Journal articles: 'Early film history'

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Negra, Diane. "Introduction: Female Stardom and Early Film History." Camera Obscura: Feminism, Culture, and Media Studies 16, no. 3 (2001): 1–7. http://dx.doi.org/10.1215/02705346-16-3_48-1.

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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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Welker, Cécile. "Early History of French CG." Leonardo 46, no. 4 (August 2013): 376–85. http://dx.doi.org/10.1162/leon_a_00609.

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This paper provides an historical summary of the emergence of computer graphics research and creation in France between 1970 and 1990, a period of innovation that transformed artistic practice and French visual media. The paper shows the role of these developments in the history of art, the evolution of digital technology, and the expansion of animation and visual effects in the film industry.

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White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.

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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.

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Bottomore, Stephen. "Rediscovering early non-fiction film." Film History: An International Journal 13, no. 2 (June 2001): 160–73. http://dx.doi.org/10.2979/fil.2001.13.2.160.

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Usuvaliev, Sultan I. "Methodological aspects of studying the history of Soviet cinema in the 1930s." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 17–28. http://dx.doi.org/10.17816/vgik11317-28.

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The article is devoted to the history of the Russian film studies and methodology of film history as science using the example of the Introduction of History of the Soviet Film Art by Nikolai Iezuitov (18991941), one of the founders of the national film studies. Since the manuscript of History of the Soviet Film Art the first history of the Soviet cinema has not yet been published and introduced into scholarly use, the author pays special attention to archival sources. Despite a number of essays and discussions about film history and its methodology, a fundamental scholarly work on the historiography of the history of Soviet and Russian cinema has not yet been written. The relevance and novelty of the article is that it is based on the study of archival manuscripts of Nikolai Iezuitov. The exploration of early approaches to the study of the history of the Soviet cinema is important both historically and pedagogically. One of the most important sources of the concept of film history at an early stage of the national film studies is Iezuitov's Introduction to History of the Soviet Film Art. The Introduction is valuable because: 1) it is a rare evidence of reflection on the foundations of film history as scholarship and its methodology; 2) it is given by the author of the first history of the Soviet cinema; 3) it is represented by the author not as a separate abstract essay but as a part of the history itself. The Introduction defines the scholarly tasks and content of film history; overviews foreign books on the history of cinema; emphasizes specific periods of Soviet film history; and indicates the principles of work with relevant sources. Iezuitovs main principles in relation to film history are established in connection, firstly, with Soviet history scholarship; and secondly, with the vision of film history as the history of film art. Thus, film history, according to Iezuitov, is the unity of Marxist understanding of history and art-historical (stylistic) analysis of films and the main film movements in Soviet cinema.

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Adriaensens, Vito. "Cultivating the Early Canons: The Pordenone Silent Film Festival." Film Quarterly 69, no. 3 (2016): 91–95. http://dx.doi.org/10.1525/fq.2016.69.3.91.

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Festival Report: For passionate lovers of silent cinema, the first weekend of October is permanently highlighted in the calendar: it is then that a small city in the north of Italy serves up more than just excellent antipasti and chilled Aperol Spritz. Le Giornate del Cinema Muto, or “the days of silent cinema,” commonly known as the Pordenone Silent Film Festival, has been the mecca for film historians and amateurs of “mute flickers” since its founding in 1982. The festival is the largest silent film festival in the world, offering a nine-day bombardment of rediscoveries, restorations, retrospectives, and special events from dusk until well past dawn, projected at the proper speeds and accompanied by such leading early cinema musicians as Neil Brand, John Sweeney, and Günter Buchwald. Film history comes alive. Films reviewed include: Douro, Faina Fluvial (1931), Chuji tabinikki (A Diary of Chuji's Travels, Daisuke Ito, 1927), and Henri Fescourt's 1925–26 rendition of Les Misérables.

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Förster, Annette, and Eva Warth. "Feminist approaches to early film history 1: An overview." TMG Journal for Media History 2, no. 1 (August 14, 2018): 114. http://dx.doi.org/10.18146/tmg.37.

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Schlüpmann, Heide. "Feminist approaches to early film history 2: Fantastic Motion." TMG Journal for Media History 2, no. 1 (August 14, 2018): 128. http://dx.doi.org/10.18146/tmg.38.

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Warth, Eva. "Feminist approaches to early film history 3: Moving Bodies." TMG Journal for Media History 2, no. 1 (August 14, 2018): 142. http://dx.doi.org/10.18146/tmg.39.

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Schulze, Peter W. "The Trans/national Cultural Economy of Latin American Film Musicals (1930s-50s)." Journal of Foreign Languages and Cultures 5, no. 2 (December 28, 2021): 127–42. http://dx.doi.org/10.53397/hunnu.jflc.202102012.

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This essay traces the tensions between national imaginaries and transnational global media flows of tango, samba, and ranchera film musicals, taking into account their cross-media and intercultural configurations as well as interconnections between these three “transgenres.” From a comparative perspective and by means of a “histoire croisée,” or crisscrossing history, it touches upon developments in early Latin American sound film, Hollywood’s Spanishlanguage films and its Pan-Americanism, Spain’s cinematic Hispanoamericanismo, and Pan-Latin American film productions. The essay makes a case for the multifaceted trans/national cultural economy of the tango, samba, and ranchera film musical productions during their main phase, in the 1930s and 40s.

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Ersoz, Meryem. "New beginnings in early American film." American Quarterly 49, no. 4 (1997): 888–94. http://dx.doi.org/10.1353/aq.1997.0031.

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Stephen Bottomore. "The Early Film Colorists Speak." Film History 28, no. 4 (2016): 159. http://dx.doi.org/10.2979/filmhistory.28.4.06.

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Rheindorf, Markus. "Film as language: The politics of early film theory (19201960)." Journal of Language and Politics 4, no. 1 (June 8, 2005): 161–68. http://dx.doi.org/10.1075/jlp.4.1.08rhe.

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While conventional accounts of the history of film theory portray early theoretical writings as ‘naïve’, ‘unsystematic’, and ‘impressionistic’, this paper argues that, although there is a factual basis for this dismissive appraisal, such accounts thoroughly ignore the many contradictions that mark these writings. This paper focuses on a historically specific case, the film theory of Siegfried Kracauer, and relates the major contradictions in Kracauer’s theory of film and his conception of ‘film as language’ to a changing socio-cultural context. This case study serves to illustrate the fact that theoretical discourses, especially in their formative, pre-institutionalised stages, are open to a variety of ideological and political struggles. The specifics of early film theory also throw some light on the politics of discursive strategies establishing analogies (and difference) between ‘film’ and ‘language’ decades before the ‘structuralist turn’ in film theory.

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Barr, Charles. "Rethinking Film History: Bazin's Impact in England." Paragraph 36, no. 1 (March 2013): 133–52. http://dx.doi.org/10.3366/para.2013.0082.

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A new orthodoxy suggests that André Bazin's work had little influence in anglophone countries until decades after his death. This article cites a wide range of evidence, mainly from British publications, in order to challenge this view. Starting with the critics who were associated with the ground-breaking magazine Movie in the early 1960s, it notes also Bazin's early impact in America via the magazine Film Quarterly and the high-profile critic Andrew Sarris. Moreover, Peter Wollen and Laura Mulvey, two of the most prominent British theorists commonly associated with an anti-Bazinian ‘Screen Theory’ of the 1970s, are shown to have been both continuously respectful of, and influenced by, Bazin's work. In short, it is argued that Bazin's influence on anglophone film culture has been continuous and formative rather than sporadic.

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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (April 2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.

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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.

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Lovejoy, Alice. "The World Union of Documentary and the Early Cold War." boundary 2 49, no. 1 (February 1, 2022): 165–93. http://dx.doi.org/10.1215/01903659-9615445.

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This essay traces the evolution of the idea of “international documentary” during the early Cold War through the history of the World Union of Documentary (1947–50), an association spearheaded by documentarian Joris Ivens that aimed to articulate a common purpose for postwar documentary and to facilitate the international exchange of films, professionals, and knowledge in the field. I investigate the links between the association and contemporaneous international initiatives, chiefly film festivals and the peace movement, focusing throughout on Eastern Europe, where the World Union was headquartered for most of its existence. Indeed, the association's history is inextricable from that of Ivens's 1949 film about the East European “new democracies,” The First Years (Pierwsze lata). Both projects, I argue, were impeded not only by the polarized political atmosphere of the period but also by complex political, administrative, and generational dynamics within the documentary community and the international Left.

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Hughes, Stephen Putnam. "The Production of the Past: Early Tamil Film History as a Living Archive." BioScope: South Asian Screen Studies 4, no. 1 (January 2013): 71–80. http://dx.doi.org/10.1177/097492761200483060.

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This article considers a series of questions about the relationships between historical sources, archival practice, and the production of film history about Tamil cinema of the 1930s. I review the range of archival material relevant for producing histories of early Tamil film in order to consider how the issue of access to historical sources has produced various kinds of expert knowledge. What kind of limits do these various film archives impose on our historical research? How do these archives constitute their own historical narratives? And, how might we begin to think critically beyond these limitations to write alternative histories of early Tamil film? I argue that these questions are vital in order to remake film history as an ongoing, unfinished, and open-ended project that is part of the living present.

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Gaines, Jane M. "On Not Narrating the History of Feminism and Film." Feminist Media Histories 2, no. 2 (2016): 6–31. http://dx.doi.org/10.1525/fmh.2016.2.2.6.

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“On Not Narrating the History of Feminism and Film” poses two questions: What happened to women in the early silent film industries, and why don't we know about them? While the author and others have addressed the first question elsewhere at recent international conferences and in publication, the second remains largely unanswered and is taken up here. It is specific to the field of feminism and film and media studies, where in the 1970s moment of feminist film theory, the powerful paradigm of “no women” or woman as “absent” could be taken as either theoretical or empirical. The question arises as to how to write a narrative account given earlier prohibitions against narrative and empirical work, even when that very kind of work has discovered evidence of women working in significant roles in early film industries worldwide.

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Philip, VG Bijoy. "Left Bank Cinema: Memories of History and the Experience of Time." Tattva - Journal of Philosophy 11, no. 1 (January 1, 2019): 1–18. http://dx.doi.org/10.12726/tjp.21.1.

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In this paper, I use two films—Les Statues MeurrentAussi (Statues also Die, 1953) directed by Resnais and Marker and Sans Soleil (Sunless, 1983) as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave.

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Law, Ho Chak. "Restaging Zhu Yingtai in Early Communist China." TDR: The Drama Review 65, no. 2 (June 2021): 77–94. http://dx.doi.org/10.1017/s1054204321000095.

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In 1953, Shanghai Film Studio produced a Shaoxing opera film version of The Butterfly Lovers as the first color film of the People’s Republic of China. Noted for its immense popularity in the Sinophone sphere throughout the 1950s, the film actually exemplifies a history of Shaoxing opera that is connected to urbanization and nationalism as well as women’s liberation and the cultural politics of early communist China. It is an early example of how Chinese opera and modern media technology contribute to transnational negotiations and imaginations of Chinese identities.

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Szymala, Jacek, and Andrei Rogatchevski. "Filmowe portrety Stanisława Siedleckiego (1912–2002) na tle Svalbardu. Fragmenty wizualnej historii nauki." Kwartalnik Historii Nauki i Techniki, no. 3 (2021): 123–42. http://dx.doi.org/10.4467/0023589xkhnt.21.022.14183.

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Stanisław Siedlecki’s (1912–2002) Film Portraits against the Backdrop of Svalbard. Vignettes from the Visual History of Science The article offers a new perspective on Stanisław Siedlecki’s biography through visual history, with a particular emphasis on film history. The connections between Siedlecki’s life and the cinema can be grouped in three sections: 1. films starring Siedlecki, 2. films by Siedlecki and 3. films about Siedlecki. The film Do Ziemi Torella (To Torell Land) represents the pre-war period; the post-war period is marked by Siedlecki’s collaboration with Jarosław Brzozowcki on the making of Skroplone Powietrze (Liquefied Air) and Wieliczka – both from 1946. In the International Geophysical Year 1957/1958, Siedlecki led the Polish polar expedition, during which the visual material was created. He appeared in all three ‘roles’ (as a co-writer, protagonist, and consultant) in Jarosław Brzozowski’s film W Zatoce Białych Niedźwiedzi (In the Polar Bear Bay). He consulted polar films until the early 1990s. There are also two film biographies (portraits) of Siedlecki by Wanda Rollna and Iwona Bartólewska. The analysis of this material has also shed new light on the visual narration of the Polish polar expeditions in the 20th century.

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Youngblood, Denise J. "‘History’ on Film: the historical melodrama in early Soviet cinema." Historical Journal of Film, Radio and Television 11, no. 2 (January 1991): 173–84. http://dx.doi.org/10.1080/01439689100260191.

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Lu, Sheldon H. "Agitation or Deep Focus?: Early Chinese Film History and Theory." Harvard Journal of Asiatic Studies 76, no. 1-2 (2016): 197–207. http://dx.doi.org/10.1353/jas.2016.0008.

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Ringstad, Arnold. "The Evolution of American Civil Defense Film Rhetoric." Journal of Cold War Studies 14, no. 4 (October 2012): 93–121. http://dx.doi.org/10.1162/jcws_a_00277.

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In the 1950s and 1960s, the U.S. government oversaw the production of civil defense films designed to educate the population about what to do in the event of nuclear war. This article uses films from two distinct periods—the early 1950s and the early 1960s—as a point of departure for discussing U.S. civil defense policies during the Cold War. The article traces four key shifts in the film program's rhetorical strategies. First, an early focus on ideological matters was replaced with an emphasis on practical steps citizens could take. Second, the early conventionalizing of nuclear dangers was replaced by a more subtle integration of those dangers into everyday life. Third, the early films' narrative structures were replaced by a straightforward, documentary-style approach. Finally, the early flippancy with which nuclear war was treated was replaced by a deadly seriousness. These rhetorical shifts indicate that the civil defense establishment was capable of reacting to scientific, political, and popular pressures.

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Montiel-Mues, Alejandro. "History and analysis of Spanish cinematographic humorousness." Comunicar 15, no. 29 (October 1, 2007): 81–85. http://dx.doi.org/10.3916/c29-2007-12.

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Some research on film and/or history of cinema needs particular strategies. The study of the style in a film of the early years, for example, is totally different from the analysis of variants and invariants in Spanish cinematographic humour from a diacronic perspective. In this case, the analist must define specific tools, that is, he must formulate precise questions and focus the attention on some determined aspects of film. Determinadas investigaciones sobre el film y/o la historia del cine exigen estrategias singulares, pues en modo alguno puede ser igual el acercamiento al estilo de un film de los pioneros, por ejemplo, que, como aquí se propone, un análisis de las variantes e invariantes del humorismo cinematográfico español desde una perspectiva diacrónica. En este caso es exigible del analista que afine unos instrumentos específicos, lo cual se traduce en la formulación de preguntas muy precisas y una focalización en algunos –y sólo algunos– aspectos concretos de la película.

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Rahman, M. Sadiqur. "Early ‘Glocalization’ in Indian Cinema: An Analysis of Films of Dada Saheb Phalke and Himanshu Rai." Asiatische Studien - Études Asiatiques 73, no. 3 (March 26, 2020): 521–44. http://dx.doi.org/10.1515/asia-2019-0047.

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AbstractThat the adaptation of international ideas and foreign technology had an impact on local film culture, is not a new idea in Indian cinema. Nevertheless, more scholarship and greater familiarity with extant literature are needed. This article aims to contribute to the study of the integration process of early Indian films into World cinema. This article considers the early ‘glocalization’ in Indian cinema which traces the process of universalizing particular experiences in silent cinema and transcending from the local to (achieve) global levels. Through the analysis of the films of Dada Saheb Phalke and Himanshu Rai, two film producers who were hugely impacted by the European style of filmmaking, I will discuss how their global vision with local considerations played a decisive role in shaping the early Indian film history. I argue how local and global forces in Phalke and Rai’s cinema boosted cultural open-mindedness and economic growth.

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Kerr, Catherine E. "Incorporating the Star: The Intersection of Business and Aesthetic Strategies in Early American Film." Business History Review 64, no. 3 (1990): 383–410. http://dx.doi.org/10.2307/3115734.

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Scholars generally have studied the emergence of American film stars in one of two ways: as an aesthetic, cultural phenomenon or as part of the larger story of corporate consolidation in the film industry. This article combines these approaches, arguing that the early film star played two overlapping roles. Within the new long feature films, stars served as focal points for continuity across complex narratives; within the new vertically integrated film corporations, they became focal points for the coordination of production, distribution, and promotion. The article concludes by suggesting that the interconnections between aesthetic practice and industrial organization bear further examination.

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Marinelli, Lydia. "Screening Wish Theories: Dream Psychologies and Early Cinema." Science in Context 19, no. 1 (March 2006): 87–110. http://dx.doi.org/10.1017/s0269889705000773.

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ArgumentThe analogy between dream and film represents a central thread in the psychoanalytic discussion of cinema. Using examples taken from films created between 1900 and 1906, this paper develops a typology of dream scenes in early film. The basis for the proposed typology is provided by the dream knowledge in circulation toward the end of the nineteenth century. This knowledge was fed by a great variety of sources, some of them in the proximity of scientific research and some of them far from it, including wish-fulfilling prognostic models and those based on the reservoir of memory or on bodily stimuli. By setting cinema in a context of contemporary dream psychologies, it is possible to trace the specific conditions under which the analogy between dream and cinema could become effective.

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Karhulahti, Veli-Matti. "The Aesthetics of Early Adventure Games: A Reflection of Film History." International Journal of the Arts in Society: Annual Review 6, no. 2 (2011): 31–38. http://dx.doi.org/10.18848/1833-1866/cgp/v06i02/35926.

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Barbara Hall. "Oh, Pioneers! The Academy's Embrace of Early Film History, 1945–51." Moving Image: The Journal of the Association of Moving Image Archivists 13, no. 1 (2013): 185. http://dx.doi.org/10.5749/movingimage.13.1.0185.

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Li, Kaiyi. "Education, Entertainment, and Indoctrination." Journal of Educational Media, Memory, and Society 12, no. 1 (March 1, 2020): 24–42. http://dx.doi.org/10.3167/jemms.2020.120102.

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This article demonstrates how educational film in interwar China served the dual purpose of mass recreation and political indoctrination. It places educational film in China in the context of Chinese tradition and the predominance of utilitarian scholarship. On the one hand, China has a long history of using mass-recreational tools in order to influence and control society. On the other hand, foreign educational films available in the early twentieth century were not attractive to Chinese audiences. Hence, the boundary between recreational and educational film at the time was ambivalent and the combination of recreation, education, and propaganda was reflected both in the phenomenon of showing educational films and in the contents of the films themselves.

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Roberts, Andrew D. "Africa on Film to 1940." History in Africa 14 (1987): 189–227. http://dx.doi.org/10.2307/3171838.

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In the course of bibliographical work on volume 7 of the Cambridge History of Africa, I realized that there was no guide to film as a historical source for this or any other period in African history. Lists had been made of films on Africa available for loan or hire in the U.S.A., but no one had tried to list at all comprehensively what had actually been made or what had survived. I therefore decided to compile such a guide myself, tracing the making of non–fiction film in Africa from early days up to 1940: this seemed a suitable cutoff date, since it was clear that from the Second World War the scale of filmmaking in Africa, as elsewhere, increased very considerably, and in any case was beginning to attract the attention of historians.I was emboldened in this project by the publication in 1980 of the non–fiction catalog of the British National Film Archive. This immediately showed that a wide variety of relevant films had been not only made, but preserved, and for several there are viewing as well as archive copies. Unfortunately, there is no equivalent published catalog for any other major film archive. I have been able, however, to glean much information from a variety of guides, filmographies, and historical studies. Among lists of films in archival collections, the most useful were those in the U.S. of UNESCO for ethnographic films, McClintock for films on North Africa, and South's guide to African materials in the U.S. federal archives.

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Barnes, John. "Mary Jane's Mishap: An early British film re-examined." Film History: An International Journal 16, no. 1 (March 2004): 54–59. http://dx.doi.org/10.2979/fil.2004.16.1.54.

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Abdullah, Noor Aziah, Wan Amizah Wan Mahmud, Mohamad-Noor Salehhuddin Sharipudin, and Yusniza Yusuf. "Film and Audience: A Threat to National Security." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 1 (March 31, 2022): 240–55. http://dx.doi.org/10.17576/jkmjc-2022-3801-13.

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The early history of the film industry is said to have begun in the United States. Nelayan and Laila Majnun were the first Malay films produced in Malaya, in 1932, produced by Motilal Chemical Company. This thought stems from the effect of the scenes depicted in the film. This study's objective is to explore if film has the power of being a threat to national security, and secondly, to identify the impact of audience dependence on film by applying the Media Dependency Theory. This study used an entirely qualitative method which consists of in-depth interviews with 19 informants consisting of policymakers, enforcement, legal practitioners, media industry players, and the audience. Analysis of documents related to legislation was also carried out. The study found that films can threaten national security if certain scenes were not censored. The effect of the audience's dependence on the film can influence and change their social life. This study is expected to contribute to the media industry to produce films that aim to maintain racial harmony and national peace. Keywords: Film, the power of films, media dependency theory, films censorship, Malaysia.

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Olszynko-Gryn, Jesse. "Film lessons: early cinema for historians of science." British Journal for the History of Science 49, no. 2 (June 2016): 279–86. http://dx.doi.org/10.1017/s000708741600039x.

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Despite much excellent work over the years, the vast history of scientific filmmaking is still largely unknown. Historians of science have long been concerned with visual culture, communication and the public sphere on the one hand, and with expertise, knowledge production and experimental practice on the other. Scientists, we know, drew pictures, took photographs and made three-dimensional models. Rather like models, films could not be printed in journals until the digital era, and this limited their usefulness as evidence. But that did not stop researchers from making movies for projection at conferences as well as in lecture halls, museums and other public venues, not to mention for breaking down into individual frames for analysis. Historians of science are more likely to be found in the library, archive or museum than the darkened screening room, and much work is still needed to demonstrate the major effects of cinema on scientific knowledge. Film may have taken as long to change science as other areas of social life, but one can begin to glimpse important ways in which ‘image machines’ (cameras, projectors and the like) were beginning to mediate between backstage experimental work and more public demonstration even around 1900.

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Annegarn-Gläß, Michael. "The German Colonies in Die Weltgeschichte als Kolonialgeschichte." Journal of Educational Media, Memory, and Society 8, no. 1 (March 1, 2016): 14–29. http://dx.doi.org/10.3167/jemms.2016.080102.

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Academic history has begun only relatively recently to study films as historical sources, and thus far it has focused principally on feature films to the exclusion of nonfictional cinema, despite the use of educational films for propaganda as early as the interwar period. This essay examines the extent to which educational films of this period employed a range of techniques to reach their viewers and encouraged them to take the film’s argumentation on board. Categorizing these techniques as either narrative strategies or visual effects, we contextualize their use by taking the film Die Weltgeschichte als Kolonialgeschichte (“World History as Colonial History,” 1926) as an example.

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Mifflin, Jeffrey. "Moving Color: early film, mass culture, modernism." Historical Journal of Film, Radio and Television 33, no. 3 (September 2013): 501–2. http://dx.doi.org/10.1080/01439685.2013.822663.

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Aspinall, Dana E., and Courtney Lehmann. "Shakespeare Remains: Theater to Film, Early Modern to Postmodern." Sixteenth Century Journal 34, no. 4 (December 1, 2003): 1177. http://dx.doi.org/10.2307/20061690.

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Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.

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Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.

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Ustyugova, V. V. "A FILM CRITIC'S VIEW VERSUS A HISTORIAN'S VIEW ON SOVIET HISTORICAL MOVIES." Вестник Пермского университета. История, no. 4(55) (2021): 39–45. http://dx.doi.org/10.17072/2219-3111-2021-4-39-45.

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The article analyzes Yuri Tsivian's book “On the Approaches to Carpalistics. Movement and Gesture in Litera-ture, Art, and Film” (2010), which is a continuation of an earlier project of the famous Russian and American film scholar and a representative of the Tartu-Moscow Semiotic School and Film Studies at the University of Chicago – the study “Historical Reception of Cinema: Cinematography in Russia, 1895–1930” published in Riga in 1991. Tsivian introduces the notion of “carpalistics” into cinematography to denote one of the fundamental and formative principles of cinema – gesture. The author investigates the history of gestures in art, especially in the Russian avant-garde of the 1920s. The Soviet avant-garde cinema, in contrast to the pre-revolutionary anti-montage cinema, was dominated by montage, but it was too early to bury the gesture. The article compares, on the one hand, the approach-es of historians who analyze the ideologemes and ideological markers of historical films and identify the “second” mythological film-reality of Soviet history (a vivid example of such optics is the study “Museum of the Revolu-tion. Soviet Cinema and the Stalinist Historical Narrative” by Evgeny Dobrenko), and, on the other hand, the ap-proaches of film scholars who work with film-frames and sources of film-making (ego-documents, scripted vari-ants, montage sheets, film versions, etc.). On the example of the analysis of Sergei Eisenstein's films “October” and “Ivan the Terrible”, Tsivian shows the author's meanings, independent from the state order, in the rich system of references in films, and sees the secret writing of historical and cultural contexts inherent in them.

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Derk, George. "Make It Old: Hollis Frampton contra Ezra Pound." October 164 (May 2018): 29–48. http://dx.doi.org/10.1162/octo_a_00322.

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Hollis Frampton's films have often been characterized as the afterimages of literary modernism. While the material and linguistic concerns of his early films as well as his time spent visiting Ezra Pound at St. Elizabeths Hospital attest to the impact that modernist poetics had on him, the grand finale of his career—the cycle of films that comprise Magellan—marked his most significant departure from these original influences. Considering Magellan in relation to Pound's Cantos illuminates the competing modernisms, both literary and cinematic, in Frampton's late work. In his depiction of two simultaneous voyages—one through the world and one through the history of film—Frampton counterintuitively suggests that a modernism uniquely conceived for film can only be realized after establishing a tradition to renovate: film can finally make it new only through becoming old.

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Bustamante, Carlos. "AGFA, Kullmann, Singer & Co. and early cine-film stock." Film History: An International Journal 20, no. 1 (January 2008): 59–76. http://dx.doi.org/10.2979/fil.2008.20.1.59.

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Bayman, Louis. "Early film theories in Italy 1896–1922." Early Popular Visual Culture 16, no. 1 (January 2, 2018): 105–7. http://dx.doi.org/10.1080/17460654.2018.1455794.

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O'Rawe, Des. "Plays and Fragments: Antigone, Film, Modernity." Modernist Cultures 17, no. 1 (February 2022): 1–26. http://dx.doi.org/10.3366/mod.2022.0357.

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Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.

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Hess, Franklin L. "Sound and the Nation: Rethinking the History of Early Greek Film Production." Journal of Modern Greek Studies 18, no. 1 (2000): 13–36. http://dx.doi.org/10.1353/mgs.2000.0008.

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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 (March 13, 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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Golovnev, I. A. "Ethnocultural Communities of the North as Shown in Ethnocinema “Coast of the Chukchi Sea” by Grigory Smirnitsky: Shooting History." Archaeology and Ethnography 18, no. 3 (2019): 35–44. http://dx.doi.org/10.25205/1818-7919-2019-18-3-35-44.

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Purpose. History of visual anthropology in Russia is full of big names, heroic expeditions and classic films. Based on research and pursuing artistic goals, production of ethnographic films was also part of a grand Soviet experiment on creating a unique national identity. Soviet authorities used popular “cultural films” as a means of bringing together the peoples of the new Soviet Union on the screen. This article deals with exploring the film-image of the culture of the Chukchi on the example of a classic documentary film shot by Grigory Smirnitsky, a pioneer of the Soviet visual anthropology. The film was a result of the Chukotka expedition conducted by the film group of the Soyuzkino factory under the leadership of A. Litvinov, one of pioneers and icons of the national ethnographic cinema. The film “Coast of the Chukchi Sea”, the main result of the film expedition which has survived up to our days, was created by an A. Litvinov’s assistant, a young director and scriptwriter G. Smirnitsky. Due to the specifics of silent movies, this film is a kind of a cinematic text as it consists of approximately the same number of frames and text captions alternating in the narrative. In this regard, an effective method for analyzing this film applied in this article is its decoding, a «translation» into a text format. Result. The resultant film-text allows us to identify and analyze, on the one hand, the features of the screen image of the Chukchi culture of the early twentieth century. On the other hand, we analyzed the basis of the specific creative method of the director-researcher. G. Smirnitsky’s creativity is a perfect example of how a film potential can be used as a form of research cognition. The method discovered by the director in the expedition helps to combine research and documentary elements into a film so that the film could convey not only some information about the events shown, but also their figurative and emotional context. Conclusion. Based on the analysis of visual, textual and archival materials, we come to the conclusion that this documentary film phenomenon is a valuable historical source. Studying Soviet ethnographic cinema, including the film “Coast of the Chukchi Sea”, enriches the source base of modern science with audiovisual ethnographic materials and equips scientists with proven scientific and creative methods that could be used in modern research practice.

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McBain, Janet. "Greens of Glasgow: ‘We Want “U” In’." Film Studies 10, no. 1 (2007): 54–57. http://dx.doi.org/10.7227/fs.10.6.

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This short essay draws on research undertaken by the curator of the Scottish Screen Archive on the few surviving films credited to Greens Film Service of Glasgow in the teens and twenties. The research revealed a dynamic family business, born out of the travelling cinematograph shows of the late nineteenth century, growing to assume a dominant role in the Scottish cinema trade in the silent era, across exhibition, distribution and production. One small part of a lost film history waiting for rediscovery – early cinema in Scotland.

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Toulmin, Vanessa. "An early crime film rediscovered: Mitchell and Kenyon'sArrest of Goudie(1901)." Film History: An International Journal 16, no. 1 (March 2004): 37–53. http://dx.doi.org/10.2979/fil.2004.16.1.37.

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Journal articles on the topic 'Early film history'

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