, Theatres and Spatial Regulation Introduction: Class, Gender and Public Space in Early Film Consumption Chapter Three: Novelties, Fairgrounds and the Exoticisation of Place Chapter Four: Constructing the Cinematograhic Theatre: Purpose Built Cinemas, Community Relations and the Politics of Place Section Three: A Progressive City and its Cinemas: Technology, Modernity and the Spectacle of Abundance Introduction: Slum Clearance, Cinema Building and Differentiated Experiences Chapter Five: Translating the Talkies: Diffusion, Reception and Live Performance Chapter Six: The City Centre, the Suburbs and the Cinema Building Boom Chapter Seven: Consuming Cinemas: Technology, Modernity and the Spectacle of Abundance Part Four: Cinema Closures, Post-war Affluence and the Changing Meanings of Cinema and Television Introduction Chapter Eight: Contemporary Understandings of Cinema Closure Chapter Nine: Locality, Affluence and Urban Decay Chapter Ten: From Cinema Going to Television Viewing: The Developing Meanings of a New Medium Chapter Eleven: Negotiating Nostalgia: Modernity, Memory and the Meanings of Place Part Five: Beyond Cinema: Film Consumption in the Information Age Introduction Chapter Twelve: Regulating Reception: Legislation, Time-Shifting and the Sociality of Video Chapter Thirteen: 'The Splendid American Venture on the Ring Road': Multiplexes, Americanisation and Mass Consumption Chapter Fourteen: Cultural Capitals: Culture, Diversity and Legitimacy Chapter Fifteen: Media Revolutions: Futurology, Film Content and the New Media Conclusion

Cinema and the urban poor in south India

Abstract: List of illustrations Acknowledgements Note on transliteration Part I: 1. Introduction 2. Lives in Madurai 3. Activities and attitudes Part II: 4. History of Tamil cinema 5. Films 6. Film themes Part III: 7. Filmmakers 8. Audiences 9. Fan clubs and politics 10. Conclusions Appendix Notes List of references Index.

Reframing Culture: The Case of the Vitagraph Quality Films

Abstract: The works of Shakespeare and Dante or the figures of George Washington and Moses do not often enter into popular conceptions of the silent cinema, yet, between 1907 and 1910, the Vitagraph Company frequently used such material in producing "quality" films that promulgated "respectable" culture. William Uricchio and Roberta Pearson situate these films in an era of immigration, labor unrest, and mainstream American xenophobia, in order to explore the cultural views promoted by the films and the ways the audiences--the middle classes as well as workers and immigrants--related to what they saw. The authors associate the production of quality films with a top-down forging of cultural consensus on issues such as patriotism and morality, and reveal the surprising bottom-up negotiations of these films' "meanings.."Devoting chapters to the literary, historical, and biblical subjects used by Vitagraph, this book draws upon plays, pageants, school textbooks, and even product advertisements to illuminate the conditions of cinematic production and reception. It provides a detailed look at one aspect of the film industry's transformation from "despised cheap amusement" to the nation's dominant mass medium, while showing how cultural elites engaged in a struggle similar to that of today's American academy over the literary canon and national value systems.Originally published in 1993.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Politics of Adulation: Cinema and the Production of Politicians in South India

Abstract: Popular south Indian cinema is a highly melodramatic entertainment form, plotted around improbable twists of fate and set in exaggerated locales, filled with songs, dances, and fight scenes Patronized primarily by the poor, it is typically dismissed by critics, who find its vast popularity either bemusing or indicative of viewers moral and intellectual degradation Even more confounding for many observers has been cinema's critical role in state and national politics

The New Latin American cinema : a continental project

Abstract: Preface and Acknowledgments Introduction. The New Latin American Cinema: A Continental Project 1. Convergences and Divergences History and Institutions Pioneers and Early Manifestations Birth of a Movement State Intervention and Growth Turning Point and Consolidation 2. Creativity and Social Intervention Authorship and Cultural Militancy The Discovery of Self and Other: The Brickmakers The Authority of Daily Life: Up to a Point The Collective and the Nation: The Hour of the Furnaces 3. Gendered Identities and Femininity Women Filmmakers and Representations of Gender Machismo and Gender: A Man, When He Is a Man Experiences of Femininity: Mujer transparente Reviewing Women's History: Camila Identity and Representation: Frida: Naturaleza viva 4. Popular Memory and the Power of Address Popular Cinema and Social Class Social Inquiry and Los inundados The Sertao and Cinema Novo: The Guns Popular Memory and The Courage of the People 5. Cultural Difference and Representation Ethnicity and Mestizaje The Dialectics of Race and Class: One Way or Another Metaphor and Difference: Iracema The Aesthetics of Carnival: Quilombo Immigration and Identity: Gaijin: The Road to Liberty 6. Exile and Displacement Exile: Discourse and Representation The Politics of the Personal: Unfinished Diary Spectacle and the Displaced Body: Tangos: The Exile of Gardel Phantasmagoria and Displacement: The Three Crowns of the Sailor Conclusion. The New Latin American Cinema: A Modernist Critique of Modernity Notes Bibliography Index

Hollywood in the Age of Television

Abstract: Part 1 Responding to network television: from "Frontal Lobes" to the "Bob and Bob" show - NBC management and programming strategies, 1949-1965, Vance Kepley Jr. building the world's largest advertising medium - CBS and television, 1940-1960, William Boddy the weakest chain and the strongest link - the American Broadcasting Company and the motion picture industry, 1952-1960, James L.Baughman network oligopoly power - an economic analysis, Barry Litman Hollywood's attempt at appropriating television - the case of Paramount Pictures, Timothy R.White new producers for old - United Artists and the shift to independent production, Tino Balio glorious technicolour, breathtaking cinemascope and stereophonic sound, John Belton red, blue and lots of green - the impact of colour television on feature film production, Brad Chisholm feature films on prime time television, William Lafferty. Part 2 Responding to new television technologies: pay television - breaking the broadcast bottleneck, Michele Hilmes home video - the second run "Theatre" of the 1990's, Bruce A Austin the made-for-television movie - industrial practice, cultural form, popular reception, Laurie Schulze building a movie theatre giant - the rise of the cineplex Odeon, Douglas Gomery Coca Cola satellites? Hollywood and the deregulation of European television, Edward Buscombe.

The Euro-American cinema

Abstract: Acknowledgments Introduction Part I. History and Theory 1. The Art Film 2. Economic Links 3. The Euro-American Art Film: Definition 4. The Euro-American Art Film: History 5. Cultural Dominance or Cultural Mix Part II. Case Studies Introduction 6. Art and Commerce in Contempt 7. Blow-Up, Swinging London, and the Film Generation 8. Pasolini's The Canterbury Tales: The Estrangement of an English Classic 9. Paris, Texas, an American Dream 10. The Last Emperor: Pleasures and Dangers of the Exotic 11. Final Comments Notes Filmography: Euro-American Art Films Bibliography Index

Conventions of Sound in Documentary

Abstract: This essay draws comparisons between various examples of sound practices and narration in the documentary tradition, focusing primarily on synchronous-sound observational films from the 1960s and 1970s, in particular the 1973 PBS series An American Family. While documentary sound tracks may include voice-over, dialogue, music, and effects, the hierarchy and distribution of these sounds differ in important ways from classical Hollywood conventions. In fact, Hollywood's increasing reliance on multi-track postproduction techniques contrasts significantly with documentaries that use only location-recorded sound. In a series of articles, Rick Altman has described the conventions of sound in classical Hollywood cinema as an interplay between intelligibility and fidelity, a system in which fidelity is sacrificed in favor of the more narratively central dimension of intelligibility.' Similarly, Noil Carroll has argued that the hallmark of Hollywood movie narration is clarity and comprehensibility. Popular movies offer experiences of places, events, characters, and drama more clearly delineated than our ordinary lives. In Carroll's words, "The flow of action approaches an ideal of uncluttered clarity. This clarity contrasts vividly with the quality of fragments of actions and events we typically observe in everyday life.'"2 Hollywood filmmakers use cinematic techniques of image and sound to focus the attention of the spectator on the salient elements that further the narrative action. Carroll suggests that it is not the purported realism of the cinematic apparatus that millions of viewers find compelling but rather the heightened intelligibility that is the hallmark of Hollywood cinema. If audiences were truly interested in greater fidelity to the real world, then presumably documentary films would form a larger part of the corpus that has made motion pictures a very popular art form in the twentieth century. While documentary films often use narrative forms, they rarely demonstrate the degree of clarity that these writers see as the standard of classical Hollywood cinema. Location sound work in documentary films occasionally makes discrimination among sounds difficult, if not impossible. Although works like Pare Lorentz's Plow That Broke the Plains (1936) and Ken Burn's Civil War (1990) are perfectly comprehensible, the intelligibility of documentary only rarely approaches that of popular movies; characters lack clear motivations, speech may be inaudible in parts, lighting haphazard and variable, camera movements

Shades of noir : a reader

Abstract: Paris, summer 1946. This moment marks an important event in cinema history, not of production but of exhibition. For this was the summers when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet, and The Woman in the Window, prompted the naming and theorization of a new phenomenon: film noir. Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look - of the 'poujadist' climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection - Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyse the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart, and in films by new black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move. Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler, and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contibutors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj Zizek.

You Tarzan : masculinity, movies, and men

Abstract: In "You Tarzan", the editors set out to broaden the enquiry into masculinity, taking popular cinema as their starting point. A number of male film scholars have been invited to turn the spotlight back on themselves; to name the "un-named" feelings raised by films, stars or genres as well as importing some of the insights of feminist writing on gender to an analysis of the construction and reading of masculinity in films. Studies range from the gridiron jocks of the Hollywood sports feature, to the elegant heroes in successive versions of "The Thirty-Nine Steps". Essays on horror and the question of male masochism and pleasure rub shoulders with others on masculinity in the films of the Vietnam war, and comedy, camp and gay men in this collection which puts forward new and more complex theories of male spectatorship. Pat Kirkham is the author of "Charles and Ray Eames: Designers of the 20th Century". Janet Thumim is the author of "Celluloid Sisters: Women in Popular Cinema".

Experiences of Modern Warfare and the Crisis of Representation

Abstract: With the constant stream of films about the Vietnam War in the 1970s and 1980s, films which attracted millions of viewers the world over and seemed to give new significance to the cinema as a public space for collective memory, it soon became obvious that the war film genre had finally exhausted its critical potential. It has been argued in relation to films concerned with history that "the sheer mass of historical images transmitted by today's media weakens the link between public memory and personal experience. The past is in danger of becoming a rapidly expanding collection of images, easily retrievable but isolated from time and space. .. ."' This tendency of the photographic image to become isolated and through reproduction, variation, and unlimited dissemination ever more abstract, has been observed earlier (Bazin, Benjamin, Jiinger), and is a precondition for the final disappearance of the binary division between war films and anti-war films. The Deer Hunter, Apocalypse Now, Full Metal Jacket, Gallipoli, and other films with an alleged anti-war commitment can be seen with equal justification as examples of a fascination with images of modem warriors, war technology, death, killing, and mass destruction. With the end of a dear moral divide in the war film genre, theses propounding a dose structural relationship between war and film have became popular. Paul Virilio, for example, argues that war and cinema are linked by a structural

Fires were started : British cinema and Thatcherism

Abstract: The Empire strikes out: an American perspective on the British film industry. Part 1 Cultural contexts and cinematic constructions: The religion of the market - Thatcherite politics and the British film of the 1980s The last new wave - modernism in the British films of the Thatcher era Images for sale - the "New" British cinema History with holes - Channel 4 television films of the 1980s The repression of communities - visual representations of Northern Ireland Re-presenting the national past - nostalgia and pastiche in the heritage films Free from the apron strings - representations of mothers in the maternal British state. Part 2 Film-makers during the Thatcher era: Power and territory - the emergence of Black British film collectives 1980-1990 Women's independent cinema in eighties Britain - the case of the Leeds Animation Workshop The body politic - Ken Russell in the 1980s "Everyone's an American now" - Thatcherist ideology in the films of Nicolas Roeg Insurmountable difficulties and moments of ecstacy - crossing barriers in the films of Stephen Frears The masochistic fix - gender oppression in the films of Terence Davies Allegories of Thatcherism - the films of Peter Greenaway Private practice, public health - the politics of sickness and the films of Derek Jarman.

The Cinema's Third Machine: Writing on Film in Germany, 1907-1933

Abstract: The improvements in the technology, artistry, and distribution of motion pictures coincided with the traumas of modern Germany. It is hardly to be wondered that filmmakers frequently turned their cameras on Germany's social and political problems that propagandists regularly sought to manipulate them, that entrepreneurs tried to exploit them, and that German thinkers brooded upon the relationship between German society, politics, and the films that represented them all.From these tangled motives a rich discourse on film emerged that paralleled or anticipated discourses in the other film centers of the world. "The Cinema's Third Machine" reproduces the diversity of perspectives and the intensity of controversies of early German film within the broad context of German social and political history, from the aesthetic rapture of the first years to the institutionalization of film by the national socialist state. Many texts have been rediscovered and are now presented to modern scholars for the first time. Hake treats all aspects of the medium: production, promotion, education, journalism, aesthetics, and political activism, following throughout the various forms criticism assumed.

Canada's Hollywood: The Canadian State and Feature Films

Abstract: CANADA'S HOLLYWOOD: THE CANADIAN STATE AND FEATURE FILMS. Ted Madger, Toronto 1993: University of Toronto Press.Rhetorics of the Divided VoiceIn a provocative discussion in late 1994 of the sterility of Canadian debates in film criticism (a discussion which, like the debates themselves, seems to have been met with the usual indifference), Bart Testa (University of Toronto) drew attention to the consensual moralism that has underlain the relatively limited critical analysis the medium of film has received in the Canadian context. In Testa's view, the actors participating in the elaboration of the Canadian film "industry" - from critics and government officials in particular, to filmmakers occasionally - have all shared a belief that film should first serve a "high moral purpose" however this formula was to be understood by individual participants. Testa noted the considerable extent to which the critical discussion of film in the Canadian context has been a "prescriptive" discourse, preoccupied with defining what film ought to be at the expense of whatever else it may actually have done or currently might be doing (see the so - called "Cinema We Need" debate in Fetherling: n.d., 260 - 336). Testa traced this moralism to what he termed "the social - reflection prescription," the fundamental obligation that cultural production somehow must reflect "Canadian" conditions in a unique manner that would in turn constitute the Canadian identity. Cultural production had to be "distinctively" Canadian; failing that, it would be nothing at all. In Testa's perspective, because film criticism in Canada had not amounted to much more than its moralism, its achievements were, for the most part, insignificant and repetitious.Had Testa looked beyond film criticism, he would have perceived a more generalized phenomenon. The consensual moralism he found in film criticism was not restricted to it; rather, that consensual moralism formed the sine qua non of cultural production in Canada, the basis on which it received critical attention, articulation in the public sphere and, last but not least, subsidy by the state. The publicization of cultural production by consensual moralism has not, then, been limited to the critical discussion of film, but broadly speaking has been the historical burden of the production of "culture" in the twentieth - century Canadian context, in literature as in painting, especially in those hybrid "art" forms that derive to a greater extent from capital - intensive (or industrial) modes of organization - namely, the cultural industries (in their "classic" incarnation in book and magazine publishing, sound - recording, film and television production in particular).But why this has been the case was not a question Testa (1994a, 1994b), in his discussion of film criticism, dealt with other than drawing attention to the determining (and still puzzling) legacy of John Grierson's influence since the 1930s on Canadian film discourse and its contemporary critical avatars. The extent to which a prescriptive moralism has framed the discussion of cultural production is worth dwelling upon further, however, since it would itself appear to have come to constitute a veritable medium of its own. Indeed, I would argue that it has been the primary medium through which the discourses of Canadian cultural production were to be publically conducted and given institutional form.The decades that followed the Second World War saw the extension, at public cost, of an increasingly elaborate legislative, administrative, fiscal - in a word, regulatory - apparatus of federal and also provincial agencies that have provided the institutional framework for the development of Canadian cultural production activities in a variety of domains, from the traditional fine arts to the media arts, in higher education, and select domains of the mass media. In the mass media of film and broadcasting, the Canadian state had already established institutional precedents for intervention - in state - produced film as early as the teens of the century, and in state - owned broadcasting as of the early 1930s. …

The Holocaust in French film

Abstract: This pioneering study analyzes representations of the Holocaust in French cinema from 1940 on. Through the use of such pivotal films as Night and Fog, The Sorrow and the Pity, and Shoah, it examines the difficulties with which French cinema answers three main questions: What happened, who is responsible, and how can we be sure we will never forget? Colombat then provides detailed analyses of the most widely praised French films dealing with the Holocaust (including works by Orphuls, Losey, and Malle). The book also contains film stills, a detailed filmography, bibliography, index, and a lengthy interview with director Pierre Sauvage.

The hidden cinema : British film censorship in action, 1913-1975

Abstract: How does film censorship work in Britain? Jim Robertson's new paperback edition of The Hidden Cinema argues that censorship has had a far greater influence on British film history than is often apparent, creating the 'hidden cinema' of the title. Robertson charts the role of the British Board of Film Censors, established in 1913, and the histories of a variety of noteworthy films including Battleship Potemkin and No Orchids for Miss Blandish and revealing how censorship continues to exert a marked influence on many important films - like the controversial A Clockwork Orange - some of which have now vanished from British screens altogether. This edition includes a brand new section on Bernardo Bertolucci's Last Tango in Paris, immediately engulfed in censorship wrangles on its release in 1972.

Regional Depiction in Contemporary Film

Abstract: GEOGRAPHERS, long interested in documenting the history of cultural landscapes, increasingly explore the subjective and ideological origins of environmental images. Recent studies in cultural geography, influenced by critical literary theory, thrust issues such as class, race, values, language, gender, and sexuality into the forefront of geographical debate (Tuan 1974; Jackson 1989). Although geographers have studied literary and other texts in landscape representation, so far popular film has attracted little serious geographical study. Yet film and filmmakers provide a rich artistic medium for regional analysis. As with other texts, films are best not treated as transparent realist documents; instead, a director's auteuristic vision, the circumstances of film production, and cultural preoccupations of the time inevitably filter and even distort empirical regional realities. With this essential caveat in mind, I seek to demonstrate the geographical utility of film analysis by critically examining the relationship of nature and culture in three contemporary popular movies about Amazonia. The immense, luxuriantly verdant, yet imperiled Amazon Basin has inspired filmmakers to grapple with the problematic interrelationships of society and environment. If film reflects the preoccupations of the director, along with the cinematic genre and cultural moment, Amazonia has served as an especially pliable medium for the filmmaker's artistic and political viewpoints. Views on the rain forest are polarized. For John Boorman, director of The Emerald Forest (1985), encroachment of modern civilization on "the most exuberant celebration of life ever to have existed on earth" is another "metaphor for our insensitivity to nature" (Holdstock 1985, 205). Werner Herzog has a more jaundiced view. He laments the rain forest's "overwhelming growth and overwhelming lack of order" (Blank and Bogan 1984, 243). Herzog's attitude mirrors his own personal struggles to complete two films, Aguirre, the Wrath of God (1972) and Fitzcarraldo (1982), in the midst of political intrigue, logistical disaster, and even the death of crew members in remote areas of the Peruvian Amazonia. Boorman and Herzog are only two of the many directors to depict, in their own distinctive fashions, the Amazonian rain forest and its peoples in an overarching conflict between culture and nature. Other contemporary films on Amazonia with environment-society themes include Armando Robles Godoy's The Green Wall (1970); Jorge Bodansky's Iracema (1980); Hector Babenco's At Play in the Fields of the Lord (1991); and John McTiernan's The Medicine Man (1992). The seemingly dominant role of directors in conceptualizing and realizing Amazonian films lends credence to auteurism, a theory of film interpretation that first emerged in France in the 1950s. The auteur approach assumes that film directors, guided by their own singular artistic visions, are the primary creators of works of art rather than mere technicians transferring a story to screen. Auteuristic vision, however, is not an entirely sufficient criterion for deciphering cinematic meaning. Additional forces affect film ideology: the general cultural concerns of the historical period; the specific studio and production circumstances, such as financing, relative autonomy of the director, and logistical conditions on the set; and the broad tradition or genre of a film (Mast and Kawin 1992). AGUIRRE Director Werner Herzog, a major force in postwar German cinema, filmed Aguirre, the Wrath of God along the Urubamba, Huallaga, and Nanay rivers of eastern Peru in early 1972 (Magill 1985, 47). The visually stunning film about an ill-fated Spanish expedition into the Amazon Basin portrays a historical figure, the Basque renegade Lope de Aguirre, who rebelled against Spanish rule in the New World (Keen 1991, 66-69). Herzog actually combines and dramatizes aspects of two separate sixteenth-century journeys. …

Achieving a Sustainable Service Advantage

Abstract: Forbes magazine had dubbed Carmike Cinemas “the Wal‐Mart of theater chains.” Founded in 1982, the Columbus GA‐based chain of 1,400 screens pursues a strategy strikingly similar to that of Wal‐Mart Stores, Inc. The company buys or builds theaters in small to mid‐sized cities (populations of 200,000 or less) where purchase prices are low and competition is scarce. This unusual approach to the movie retailing business has led to phenomenal growth and strong profitability at a time when other chains are scrambling to sell off theaters and repay debts.

Landscape, natural beauty and the arts: Landscape in the cinema: the rhythms of the world and the camera

Abstract: Landscape seems to have been granted no place among the topics of argument in the aesthetics of the cinema. There is a vast literature on montage, language, the human face, the city, sound and silence, fiction and truth in film, but almost nothing on natural beauty. Yet from the very beginning films were made outdoors. Some of the first apologists for the cinema as an art made a point of the power and beauty of natural surroundings in film. Sergei Eisenstein, the most ambitious and thorough of film-maker-theoreticians, devoted the culminating essay of his career to “the music of landscape,” but it was the question of cinematic rhythm that really absorbed his attention at that time, as we shall see. Although theoreticians describe cinematic landscapes in order to exemplify points, the topic itself is virtually an unconscious issue of film theory. In fact, it was not until the late 1960s and throughout the seventies that a genre of landscape cinema was created by European and North American avant-garde film-makers, and even then it was not until the 1980s that the aesthetic issues raised by these film-makers were recognized as such. In this essay I shall follow some preliminary remarks with a sketch of the ways in which the historical evolution of cinematic technology called forth changing evocations of landscape beauty. The third part surveys the predominance of meteorological phenomena as a function of the cinema's capability for rendering movement, while the fourth gives some examples of the integration of landscape issues into narrative contexts.

Films by genre : 775 categories, styles, trends, and movements defined, with a filmography for each

Abstract: Since the early days of cinema, there has been an insatiable demand for new product. As the number of movies increased, many began to resemble each other and fall into certain types of genres. Critics, filmmakers, and audiences have classified films into groupings for critical appraisal, easy identification of the subject, or a quick clue to the films nature. From abstract through erotic, from new Chinese cinema or zombie films, 775 genres are included in this comprehensive reference work. Each entry includes a brief description of the category, the subgenres or related types of films, and a list of movies that best exemplify the genre, showing original title or titles, nationality (73 countries are represented), year of production, additional titles (working title, re-release title, translation, etc.) and director or filmmaker.

British Cinema and Thatcherism: Fires Were Started

Abstract: The Empire strikes out - an American perspective on the British film industry, Lester Friedman. PART I Cultural contexts and cinematic constructions: The religion of the market - Thatcherite politics and the British film of the 1980s, Leonard Quart The last new wave - modernism in the British films of the Thatcher era, Peter Wollen Images for sale - the "New" British cinema, Thomas Elsaesser History with holes - Channel Four television films of the 1980s, Paul Giles The repression of communities - visual representations of Northern Ireland, Brian McIlroy Re-presenting the national past - nostalgia and pastiche in the heritage films, Andrew Higson Free from the apron strings - representations of mothers in the maternal British state, Mary Desjardins. PART II Filmmakers during the Thatcher era: Power and territory - the emergence of Black British film collectives, Manthia Diawara Women's independent cinema - the case of Leeds Animation Workshop, Antonia Lant The body politic - Ken Russell in the 1980s, Barry Keith Grant "Everyone's an American now" - Thatcherist ideology in the films of Nicolas Roeg and Jim Leach Insurmountable difficulties and moments of ecstasy - crossing class, ethnic, and sexual barriers in the films of Stephen Frears and Susan Torrey Barber The masochistic fix - gender oppression in the films of Terence Davies and Tony Williams Allegories of Thatcherism - the films of Peter Greenaway Michael Walsh Private practice, public health - the politics of sickness and the films of Derek Jarman, Chris Lippard and Guy Johnson.