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Books on the topic 'Militant cinema'

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Published: 4 June 2021
Last updated: 25 May 2024

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1

Colloque "Théâtre et cinéma militants" (2003 Université Paris X Nanterre). Une histoire du spectacle militant: Théâtre et cinéma militants 1966-1981. Vic la Gardiole: Entretemps, 2007.

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2

Gherman, Alexei. The Cinema Militans Lectures 1989-1991. Utrecht, The Netherlands: Dutch Film Days Foundation, 1992.

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3

Mondo queer: Cinema e militanza gay. Torino: Lindau, 2005.

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4

Fairfax, Daniel. The Red Years of Cahiers du cinéma (1968-1973). NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048543908.

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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.
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5

Ranieri, Tino. Nostro cinema quotidiano: Da spettatore di provincia a critico militante, 1952-1976. Roma: Bulzoni, 1986.

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6

Camera politica: Dialectique du réalisme dans le cinéma politique et militant : groupe Medvedkine, Francesco Rosi, Peter Watkins. Paris: Vrin, 2009.

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7

Virilio, Paul. Guerre et cinéma. Paris: Editions Cahiers du cinéma, 1991.

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8

Fairfax, Daniel. The Red Years of Cahiers du cinéma (1968-1973). NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048543915.

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The uprising which shook France in May 1968 also had a revolutionary effect on the country’s most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. Inspired by Marxist and psychoanalytic theory, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was seminal for the formation of film studies and is still of vital relevance for the contemporary audiovisual landscape. The Red Years of Cahiers du Cinéma (1968-1973) gives an overview of this period in the journal’s history and its aftermath, combining biographical accounts of the critics who wrote for Cahiers in the post 1968 period with theoretical explorations of their key texts.
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9

British silent cinema and The Great War. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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10

Soldiers' stories: Military women in cinema and television since World War II. Durham, NC: Duke University Press, 2011.

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11

Velikai︠a︡ voĭna: Katalog vystavki K 100-letii︠u︡ nachala Pervoĭ mirovoĭ voĭny. Sankt-Peterburg: Gosudarstvennyĭ muzeĭ gorodskoĭ skulʹptury, 2014.

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12

Alfonsi, Laurence. Lectures asiatiques de l'œuvre de François Truffaut: De la sociologie du cinéma. Paris: Harmattan, 2000.

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13

John, Doyle. Changi. Sydney: ABC Books for the Australian Broadcasting Corporation, 2001.

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14

Il Corpo di spedizione italiano in Cina: 1900-1905 : organizzazione, uniformi e distintivi. Roma: Commissione italiana di storia militare, 2012.

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15

Cantoni, Virginio, Gabriele Falciasecca, and Giuseppe Pelosi, eds. Storia delle telecomunicazioni. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-245-5.

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Focusing on the history of scientific and technological development over recent centuries, the book is dedicated to the history of telecommunications, where Italy has always been in the vanguard, and is presented by many of the protagonists of the last half century. The book is divided into five sections. The first, dealing with the origins, starts from the scientific bases of the evolution of telecommunications in the nineteenth century (Bucci), addressing the developments of scientific thought that led to the revolution of the theory of fields (Morando), analysing the birth of the three fundamental forms of communication – telegraph (Maggi), telephone (Del Re) and radio (Falciasecca) – and ending with the contribution made by the Italian Navy to the development of telecommunications (Carulli, Pelosi, Selleri, Tiberio). The second section, on technical and scientific developments, presents the numerical processing of signals (Rocca), illustrating the genesis and metamorphosis of transmission (Pupolin, Benedetto, Mengali, Someda, Vannucchi), network packets (Marsan, Guadagni, Lenzini), photonics in telecommunications (Prati) and addresses the issue of research within the institutions (Fedi-Morello), dwelling in particular on the CSELT (Mossotto). The next section deals with the sectors of application, offering an overview of radio, television and the birth of digital cinema (Vannucchi, Visintin), military communications (Maestrini, Costamagna), the development of radar (Galati) and spatial telecommunications (Tartara, Marconicchio). Section four, on the organisation of the services and the role of industry, outlines the rise and fall of the telecommunications industries in Italy (Randi), dealing with the telecommunications infrastructures (Caroppo, Gamerro), the role of the providers in national communications (Gerarduzzi), the networks and the mobile and wireless services (Falciasecca, Ongaro) and finally taking a look towards the future from the perspective of the last fifty years (Vannucchi). The last section, dealing with training and dissemination, offers an array of food for thought: university training in telecommunications, with focus on the evolution of legislation and on the professional profiles (Roveri), social and cultural aspects (Longo and Crespellani) as well as a glance over the most important museums, collections and documentary sources for telecommunications in Italy (Lucci, Savini, Temporelli, Valotti). The book is designed to offer a compendium comprising different analytical approaches, and aims to foster an interest in technology in the new generations, in the hope of stimulating potentially innovative research.
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16

Tom, Pollard, ed. The Hollywood war machine: U.S. militarism and popular culture. Boulder: Paradigm Pub., 2007.

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17

T'ot'emijŭm ŭi hŭnjŏk ŭl ch'ajasŏ: Tongmul e kwanhan yasaengjŏk tamnon ŭi kogohak. Sŏul T'ŭkpyŏlsi: Sŏgang Taehakkyo Ch'ulp'anbu, 2009.

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18

Reich, Elizabeth. Militant Visions: Black Soldiers, Internationalism, and the Transformation of American Cinema. Rutgers University Press, 2016.

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19

Militant Visions: Black Soldiers, Internationalism, and the Transformation of American Cinema. Rutgers University Press, 2016.

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20

Reich, Elizabeth. Militant Visions: Black Soldiers, Internationalism, and the Transformation of American Cinema. Rutgers University Press, 2016.

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21

Reich, Elizabeth. Militant Visions: Black Soldiers, Internationalism, and the Transformation of American Cinema. Rutgers University Press, 2016.

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22

The Cinema Militans Lecture 1994. Utrecht, The Netherlands: Dutch Film Days Foundation, 1994.

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23

Guy, Gauthier, and Heller Thomas, eds. Le cinéma militant reprend le travail. Condé-sur-Noireau: Corlet, 2004.

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24

Grant, Paul Douglas. Cinéma Militant - Political Filmmaking and May 1968. Columbia University Press, 2016.

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25

Cinéma Militant - Political Filmmaking and May 1968. Columbia University Press, 2016.

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26

Grant, Paul Douglas. Cinéma Militant: Political Filmmaking and May 1968. Columbia University Press, 2016.

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27

Spanish Cinema Against Itself: Cosmopolitanism, Experimentation, Militancy. Indiana University Press, 2020.

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28

Marsh, Steven. Spanish Cinema Against Itself: Cosmopolitanism, Experimentation, Militancy. Indiana University Press, 2020.

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29

Marsh, Steven. Spanish Cinema Against Itself: Cosmopolitanism, Experimentation, Militancy. Indiana University Press, 2020.

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30

Marsh, Steven. Spanish Cinema Against Itself: Cosmopolitanism, Experimentation, Militancy. Indiana University Press, 2020.

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31

Marsh, Steven. Spanish Cinema Against Itself: Cosmopolitanism, Experimentation, Militancy. Indiana University Press, 2020.

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32

Cláudio, Bezerra, ed. Tejucupapo: História, teatro, cinema. Recife: Edições Bagaço, 2004.

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33

The Cinema Militans Lecture 1992: Don't cry for me when I'm gone: motion pictures in 1992. Utrecht, The Netherlands: Dutch Film Days Foundation, 1992.

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34

War And Cinema The Logistics Of Perception. Verso, 2009.

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35

Marsh, Leslie L. Rescreening the Past. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0004.

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This chapter looks at Tizuka Yamasaki, another “offspring” of Cinema Novo directors and one of the first women filmmakers to establish a continuous career trajectory in filmmaking. Yamasaki, who claims she inaugurated a “cinema of emotion” in the 1980s, strategically turned to melodrama to comment on Brazil's past in an effort not only to address lacunae in official versions of Brazil's history but also to contribute discursively to a process of redefining citizenship during the years of political opening before the official end of the military dictatorship. The chapter then studies Yamasaki's first, highly acclaimed films from the 1980s, including Gaijin: Os Caminhos da Liberdade (Gaijin: Paths to Freedom, 1980), Parahyba, Mulher Macho (Parahyba, Manly Woman, 1983), and Patriamada (Sing, the Beloved Country, 1984).
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36

Murray, Jonathan, and Nea Ehrlich, eds. Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.001.0001.

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Documentary cinema has always drawn from real life. However, an increasing number of contemporary filmmakers go further still, drawing onscreen images of reality through a range of animated filmmaking techniques and aesthetics. This book is the first of its kind, exploring the field of animated documentary film from a diverse range of scholarly and practice-based perspectives. The book’s chapters explore and propose answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: What are the historical roots of animated documentary? What kinds of reasons inspire practitioners to employ animation within documentary contexts? How do animated documentary images reflect and influence our understanding and experience of multiple forms of reality – public and private, psychological and political? From early cinema to present-day scientific research, military uses, digital art and gaming, this book casts new light on the capacity of the moving image to act as a record of the world around us, challenging many orthodox definitions of both animated and documentary cinema.
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37

Cinema's Military Industrial Complex. University of California Press, 2018.

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38

Erish, Andrew A. Vitagraph. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.001.0001.

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For more than a century, the origin story of the American film industry has been that the founders of Paramount and Fox invented the feature film, that Universal created the star system, and that these three companies (along with the heads of MGM and Warner Bros.) were responsible for developing the multi-billion-dollar business we now know as Hollywood. Unfortunately for history, this is simply not true. Andrew A. Erish's definitive history of this important but oft-forgotten studio compels a reassessment of the birth and development of motion pictures in America. Founded in 1897, the Vitagraph Company of America (later known as Vitagraph Studios) was ground zero for American cinema. By 1907, it was one of the largest film studios in America, with notable productions including the first film adaptation of Les Misérables (1909); The Military Air-Scout (1911), considered to be one of the first aviation films; and the World War I propaganda film The Battle Cry of Peace (1915). In 1925, Warner Bros. purchased Vitagraph and all of its subsidiaries and began to rewrite the history of American cinema. Drawing on valuable primary material overlooked by other historians, Erish challenges the creation myths marketed by Hollywood's conquering moguls, introduces readers to many unsung pioneers, and offers a much-needed correction to the history of commercial cinema.
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39

Uva, Christian. Sergio Leone. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190942687.001.0001.

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Spectacle, myth, fable. These are the main categories that have traditionally defined Sergio Leone’s cinematic production, but it is necessary to underline how much they are fueled by a profound, layered political interest. Leone’s cinema bears witness to a critical outlook both on the subjects it showcases and on its representational means. Far from any militancy and escaping ideological classifications, Leone’s perspective is problematic and unreconciled: it is grounded in the coexistence of different elements in a state of perennial productive tension and instability. The adjective “political” takes on a deeper meaning when it is used to denote the director’s ability to narrate and interpret key aspects of Italian national identity and history. The abstract quality of his production relies on an original use of different genres, particularly sword-and-sandal and the Spaghetti Western, which allowed Leone to insert frequent symbolic references to both history and then-current events. On the stylistic level, his constant disobedience to classical models and his need to revolutionize forms were motivated by an authorial desire to make films politically, though still within a conception of cinema as an industrial spectacle.
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40

Shope, Bradley. Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0013.

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This chapter discusses blackface minstrel troupes, British regimental bands and jazz orchestras performing in India from the mid-nineteenth century to the mid-twentieth century. It details their challenges and strategies for success, and suggests that their capacity to facilitate cosmopolitan encounters in the wider world contributed to their popularity and value. It first introduces problems and practicalities in maintaining bands performing British military music in India in the mid- and late-nineteenth century. It then briefly introduces the character and scope of ballroom dance music and blackface minstrelsy in urban centres. To end, it examines the character of jazz orchestras between the 1920s and 1940s, detailing the role of the gramophone industry, entertainment venues such as hotel and cinema hall ballrooms, and the Allied military in Calcutta on their growth and profitability. In each example, it articulates thoughts on the role and usefulness of orchestras and notes issues confronting their musicians.
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41

Brown, Richard H. Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.001.0001.

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Through the Looking Glass examines John Cage’s interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage’s career. As the commercially dominant media form in the 20th century, cinema transformed the way listeners were introduced to and consumed music. Cage’s quest to redefine music, intentionality, and expression reflects the similar transformation of music within the larger audiovisual experience of sound film. This study covers a wide variety of topics, ranging from Cage’s father, John Cage Sr.’s patents in infrared and military technology during World War II, theories of dance aesthetics, film and television theory, visual music, information technology, copyright, and the postwar position of the American Neo-Avant-Garde. This volume examines key moments in Cage’s career in which cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage’s own consideration of the musical artwork, pointing to new-found collision points that have a significant and heretofore unacknowledged role in Cage’s notions of the audiovisual experience and the medium-specific ontology of a work of art.
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42

Marsh, Leslie L. Brazilian Women’s Filmmaking and the State during the 1970s and 1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0002.

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This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.
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43

Niemi, Robert J. Inspired by True Events. 2nd ed. ABC-CLIO, LLC, 2013. http://dx.doi.org/10.5040/9798400670640.

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An up-to-date and indispensable guide for film history buffs of all kind, this book surveys more than 500 major films based on true stories and historical subject matter. When a film is described as "based on a true story" or "inspired by true events," exactly how "true" is it? Which "factual" elements of the story were distorted for dramatic purposes, and what was added or omitted? Inspired by True Events: An Illustrated Guide to More Than 500 History-Based Films, Second Edition concisely surveys a wide range of major films, docudramas, biopics, and documentaries based on real events, addressing subject areas including military history and war, political figures, sports, and art. This book provides an up-to-date and indispensable guide for all film history buffs, students and scholars of history, and fans of the cinema.
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44

Thomson, David. The Big Sleep. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781839021626.

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The Big Sleep: Marlowe and Vivian practising kissing; General Sternwood shivering in a hothouse full of orchids; a screenplay, co-written by Faulkner, famously mysterious and difficult to solve. Released in 1946, Howard Hawks' adaptation of Raymond Chandler reunited Bogart and Bacall and gave them two of their most famous roles. The mercurial but ever-manipulative Hawks dredged humour and happiness out of film noir. 'Give him a story about more murders than anyone can keep up with, or explain,' David Thomson writes in his compelling study of the film, 'and somehow he made a paradise.' When it was first shown to a military audience The Big Sleep was coldly received. So, as Thomson reveals, Hawks shot extra scenes, 'fun' scenes, to replace one in which the film's murders had been explained, and in so doing left the plot unresolved. Thomson argues that, if this was accidental, it also signalled a change in the nature of Hollywood cinema: 'The Big Sleep inaugurates a post-modern, camp, satirical view of movies being about other movies that extends to the New Wave and Pulp Fiction.'
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45

Farías, Martin. Identidad y política en la música del cine chileno (1939-1973). Ariadna Ediciones, 2021. http://dx.doi.org/10.26448/ae9789566095187.4.

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En este libro se analizan los usos de la música en el cine en Chile en términos de significado e interpretación considerando las circunstancias socio-políticas que han marcado al país durante el siglo XX. El marco temporal de esta pesquisa abarca desde 1939 cuando se establece la producción sostenida de películas con sonido óptico en el país y 1973, cuando el golpe de Estado cívico-militar destruyó todos los pilares del campo cultural en Chile y muchos cineastas y compositores partieron al exilio. Este trabajo se propone desafiar la historiografía y la investigación existente poniendo el acento en la dimensión sonora del cine chileno. Lejos de ser un aspecto secundario y decorativo, la música ha sido un elemento central en distintos momentos y prácticas del cine chileno tanto a nivel interno en sus propuestas formales y narrativas como en el nivel externo en su discursividad y vínculos con lo social y político.
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46

Nornes, Abé Mark, and Fukushima Yukio. Japan/America Film Wars: World War II Propaganda and Its Cultural Contexts. Taylor & Francis Group, 2021.

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47

Nornes, Abé Mark, and Fukushima Yukio. Japan/America Film Wars: World War II Propaganda and Its Cultural Contexts. Taylor & Francis Group, 2021.

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48

Nehring, Daniel, Gerardo Gómez Michel, and Magdalena López, eds. A Post-Neoliberal Era in Latin America? Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781529200997.001.0001.

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In the mid-1970s, Latin America entered a period of profound social and economic crisis, marked by the rise of brutal military dictatorships across much of the region and the near-collapse of some of Latin America’s largest economies, in Mexico and Brazil. In response to this crisis, governments across the region adopted neoliberal structural adjustment programmes from the 1980s onwards, under the auspices of international organisations, such as the International Monetary Fund and the World Bank. These reforms typically entailed sweeping cuts to public health and welfare programmes, the privatisation of large parts of the public infrastructure, the redistribution of wealth to economic elites, and a notable growth in poverty. As a result, these structural adjustment programmes faced growing resistance from the early 1990s onwards. Social and political movements, such as the Zapatistas in Mexico, formulated powerful challenges to neoliberal orthodoxy, while the election to government of left-wing populist leaders such as Hugo Chávez (1998), Evo Morales (2005) or Rafael Correa (2006) opened the door to experiments with a range of anti-neoliberal political programmes. The failures of these programmes and ongoing conflicts between neoliberal and anti-neoliberal elites and social movements have by the mid-2010s resulted in growing social instability. This book examines cultural responses to this instability. It looks at a wide range of cultural forms, such as literature, underground cinema, street fairs and self-help books to explore how Latin Americans construct subjectivities, build communities and make meaning in their everyday lives in during a profound crisis of the social. In this context, the book emphasises the role which neoliberal and anti-neoliberal narratives of self and social relationships may come to play in popular culture and everyday lived experience in Latin America today.
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49

Short, K. R. M. Film and Radio Propaganda in World War II. Taylor & Francis Group, 2021.

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50

Short, K. R. M., and Stephan Dolezel. Film and Radio Propaganda in World War II. Taylor & Francis Group, 2021.

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