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1
Benis, Rita. "The origins of screenwriting practice and discourse in Portugal." Journal of Screenwriting 11, no. 1 (March 1, 2020): 27–44. http://dx.doi.org/10.1386/josc_00011_1.
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Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, focused on artistic processes, clearly present in its screenwriting culture. Such characteristics developed first under the influence of French and Italian silent cinema, through the contribution of foreign film directors who worked in Portugal and established schools there. Also important were the cinematographic experiences (film and writing) made by modernist poets during the silent film period. Finally, the powerful influence of the French Politique des Auteurs (1950s) also helped to configure Portuguese screenwriting culture. To contextualize the Portuguese experience specifically, I explore the origins of screenwriting practice and discourse in Portugal, addressing the many political, historical and financial aspects that impacted the Portuguese perception of screenwriting craft from an early stage.
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Tosaka, Yuji. "The Discourse of Anti-Americanism and Hollywood Movies: Film Import Controls in Japan, 1937–1941." Journal of American-East Asian Relations 12, no. 1-2 (2003): 59–80. http://dx.doi.org/10.1163/187656103793645397.
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AbstractOCLC Online Computer Library Center In interwar Japan, urban middle-class audiences patronized Hollywood movies rather than domestic native films that should have appealed to them as native and culturally familiar. The rise of militant nationalism and cultural nativism fueled the growth of official movements that celebrated an indigenous Japanese essence and eschewed allegedly foreign, modern “contamination.” The alleged Americanizing influence of Hollywood cinema became an increasingly worrisome problem for Japanese officials beginning in the early 1930s. This article examines Japan's efforts to impose tighter restrictions on American films during the 1930s, culminating in a total ban on film imports following the onset of the Sino-Japanese War in 1937.
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Rickards, Carolyn. "An Ordinary Spectacle: Critical Responses to Fantasy and Whimsy inLooking for EricandThe Angels’ Share." Journal of British Cinema and Television 15, no. 4 (October 2018): 553–70. http://dx.doi.org/10.3366/jbctv.2018.0442.
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The extensive career of the British film director Ken Loach has been defined by his perceived commitment to portraying the lives of ordinary, everyday people on screen. The realist impulse underpinning this output can be determined from early television credits on the BBC's ‘Wednesday Play’ series to more recent films such as Jimmy's Hall (2014) and I, Daniel Blake (2016). It could be argued that this aesthetic tendency also continues to inform critical appropriations of Loach's work. This article considers Looking for Eric (2009) and The Angels' Share (2012) as two films which appear to challenge this established discourse. In Looking for Eric, the spectacle is manifold: the appearance of Eric Cantona, a well-known French actor and celebrity, is complicated by his fantasised role while The Angels' Share evokes the whimsical tradition of Ealing comedies. This study explores critical response to both films, finding a disruption of existing preconceptions attributed to Loach as a British film director, and also considers the potential wider impact of such discourse.
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Schoneveld, Erin. "Naomi Kawase’s “Cinema of Place”." Arts 8, no. 2 (March 28, 2019): 43. http://dx.doi.org/10.3390/arts8020043.
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This article evaluates contemporary filmmaker Naomi Kawase’s (b. 1969–) status within Japan’s film industry as well as her place among women directors. Using Kawase’s three award winning features Suzaku (Moe no suzaku, 1997), Shara (Sharasōju, 2003), and Mogari (Mogari no mori, 2007) as the basis of my analysis, I examine the way in which these films illuminate the construction of Kawase’s female authorship in relation to a specific location. While Kawase has made a number of critically and commercially successful films since 2007, I limit my discussion to her early narrative works set in Nara, Japan in order to illuminate the significance of the international film festival apparatus in establishing and upholding the discourse of auteurism in relation to regional identity. Through my analysis I argue that Kawase successfully negotiates this discourse through a strategy of self-promotion that emphasizes a “cinema of place” within the broader context of international film festivals such as Cannes. Kawase’s “cinema of place” ultimately allows her to rearticulate the meaning of female authorship within an art cinema context by representing a new national cinema that challenges the structures and boundaries of Japan’s studio system.
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Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film." Slavic Review 62, no. 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.
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In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.
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Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (January 28, 2020): 13. http://dx.doi.org/10.3390/arts9010013.
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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.
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Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (January 2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.
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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good Americans” who aspired to satisfy gender norms of the Soviet way of life. The image of the American Other helped shape Soviet gender and political orders. Internal enemies’ “groveling before the West” on political matters was depicted as causing gender deviancy, and the breaking of Soviet gender norms was shown to lead to political crimes.
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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.
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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Lindsey, Shelley Stamp. "Toronto's "Girl Workers." The Female Body and Industrial Efficiency in Her Own Fault." Cinémas 6, no. 1 (February 25, 2011): 81–99. http://dx.doi.org/10.7202/1000960ar.
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Her Own Fault is an instructional film produced by Ontario's Provincial Board of Health through its Division of Industrial Hygiene in 1921. In its attempt to influence Toronto's working women, the film suggests some of the challenges posed by the female factory worker in the early part of the century. This article will situate Her Own Fault in relation to othet contemporary discourse on women's work and leisure habits. The author will also consider the film's treatment of female factory workers and the ways in which this film might circumscribe net behaviour and net gaze.
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Williams, Bruce. "Bemberg’s Third Sex: Argentine Mothers at the Dawn of Democracy." Hors dossier 15, no. 1 (December 6, 2005): 125–44. http://dx.doi.org/10.7202/011662ar.
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Abstract The early features of Argentine director María Luisa Bemberg, Momentos and Señora de nadie, underscore the deployment of an ideology of motherhood in service of bourgeois social structure and military dictatorship. In these films, Bemberg posits the institution as balancing between containment and rebellion, her protagonists confronting the traditional ideological role of mother and asserting a stance against the repression of the waning dictatorship. Although entrenched in a conventional film discourse, these films set into motion the dynamics of diegetic radicalization which would define Bemberg’s subsequent work and would anticipate the redefinition of the social domain of the feminine for post-democracy Argentina.
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Sharot, Stephen. "Trans-National Adaptations of the Church Mouse, a Cross-Class Office Romance of the Early 1930s." Adaptation 13, no. 1 (July 26, 2019): 77–97. http://dx.doi.org/10.1093/adaptation/apz015.
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Abstract A Hungarian play, A Templom Egere (The Church Mouse), first performed in 1927, was adapted across nations on stage and for three film versions: the German Arm wie eine kirchenmaus (Poor as a Church Mouse, 1931), an American, Beauty and the Boss (1932), and a British, The Church Mouse (1934). All versions fuse a Cinderella theme with the prevalent discourse of the period on stenographers and secretaries as sexual attractions or as machines, identified with the typewriter, but the versions differ with respect to the heroine’s transformation from machine to alluring female and in their film styles, particularly in the extent and ways they ‘open-up’ the play.
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PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (August 2014): 311–37. http://dx.doi.org/10.1017/s1752196314000224.
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AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring and the use of preexistent music in films likeFighting Caravans(1931). Steiner preferred to compose alone and placed music strategically to delineate narrative space in films, as inSymphony of Six Million(1932), a technique he adapted for mediating exotic encounters in island adventure films precedingKong. Although press accounts and production materials show that Steiner and Finston's methods proved resilient in subsequent years,Kong's canonic status has marginalized Finston's role and threatens to misdirect appraisals of Steiner's other work. Considering Finston's practices at Paramount alongside Steiner's pre-Kongscores at RKO illuminates the limitations of using onlyKongas a model, and shows that Finston's perspective on film scoring in the early 1930s provides a corrective balance for understanding film musicians’ work before and afterKong.
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Sexton, Max. "The Origins of Gritty Realism on British Television: Euston Films and Special Branch." Journal of British Cinema and Television 11, no. 1 (January 2014): 23–40. http://dx.doi.org/10.3366/jbctv.2014.0190.
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Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.
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Archer, Neil. "‘The shit just got real’: Parody and National Film Culture inThe StrikeandHot Fuzz." Journal of British Cinema and Television 13, no. 1 (January 2016): 42–60. http://dx.doi.org/10.3366/jbctv.2016.0295.
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This article argues for the productive function of parody within British film-making, both as an aesthetic strategy for wider distribution, but also as an important approach to the depiction and construction of a national film culture. Going against the conception that parody in the British context negatively signifies what British film is not (in this case, Hollywood), and implicitly asserts a more authentic model for a national cinema (typically, realism), the article argues for parody's value as a mode of representation, particularly within the broader contexts of globalisation. Using the Channel 4 film The Strike (1988) and Working Title's Hot Fuzz (2007) as case studies, it shows parody as responding in specific ways to distinct and changing circumstances of film production, film viewing and British film culture's relationship to Hollywood. The article argues that The Strike's negative uses of parody, while seemingly aligned with an anti-Hollywood discourse pertinent to its contexts, disavows both its own resistance to realism and its own playful use of popular generic modes. Meanwhile, Hot Fuzz, though superficially employing the same approach, can be seen to offer a more nuanced reflection on the limitations and possibilities of ‘national film’ in the early twenty-first century, both as discourse and product. As the article concludes, uses of parody in both texts bring into focus ways of reconciling industrial and cultural frameworks for national cinemas, especially within an increasingly globalised economy.
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Amiriheobu, Frank, Victor Ordua, Ekperi Watts, and Ojobah Christian. "A CRITICAL DISCOURSE OF GIRL-CHILD MARRIAGE/SLAVERY IN SELECTED NIGERIAN FILM." International Journal of Innovative Research in Social Sciences & Strategic Management Techniques 8, no. 1 (January 5, 2021): 118–27. http://dx.doi.org/10.48028/iiprds/ijirsssmt.v8.i1.10.
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Until recent past, girl-child slavery/marriage, guided by unscrupulous African culture, has posed as major practice in the Nigerian state in the 21stCentury. This cankerworm, manifesting through early marriage, money marriage, commercial sexual exploitation, domestic servitude, and other forms of abuses on the women folk, weakens women participation in economic, political, religious, and social development, thus, increases the issues of pain, suffering, sickness, and death of the people and underdevelopment to the Nigerian 5state as portrayed in Stephanie Linus Dry. Dry is a 21st century film that interrogates girl-child marriage/slavery, money marriage, discrimination, deprivation and inequality against the women. Amongst the major findings is that girl-child marriage/slavery has provided impetus for dramatic and argumentative representations by critics and dramatist over the years, yet, the menace is highly prevalent in the Nigerian state in the 21st century, mostly in the Northern regions. The study therefore aims at interrogating the cause and effects of girl-child marriage/slavery in the Nigerian state in the 21st century. To achieve this, Radical Feminism Theory and Content Analytical Methodology are used as guide. More so, the study recommends that any culture, tradition, or norm that is responsible that for girl-child marriage/slavery in the Nigerian space should be abolished for equity and development to be ascertained.
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Kleespies, Ingrid. "Riding theSoviet Iron Horse: A Reading of Viktor Turin'sTurksibthrough the Lens of John Ford." Slavic Review 77, no. 2 (2018): 358–89. http://dx.doi.org/10.1017/slr.2018.127.
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This article considers Viktor Turin's 1929 filmTurksibto be a “Red Western,” or film that is indebted to an American cinematic, visual, and literary tradition in its production of a vision of a Soviet frontier.Turksibengages with a discourse offrontieroritythat proved central to the articulation of Soviet identity in the 1920s and early 1930s. Drawing from prerevolutionary cultural paradigms for Russian national and imperial growth, as well as from the key American myth of the train's role in vanquishing the frontier,Turksibis a film meant to realize notions of territorial largesse in an ideologically-acceptable manner—that is, to reconfigure the dominant imperialist-capitalist model of the frontier in socialist terms. A close study of Turin's film in comparison to its western counterpart, John Ford's early classic,The Iron Horse(1924), reveals the challenge of distinguishing industrialization and modernization in socialist and avowedly anti-imperial rather than capitalist and colonial terms.
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Klein, Christina. "Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema." Journal of Korean Studies 22, no. 2 (September 1, 2017): 281–316. http://dx.doi.org/10.1215/21581665-4226460.
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Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.
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Hendrykowski, Marek. "The temple of the new faith. Film images of the construction of the Palace of Culture 1952–1955." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 22, no. 31 (January 8, 2019): 39–54. http://dx.doi.org/10.14746/i.2017.31.05.
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The first study of its kind, Marek Hendrykowski’s paper examines frame by frame the symbolic role of the construction of the Palace of Culture in the ideological context of the Stalinist period and its emergence into the realm of public discourse in the early 1950s.
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Sengupta, Rakesh. "Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies." BioScope: South Asian Screen Studies 9, no. 2 (December 2018): 117–36. http://dx.doi.org/10.1177/0974927618813480.
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This article is an attempt to rethink the intermedial practice and discourse of screenwriting during the first Indian talkies through a study of the margins of print, theatre and film history. I engage with the unfortunate archival absence of film scripts from the early years as a heuristic rather than a handicap, employing intermediality both as an archaeological and a conceptual tool in reconstituting screenwriting as a converged media practice. I argue that the widespread circulation of screenwriting manuals for amateurs constituted a pedagogical infrastructure separate from, but parallel to, the other infrastructural flow of ideas and professionals from the Parsi theatre into the film industry. The autobiographical accounts of some of the first playwright-turned-screenwriters bear testimony to the spaces they negotiated for themselves in the talkies after a successful stint with the Parsi stage. These memoirs form an interesting counterpoint to the testimonies of another group of screenwriters from the Indian Cinematograph Committee evidences (1927–1928) in which these writers express great apathy towards the practice in the Indian studios and declare their freelancing associations with Hollywood studios which solicited story ideas from viewers worldwide.
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Alekseyeva, Julia. "Fury and the Landscape Film: Three Men Who Left Their Will on Concrete." ARTMargins 10, no. 1 (February 2021): 39–59. http://dx.doi.org/10.1162/artm_a_00283.
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Abstract In the 1960s, Japanese artists and filmmakers directed their fury against the sterile urban landscapes which surrounded them. The “Theory of Landscape,” developed by Matsuda Masao as well as many other filmmakers, artists, and writers, posited that our lived landscape is an expression of dominant political power. This article uses the lens of Landscape Theory to analyze three Japanese political avant-garde films from the late 1960s and early 1970s, all of which mark frustration and anger through a reworking of the mundane urban environment that surrounds them: Wakamatsu Koji’s Go, Go Second Time Virgin (1969), Oshima Nagisa’s The Man Who Left His Will on Film (1970), and Terayama Shuji’s Throw Away Your Books, Rally in the Streets (1971). These three films, whose narratives are fundamentally integrated with the discourse of Landscape Theory, use forms of violence to create gaps and fissures within the coldly modernized Tokyo landscape. While the forms of violence they use might differ, Wakamatsu, Oshima, and Terayama’s films critique and interrupt their cityscape, rendering the violence inherent in its concrete walls and buildings explicit.
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Yakimovich, Alexander K. "Film Art Against Avant-Garde? On the Onthology of Artistic Means." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 8–26. http://dx.doi.org/10.17816/vgik1028-26.
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The first decade of the 20th century witnessed two revolutions in the world of arts: firstly, the upcoming of Avant-Garde art, and secondly - the birth of cinematic art. In painting, architecture and literature new revolutionary languages actually finalized the process of onthologisation which has begun much earlier. ttis process signaled its appearance with Modernity itself and reached its climax in the late 19 th century. We can observe since then a new species of artists whose artworks actually defy ideological meanings. Meanings and messages of artworks clearly distance themselves from convictions shared by authors. Visual and verbal arts as well as important strata of musical and theatrical productions embrace the discourse of Nature and Universe (i. e. primary components of Being). Avant-garde art makes the final accent in this development of Modernity. tte newly born film art seems to compensate functions ignored or denied by other artistic activities. Cinematic productions start realizing the human and cultural tasks (ideological propaganda, sentimental comfort, entertainment and other social functions). Elite-bound taste and high cultural pretentions seemingly fall out in early cinema. tte break-through in film art reaches its peak around 1910 parallel to the upheaval of Early Avant-Garde in painting. Handling of camera, constructing of visual field, as well as experimental boundlessness in space-and-time transformations bring the socially acceptable film narrative to the kind of onthological explosion on screen. In fact, film language itself (independently from any ideology or sociability) develops new methods of seeing. A decade before film art would enter its stormy marriage with Surrealism, masters of the screen already detected ways of hypnotic charm and irrational hurricane passing before our eyes. As examples of such inherent onthologization of means in film art we can see the structure itself of the picture and deliriumlike narration in several early films, i. e. Cabiria directed by Italian Giovanni Pastrone in 1914 as well as American masterpiece of 1915 - The Birth of a Nation by D.W. Griffith.
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Wyver, John. "The Filmic Fugue of Ken Russell's Pop Goes the Easel." Journal of British Cinema and Television 12, no. 4 (October 2015): 438–51. http://dx.doi.org/10.3366/jbctv.2015.0279.
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First broadcast as an episode of BBC Television's Monitor in 1962, Ken Russell's documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television's engagement with the visual arts in the medium's first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinations of an explanatory voice and that its achievement combines and develops approaches of photojournalism, documentary and art cinema from the mid and late 1950s. It is further proposed that Pop Goes the Easel is especially noteworthy for its finely tuned balancing of tensions between discourses traditionally understood as oppositional: the stasis of artworks versus the linear narrative of film; the indexical qualities of documentary versus the inventions of fiction; the mass-produced elements and images of popular culture versus the individual authorship and authority of high art; the abstracted rationality of critical discourse versus explosions of embodied sensuality; and the determinations and closure of a singular meaning versus polysemic openness.
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LEE, KUN JONG. "Towards Interracial Understanding and Identification: Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker." Journal of American Studies 44, no. 4 (February 19, 2010): 741–57. http://dx.doi.org/10.1017/s0021875810000022.
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African Americans and Korean Americans have addressed Black–Korean encounters and responded to each other predominantly in their favorite genres: in films and rap music for African Americans and in novels and poems for Korean Americans. A case in point is the intertextuality between Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker. A comparative study of the two demonstrates that they are seminal texts of African American–Korean American dialogue and discourse for mutual understanding and harmonious relationships between the two races in the USA. This paper reads the African American film and the Korean American fiction as dialogic responses to the well-publicized strife between Korean American merchants and their African American customers in the late 1980s and early 1990s and as windows into a larger question of African American–Korean American relations and racialization in US culture. This study ultimately argues that the dialogue between Spike Lee's film and Chang-rae Lee's novel moves towards a possibility of cross-racial identification and interethnic coalition building.
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DiPietro, Cary. "Shakespeare in the Age of Mechanical Reproduction: Cultural Discourse and the Film of Tree's ‘Henry VIII’." New Theatre Quarterly 19, no. 4 (October 8, 2003): 352–65. http://dx.doi.org/10.1017/s0266464x03000241.
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In early twentieth-century England the general recognition among dramatists and theatre practitioners that the theatre had reached a crisis or turning point – that as an institution it no longer answered the social and moral requirements of a modern industrialized society – resulted in a profusion of books and articles which addressed alternative modes of theatrical production or proposed institutional restructuring. Simultaneously with these discussions of the social utility of the theatre as an institution, a broad debate about theatrical aesthetics was continuing under the influence of new European and avant-garde movements such as symbolism and expressionism. Examining the shift from the actor-manager system in conjunction with these campaigns, Cary DiPietro here considers the recurrence of Shakespeare in the theatrical tracts of the period, variously regarded as a cultural authority at the intersection of issues of class, new modes of mechanical reproduction, aesthetic value, and old versus new modes of theatrical production. He sees the making – and the wilful destruction – of the film of Beerbohm Tree's Henry VIII as paradigmatic of the ways in which the period tried to distinguish popular, mass forms from what was ‘authentically’ artistic. Cary DiPietro currently lectures at Kyoto University, Japan.
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Uzuegbunam, Chikezie E. "Oppositional gaze or revenge? A critical ideological analysis of foreignness and foreign identities in Nollywood feature films." Catalan Journal of Communication & Cultural Studies 13, no. 1 (April 1, 2021): 121–39. http://dx.doi.org/10.1386/cjcs_00042_1.
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The media, including popular media such as music and films, often generate conversations about different spectrums of society. Due to an overabundance of imagery and sounds from the media, including television, film, advertising, social media and the internet, audiences are constantly bombarded with stereotypes and ideologies about other races and identities. As an exponentially growing popular culture industry, Nollywood – the Nigerian movie industry – positions itself as a source of knowledge and popular discourse about issues emanating from the continent and other places. With this growth, Nollywood seems to have been given a spot in the political circle of identity politics, giving it the power to represent the ‘Others’. This study interrogates the theme of identity construction in African films by focusing on the ways in which some select Nollywood films of the early and late 2000s and early 2010s frame and construct foreign races and foreign societies, using critical ideological analysis and the framework of critical race theory. Representations and portrayals of difference in the analysed movies could be serving some ‘revenge’ of sorts, transgressing age-long representations of Black people in Blaxploitation films. The multiplex representations as seen in the analyses serve the primary purpose of such stereotypes: to reproduce and to reaffirm prejudices that over time become naturalized and normalized. The study thematically specifies the significant use of labels, stereotypes and certain orthodoxies that aim to frame and characterize foreign societies in popular Nigerian films and suggests some broader implications of the findings.
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Mustakim, Bagus. "Kontestasi Identitas dan Kesalehan Anak Usia Dini Islam dalam Animasi Nussa." AL-ATHFAL : JURNAL PENDIDIKAN ANAK 5, no. 2 (December 27, 2019): 135–50. http://dx.doi.org/10.14421/al-athfal.2019.52-02.
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Discussion of the piety of early childhood, currently in the shadow of an ideological debate of various political, social and religious identities. This kind of ideological debate is increasing along with the expansion of global social media networks in the digital age. In this ideological debate, a phenomenal animated film called "Nussa" emerged. This article focuses on the piety of early Islamic childhood represented by Nussa animation on the Youtube channel. The problem formulated in this article is why Nussa animation is offered as the piety of Islamic early childhood; How is the construction of early childhood piety offered in this animation; and how is this identity promoted? This article was developed with a media and cultural study approach. This research uses qualitative methods with the phenomenological approach and interpretive discourse analysis methods. The author finds that the animation of Nussa actively produces piety as the identity of early Islamic childhood in ideological contestation with globalism and secular modernism. This piety is offered as an authentic Islamic identity for Islamic early childhood.
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Cable, Umayyah. "An Uprising at The Perfect Moment." GLQ: A Journal of Lesbian and Gay Studies 26, no. 2 (April 1, 2020): 243–72. http://dx.doi.org/10.1215/10642684-8141830.
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This article examines two overlapping controversies at the Institute of Contemporary Art in Boston, Massachusetts, in the early 1990s over the attempted censorship of both Robert Mapplethorpe’s show The Perfect Moment and Elia Sulieman’s Palestinian film and video art exhibition Uprising. By analyzing the print news discourse on these controversies, namely, regarding the representations of children in The Perfect Moment and in two of the Uprising films (Children of Fire by Mai Masri and Intifada: Introduction to the End of an Argument by Suleiman and Jayce Salloum), the author articulates how Palestinian cultural politics were constructed as “politically queer” during the 1990s culture wars, which thereby contributed to the rise of homonormativity, increased visibility of leftist LGBTQ-Palestinian solidarity politics, and the development of Israeli pinkwashing as a political strategy. Through this analysis, the article advances a theory of “compulsory Zionism” as a concept through which to analyze the confluence of racial, ethnic, and sexual politics that haunt and animate Palestine solidarity politics in the United States.
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Garcia, Emilla Grizende. "O DOCUMENTÁRIO “MAIORIA ABSOLUTA” E A REPRESENTAÇÃO DO NACIONAL-POPULAR * THE DOCUMENTARY “MAIORIA ABSOLUTA” AND THE REPRESENTATION OF THE NATIONAL-POPULAR." História e Cultura 8, no. 1 (July 3, 2019): 84. http://dx.doi.org/10.18223/hiscult.v8i1.2884.
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O presente artigo tem o objetivo de analisar o documentário de curta-metragem “Maioria Absoluta” de Leon Hirszman a partir de uma perspectiva historiográfica, buscando relacionar esta produção ao discurso balizado por uma posição ideológica bem definida: a cultura política comunista e as representações do nacional-popular. Produzido as vésperas do golpe civil-militar, “Maioria Absoluta” traz reflexões acerca de questões de grande projeção no período, ligadas às Reformas de Base, direcionando a narrativa para a representação da realidade social dos analfabetos rurais do nordeste brasileiro. “Maioria Absoluta” é um filme que reflete os ideais presentes da geração de produtores culturais comunistas do início da década de 1960 e contém imagens e representações que caracterizam o discurso nacional-popular.*This article aims to analyze Leon Hirszman's short documentary “Absolute Majority” from a historiographical perspective, seeking to relate this production to the discourse associated with a well-defined ideological position: the communist political culture and the representations of the national-popular. Produced on the eve of the civil-military coup, “Absolute Majority” brings reflections on issues of great projection in the period, linked to the Basic Reforms, directing the narrative to the representation of the social reality of rural illiterate rural Northeastern Brazil. “Absolute Majority” is a film that reflects the ideals present of the generation of communist cultural producers of the early 1960s and contains images and representations that characterize national-popular discourse.
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Chiarulli, Raffaele. "«Strong Curtains» and «Dramatic Punches»: The Legacy of Playwriting in the Screenwriting Manuals of the Studio Era." Communication & Society 34, no. 1 (January 12, 2021): 109–22. http://dx.doi.org/10.15581/003.34.1.109-122.
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The Hollywood Golden Age was a revolutionary moment in the history of cinema and is pivotal to understanding the historical passage of a peculiar new art form –screenwriting. This early film period, from the Tens to the Sixties, was determined by key interactions between the respective forms of cinema and stage. Together, these interactions form a wider screenwriting “discourse.” There are reoccurring disputes in film scholarship over the paternity of the conventions and techniques of screenwriting. One solution is that techniques of theatre playwriting persisted extensively in the production practices of classical Hollywood cinema. Whether or not its professionals were aware of this is at the heart of this dispute. It is possible to identify the contribution of screenwriting manuals from Hollywood’s Golden Age toward the standardization of screenwriting techniques. The article aims to examine in the screenwriting manuals of this period some statements by practitioners who document the normalization and codification of the narrative structures used in screenwriting over time –in particular, the three-act structure. The validity and origin of the three-act structure are constantly debated among screenwriters. While this formula was known to the early writers of the Silent Era due to its legacy throughout centuries of playwriting and literature, it reappeared in the Seventies in the guise of a new theory. This article attempts to fill in certain gaps in the history of the theorization of screenwriting practices by juxtaposing statements found in screenwriting manuals and the statements of scholars and educators of this field. Ultimately, narrative conventions belonging to the tradition of theatre, as well as technological exigencies were integral in shaping the cinema techniques in use today.
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Dewanthi, Ajeng. "Membaca Tubuh-Tubuh Patuh: Representasi Penciptaan Identitas Pribumi Melalui Tubuh-Tubuh Patuh di Hindia Belanda dalam Film Moeder Dao De Schildlapegelijkende." Lembaran Sejarah 15, no. 1 (September 6, 2020): 49. http://dx.doi.org/10.22146/lembaran-sejarah.59524.
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In the early twentith century, the Dutch colonial government launched a development program designated towards the modern Western world in the Dutch East Indies. This is due to the penetration of capital from Europe. In this process, they embraced the natives as part of the new world. The colonial authority used certain knowledge discourse systems that worked in various modern colonial institutions, such as offices, schools, religious institutions, mining, transportation, factories. In other words, the natives who originally had different knowledge from the colonists were subtly made to follow the logic of the colonial authorities. This paper will show various representations in the film Moeder Dao de Schildpadgelijkende, about how the practice of Western colonialism discourse in the Dutch East Indies during trying to internalization their knowledge system into the Indigenous knowledge system.Discourse is a disciplinary technology through the practice of certain knowledge to create docile bodies through a certain normalization process. In this process, a person acts treated in such a way is to enter into the system of knowledge pressed by the authorities. The indigenous body becomes the working locus of colonialism’s power and knowledge. A docile body exists a form of certain norms and rules in society. In this knowledge building, the logic of the colonial language as a tool for the formation of indigenous identities. The tangibility of inferiority created in the naratives arose from the perspective of the colonial rulers towards natives living in Western standards. Although the native people could meet Western standards, under the discourse of colonialism, it was still a subject that had to follow the colonial power itself.
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Ham, Chungbeom. "Historical Implications of the Description about the First Korean Movie after Liberation -Focusing on the Tendency of Film-making and Film Discourse in the Early Liberation Period (1945-1946)-." Humanities Research 59 (February 28, 2020): 795–832. http://dx.doi.org/10.52743/hr.59.26.
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Husna, Fathayatul, and Ratna Sari Dewi. "Islamic Education Movie: Character Learning Through Nussa-Rara Movie." International Journal of Islamic Educational Psychology 2, no. 1 (June 28, 2021): 36–52. http://dx.doi.org/10.18196/ijiep.v2i1.11209.
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This article examines the Islamic cartoon film Nussa and Rara. The author used Nussa and Rara as a window to see the emergence of Islamic cartoon films. Its strengths are in conveying educational values to children and as a learning medium to build character education for children aged 12 years and under. To explain this phenomenon, the author employed the content analysis method and combined it with relevant data; those were strengthened by many research results and literature studies. Through this method, the author showed that Nussa and Rara movie shares Islamic value in each segment, such as the value of honesty, asking for prayers on time, respecting neighbors, and so on. The author tried to see how every figure, especially Umma as Nussa and Rara’s mother, explains and exemplifies how to be a good Muslim. Through this article, it could be concluded that films are not always judged to have a negative impact on the audience. Even films can contribute as a medium for education and dissemination of Islamic da'wah. Besides, through films, it can also contribute to building good character for children under 12 years of age. Some learning methods that can be used are the many steps or methods that can be planted in children, such as the habituation and storytelling methods. These methods can be used to apply the values of faith, moral values, and worship values. Thus, this article greatly contributes to enriching academic discourse related to character learning for children under 12 years of age. This article concluded that the Nussa and Rara cartoon film really strives to spread Islamic da'wah and build children's character from an early age with daily customs and begin to familiarize children to apply the values of Islamic teachings perfectly.
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Khrystan, Nazarii. "History as an Image: Ecranisation of King Danylo Romanovych." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 46 (December 20, 2017): 48–56. http://dx.doi.org/10.31861/hj2017.46.48-56.
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The formation of the Soviet image of the past in the context of the doctrine of «our great ancestors» was extended not only to historiography, fiction and journalism. A special place was occupied by cinema. The Bolsheviks were very early realized the tremendous role of cinema as a means of influencing mass culture. With the help of cinema, the party leadership sought to form a «true» view of reality, thereby educating people in the spirit of «communism and internationalism». Founded in the early 30’s oftheXX century. the genre of historical cinema, became the basis of all Soviet cinema. Rejecting the leading role of the «masses» in the tapes, bolsheviks turn to the biography of outstanding and «progressive» historical personalities, first of all, rulers and generals. Throughout the period of existence of Soviet cinema, the historical biographies of Alexander Nevsky, Ivan the Terrible, Peter I, Michael Kutuzov, Alexander Suvorov and others were filmed. The most important document of the memory of Danylo Romanovich in the era of Soviet patriotism was the film of Ukrainian director Yaroslav Lupiya – «Danylo – Prince Galician». The Film was created in 1987 at the Odessa Film Studio named after O. Dovzhenko. Before us is a work that was supposed to create a stable image of Prince Danylo Halytsky in the consciousness of Ukrainian society. The image is dictated «from above». The ecranisation of Danylo Romanovych requires a detailed study of not only the history of the film, but also the reception of the ruler in the Soviet image. This will allow us to trace and analyze the struggle for the appropriation and stylization of the image in detail, as well as contradictory directions in forming the concept of the «Soviet patriot» of Danylo Halytsky.
The figure of King Danylo as well as the political history of the Galician-Volyn was state remained unknown to a wide cinema. In the official historical discourse of the USSR, the image of Danylo Romanovych was used very carefully and only where «party» leadership needed it. Despite the growing interest in the history of Kievan Rus in the cinema, Danylo’s film adaptation resembled his «popularity» in the scientific literature of that time. Certain changes occurred only during the Perestroika period. The directorate of the Odessa film studio named after O.Dovzhenko was interested in the history of the medieval past of Ukraine. Here the Ukrainian director Yaroslav Lupi created his picture «Danylo – Prince Galitsky».
The film is considered to be the banner of publicity. The tape appeals to the heroic Ukrainian past of the times of Kyivan Rus and Galicia-Volyn state, which became the shield of Europe against the Mongol-Tatar invasion. On the posters devoted to the premiere of the film, it was indicated that the tape glorifi the famous Ukrainian prince Danylo Halytsky. However, we have doubts about the screen image of the key hero of the Western Ukrainian myth. What was the real stylization of the image of the Old Russian ruler in the eponymous painting that had so long been in the «shadow» of the Soviet historical culture?
Keywords: thesoviet image, soviet historical culture, wide cinema, ecranisation of King Danylo Romanovych, historical discourse
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Deprez, Camille. "Colonial discourse and documentary film at the margins: the case ofDelhi grande ville de l’Inde supérieureandDans l’État du Cachemire, two early Pathé Frères films shot in India." Studies in European Cinema 11, no. 1 (January 2, 2014): 26–39. http://dx.doi.org/10.1080/17411548.2014.903095.
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Khrenov, Nikolai Andreyevich. "From an Exploration of Demonism in Early Modern Era to an Awareness of the Political Catastrophes of the 20 th Century: Notes on “Faust” by Alexander Sokurov." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 34–48. http://dx.doi.org/10.17816/vgik6134-48.
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The article focuses on Alexander Sokurovs Faust, one of the most outstanding pieces of Russian and world cinema (a Venice Film Festival Award). It comments on the directors artistic intentions and the affinities with other parts of Sokurovs film tetralogy about the 20 th century dictators Lenin, Hitler and Hirohito. Contemporary postmodern art practices demonstrate an unprecedented freedom in treating the classical masterpieces; at the same time, this approach cannot be applied to Sokurovs film. The author comes to the conclusion that Goethes intention itself could be analyzed only in comparison with the following historical processes. The 20 th century events allow deeper understanding of Goethes prophetic talent. The article raises a question about the origin of such a mental complex as demonism which was significantly growing during the times of religious crisis, and widely expanded nihilism. At the same time, demonism that was discovered during the era of Enlightenment had clashed with an optimistic attitude of Modern as a discourse. Its consequent exploration took place a century later and was associated with Friedrich Nietzsche who had managed to forebode the historical calamities related to the 20 th century revolutions and world wars from his position of a 19 th century philosopher. Nietsche didnt prognosticate arrival of the dictators, but he defined the barbarian spirit in its new civilized forms. The images of the 20 th century dictators became the embodiment of this spirit, so the phenomenon has attracted Sokurovs directorial attention. In his Faust the director put a spotlight on the early Modern era when the Man began to claim Gods heavenly position. Goethean times with a strong intention to build utopia, as well as an immortal tragedy by Goethe, had attracted Alexander Sokurov who saw it as a harbinger of the 20 th century realities. Goethes tragedy is one of the first attempts to understand the inner workings of the constructive, creative and destructive elements that have been invading the world during the early Modern era. Sokurovs films tell the story of how utopia turned into its opposite, an anti-utopia, i.e. the destructive forms of demonism.
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Jesty, Justin. "Image Pragmatics and Film as a Lived Practice in the Documentary Work of Hani Susumu and Tsuchimoto Noriaki." Arts 8, no. 2 (March 27, 2019): 41. http://dx.doi.org/10.3390/arts8020041.
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This paper focuses on two discrete bodies of work, Hani Susumu’s films of the late 1950s and Tsuchimoto Noriaki’s Minamata documentaries of the early 1970s, to trace the emergence of the cinéma vérité mode of participant-observer, small-crew documentary in Japan and to suggest how it shapes the work of later social documentarists. It argues that Hani Susumu’s emphasis on duration and receptivity in the practice of filmmaking, along with his pragmatic understanding of the power of the cinematic image, establish a fundamentally different theoretical basis and set of questions for social documentary than the emphasis on mobility and access, and the attendant question of truth that tend to afflict the discourse of cinéma vérité in the U.S. and France. Tsuchimto Noriaki critically adopts and develops Hani’s theoretical and methodological framework in his emphasis on long-running involvement with the subjects of his films and his practical conviction that the image is not single-authored, self-sufficient, or meaningful in and of itself, but emerges from collaboration and must be embedded in a responsive social practice in order to meaningfully reach an audience. Hani and Tsuchimoto both believe that it is possible for filmmakers and the film itself to be fundamentally processual and intersubjective: Grounded in actual collaboration, but also underwritten by a belief that intersubjective processes are more basic to human being than “the individual,” let alone “the author.” This paper explores the implications for representation and ethics of this basic difference in vérité theory and practice in Japan.
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Barnert, Elena, and Natascha Doll. "Conference Impressions: The Persisting Riddle of Fundamental Rights Jurisprudence and the Role of the Constitutional Court in a Democratic State." German Law Journal 4, no. 3 (March 1, 2003): 277–80. http://dx.doi.org/10.1017/s2071832200015959.
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On January 15th 1958, the German Bundesverfassungsgericht (Federal Constitutional Court - FCC) pronounced a judgement deemed to be a prime example for the Court's early jurisprudence concerning the scope of fundamental rights in Germany: The Court's famous “Lüth”-decision resulted from a constitutional complaint brought by Erich Lüth, former member of the Hamburg senate.* In the early 1950s, Lüth had called upon film distributors and the public to boycott Veit Harlan's tearjerker movie Unsterbliche Geliebte (Immortal Beloved). Cause for his appeal was Harlan's prominent role in the Nazi propaganda machinery as Goebbels' protégé and director of the movie Jud Süss in 1940, which counts as one of the worst anti-semitic films released during the Nazi regime. After having lost several civil lawsuits, Lüth asserted the violation of constitutional rights. Over six years later, he was to be proved correct: The Federal Constitutional Court ruled that Lüth's complaint was covered by the right to freedom of speech guaranteed in Art. 5 of the German Basic Law (Grundgesetz). The Court stated that the fundamental rights as laid down in the Grundgesetz are not only of importance as subjective rights protecting the individual against state intrusions on the private sphere. As a whole they also unfold an objective dimension in representing society's crucial values. Therefore, they govern the entire legal order - including civil law and private law relations! This was indeed understood as a staggering conclusion with which the Court went far beyond the issue at stake. Since Lüth, German legal discourse characterizes this phenomenon as the third-party or horizontal effect of basic rights (Drittwirkung).
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Curry, Ramona. "Benjamin Brodsky (1877-1960): The Trans-Pacific American Film Entrepreneur – Part Two, Taking A Trip Thru China to America." Journal of American-East Asian Relations 18, no. 2 (2011): 142–80. http://dx.doi.org/10.1163/187656111x603681.
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AbstractPart One of this essay traced a biography for Benjamin Brodsky and revealed surprising facets of the production of his 1916 feature-length travelogue A Trip Thru China. Part Two addresses the film's genre inscription and cinematic qualities and relates its embedded values to its enthusiastic reception across America 1916-18. Although the ethnographic documentary pays admiring tribute to laboring men and women throughout China, it also valorizes the moribund Chinese empire, as embodied in Brodsky's ultimate patron in China, President Yuan Shikai. While fully eschewing the "Yellow Menace" U.S. discourse of its period, Trip humorously delineates the East and West as essentially different. The rare work's exceptional critical and popular success from California to New York City points to Brodsky's skilled showmanship and ability to engage the support of independent movie distributors and investors. Why, then, the essay considers in conclusion, did Brodsky's subsequent experiences after his shift in 1917 to making films in Japan, including the feature-length travelogue Beautiful Japan (1918), so diverge in its outcome from his early filmmaking career in China?
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Schmidgen, Henning. "Successful Paranoia: Friedrich Kittler, Lacanian Psychoanalysis, and the History of Science." Theory, Culture & Society 36, no. 1 (August 7, 2018): 107–31. http://dx.doi.org/10.1177/0263276418791722.
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With studies like Discourse Networks 1800/1900 and Gramophone, Film, Typewriter, Friedrich A. Kittler contributed significantly to transforming the history of media into a vital field of inquiry. This essay undertakes to more precisely characterize Kittler’s historiographical approach. When we look back on his early contributions to studies of the relationship between literature, madness and truth – among others, his doctoral dissertation on the Swiss poet and writer Conrad Ferdinand Meyer – what strikes us is the significance that Jacques Lacan’s structuralist psychoanalysis had in shaping the orientation of Kittler’s later studies. His intensive engagement with Lacan galvanized Kittler’s concern with the question of sex and/or gender in the evolution of the humanities as well as his concern with the media history of the university. At the same time, Kittler’s reliance on Lacan led him to a kind of history that is interested above all in the internal logic of discourse. As we see, for instance, in Kittler’s anecdotic treatment of 19th-century physiologist Hermann von Helmholtz, this historiography does not involve any original research in archives and/or museums. Rather, it builds upon existing historical accounts and focuses its analyses on the issue of symbolic structures. Instead of investigating the history of the material culture of science and technology, what is thereby ultimately reinforced is a philosophical idealism in which knowledge and paranoia become superimposed in and by means of an ‘original syntax’ (Lacan).
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Kippola, Karl, W. D. Phillips, Charles Tepperman, and Sarah Keller. "Reviews: Rogue Performances: Staging the Underclasses in Early American Theatre Culture, Shakespeare on Silent Film: An Excellent Dumb Discourse, Shakespeare Film Studies, and the Visual Cultures of Modernity, Now Playing: Early Moviegoing and the Regulation of Fun, American Cinema, 1890–1909: Themes and Variations." Nineteenth Century Theatre and Film 38, no. 1 (May 2011): 96–110. http://dx.doi.org/10.7227/nctf.38.1.10.
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Burton, Johanna. "Pictures of You." October 171 (March 2020): 155–58. http://dx.doi.org/10.1162/octo_a_00386.
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In the wake of Douglas Crimp's passing in July 2019, Johanna Burton reflects on her still-evolving intellectual and personal relationship with this figure so crucial to histories of art, activism, and critical writing. Briefly tracing the various areas of thinking with which Crimp was associated over his decades-long career, Burton argues that the sum of Crimp's trajectory of thought is much greater than any of its formidable parts. Crimp has perhaps been most often associated with the onset of a particular tenet of postmodernism, namely the formation of the “Pictures Generation,” (including artists like Troy Brauntuch, Jack Goldstein, Louise Lawler, Sherrie Levine, Robert Longo, and Cindy Sherman). Yet Crimp, dissatisfied with the limits of this discourse, moved in the early 80s purposefully away from it toward other evolving dialogues: first around the AIDS crisis, and later into film, dance, memoir, and beyond. Ultimately, Crimp's legacy, Burton argues, is defined by his desire to unseat rather than produce or maintain established thinking. He models theoretical paradigms that anticipate their own eventual irrelevance in order to make space for others.
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Abel, Richard. "Fan discourse in the heartland: the early 1910s." Film History: An International Journal 18, no. 2 (June 2006): 140–53. http://dx.doi.org/10.2979/fil.2006.18.2.140.
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Ofer Eliaz. "Acts of Erasure: The Limits of the Image in Naomi Uman’s Early Films." Discourse 36, no. 2 (2014): 207. http://dx.doi.org/10.13110/discourse.36.2.0207.
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Vélez-Serna, Maria A., and John Caughie. "Remote Locations: Early Scottish Scenic Films and Geo-databases." International Journal of Humanities and Arts Computing 9, no. 2 (October 2015): 164–79. http://dx.doi.org/10.3366/ijhac.2015.0147.
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In the field of cinema history, an increased interest in social experience and context has challenged the centrality of the film and the primacy of textual analysis. The ‘Early Cinema in Scotland, 1896–1927’ research project takes a contextual approach, using geo-database tools to facilitate collaboration. This article shows how spatially-enabled methods can also be mobilized to bring issues of representation back into a cinema history project. We argue that, when the films have not survived, their geographical descriptors as recorded by trade-press reviews and catalogues offer new avenues of analysis. The article argues that foregrounding location as a significant element in the film corpus creates a new point of interconnection between film text and context. The juxtapositions and divergences between the spatial patterns of film production and cinema exhibition are connected to pre-cinematic traditions of representation. The spatial distribution also sheds light on the differences between films made for local and international consumption, reflecting on Scotland's position in relation to discourses of modernity.
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Der Derian, James, and Phillip Gara. "Life, Death, and the Living Dead in the Time of COVID-19." Cultural Politics 17, no. 1 (March 1, 2021): 102–13. http://dx.doi.org/10.1215/17432197-8797585.
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Abstract Is COVID-19 our first global zombie event? The question leads to others that fall outside the decorum of official discourse, possibly because the answers reach beyond the pale of the state. Unable to understand the nature of the threat, national leaders failed early and caught on late to the need for a globally coordinated response. Coupled with a deep resistance by states to the alienation of any degree of sovereignty to international institutions, the prospect of a global solution to the zombie question remains elusive. This essay offers an interpandemic response to the novel coronavirus that cuts across borders and against the grain. The first is transnational, to identify from the parallax view of Sydney and Los Angeles emergent risks that defy single-state fixes. The second is transhistorical, to counter efforts by China and the United States to subsume a human security crisis into the narrative of an eternal Cold War. The third is transmedial, to acquire new political and cultural perspectives on the pandemic through the zombie cinematic genre, including our documentary film, Project Z: The Final Global Event. A zombie inquiry can help us understand how COVID-19 is both disease and potential cure of late and rising empires.
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Sela, Ori. "Introduction: Paving the Old-New Way from Qing to China." Science in Context 30, no. 3 (September 2017): 213–17. http://dx.doi.org/10.1017/s0269889717000151.
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The funeral procession of Sheng Xuanhuai (盛宣懷, 1844–1916) – the renowned Qing scholar-official, financier, and “father of Chinese industrialism” – meandered through the streets of Shanghai on 18 November 1917. The funeral was a grand event, one that was purportedly documented in film, later to be distributed as the first “news short-film” (新聞短片) in China. TheNorth China Heraldreported on the event in some detail, at times in rather florid language, and suggested that “the cortege was splendid and impressive, bringing back the days of the Manchu emperors. The ceremonial costumes, the musical instruments and much more of the accoutrements dated back to the days of the Empire” (“Sheng Kung-pao's Funeral,” 1917, 467–68). And indeed, the procession included a variety of ritual customs and insignia from Qing (1644-1911) times: imperial banners, ancestral tablets, Buddhist and Daoist priests, paper artifacts, and much more. Simultaneously, nonetheless, other kinds of participants and objects – new and not of imperial pedigree – were part of and intermixed with the older materials: certificates of rank were carried on cars; boy scouts and college students marched alongside the priests; many of the participants arrived by train (mainly from Sheng's hometown, Suzhou); and as the Shanghai portion of the procession ended, it continued by steamer to Suzhou. The conclusion of theNorth China Heraldaccount, however, seems to have emphasized a dichotomy of old and new rather than a joyful mix of the two:Hundreds of men, dressed in the ancient costume of the old dynasties, bore a strong contrast to the eight behind them, sons of intimate friends of the deceased. They were on horseback and wore high silk hats, frock coats and white breeches tucked in riding boots.Truly the passing of the old and the entering of the new. (Ibid.; emphasis added)This view – the old giving way to the new – was not just an off-hand (Western) journalistic analysis; it was part of a larger discourse about the nature of modernity, about progress, and about the relationship between East and West. By the early twentieth century, China was often perceived by most Westerners and Chinese alike as traditional, backward, and weak. It was, thus, commonly stated that the old was giving way to the new (descriptive), should be giving way to the new (prescriptive), or was bound to give way to the new (quasi-fatalistic), if China was to survive. This kind of discourse was put forward by both Western and Chinese writers, who embraced this linear, progressive, view of the relationship between the old and the new, well before Sheng's funeral or the Qing's demise. In the aftermath of that demise, the New (not “Modern”) Culture Movement began to grow and seek solutions for the old-new nation's crisis. The Movement's rhetoric in particular advanced the need for the triumph of the new, and journals, such as New People, New Tide, or New Youth (新民, 新潮, 新青年) served as media for extending such views.
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Hudson, Julie. "‘If You Want to Be Green Hold Your Breath’: Climate Change in British Theatre." New Theatre Quarterly 28, no. 3 (August 2012): 260–71. http://dx.doi.org/10.1017/s0266464x12000449.
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With a rich mix of theatrical material to bring to the table, the climate-change debate playing out in the public domain would seem well adapted to the stage, and has often been presented in docu-dramatic form, as in Al Gore's well-known film An Inconvenient Truth. But until relatively recently climate change and the science relating to it have been conspicuous by their absence from the stage. Early movers on the climate-change theatre scene included Caryl Churchill's 2006 climate-change libretto for the London Proms, We Turned on the Light, and John Godber's 2007 play Crown Prince. Since then, interest has steadily increased. In 2009 came Steve Waters's double bill The Contingency Plan (On the Beach and Resilience). This was quickly followed by Earthquakes in London by Mike Bartlett in 2010, and by three further plays in the spring of 2011: Greenland, the collaborative work of Moira Buffini, Matt Charman, Penelope Skinner, and Jack Thorne; The Heretic by Richard Bean; and Wastwater by Simon Stephens. In this article Julie Hudson focuses on three of these works to explore how the plays engage with the debate through the medium of climate-change science. As her article suggests, these British climate-change plays make an important and occasionally subversive contribution to the long-running discourse on the relationship between science, the ecosystem, and human beings. In performance, they succeed in turning a subject that has been overplayed for effect in the public domain into compelling theatre. Julie Hudson is currently a visiting fellow at the Smith School of Enterprise and the Environment, Oxford University.
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Benson, Nicholas. "Apes on TV: Medium specificity and considerations of continuity in early transmedia storytelling." Critical Studies in Television: The International Journal of Television Studies 14, no. 1 (March 2019): 22–39. http://dx.doi.org/10.1177/1749602018809790.
Full textAbstract:
In 1974, CBS premiered a television series based on the popular Planet of the Apes films. Despite high expectations from the network, the series was a critical and ratings flop and CBS quickly canceled it in the middle of its first season. This article considers the short-lived Planet of the Apes (1974) series as an early attempt at transmedia storytelling and asks what its failure might reveal about certain pre-conglomeration, pre-franchising industrial logics, particularly as they relate to properties that transition from film to television. The Apes television series offers an opportunity to understand certain logics of transmedia textual management before they become entrenched in discourses of media franchising. Through a combination of industrial and textual analysis, I trace the history of the programme and ultimately argue that the industrial considerations (specifically those of network era broadcast television) heavily informed the intertextual relationships between the film series and the TV show.
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Seargeant, Philip. "Discursive diversity in the textual articulation of epidemic disease in Early Modern England." Language and Literature: International Journal of Stylistics 16, no. 4 (November 2007): 323–44. http://dx.doi.org/10.1177/0963947007082990.
Full textAbstract:
This article provides a detailed examination of the way in which the social response to epidemic disease in Early Modern England was constructed through discourse, and of how a matrix of meanings for the 'plague' was promoted to fill the conceptual gap between experience and social understanding. It analyses the variety of textual genres that were used to articulate this response, from the sermon tradition to prose pamphlets and the bills of mortality, and considers the dialogic nature of the interaction between these genres and how this facilitated the spread and generation of metaphoric associations for the disease. The article also considers the way in which this discourse itself is structured, and how it is marked by diversity and heterogeneity; it contends that rather than there being a clear hierarchy of dominant and 'alternative' discourses, it is more an unstable equilibrium of competing explanations. In part, this diversity is a result of plural and competing meanings being ascribed to the disease; in part, it is due to the range of different voices eager to promote their own opinion. This results in multiplicity not just of 'product', but also of 'process', with different genres and institutional centres of power (including the church, the civic authorities, the publishing industry) all claiming authority over the prescription of meaning. In this way the discourse itself becomes disordered, as there is no major controlling influence, and the structure of the discourse can be seen to reflect iconically the very themes that it articulates.
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Vesting, Thomas. "The Autonomy of Law and the Formation of Network Standards." German Law Journal 5, no. 6 (June 1, 2004): 639–68. http://dx.doi.org/10.1017/s2071832200012761.
Full textAbstract:
In the recent discussion on Internet law and regulation it has often been argued that technical standards have a significant impact on the variety and diversity of the Net's communication flows. This Article extends this argument, focusing on the ability to constrain Net communication through “code” and “architecture” imposed by network technology, i.e., by a source of rule-formation and rule-making beyond the traditional law of nation-states. Although I am generally sympathetic to the position that a novel “Lex Informatica” poses new legal and political challenges for nation-states, it should, however, be clear from the outset that the attention for “code” and “architecture” is something different to a paraphrase of the ever-expanding role of technology in modern society. This has to be emphasized because the discourse of “the technological”, which was already a prominent subject in the anti-modernist debate during the Weimar Republic, still casts a shadow on the contemporary legal discussion about the role of technical standards on the Internet. Lawrence Lessig, for example, confronted with a strict anti-governmentalism of cyber-libertarians in the mid-nineties, argues inCode and other Laws of Cyberspacethat the Internet is regulated by “code”, i.e. “the software and hardware that make Cyberspace what it is”. “Code” itself is embedded in an environment of economic power and corresponding political interests. In a nutshellLessigpaints a picture in which the Internet is developing towards an intolerable density of control by powerful coalitions of technical experts and economic enterprises. This view may be convincing in some respects, but with his accent on “code”, Lessig comes very close to the anti-modernist reaction to the growing significance of film and radio in the early 20th century, inasmuch as both strands are based on the misconception of a technological superstructure steering the (media) world and its further evolution.