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Journal articles on the topic '1980s Film'
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1
Weiner, Nathaniel. "Resistance through realism: Youth subculture films in 1970s (and 1980s) Britain." European Journal of Cultural Studies 21, no. 2 (2015): 165–88. http://dx.doi.org/10.1177/1367549415603376.
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Film scholars have argued that the British social realist films of the late 1950s and early 1960s reflect the concerns articulated by British cultural studies during the same period. This article looks at how the social realist films of the 1970s and early 1980s similarly reflect the concerns of British cultural studies scholarship produced by the University of Birmingham’s Centre for Contemporary Cultural Studies during the 1970s. It argues that the Centre for Contemporary Cultural Studies’ approach to stylised working-class youth subcultures is echoed in the portrayal of youth subcultures in the social realist films Pressure (1976), Bloody Kids (1979), Babylon (1980) and Made in Britain (1982). This article explores the ways in which these films show us both the strengths and weaknesses of the Centre for Contemporary Cultural Studies’ work on subcultures.
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Rushton, Richard. "A Deleuzian Imaginary: The Films of Jean Renoir." Deleuze Studies 5, no. 2 (2011): 241–60. http://dx.doi.org/10.3366/dls.2011.0019.
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This article contrasts the notion of a Deleuzian imaginary with that articulated by various film theorists during the 1970s and 1980s. Deleuze offers us, I argue, a way to conceive of the imaginary in the cinema in a positive way; that is, as something which opens up new expressions of the real. By contrast, for film theorists of the 1970s and 1980s, the imaginary was primarily conceived as a negative concept, as something which offered merely escapes or fraudulent distortions of the real. A Deleuzian imaginary for the cinema can be articulated, I argue, by way of the films of Jean Renoir.
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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.
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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.
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Turitsyn, Valeriy Nikolaevich, and Valery Nikolayevich Turitsyn. "Aki Kaurismaki: Two Films in Close-up(to the history of "New Finnish Cinema")." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 27–40. http://dx.doi.org/10.17816/vgik2127-40.
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Since the French "nouvelle vague" of the late 1950s the world cinema has experienced a succession of "waves" which first rolled around some European countries and by blowing up cinematic traditions to this or that extent, led to the birth of the so-called "new cinema" (e.g. in Czechoslovakia or in Germany in the 1960s - 1970s). In Finland the similar process in its local variant occurred in the 1980s. For the most part it was connected with the Kaurismaki brothers' films, primarily with the works of the younger brother, Aki. By the early 1990s he became one of the renowned masters of not only Finnish but the "new European cinema". This article doesn't aspire to give a full detailed analysis of Aki Kaurismaki's film career. Instead, by concentrating on two "polar" films made by this original director, it presents an attempt to line out the range of his creative work and some characteristics of his poetics
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Awwal, Arpana. "From Villain to Hero: Masculinity and Political Aesthetics in the Films of Bangladeshi Action Star Joshim." BioScope: South Asian Screen Studies 9, no. 1 (2018): 24–45. http://dx.doi.org/10.1177/0974927618767277.
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In this article, I trace the growth of the action film genre in Bangladesh in the 1970s and 1980s, at a time when new technologies such as video cassette recorder (VCR) were emerging in the market and national politics was wrestling with the competing notions of masculinity, leadership and heroism. I look at the emergence of the Bangladeshi action star Joshim within the context of South Asian trans-regional cinema and its changing tropes of masculinity. I argue that anxiety over new technologies, changes within Bangladesh’s political regime and its leadership, including state censorship, and shifts in the representation of heroic masculinity within national imagery—from a socialist model associated with Sheikh Mujibur Rahman to the modern, energetic and globally inflected masculinity of Ziaur Rahman—were intertwined. These changes, I contend, are reflected in the transition in Joshim’s roles from the primarily villainous characters of his early films to an action hero from the 1980s onwards. The article examines Joshim’s role in the film Muhammad Ali (Motaleb Hossain, 1986b), as an example of a glocalised action film. Its sources include articles and letters printed in Purbani and Chitrali, the most widely read Bangladeshi film magazines of the 1970s and 1980s.
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Myerson, Sasha. "Global cyberpunk." Science Fiction Film & Television 13, no. 3 (2020): 363–86. http://dx.doi.org/10.3828/sfftv.2020.21.
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This article examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.
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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.
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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock and roll's emergence. The transformation of rock 'n' roll from “race music” to the safe alternative for white bourgeois males in the face of new wave, punk, disco and hip hop, reflected in the establishment of oldies radio formats and revival tours, was aided and abetted by oldies soundtracks to Hollywood film.
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Kalenichenko, Mariya Vladimirovna. "The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s." Культура и искусство, no. 4 (April 2021): 19–29. http://dx.doi.org/10.7256/2454-0625.2021.4.35584.
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This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.
9
Monk, Claire. "EMI and the ‘Pre-heritage’ Period Film." Journal of British Cinema and Television 18, no. 1 (2021): 50–76. http://dx.doi.org/10.3366/jbctv.2021.0555.
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First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 culturally English heritage cinema marked a new departure and were clearly distinct from their pre-Thatcher-era precursors. Yet, paradoxically, the British period/costume films of the preceding decade, the 1970s, have attracted almost no scholarly attention, and none which connects them with the post-1979 British heritage film, nor the 1980s cultural and industry conditions said to have fostered these productions with those of the 1970s. This article pursues these questions through the prism of Britain’s largest film production and distribution entity throughout 1970–86, EMI, and EMI’s place as a significant and sustained, but little-acknowledged, force in British period film production throughout that time. In so doing, the article establishes the case for studying ‘pre-heritage’ period cinema. EMI’s period film output included early proto-heritage films but also ventured notably wider. This field of production is examined within the broader terrain of 1970s British and American period cinema and within wider 1970s UK cinema box-office patterns and cultural trends, attending to commercial logics as well as to genre and the films' positioning in relation to the later heritage film debates.
10
Brown, Callum G., and Ealasaid Munro. "The Curse: Film and the Churches in the Western Isles 1945 to 1980." Northern Scotland 11, no. 1 (2020): 60–79. http://dx.doi.org/10.3366/nor.2020.0205.
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Focusing on the Isle of Lewis in the Outer Hebrides, this article looks at the interaction between religious culture and film between the 1940s and 1980s. Its first main feature is an examination of the causes of the closure of the Playhouse cinema in Stornoway in 1977–79 and the role of the Calvinist churches and the local authorities in this and other film censorship. It identifies a growing vigour on the part of some churchmen, notably of the Free Presbyterian Church, and the role of one of them in publicly imposing ‘a curse’ upon the manager of the Playhouse for daring to schedule the film ‘Jesus Christ Superstar’ with its ‘blasphemous’ depiction of Jesus Christ. It notes the increasing attempts of local politicians in the 1950s, 60s and 70s to impose stricter religious formulae through statutory powers, especially after the creation of the separate Western Isles Council in the mid 1970s. The article explores church and lay attitudes to cinema through oral testimony, the tensions between urban and rural with Lewis, and the wider social, cultural, linguistic and demographic contexts in which both opposition to, and tolerance of, cinema need to be understood in an island less estranged from modern media than might be supposed.
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Torma, Franziska. "Frontiers of Visibility." Transfers 3, no. 2 (2013): 24–46. http://dx.doi.org/10.3167/trans.2013.030203.
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This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.
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Ogrodnik, Benjamin. ""The Theatricality of the Emulsion!"." Screen Bodies 4, no. 2 (2019): 1–22. http://dx.doi.org/10.3167/screen.2019.040202.
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This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.
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Stjernholm, Emil. "GDR Cinema on Swedish Television." VIEW Journal of European Television History and Culture 10, no. 19 (2021): 41. http://dx.doi.org/10.18146/view.259.
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This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.
14
Finn, Christine. "Ways of telling: Jacquetta Hawkes as film-maker." Antiquity 74, no. 283 (2000): 127–30. http://dx.doi.org/10.1017/s0003598x00066229.
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This short paper will discuss the role of the archaeologist and writer Jacquetta Hawkes as filmmaker. It is set within the context of her widely ranging work — from poetry and journalism to guide books and academic papers — which made varying contributions to the communication of archaeology from the 1930s to the 1980s
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Ellermann, Marissa. "Book Review: ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures." Reference & User Services Quarterly 57, no. 4 (2018): 300. http://dx.doi.org/10.5860/rusq.57.4.6711.
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’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures is a work that sets out to examine the evolution of action movies from their cheesy low-budget origins and how they influenced the development of the action film genre. The author states that his interest in exploring the topic stems from his belief that the 1980s was the birth of the modern-day action film (1). There are 284 entries arranged chronologically that examine the films’ plots and their influencers. The entries have an informal tone, but they are well researched and use examples from other film genres to make connections. The book is intended for use by a variety of researchers, but its tone and content make it most suitable for use as an introduction to 1980s action and adventure films for action movie lovers or film students.
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RAZLOGOV, KIRILL E., and EVGENIA V. PARKHOMENKO. "METAMORPHOSES OF THE CINEMA CLUB MOVEMENT." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 241–71. http://dx.doi.org/10.30628/1994-9529-2021-17.2-241-271.
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The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.
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Pantenburg, Volker. "Class Relations: Diagnoses of the Present in the Films of Julian Radlmaier and Max Linz." New German Critique 46, no. 3 (2019): 53–78. http://dx.doi.org/10.1215/0094033x-7727413.
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Abstract This article examines the work of Max Linz and Julian Radlmaier, two German directors born in the mid-1980s. It traces their academic and practical training in film studies and film directing and highlights their aesthetic and political approach as an attempt to counter the cinema of the Berlin School. Amalgamating various German and international influences, from Christoph Schlingensief, Alexander Kluge, and Rainer Werner Fassbinder (Linz) to Roberto Rossellini, Pier Paolo Pasolini, and the classical avant-gardes of the 1920s (Radlmaier), their student shorts and feature films combine a playful eclecticism with an acute sense of contemporary political issues like precarious working conditions, gentrification, and the commodification of art and culture.
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Maingard, Jacqueline. "Cinemagoing in District Six, Cape Town, 1920s to 1960s: History, politics, memory." Memory Studies 10, no. 1 (2017): 17–34. http://dx.doi.org/10.1177/1750698016670786.
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Drawing on recorded and transcribed life history interviews conducted during the 1980s and 2000s, this article discusses the cinemagoing experiences of District Six residents in Cape Town from the 1920s to the 1960s, before the South African apartheid government began, from 1966, to demolish District Six. Cinemagoing was the chief leisure-time activity in District Six in these years, and when recollections of cinemagoing in the interviews are analysed as discourses of memory, three key themes emerge – cinema and place; cinema, culture, and identity; and films, film shows, and stars – with residents’ remembered experiences revealing the peculiarities of cinemagoing in this very particular locale. Cinema was so thoroughly intertwined with everyday life that residents might be regarded not so much as ‘going to’ the cinema as already being there. They were part of a global seam of filmgoers – ‘cinema citizens’ whilst in every other respect stripped of citizenship rights.
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Lopattananont, Thanayod. "Film or Flick?: Bundit Rittakol’s Youth Films as a Reflection of Resistance to Socio-cultural Transition in Thailand." MANUSYA 19, no. 1 (2016): 83–106. http://dx.doi.org/10.1163/26659077-01901005.
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Based on the theory that the film medium is of high value in reflecting socio-cultural matters, this research studied ten youth films directed by Bundit Rittakol during the 1980s-2000s in order to provide an understanding of how his films can be associated with the socio-cultural changes occurring at that time. During the 1980s-2000s, Thai society went through a period of economic and social transition with the adoption of a liberalized economy, influenced by globalization and democratization.
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Gvozdeva, Yelena Vladimirovna. "Still Life in the Space of the Film." Journal of Flm Arts and Film Studies 3, no. 2 (2011): 65–72. http://dx.doi.org/10.17816/vgik3265-72.
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The article deals with the role of the still life in the film's visual treatment and analyses the possible ways of the cinematic usage of an object. Two main tendencies - semantic and visual - are singled out. An object (or a still life as a collection of objects) is treated as one of the elements forming the film's visual environment. The problem is considered on the material of the Russian cinema of the 1960s-1980s.
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Knotek, V., P. Korandová, R. Kalousková, and M. Ďurovič. "Study of triacetate cinematographic films and magnetic audio track by infrared spectroscopy." Koroze a ochrana materialu 62, no. 1 (2018): 26–32. http://dx.doi.org/10.2478/kom-2018-0005.
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Abstract Most of the cinematographic film collections stored in film archives are made on a triacetate base, and from the 1950s to the 1980s, a magnetic track was used to record sound. With a large number of archive materials, archives often do not know the chemical composition of film bases, history of use and degradation rates. Therefore, the chemical composition of three films with a magnetic audio track and one representative of the modern film FOMAPAN were investigated by infrared spectroscopy. Selected samples were artificially aged at elevated temperatures and humidity, and the rate of degradation of the film was evaluated by infrared spectroscopy, dimensional changes and gravimetric analysis. Based on the measurements, all of the examined films were made from cellulose triacetate and the binder of the magnetic trackswas cellulose nitrate. To determine the degree of degradation of the binder of the audio track and the triacetate base, a degradation index was created which expresses the ratio of the bandwidths of the characteristic groups in the infrared spectra. It is shown that infrared spectroscopy makes it easy to determine the chemical composition of cinematographic films and to quantify the rate of degradation and the current state of the film base using a suitably chosen degradation index.
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Johnson, William. "Robert Southard and the History of Traveling Film Exhibition." Film Quarterly 57, no. 1 (2003): 11–19. http://dx.doi.org/10.1525/fq.2003.57.1.11.
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Abstract William Johnson: "A New View of Porn: The Films of Tatsumi Kumashiro." Tatsumi Kumashiro (1927-1995) became a leading maker of Japanese soft-core porn films in the 1970s and 1980s. Because he aimed to make films whose interest ranged beyond sexual arousal, his work sheds new light on the debate over screen pornography. This study examines several of his films and shows the distinctiveness of his approach.
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Melia, Matt. "“Very Nearly an Armful!”: British Post-War Comedy and the NHS." VIEW Journal of European Television History and Culture 9, no. 18 (2020): 37. http://dx.doi.org/10.18146/view.240.
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While much has been written on post war British film and television comedy, there has been no critical focus on one of its key sub-genres – the medical comedy. This article aims to fill (at least some) of the gap in this scholarship. It chooses to focus on how several key medical comedies engaged the politics and ideological tensions of the fledgling National Health Service from the late 1950s to the 1980s. It will focus on the microcosmic representation of medical architectures and environments and consider how they provide spaces for political and ideological debate.
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Cunningham, Stuart. "Regionalism in Audiovisual Production: The Case of Queensland." Queensland Review 1, no. 1 (1994): 47–54. http://dx.doi.org/10.1017/s1321816600000490.
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A great deal has been made of the boom in audiovisual production based in southern Queensland (and to some extent in northern Queensland) in the 1990s. This follows a pattern throughout the so-called ‘revival’ period (since the early 1970s) in Australia which has seen successive moments of regional upsurge. In the 1970s, it was South Australia, under the energetic leadership of the South Australian Film Corporation, that saw many of the best feature films and several of the early historical mini-series of the early revival period made in that state (see, for example, Moran). During the early to mid-1980s, Western Australia, with the location of bold production houses such as Barron Films and strong independent documentary traditions, offered robust regional opportunities, culminating in such memorable films as Shame and Fran.
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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.
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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film academics, some were even dismissed as “idealist” or in other ways politically compromised. There were, of course, some exceptions. The work of pre-WWII left-wing thinkers and filmmakers such as Benjamin, Kracauer, the Russian Formalists, Bakhtin, Vertov, and Eisenstein continued to be translated and debated, and, due principally to the efforts of Dudley Andrew, André Bazin's film theory remained central to the discipline, if only, for many, as something to be overcome rather than built upon. Translations of texts by Jean Epstein appeared in October and elsewhere in the late 1970s and early 1980s, and Richard Abel's two-volume anthology, French Film Theory and Criticism 1907–1939 (1988), generated interest in French film theory before Bazin. But on the whole, classical film theory was rejected as a foundation for contemporary film theorizing, even by film theorists like Noël Carroll with no allegiance to semiotics and psychoanalysis.
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Loock, Kathleen. "The Sequel Paradox: Repetition, Innovation, and Hollywood‘s Hit Film Formula." Film Studies 17, no. 1 (2017): 92–110. http://dx.doi.org/10.7227/fs.17.0006.
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This article explores the rise of the Hollywood sequel in the 1970s and 1980s, analysing contemporary industrial and popular discourses surrounding the sequel, sequelisation, and film seriality. Drawing on recent sequel scholarship as well as a wide range of film examples and paratexts it examines how industry insiders, trade papers, and film critics tried to make sense of the burgeoning sequel trend. The ensuing discourses and cultural practices, this article argues, not only shaped the contexts of sequel production and reception at the time but also played into the movies‘ serialisation strategies and their increasingly self-referential manoeuvres.
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Nag, Anugyan, and Spandan Bhattacharya. "The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s." Acta Orientalia Vilnensia 12, no. 2 (2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.
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Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema present only the ‘crisis-ridden’ scenarios of the Bengali film industry―suffering from multiple problems. Interestingly, this marginalized and unacknowledged cinema of the 1980–90s almost became synonymous to the concept of the ‘B-grade’ cinema, although it is not similar in formation, circulation and reception like the other established B-circuit or B-grade cinemas across the world. This paper aims to criticize this simpler ‘crisis narrative’ scenario by looking at the categories of class and audience and questioning the relevance of issues related to the popularity of these films. In brief, our article aims to problematize the notion of what is ‘B-grade’ cinema in the context of the Bengali cinema of the 1980–90s and by referring to this film culture, it tries to open up some other possibilities to which this notion can refer.
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Fagan, Dylan M. "The Excentric Film Project of Gotot Prakosa." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 177, no. 1 (2021): 94–123. http://dx.doi.org/10.1163/22134379-bja10019.
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Abstract This article outlines the film practice of Gotot Prakosa (1955–2015), which he called film pinggiran (film of the edges, excentric film), and its relationships with the hegemony exerted by the Indonesian New Order government in the 1970s and 1980s. By examining Gotot’s film works and extensive reflections on film-making, this article elucidates the dual characteristic of film pinggiran as a spatial and theoretical principle that orientates an excentric drive in the production and circulation of film. The article suggests that the film practice realized both an analysis of, and contradiction to, New Order mass media infrastructures and superstructures, thus engendering an ideological strike on the reproduction of the hegemony of the New Order. Film pinggiran thus does not necessarily ‘push the boundary’ further away; instead, it makes the edge the manifest content itself.
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Shatova, Elena. "The Evolution of Polish War Feature Films (1940-1980)." International Journal of Engineering & Technology 7, no. 4.38 (2018): 474. http://dx.doi.org/10.14419/ijet.v7i4.38.24607.
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Introduction. The relevance of this study is explained by the rapid social and political homogenization of Europe; the “disclosure” of many documents indicative of sociocultural changes in Eastern Europe; an increasing chronological gap between the research subject and its researcher that enables to use scientific verification methods instead of ideologically “correct” paradigms.Methods. The methodological basis of this article is the principles of systematicity and objectivity. While conducting this research, the author also used genetic, typological, comparative, hermeneutic and semiotic methods.Results. Throughout the postwar history, Polish filmmakers were bringing stories about World War II to the silver screen. The concept of a war feature film also changed depending on the postwar development of Poland.Discussion. The necessary conditions for studying the evolution of Polish war feature films based on systematicity and objectivity are as follows: the analysis of the Polish sociocultural postwar development (periodization with distinguishing essential characteristics of each period); the determination of main trends in the development of spiritual culture as a part of sociocultural processes; the analysis of the state-party politics in the sphere of culture, art and cinema.Conclusion. Throughout the postwar development, Polish filmmakers were addressing the topic of war. Their attitude to war changed depending on the country’s socio-cultural development and the evolution of its spiritual culture. For instance, war feature films were the most prominent trend in the development of the Polish cinema in the second half of the 1940s and the first half of the 1950s. Between 1956 and 1960, the Polish Film School was established and was characterized by a high interest in war-related films (alongside other topics and problems represented in the cinema of that time). In the 1970s, war feature films were still relevant but gave way to flicks about modern times. In the 1980s, this topic “withdrew into the shadows” not only in cinematography but also in other artistic spheres. It was mostly used in films to better interpret other topics.
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Ward, Julian. "Mainstream Film Production in a Country on the Cusp of Change." British Journal of Chinese Studies 8, no. 2 (2019): 63–88. http://dx.doi.org/10.51661/bjocs.v8i2.7.
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In June 1984, the journal Dianying pingjie (Film Criticism) published a short article titled “An Open letter to the August First Film Studio”, written by an army officer called Xu Gewei, in which he described The Colourful Night, The Last Military Salute and Star of the Battleground, three of the studio’s recent productions, as mediocre, inept and crudely made. This paper will look at the three films in the context of the early 1980s, a period in the history of filmmaking in Communist China, which, in spite of being critical for the subsequent development of the Chinese film industry, still receives comparatively little attention. The paper will show how, although the films rely for the most part on out-moded techniques and narrative forms, there are moments that display an interest in new film techniques and reveal an understanding of the evolving world of China in the early 1980s.
 At time of publication of this article, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Giuliani, Gaia. "Razza cagna:mondomovies, the white heterosexual male gaze, and the 1960s–1970s imaginary of the nation." Modern Italy 23, no. 4 (2018): 429–44. http://dx.doi.org/10.1017/mit.2018.32.
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This article investigates the role, reception, and socio-cultural, political relevance ofmondomovies in the context of late 1950s–early 1980s film and documentary. Themondogenre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on thegazeidentifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971mondomovies introducesCannibal Holocaust(1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze.
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Radkiewicz, Małgorzata. "Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"." Panoptikum, no. 23 (August 24, 2020): 117–30. http://dx.doi.org/10.26881/pan.2020.23.09.
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The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.
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Givanni, June. "A Curator's Conundrum: Programming "Black Film" in 1980s-1990s Britain." Moving Image 4, no. 1 (2004): 60–75. http://dx.doi.org/10.1353/mov.2004.0008.
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Valančiūnas, Deimantas. "Indian Horror: The Western monstrosity and the fears of the nation in the Ramsay Brothers’ Bandh Darwaza." Acta Orientalia Vilnensia 12, no. 2 (2011): 47–60. http://dx.doi.org/10.15388/aov.2011.1.3933.
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Vilnius UniversityThis paper investigates Indian horror films as a site of socio-economical tensions in India at the end of the 1980s through the employment of the postcolonial reading of the 1990 Ramsay brothers’ horror film Bandh Darwaza. This paper argues that specific references to the European gothic tradition and employment of imagery and interpretation of a western monstrosity (Dracula) in the film are not merely the exploitation of the exotic discourse, but an unconscious articulation of fears and anxieties summoned by the specific socio-economic conditions of India. The political turmoil and the economic changes at the end of the 1980s created a specific platform for fears and anxieties that were articulated through the deformed monsters of the western gothic tradition.
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Mikhailina, Marina Yu, and Vadim Yu Mikhailin. "Evolution of educational milieu psychological safety conceptualizing in Soviet “school film”." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 21, no. 2 (2021): 190–94. http://dx.doi.org/10.18500/1819-7671-2021-21-2-190-194.
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The authors analyze the representations of school as pictured in Soviet films of 1930–1980s seen as a source for reconstruction of the notions concerning the safety of the educational milieu – self-generated as well as imposed by elites – that were characteristic of Soviet society. The discussion seems crucial for critical approach to those social stereotypes underlying modern conceptions of the educational milieu safety that were mostly shaped within the limits of the previous historical period. This material approached both from genetic and comparative perspectives allows to trace the dynamics of propagandistic dispositions in Soviet school film production; also it helps the authors to mark the exact historical moment when another propaganda campaign met the public’s expectations for “sincerely” working through the traumatic experience of growing up as based for the most part at the educational milieu. Appearing in early 1960s, the self-dependent genre of Soviet school film was gradually to become the main source for producing the persistent stereotypes of school experience as well as one of socially acceptable instruments for working through psychological trauma. The renewal of school film in modern Russia bases at the Soviet tradition: the conventions worked out within it are determinant for new films, as well as the stereotypes they transfer.
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López, Ana M. "The State of Things: New Directions in Latin American Film History." Americas 63, no. 2 (2006): 197–203. http://dx.doi.org/10.1017/s0003161500062969.
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Twenty-five years ago, English-language scholarship on Latin American film was almost entirely identified with the New Latin American Cinema movement. The emerging “new” cinemas of Brazil, Cuba and Argentina, linked to evolving social movements and to the renewal of the pan-Latin American dreams of Martí and Bolivar (Nuestra América, “Our America”), had captured the imagination of U.S.-based and other scholars. As I argued in a 1991 review essay, unlike other national cinemas which were introduced into English-language scholarship via translations of “master histories” written by nationals (for example, the German cinema, which was studied through the histories of Sigfried Kracauer and Lotte Eisner), the various Latin American cinemas were first introduced in English-language scholarship in the 1970s ahistorically, through contemporary films and events reported in non-analytical articles that provided above all, political readings and assessments. Overall, this first stage of Latin American film scholarship was plagued by problems that continued to haunt researchers through the 1980s: difficult access to films, scarce historical data, and unverifiable secondary sources. Above all, this work displayed a blissful disregard of the critical and historical work written in Spanish and Portuguese and published in Latin America.
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Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 36, no. 1 (2004): 88–111. http://dx.doi.org/10.1017/s0149767700007580.
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A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-based animations find their historical roots in late nineteenth century motion studies in chronophotography and early cinema (Muybridge, Marey, Méliès). Furthermore, dancemakers, researchers, and teachers have used film or video as a vital means of documenting or analyzing existing choreographies. Some scholars and software programmers published tools (LabanWriter, LifeForms) that attracted attention in the field of dance notation and preservation as well as among choreographers (e.g., Merce Cunningham) who wanted to utilize the computer for the invention and visualization of new movement possibilities.
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Wang, Lingzhen. "Zhang Nuanxin and Social Commitment in 1980s Chinese Women’s Experimental Cinema." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 1–29. http://dx.doi.org/10.1215/02705346-7772363.
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In December 1978, the Chinese government formally laid out its economic reform policy, thereby marking the beginning of a new post-Mao era. As economic reform deepened around the mid-1980s, the state began to openly retreat from its former socialist commitments—including the institutionalized practice of class and gender equality—and new mainstream discourses began to endorse a universal modernity, disregarding sociopolitical consequences of the market. Zhang Nuanxin (张暖忻, 1941–95) emerged as a pioneer in both the theory and practice of early post-Mao new experimental cinema, but she was dismissed as nonessential to the advancement of post-Mao new cinema in the late 1980s. Post-Mao feminist film scholars have since expressed their disappointment with Zhang’s films due to their incomplete break from the socialist mainstream cinema of the Mao era. This article closely studies Zhang’s most representative film, Sacrificed Youth (青春祭, 1985), exploring its complicated negotiation with the socialist legacy and new post-Mao discourses. With a highly subjective and documentary experimental style, the film articulates a double critique of political and cultural uniformity during the Cultural Revolution (1966–76) and the socially detached and universal individualism, naturalized sexual difference, and essentialized female consciousness newly mainstreamed around the mid-1980s in China. The article argues that the dismissal of Zhang toward the end of the 1980s reveals both the transformation of Chinese culture into a depoliticized and male-centered masculine practice and Zhang’s insistence on sociopolitically engaged filmmaking as China moved toward a market economy.
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Mocarz-Kleindienst, Maria. "Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji." Acta Polono-Ruthenica 4, no. XXII (2018): 57–68. http://dx.doi.org/10.31648/apr.1238.
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Eldar Ryazanov directed films including The Irony of Fate, Station for Two, Carnival Night, Beware of the Car, and Office Romance. These films, regarded as cult classics in Russia (the former Soviet Union), are also known to Polish fans of Russian films. This paper takes account of two periods of reception of Ryazanov’s films in Poland: primary reception (1960s – 1980s) and secondary reception (beginning of 2000s). The reception analysis was conducted based on the following materials: press articles, collective monographs, Polish Television archival material and internet forums. Consequently, several areas of interest of critics and viewers were identified, including the following: 1) the plot, 2) aesthetic and artistic impressions, 3) the reference of the director’s works to the works of the Polish film industry, 4) the director’s artistry, 5) the cast, 6) the quality of translation.
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Perry, Colin. "History, landscape, nation: British independent film and video in the 1970s and 1980s." Moving Image Review & Art Journal (MIRAJ) 6, no. 1 (2017): 24–37. http://dx.doi.org/10.1386/miraj.6.1-2.24_1.
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Givskov, Cecilie. "Institutionalization through Europeanization: the Danish film policy reforms of the 1980s and 1990s." International Journal of Cultural Policy 20, no. 3 (2013): 281–95. http://dx.doi.org/10.1080/10286632.2013.786058.
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Vinogradova, Maria. "Scientists, punks, engineers and gurus: Soviet experimental film culture in the 1960s–1980s." Studies in Eastern European Cinema 7, no. 1 (2016): 39–52. http://dx.doi.org/10.1080/2040350x.2016.1112502.
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Dancus, Adriana Margareta. "Vulnerable exposures: A conversation with Norwegian filmmaker Anne Haugsgjerd." Journal of Scandinavian Cinema 10, no. 3 (2020): 273–79. http://dx.doi.org/10.1386/jsca_00030_7.
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Since the 1980s, the quirky and explorative filmmaker Anne Haugsgjerd has experimented with staging her own vulnerability in front of the camera and is thus a pioneer of self-mediation in Norwegian film. In this interview, Haugsgjerd talks about how she developed her unique approach to making film, including a questioning and uncertain voice-over that has become her signature. In addition to situating her own film practice in a Norwegian and international context, Haugsgjerd reflects on ethical issues pertaining to self-mediation, shares anecdotes that speak of the popular appeal of her films and discusses challenges and opportunities connected to making and distributing films like hers to national and international audiences.
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Slootweg, Tom, and Susan Aasman. "Democratic Television in The Netherlands." Archaeologies of Tele-Visions and -Realities 4, no. 7 (2015): 21. http://dx.doi.org/10.18146/2213-0969.2015.jethc079.
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For this article, the authors retrieved two curious cases of nonconformist TV from the archives of The Netherlands Institute of Sound and Vision. Being made in the late 1970s and early 1980s, the two cases represent an alternative history of broadcast television in the Netherlands. Whereas Neon (1979-1980) aimed to establish a punk-inspired DIY video culture, Ed van der Elsken (1980, 1981) strived for an expressive amateur film culture. The authors propose to regarded these cases as two different experiments of participation in and through media. By conceptualising amateur film and video as counter-technologies, the discursive expectations around their democratic potential can be explored further.
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Peterson, Jennifer. "Barbara Hammer's Jane Brakhage." Feminist Media Histories 6, no. 2 (2020): 67–94. http://dx.doi.org/10.1525/fmh.2020.6.2.67.
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This essay analyzes Barbara Hammer's 1974 experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the 1980s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother. By locating this short film within a larger genealogy of feminist and environmental thought, we can better appreciate the extent to which Hammer's films explore the feminist and queer potential of nature.
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Stevens, Kirsten. "From film weeks to festivals: Australia’s film festival boom in the 1980s." Studies in Australasian Cinema 10, no. 2 (2016): 250–63. http://dx.doi.org/10.1080/17503175.2016.1198450.
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Bitka, Stanisław. "Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (2019): 171–81. http://dx.doi.org/10.14746/i.2019.35.10.
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The aim of the article is to present and attempt to classify documentary films about the Jarocin music festival. The films are conventionally divided into those shot during the 1980s editions and those created in our century, which describe them festival in retrospect. By analyzing selected works, the author draws attention to whether and how the approach to the subject and the form of the film change over the years.
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Staudt, Kathleen. "Bordering the Future? The ‘Male Gaze’ in the Blade Runner Films and Originating Novel." Borders in Globalization Review 1, no. 1 (2019): 22–28. http://dx.doi.org/10.18357/bigr11201919244.
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Philip K. Dick (1928-1982), author of numerous science fiction narratives from the 1950s-1980s, some of which Hollywood made into films, grappled with the nature of reality, the meaning of humanness, and border crossing between humans and androids (called ‘replicants’ in the films). The socially constructed female and male protagonists in these narratives have yet to be analyzed with a gender gaze that draws on border studies. This paper analyzes two Blade Runner films, compares them to the Philip K. Dick (PKD) narrative, and applies gender, feminist, and border concepts, particularly border crossings from human to sentient beings and androids. In this paper, I argue that the men who wrote and directed the films established and crossed multiple metaphoric borders, but wore gender blinders that thereby reinforced gendered borders as visualized and viewed in the U.S. and global film markets yet never addressed the profoundly radical border crossing notions from PKD.
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Jeong, Choongsil. "How Prokino Film Screenings Are Remembered in Japan from the 1960s to the 1980s." Journal of Humanities and Social sciences 21 10, no. 4 (2019): 643–58. http://dx.doi.org/10.22143/hss21.10.4.46.
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