Relevant bibliographies by topics / 1930s Motion Pictures

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '1930s Motion Pictures'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic '1930s Motion Pictures.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "1930s Motion Pictures"

1

Symes, Colin. "Motion pictures: an analysis of the posters of Victorian Railways during the 1920s and 1930s." Journal of Tourism History 7, no. 3 (2015): 210–27. http://dx.doi.org/10.1080/1755182x.2015.1089951.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Frölich, Margrit. "Liberties and constraints: émigré producers in Hollywood Motion Pictures from the 1930s to the early 1950s." Jewish Culture and History 17, no. 1-2 (2016): 59–80. http://dx.doi.org/10.1080/1462169x.2016.1187887.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Villoria, Manuel. "Bureaucracy on the Silver Screen: Images of the Public Sector in the Spanish Movies." Public Voices 4, no. 2 (2017): 51. http://dx.doi.org/10.22140/pv.316.

Full text
Abstract:
The purpose of this paper is to provide a general overview of images of public servants in Spain over a period of time (1932-1997). In order to achieve that goal, the author examines bureaucratic images in motion pictures from Spain beginning in the 1930s and finishing with the latest Spanish films shown in 1997.
APA, Harvard, Vancouver, ISO, and other styles
4

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s." Hopkins Review 7, no. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 55. http://dx.doi.org/10.25038/am.v0i16.254.

Full text
Abstract:
In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them. Article received: March 12, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies 16 (2018): 55−67. doi: 10.25038/am.v0i16.254
APA, Harvard, Vancouver, ISO, and other styles
6

Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

Full text
Abstract:
Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.
APA, Harvard, Vancouver, ISO, and other styles
7

Ostherr, Kirsten. "Operative Bodies: Live Action and Animation in Medical Films of the 1920s." Journal of Visual Culture 11, no. 3 (2012): 352–77. http://dx.doi.org/10.1177/1470412912455620.

Full text
Abstract:
This article examines the role of animation in early instructional medical films through close analysis of the films produced by the collaboration between the American College of Surgeons (ACS) and Eastman Kodak in the late 1920s. The ACS placed medical motion pictures at the center of surgical training and thus established moving images as fundamental to the practice of medicine. These films made extensive use of animation to present surgical sequences that were otherwise impossible to capture on film. By adopting the motion picture as an educational tool, the physician–filmmakers actively constructed medical reality through representations that depended on artifice to convey objective scientific truths. ‘Actual photography’ and animation were blended to visualize the invisible and simplify explanations by reducing the information contained in the visual image. The films simultaneously demonstrate how the motion picture camera served as a tool for medical documentation, training both their objects (the patients) and their subjects (the doctors) in the process.
APA, Harvard, Vancouver, ISO, and other styles
8

Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.

Full text
Abstract:
Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)
 As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
APA, Harvard, Vancouver, ISO, and other styles
9

ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

Full text
Abstract:
AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
APA, Harvard, Vancouver, ISO, and other styles
10

Betancourt, Michael. "The “material function” in cinema: Resolving the paradox of the glitch." Semiotica 2020, no. 236-237 (2020): 251–73. http://dx.doi.org/10.1515/sem-2019-0006.

Full text
Abstract:
AbstractGlitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "1930s Motion Pictures"

1

黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Ginoza, Naomi. "Dissonance to affinity an ideological analysis of Japanese cinema in the 1930s /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481660571&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

He, Xin 1970. "Chinese Leftist Urban Films of the 1930s." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278723/.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Brown, Tom. "From intimate pleasures to spectacular vistas : musicality and historicity in French and American 'classical' cinema of the 1930s." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1119/.

Full text
Abstract:
This thesis considers the role of spectacle in two modes of filmmaking in the French and American 'classical' cinemas of the 1930s. I examine the relationship of spectacle to the emotions and drama of musical films, and to the 'history-telling' of biopics, war films and other genres of historical cinema. One reason for the comparison is the hegemonic position of classical Hollywood cinema in film scholarship. Although I am respectful of the insights offered by the concept of a 'classical' cinema, a more central motivation for this study is the failure of much criticism to account for the relationship of spectacle to a concept denoting an unobtrusive, self-effacing style. An introduction is followed by a chapter surveying key literature in the field, focusing in particular on work on classical French and American cinema, cinematic spectacle and filmic, particularly generic, categories. The second chapter is divided roughly in two. The first half examines the various theatrical roots of French and American musical films of the thirties. The second half examines the 'utopian' feelings (Dyer, ([1977] 1992) musical spectacle serves. This division uncovers the greater ambivalence of French musical films, and their more circuitous approach to spectacle. Chapter three examines historical films through categories inspired by the work of Friedrich Nietzsche ([1874] 1983). I examine the prevailing 'monumental' approach to historical subjects, but also two key varieties of spectacle: the 'spectacular vista' and the 'decor of history'. I conclude by reflecting on the possibility of a critical historiography within French and American film of the thirties. Though the balance of my attention favours French examples in the chapter on musical films, my intention throughout is to compare and, where fruitful, contrast the two national cinemas. The thesis develops theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible of the practice of close textual analysis. This is my central method of investigation. I attempt, throughout, to place the examination of films within their wider historical, industrial and critical contexts.
APA, Harvard, Vancouver, ISO, and other styles
5

Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

Full text
Abstract:
This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.
APA, Harvard, Vancouver, ISO, and other styles
6

Phillips, Alastair. "City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.

Full text
Abstract:
Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigré productions which have hitherto been ignored within film history. It contextualises this analysis with comparative discussion of films made by indigenous professionals and an examination of past and present intertextual aspects of Parisian culture. The thesis moves beyond aesthetic concerns to also consider the political, industrial and social significance of the work of the émigré Filmmakers. The reception of their films is located within a history of the Franco-German relationship as a whole. By drawing widely upon supporting documentation in critical and trade journals of the time, the thesis provides a new history of a crucial transitional point in the development of European film culture.
APA, Harvard, Vancouver, ISO, and other styles
7

Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.

Full text
Abstract:
Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances, publications, recordings, films) that a new perspective on jazz history will be achieved. Giving focus to individual film scores, using detailed analysis and transcription, this thesis will highlight key moments in history that reveal how important film composers are to the story of jazz. With the study of journalistic and academic publications, it will also show how wider changes in American society were represented by jazz composers in film scores. Considering the history of jazz through the reception of Hollywood film scores enables new ways to define the genre. For instance, by taking into account the future performance life of a composition, this thesis will provide a new perspective on the fundamental characteristics of a jazz composition. These new ways to consider the genre demonstrate why film music should be included within the jazz-historical canon.
APA, Harvard, Vancouver, ISO, and other styles
9

Walsh, Lau Man Yee Eliza. "In search of identity : Hong Kong as seen through its cinema from the 1950s to the early 1980s /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17312048.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Tohline, Andrew M. "“Around the Corner”: How Jam Handy’s Films Reflected and Shaped the 1930s and Beyond." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1248295030.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "1930s Motion Pictures"

1

Nippon modern: Japanese cinema of the 1920s and 1930s. University of Hawaiʻi Press, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lodge, Jack. Hollywood 1930s. Gallery Books, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lodge, Jack. Hollywood 1930s. Gallery Books, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Up from the vault: Rare thrillers of the 1920s and 1930s. McFarland Publishers, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Eyles, Allen. That was Hollywood: The 1930s. B.T. Batsford, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Popular filmgoing in 1930s Britain: A choice of pleasures. University of Exeter Press, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Women in horror films, 1930s. McFarland, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Glamour in a golden age: Movie stars of the 1930s. Rutgers University Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kirihara, Donald. Patterns of time: Mizoguchi and the 1930s. The University of Wisconsin Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Patterns of time: Mizoguchi and the 1930s. University of Wisconsin Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "1930s Motion Pictures"

1

Torrisi-Steele, G. "Core Principles of Educational Multimedia." In Multimedia Technologies. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-953-3.ch003.

Full text
Abstract:
The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted throughout the 1930s, as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s but had little impact, due mainly to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it wasn’t until the 1980s that computers began to make a major impact on education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000).
APA, Harvard, Vancouver, ISO, and other styles
2

Yogerst, Chris. "Hollywood and Anti-Fascism, 1939–1940." In Hollywood Hates Hitler! University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829757.003.0003.

Full text
Abstract:
By February of 1939, Motion Picture Pictures and Distributors Association (MPPDA) President Will Hays argued that movies needed more realism connecting to the types of problems that face average Americans. With growing anti-Nazi sentiment in Hollywood, the release of Confessions of a Nazi Spy on May 6<sup>th</sup> would become a watershed moment for an industry largely cautious of how they should approach the growing unrest in Europe. At the same time, Hitler’s Minister of Propaganda, Joseph Goebbels, discontinued the shipment of official Nazi war films to the United States. Producer Walter Wanger and radio journalist Jimmie Fidler took to blows in the press. Wanger claimed the Hollywood press was a joke while Fidler defending his work. In February 1940, MPPDA president Will Hays sent out a report commending the cultural importance of movies during the 1930s as “exposing the tragedy of war.”
APA, Harvard, Vancouver, ISO, and other styles
3

Torrisi-Steele, Geraldine. "Theoretical Foundations for Educational Multimedia." In Encyclopedia of Multimedia Technology and Networking, Second Edition. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch188.

Full text
Abstract:
The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which time school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted through the 1930s as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s, but had little impact, mainly due to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it was not until the 1980s that computers began to make a major impact in education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000). Since the 1990s, there have been rapid advances in computer technologies in the area of multimedia production tools, delivery, and storage devices. Throughout the 1990s, numerous CD-ROM educational multimedia software was produced and was used in educational settings. More recently, the advent of the World Wide Web (WWW), together with the emergence of mobile devices and wireless networking, has opened a vast array of possibilities for the use of multimedia technologies and associated information and communications technologies (ICT) to enrich the learning environment. Today, educational institutions are investing considerable effort and money into the use of multimedia. The use of multimedia technologies in educational institutions is seen as necessary for keeping education relevant to the twenty-first century (Selwyn &amp; Gordard, 2003). The term “multimedia” as used in this article refers any technologies which make possible “the entirely digital delivery of content presented by using an integrated combination of audio, video, images (twodimensional, three-dimensional) and text” along with the capacity to support user interaction (Torrisi-Steele, 2004, p. 24). Multimedia may be delivered on computer via CD-ROM, DVD, the Internet, or on other devices such as mobile phones and personal digital assistants, or any digital device capable of supporting interactive and integrated delivery of digital audio, video, image, and text data. The notion of interaction in educational multimedia may be viewed from two perspectives. First, interaction may be conceptualised in terms of “the capacity of the system to allow individual to control the pace of presentation and to make choices about which pathways are followed to move through the content; and the ability of the system to accept input from the user and provide appropriate feedback to that input” (Torrisi- Steele, 2004, p. 24). Second, given the integration of multimedia with communication technologies, interaction may be conceptualized as communication among individuals (teacher-learner and learner(s)-learner(s)) in the learning space that is made possible by technology (e-mail, chat, video-conferencing, threaded discussion groups, and so on).
APA, Harvard, Vancouver, ISO, and other styles
4

Tochterman, Brian. "Fear City on Film." In Dying City. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633060.003.0008.

Full text
Abstract:
This chapter considers how films produced in New York City played to an emergent anti-urban political culture. With crime and disorder as the feature antagonist in the New York film cycle of the late 1960s and the 1970s, the vigilante became a vital counterpoint to the perceived incompetence of municipal police departments. Escaping the dying city also served as a powerful motif in the period’s films. The motion picture industry brings the homegrown narrative of New York to a national audience.
APA, Harvard, Vancouver, ISO, and other styles
5

Salzberg, Ana. "Love Stories and General Principles: The Development of the Production Code." In Produced by Irving Thalberg. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451048.003.0005.

Full text
Abstract:
This chapter examines Thalberg’s role in crafting the Motion Picture Production Code and its influence on cinematic sensuality in a post-talkie context. In 1929, Thalberg would write “General Principles to Cover the Preparation of a Revised Code of Ethics for Talking Pictures” on behalf of a three-person subcommittee, thus informing the industry’s adoption of a formal Production Code in 1930. These Principles outline Thalberg’s theorization of how studios could engage with the issue of regulation while still maintaining their commitment to “entertainment value.” The chapter takes these General Principles – and Thalberg’s extemporaneous defence of them at a 1930 meeting of the Association of Motion Picture Producers – as a lens through which to consider early-Code films such as Norma Shearer vehicle The Divorcée (Leonard, 1930) and Anita Loos-penned Red-Headed Woman (Conway, 1932), starring Jean Harlow.
APA, Harvard, Vancouver, ISO, and other styles
6

Lee, Sangjoon. "The Rise and Demise of a Developmental State Studio." In Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0007.

Full text
Abstract:
This chapter introduces five motion picture studios that stood out in Asia at the beginning of the 1960s, such as Shin Films in South Korea, GMP and CMPC in Taiwan, and Shaw Brothers and MP&amp;GI in Hong Kong and Singapore. It examines how film studios in the region aspired to implement the rationalized and industrialized system of mass-producing motion pictures known as the Hollywood studio system. It also explains that the Hollywood studio system evolved in the United States to handle film production, distribution, and exhibition during the first three decades of the twentieth century. The chapter recounts how the studio system became a highly efficient system that produced feature films, newsreels, animations, and shorts to supply its mass-produced motion pictures to subsidized theaters. It describes Fordism as the famous American system of mass production with particular American circumstances.
APA, Harvard, Vancouver, ISO, and other styles
7

Waddell, Calum. "Blaxploitation Cinema: Race and Rebellion." In The Style of Sleaze. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409254.003.0010.

Full text
Abstract:
Per the title, this chapter is an introduction to the notorious and controversial blaxploitation cinema that became famous in the early 1970s. However, unlike previous studies in this form, this chapter chooses not to become too entangled in arguments about race-representation (although it does acknowledge some of the debates around these motion pictures) but rather to maintain that the form had stylistic similarities to both the exploitation-horror film and the key sexploitation motion pictures of the era.
APA, Harvard, Vancouver, ISO, and other styles
8

"CODE TO GOVERN THE MAKING OF TALKING, SYNCHRONIZED AND SILENT MOTION PICTURES (MOTION PICTURE PRODUCTION CODE) (USA, 1930)." In Film Manifestos and Global Cinema Cultures. University of California Press, 2019. http://dx.doi.org/10.1525/9780520957411-117.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Billheimer, John. "Television Censorship." In Hitchcock and the Censors. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0037.

Full text
Abstract:
This chapter addresses the censorship issues faced by Hitchcock while producing his television series, Alfred Hitchcock Presents. It traces the history of broadcast censorship from the introduction of the Federal Communication Commission in 1934 through the development of the National Association of Broadcasters’ Code of Practices in 1951. The Code resembled the Motion Picture Production Code and was accompanied by a Seal of Good Practice, which was displayed on the closing credits of most US television programs from 1952 through the early 1980s. In practice, the sponsors of television programs had more control over programming conduct than the NAB Code. Because TV sponsors were attuned to any negative reaction, and television reached a much wider audience than movies, television content in the 1950s and 1960s was much more susceptible to protests from pressure groups than the movies. Television producers faced more censors than movie producers and were even more timid about confronting them. The Red Scare of the 1950s produced blacklists of television performers that ruined as many lives as the movie blacklists did. The NAB Code became hopelessly outdated and was suspended in 1983, supplanted by a rating system similar to that developed by the MPAA in 1996.
APA, Harvard, Vancouver, ISO, and other styles
10

Marzola, Luci. "The Academy Technical Bureau, Cooperative Research, and the Building of the Studio System." In Engineering Hollywood. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0007.

Full text
Abstract:
At the end of the 1920s, the Academy of Motion Picture Arts and Sciences (AMPAS) harnessed its role in the transition to sound to shift leadership of technical research to Hollywood. At the same time that it began the Sound School, the Academy established a Producers-Technicians Committee designed to pool knowledge of universal production practices. This chapter argues that AMPAS was able to establish itself as the authority over everyday technology in Hollywood through this committee and by absorbing the AMPP’s Technical Bureau. Through their collective scientific activities, the studios were able to take advantage of the knowledge and skills of their workers to solidify Hollywood’s dominance over the motion picture industry. At the same time, several new journals and publications for the dissemination of technical knowledge were established, including the International Photographer, Journal of the Society of Motion Picture Engineers, and the Academy Technical Digest, determining who disseminated knowledge, generated definitions, and created standards. The institutional structure established by the start of 1930 would remain stable throughout the golden age of Hollywood, making AMPAS both the clearinghouse and the gatekeeper that determined what the basic standards for technology would be and who would have access to this knowledge.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "1930s Motion Pictures"

1

Chirikjian, Gregory S. "Partial Bi-Invariance of SE(3) Metrics." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34276.

Full text
Abstract:
In a flurry of articles in the mid to late 1990s, various metrics for the group of rigid-body motions, SE(3), were introduced for measuring distance between any two reference frames or rigid-body motions. During this time it was shown that one can choose a smooth distance function that is invariant under either all left shifts or all right shifts, but not both. For example, if one defines the distance between two reference frames to be an appropriately weighted Frobenius norm of the difference of the corresponding homogeneous transformation matrices, this will be invariant under left shifts by arbitrary rigid-body motions. However, this is not the full picture — other invariance properties exist. Though the Frobenius norm is not invariant under right shifts by arbitrary rigid-body motions, for an appropriate weighting it is invariant under right shifts by pure rotations. This is also true for metrics based on the Lie-theoretic logarithm. This paper goes further to investigate the full invariance properties of distance functions on SE(3), clarifying the full subsets of motions under which both left and right invariance is possible.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic '1930s Motion Pictures' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography