Relevant bibliographies by topics / Film Arts Guild

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Academic literature on the topic 'Film Arts Guild'

Author: Grafiati
Published: 23 February 2023
Last updated: 24 February 2023

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Journal articles on the topic "Film Arts Guild"

1

Pett, Emma, and Helen Warner. "The Invisible Institution? Reconstructing the History of BAFTA and the 1958 Merger of the British Film Academy with the Guild of Television Producers and Directors." Journal of British Cinema and Television 17, no. 4 (2020): 449–72. http://dx.doi.org/10.3366/jbctv.2020.0542.

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As a cultural institution of national and global significance, the British Academy of Film and Television Arts (BAFTA) is notably absent from existing scholarship on the media industries. More importantly, BAFTA's role as an independent arts charity set up by the industry to support and develop new talent is often overlooked. Instead, references to BAFTA made by media and film scholars most frequently take the form of footnotes or digressions that detail particular awards or nominations. Drawing on a range of archival sources, including BAFTA's own records, we address this significant omission within existing scholarship on the British cultural and creative industries. In particular, we examine the period 1947–68, focusing on the 1958 merger of the British Film Academy with the Guild of Television Producers and Directors to form a new institution, known as the Society of Film and Television Arts (SFTA, later renamed BAFTA). This was achieved despite the well-documented tensions existing between the two industries throughout the period, which we identify and analyse within this historical context. We argue that a crucial factor driving the 1958 merger was the desire to develop quality training schemes across both industries. This, in turn, was partly enabled by an egalitarian turn in post-war British society towards the development of greater social equality and mobility. In reconstructing these events, we therefore interrogate and reassess the role played by this key national institution on the development of the creative and cultural industries, offering an expansion and revision of scholarship on media histories of post-war Britain.
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2

McGuire, Laura M. "A Movie House in Space and Time: Frederick Kiesler's Film Arts Guild Cinema, New York, 1929." Studies in the Decorative Arts 14, no. 2 (2007): 45–78. http://dx.doi.org/10.1086/652879.

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3

Goode, Ian, Sarah Neely, Callum G. Brown, and Ealasaid Munro. "The Media and Modernity: Film and New Media in the Highlands and Islands 1946–1971: Introduction." Northern Scotland 11, no. 1 (2020): 1–10. http://dx.doi.org/10.3366/nor.2020.0201.

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The Highlands and Islands Film Guild is briefly surveyed in this article that introduces the Special Issue on Media and Modernity. The foundations, principles and manner of operation are outlined, as well as the interdisciplinary research project. The article starts with a review of literature on the nature of society in the Highlands and Islands, and the way that researchers regard it as ‘the other’ in historical and ethnographic research within the United Kingdom. We note the work undertaken in cultural history that has tended to treat the Highland zone as disjoined in governance and everyday life. The researchers’ different approaches and methods are then discussed, moving through specialists in film and television, creative arts, religious and cultural history, and social geography. Finally, the article introduces the articles that follow in the Special Issue.
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Rio Febriannur Rachman. "Greed in the Film "Parasite"." Jurnal Spektrum Komunikasi 8, no. 1 (2020): 10–21. http://dx.doi.org/10.37826/spektrum.v8i1.60.

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Penelitian ini mengupas tentang pesan moral yang berhubungan dengan ketamakan dalam film Parasite. Karya seni berbahasa Korea Selatan ini dipilih karena merupakan film terbaik di dunia versi Academy Awards atau Oscar 2020. Pada 2019 lalu, garapan Bong Joon-Ho ini meraih Palme d’Or dalam Festival Film Cannes ke-72. Sekaligus mendapat apresiasi berupa delapan menit standing ovation dari hadirin. Pada Januari 2020, karya yang berjudul asli Gisaengchung ini memenangkan Best Foreign Language Film di Golden Globe Awards dan Cast in a Motion Picture di Screen Actors Guild Award. Tak hanya itu, rekam jejak film ini menjadi lebih menarik karena meraih Best Film Not in the English Language dalam British Academy of Film and Television Arts 2020, beserta sederet penghargaan di ajang internasional lainnya. Sejumlah artikel membahas tentang aspek kesenjangan sosial yang ditunjukkan di film ini. Padahal, sebagai sebuah karya seni, pesan moral dalam sebuah produk sinematik bisa beragam dan dapat ditelaah dari beragam sudut pandang. Riset ini bersandar pada teori representasi yang merujuk pada konsep tamak dalam perspektif Islam dan Kristen, seperti tertera pada tafsir di kitab suci Al-Qur’an dan Injil. Metode yang digunakan adalah kualitatif dengan pendekatan analisis visual pada lingkup the site of image itself. Hasil dari penelitian ini, ketamakan tergambar pada sikap dari satu keluarga miskin yang memiliki peran utama dalam film Parasite.
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5

Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.

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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.
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6

Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no. 2 (2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.

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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.
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7

Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union.
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8

Kamrowska, Agnieszka. "Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 21–34. http://dx.doi.org/10.14746/i.2020.37.02.

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 The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.
 
 
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9

Mini, Darshana Sreedhar. "Cinema and the mask of capital: Labour debates in the Malayalam film industry." Studies in South Asian Film & Media 11, no. 2 (2020): 173–89. http://dx.doi.org/10.1386/safm_00027_1.

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Labour discourses in the film industry are often couched in the language of ‘welfare’ and an effort to maintain harmony among different filmmaking sectors. But such arrangements do not proffer equal participation or bargaining rights to everyone in the industry. Focusing on the Malayalam language film industry based in Kerala, this article examines how the film industry’s apprenticeship and unpaid labour arrangements affect below-the-line labour and less influential job profiles on a film set. In corollary, I also explore how labour and bargaining rights are conceptualized differently by film organizations based on their ideological positions. Using a mixed-methods approach, including media ethnography and interviews with members of different trade guilds who form part of Malayalam cinema’s professional, technical and service sectors, I demonstrate how structural inequalities in the film industry are overlooked while the cine-worker’s agency is co-opted by a neoliberal system that masquerades as welfare.
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10

Baar, K. Kevyne. "“What Has My Union Done For Me?” The Screen Actors Guild, the American Federation of Television and Radio Artists, and Actors' Equity Association respond to McCarthy-Era blacklisting." Film History: An International Journal 20, no. 4 (2008): 437–55. http://dx.doi.org/10.2979/fil.2008.20.4.437.

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