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Journal articles on the topic 'Motion pictures and war'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Schwester, Richard W. "Tenets of Public Management and the World War II Mot ion Picture Genre." Public Voices 11, no. 1 (December 8, 2016): 41. http://dx.doi.org/10.22140/pv.100.

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The motion picture as an artistic medium amplifies emotions through the combination of imagery and sound. This medium has proven ideal for chronicling the American World War II experience. The World War II film genre has portrayed the American combat soldier as heroic and resourceful (Suid 2002). These portrayals of actions and leadership on the battlefield are, to some measure, applicable to contemporary public management. This paper examines select World War II motion pictures in the context of the following questions: (1) what tenets do these motion pictures convey and (2) to what extent do these tenets apply topublic management? Patton (1970), Saving Private Ryan (1998), and The Great Escape (1963) are examined

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2

LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda." Journal of American Studies 31, no. 3 (December 1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.

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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.

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3

Quadrio, Carolyn. "Book Review: The War Zone (Motion Picture)." Australian & New Zealand Journal of Psychiatry 34, no. 6 (December 2000): 1039–40. http://dx.doi.org/10.1080/000486700289.

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4

DeBauche, Leslie Midkiff, Peter C. Rollins, and John E. O'Connor. "Hollywood's World War I: Motion Picture Images." Journal of American History 85, no. 4 (March 1999): 1636. http://dx.doi.org/10.2307/2568366.

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Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (November 1, 2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.

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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.

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Vukoder, Bret. "Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region." Journal of Contemporary Iraq & the Arab World 18, no. 1 (March 1, 2024): 23–45. http://dx.doi.org/10.1386/jciaw_00118_1.

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This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.

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Dischl, Jonas. ""Nuit et brouillard" – Die erinnerungskulturelle Gedächtnismaschine. Ein Blick auf Alain Resnais' Meisterwerk." Didactica Historica 3, no. 1 (2017): 47–51. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.47.

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he documentary film Nuit et brouillard of the year 1955 is a masterpiece. Ten years after the end of World War II, Alain Resnais (1922‒2014) created a striking documentary about the NS regime’s policy of extermination. The movie had a lasting impact on the visual commemorative culture of the Shoa. Numerous iconographic illustrations of the Shoa are based on this documentary. Hence, later documentaries and motion pictures borrowed heavily from the imagery of Nuit et brouillard. This paper focuses on the history of reception of Nuit et brouillard and outlines one possible application for history lessons at secondary levels I and II.

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9

Bowers, Lauren. "The “Devil-May-Care Song of the Leathernecks”: A HISTORY OF THE “MARINES’ HYMN,” 1920–47." Marine Corps History 7, no. 2 (December 27, 2021): 36–53. http://dx.doi.org/10.35318/mch.2021070203.

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From 1920 to 1947, the “Marines’ Hymn” was a familiar sound over the radio waves and in motion pictures. Beyond its popular appeal, however, the hymn was scrutinized by Marine Corps leadership under the reforms of Major General Commandant John A. Lejeune, subjected to a prolonged ownership dispute, updated during a world war, and given an official birthday. This article continues the author’s research on the topic and examines these important milestones in the history of the “Marines’ Hymn” and the conflicts that arose as Marine Corps leadership attempted to maintain and promote one dignified official version that would foster a positive public image for the increasingly professional Corps.

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10

Putri, Nurul Perdana, and Hadi Gunawan Sakti. "Pengaruh Pemanfaatan Media Tutorial Berbentuk Film Motion Pictures Terhadap Motivasi Belajar Siswa." Jurnal Teknologi Pendidikan : Jurnal Penelitian dan Pengembangan Pembelajaran 6, no. 1 (April 14, 2021): 114. http://dx.doi.org/10.33394/jtp.v6i1.3617.

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The purpose of this study was to determine the effect of using tutorial media in the form of motion pictures on student motivation in class X ICT subjects at MA Darul Qur'an Wal Hadits. This research method using experiment. The population in this study were all students of class X at MA Darul Qur'an Wal Hadits 101 with a sample of 30 students. Data collection techniques in this study used a documentation questionnaire, observation and interviews. The data analysis technique used the t-test. From the research results obtained t-test of 3.481 with a significance level of 5% and d.b N-1 = (30-1 = 29) of 2.045. This shows that Ho is rejected and Ha is accepted, so it is concluded that there is an effect of the use of tutuorial media in the form of motion pictures on students' learning motivation in the X grade typology subject at MA Darul Qur'an Wal Hadits.

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Koppes, Clayton R., and Gregory D. Black. "Blacks, Loyalty, and Motion-Picture Propaganda in World War II." Journal of American History 73, no. 2 (September 1986): 383. http://dx.doi.org/10.2307/1908227.

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Zvegintseva, Irina A. "The Theme of Apocalypse in Australian Cinema." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 111–20. http://dx.doi.org/10.17816/vgik74111-120.

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The article analyses the Australian apocalypse films. Apocalypse is often used as a synonym to the worlds end or a world scale catastrophe. The world knows hundreds of motion pictures of different talent and artistry, where the set takes place either before, during or after a global catastrophe. Reasons for the apocalypse vary: nuclear war, alien invasion, riot of the machines, a gigantic meteor, a disease unknown to science, etc. Nevertheless, the result always remains the same: humanity ceases to exist. Australian filmmakers, too, have not stood out of their foreign colleagues and made a large amount of films, that tell about the worlds end, out of which many are impressive and significant, indeed.

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Gortat, Jakub. "Powrót do ruin. O atrakcyjności niemieckiego powojnia." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 333–62. http://dx.doi.org/10.21697/zk.2023.10.16.

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Return to the Ruins: The Appeal of Post-War Germany One of the most important dates in Germany’s postwar history was May 6, 1955, when the Federal Republic joined the North Atlantic Alliance, an event which perfectly reflected the dynamics of geopolitical changes that had taken place in the ten years since the end of World War II. The article focuses on the depictions of the German civilian population in selected motion pictures which, at least in theory, do not hold ordinary Germans responsible for war crimes. A look at the German war-torn landscape and its functionality will play an important role in the analysis, as it is against this background that the key plot lines are developed. Emphasis is placed on the allegorical and metaphorical significance of the ruins and their hidden meanings. The films under investigation are works created independently of German cinematography (except for two recent international co-productions). This is because the purpose of the analysis is to present the changing attitudes of filmmakers representing nations hostile to Germany until 1945 to the civilian population of ruined German cities. These attitudes, it is worth emphasizing, sometimes stand in opposition to the prescribed perception of Germany and Germans resulting from Cold War political realities and dictating that the nation be treated with sympathy, trust, friendship, and love as a new ally.

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Fronc, Jennifer. "“HISTORICAL PRESENTATION” OR “LIBEL TO THE RACE”?: CENSORSHIP AND THE BIRTH OF A NATION." Journal of the Gilded Age and Progressive Era 14, no. 4 (October 2015): 612–15. http://dx.doi.org/10.1017/s1537781415000432.

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On April 9, 1915, the fiftieth anniversary of General Lee's surrender at Appomattox, The Birth of a Nation opened in Boston. Audience members were “prepared for the unusual” the moment they entered the Tremont Theatre. After “a young man in evening dress and a silk hat” took tickets, “two young women in flounced hoop skirts and with long curls … ma[d]e a sort of graceful minuet bow, and hand[ed] you a program.” While “soldiers ‘on guard’ in the Civil War uniforms of the North and South” flanked the aisles, another costumed young woman “escort[ed] you to your seat.” As the film projector flickered to life, a title card issued an important caveat to the audience: “This is an historical presentation of the Civil War and Reconstruction period and is not meant to reflect in any way upon any race or people of today.” D. W. Griffith did not write this title card; rather, the National Board of Censorship of Motion Pictures (NBC) inserted it to fend off protestors and signal its commitment to filmmakers’ First Amendment rights.

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15

Marsden, Michael T., and Craig W. Campbell. "Reel America and World War I: A Comprehensive Filmography and History of Motion Pictures in the United States, 1914-1920." Journal of American History 73, no. 4 (March 1987): 1114. http://dx.doi.org/10.2307/1904194.

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Kerepeszki, Róbert. "Reviewing the difficulties of Hungarian higher education in the first quarter of the 20th century and the role of university youth after the ‘Great War’." Acta Neerlandica, no. 16-17 (March 1, 2021): 79–100. http://dx.doi.org/10.36392/actaneerl/2020/16-17/5.

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The basic idea of this paper was generated by some motion pictures shot on October events of 1918. This, at that time fundamentally novel media of mass communication can be considered as a visual interpretation of the moral behavior and the role attributed to the contemporary university youth in the series of revolutions after the ‘Great War’. Young people, many of them from universities, collected shocking experiences in the war that generated their moral and behavioral transition. At the time of the turn of the century there were development processes initiated in the Hungarian higher education, however, the war caused a break in these processes and, there were also certain structural changes introduced during and immediately after the end of the war which resulted in chaotic circumstances that kept on deepening the stress of students. Both the traditional press together with other printed documents and the contemporary newsreel have provided us with the sources being necessary and enough for making an attempt to answer, in what here follows, the questions: how the drastically changed, consequently chaotic situation within the Hungarian higher education along with the declined activity of student associations influenced the students, as well as how the most highlighted phenomena, such as the impact of war on everyday life and economy, the emergence and spread of violence, the reactions to the increased admission of female and Jewish students at universities affected the entire society and within this the university circumstances immediately after the armistice, and why the violence, radicalization, and “brutalization” of the so-called “war generation” became featuring at demonstrations.

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17

Black, Joel E. "Ferlinghetti on Trial." Boom 2, no. 4 (2012): 27–43. http://dx.doi.org/10.1525/boom.2012.2.4.27.

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In spring 1957 the Juvenile Division of the San Francisco Police Department seized copies of Howl and charged the poem's publisher, Lawrence Felinghetti, with obscenity. Tried in summer 1957 and defended by the American Civil Liberties Union, Ferlinghetti was exonerated by a District Court judge. Scholars typically place the Howl trial at the beginning of a cultural and social revolution that flourished in the 1960s or place it amid the personal lives and rebellions of the actors composing the Beat Generation. However, these treatments do not fully consider the ways the prosecution reflected trends in law, shaped debates over juvenile delinquency, and amplified distinctions between legal censorship and public censuring. This paper situates the Howl prosecution amid the regulation of comics, rock music, motion pictures, narcotics in postwar America, to tell a story about California, conservatism, radicalism, and censorship in the Cold War Era.

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Wetta, Frank Joseph, and Martin A. Novelli. ""Now a Major Motion Picture": War Films and Hollywood's New Patriotism." Journal of Military History 67, no. 3 (2003): 861–82. http://dx.doi.org/10.1353/jmh.2003.0263.

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Sangjoon Lee. "The Asia Foundation's Motion-Picture Project and the Cultural Cold War in Asia." Film History 29, no. 2 (2017): 108. http://dx.doi.org/10.2979/filmhistory.29.2.05.

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20

Chan, Jessica Ka Yee. "The screen kiss in 1937: Re-reading Street Angel and Crossroads." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 71–89. http://dx.doi.org/10.1386/eapc_00063_1.

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This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tianshi, Yuan 1937) and Crossroads (Shizi jietou, Shen 1937), released shortly before the second Sino-Japanese War in 1937, appropriated and subverted Hollywood representational conventions of the screen kiss, fulfilling both the entertainment and pedagogical functions of cinema by constructing a sexually desiring and potentially class-conscious subject with aspirations for free love and social betterment at a critical moment of national crisis.1

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Rosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (December 1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.

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[M]y knowledge of movies, pictures, or the idea of movie-making, was strongly linked to the identity of a nation. That’s why there is no French television, or Italian, or British, or American television. There can be only one television because it’s not related to nation. It’s related to finance or commerce. Movie-making at the beginning was related to the identity of the nation and there have been very few ―national‖ cinemas. In my opinion there is no Swedish cinema but there are Swedish movie-makers—some very good ones, such as Stiller and Bergman. There have been only a handful of cinemas: Italian, German, American and Russian. This is because when countries were inventing and using motion pictures, they needed an image of themselves. The Russian cinema arrived at a time they needed a new image. And in the case of Germany, they had lost a war and were completely corrupted and needed a new idea of Germany. At the time the new Italian cinema emerged Italy was completely lost—it was the only country which fought with the Germans, then against the Germans. They strongly needed to see a new reality and this was provided by neo-realism. Today, if you put all these people in one so-called ―Eurocountry,‖ you have nothing; since television is television, you only have America. (Jean-Luc Godard in conversation with Colin MacCabe [Petrie 98] )

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22

Fauser, Annegret. "Sounding the Tricolore: France and the United States during World War ii." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 9–21. http://dx.doi.org/10.7202/1039609ar.

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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.

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Miller, B. M. "The Spanish-American War in Motion Pictures, http://memory.loc.gov/ammem/sawhtml/sawhome.html. Created and maintained by the National Digital Library Program team, Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed Feb. 22-27, 2006." Journal of American History 93, no. 2 (September 1, 2006): 624. http://dx.doi.org/10.2307/4486397.

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Kalinowski, P., F. Both, T. Luhmann, and U. Warnke. "DATA FUSION OF HISTORICAL PHOTOGRAPHS WITH MODERN 3D DATA FOR AN ARCHAEOLOGICAL EXCAVATION – CONCEPT AND FIRST RESULTS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2021 (June 28, 2021): 571–76. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2021-571-2021.

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Abstract. Through the destruction of war, most of the documents of an archaeological excavation from 1934 – 1939 of a megalithic tomb in north-west Germany have been destroyed irretrievably. Fortunately, more than 500 historical pictures have been preserved, which visually document the excavation situation at that time. Parts of the image collection are preserved on fragile glass plates that are difficult to preserve and have to be digitised urgendly. A method for digitising these glass plates will be presented first. With the help of the digitised historical images, the excavation situation at that time shall be reconstructed. Since a reconstruction based only on the historical images is not possible, the current state of the megalithic tombs has been recorded with modern measuring technology and a 3D model has been calculated. The aim is to fuse the historical images with the modern 3D model. For this purpose, different possibilities of linking the data are presented. As first results, point clouds calculated by Structure from Motion and the orientation of historical images in relation to the modern 3D model using direct linear transformation are shown. The hybrid model of historical and modern data will be used for archaeological interpretations of the excavation.

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Frost, Jennifer. "Cinema as Cultural Diplomacy and the Cold War: U.S. Participation in International Film Festivals behind the Iron Curtain, 1959–1971." Journal of Cold War Studies 25, no. 1 (2023): 75–100. http://dx.doi.org/10.1162/jcws_a_01122.

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Abstract During the Cold War, international film festivals proliferated on both sides of the Iron Curtain. The United States and the Soviet Union recognized these festivals as important venues for “cinematic diplomacy” and the pursuit of broader foreign policy goals. This article explores how the U.S. government, together with the U.S. motion picture industry, made use of its participation in the Moscow and Karlovy Vary International Film Festivals in the 1950s and 1960s. It confirms many of the findings of earlier studies of Cold War cultural diplomacy but also expands our historical understanding of this phenomenon. Specifically, it reveals the extent of cooperation and conflict—as well as an interchangeability of roles—among public officials in Washington and private citizens in Hollywood, with implications for both the formulation at home and reception abroad of U.S. cinematic diplomacy.

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Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.

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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and react vocally to the news in public as members of groups.

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Galak, Eduardo. "Argentina y España: representaciones de la juventud y la cultura física argentinas en imágenes del NO-DO español." Historia y Memoria de la Educación, no. 13 (December 14, 2020): 579. http://dx.doi.org/10.5944/hme.13.2021.27839.

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The aim of this article is to analyze the uses of documentary informative cinema as a cultural artifact which was employed as a pedagogical device. To do so, we studied motion pictures filmed in Argentina and shown in Spain in the second quarter of the 20th century, in an attempt to understand how a symmetrical aesthetic is shaped to narrate the bodily practices of youth. Informative documentary cinema, especially newsreels, constituted a resource for mass communications. A familiarity can be observed between the Argentinean images analyzed between 1938-1955 in Sucesos Argentinos, with others made in the second quarter of the 20th century in Spain, through No-Do. In addition to economic, political and cultural influences, Argentina imported into Spain ways of narrating state-organized physical culture. Sheltered in a nationalist rhetoric characteristic of the interwar period and the Second World War, it can be affirmed that there was a transnational aesthetic of how to narrate correct corporal and cultural comportment. Through images that were projected in theaters in these countries, newsreel broadcasts simultaneously and homogeneously transmitted the same discourse –everything, to everyone, at the same time–, resulting in a true transnational pedagogy. In short, a pedagogy outside the school walls is studied through informative documentary film images from the second quarter of the 20th century that aimed to form bodies and sensibilities.

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Belov, Sergey I. "REHABILITATION OF THE NAZI REGIME, ITS SUPPORTERS AND ACCOMPLICES IN THE EUROPEAN CINEMATOGRAPHY: CURRENT STATE AND NEW TRENDS IN DEVELOPING MEMORY POLICIES." RUDN Journal of Political Science 21, no. 1 (December 15, 2019): 110–17. http://dx.doi.org/10.22363/2313-1438-2019-21-1-110-117.

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The presented study is dedicated to the rehabilitation of the Nazi regime, its supporters and accomplices in modern cinema as part of the memory policy. The relevance of this work is determined by the growing influence of ultra-right politicians in a number of economically developed countries, an increase in the number of memorial wars due to the rehabilitation of Nazism accomplices and the spread of right-wing radicalism in the United States and European Union states. The aim of the study is the evaluation of the rehabilitation practices of Nazism and its supporters in new motion pictures, which have not been previously studied by representatives of the expert community from this perspective. Indirect apologetics of the Nazis and their adherents, including representatives of organizations recognized as criminal in accordance with the decision of the Nürnberg Tribunal, are widespread in modern cinema. The thesis is being promoted that even numerous members of organizations recognized as criminal secretly opposed the Nazi regime. Cooperation is considered as a necessary measure. The audience gets the impression that even highranking representatives of the army leadership were not aware of war crimes. People who for many years supported Hitler’s regime are shown as its victims. There have been attempts to re-evaluate certain aspects of the Nazi regime as a positive experience, in a way of referring to actual matters nowadays.

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Zięba, Hubert. "Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 97–118. http://dx.doi.org/10.19195/0860-6668.21.4.6.

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Race, sex, disease. Modes of representing black women in the context of the AIDS epidemic in the United StatesIn this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular motion pictures about the disease, I begin with Georges Didi-Huberman assumption, according to which, under a layer of popular images of disasters, there are always different depictions yet to be discovered. Referring to the concept of minoritarian strategies, formulated by Gilles Deleuze and Felix Guattari, I attempt to make a formal and stylistic analysis of four films, two documentaries and two features. Simultaneously I try to demonstrate that actions taken by women involved in different levels of film production cross the traditional opposition between the mainstream and independent cinemas. The films analyzed in this article are: Sandra’s Web: A Mother’s Diary 1996, dir. Beverly Peterson, Wilhemina’s War 2015, dir. June Cross, Life Support 2007, dir. Nelson George, and Precious 2009, dir. Lee Daniels.

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Anselmo, Diana W. "Fire in the Hole." Feminist Media Histories 10, no. 1 (January 1, 2024): 28–56. http://dx.doi.org/10.1525/fmh.2024.10.1.28.

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Drawing on the letters female fans submitted to Motion Picture Magazine between 1914 and 1918, this article seeks to center negative feelings as a constitutional part of Hollywood reception during the World War I years. Emergent at this time, the language of affective film reception took up a combative tenor reflective of women’s lived experiences: anger, derision, and dissent pervade the first-person writings submitted by self-identified movie-loving “misses” and “girls.” Reading their published correspondence as proto-manifestations of feminist “troublemakers” and “killjoys” helps in historicizing early Hollywood fandom as an “intimate publics” commercially centered on women’s culture, but communally appropriated by female consumers as a means to express antisocial responses.

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Melbye, David. "Two divergent cinematic readings of enslavement in ‘An Occurrence at Owl Creek Bridge’." Short Film Studies 13, no. 1 (March 1, 2023): 35–48. http://dx.doi.org/10.1386/sfs_00090_1.

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Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.

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Levin, Ya A., and S. O. Buranok. "The image of the war in American cartoons, 1941–1945." Shagi / Steps 10, no. 1 (2024): 324–40. http://dx.doi.org/10.22394/2412-9410-2024-10-1-324-340.

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Studies of propaganda in Allied countries during World War II for the most part concern either printed matter or cinema, while animated films (cartoons) have been much less investigated in this regard. The present article is devoted to the representation and reflection of World War II in American cartoons in 1941–1945 — an unusual and little-studied issue in Russian historiography. Specific examples and artistic features, as well as approaches to the use of cartoons as a means of propaganda, are considered. Within the framework of the article, samples of propaganda cartoons were analyzed, a certain typology of setting images and placing accents was derived, and conclusions were drawn about the importance of animation in the development of propaganda. Specific examples show the transformation of animation to suit military interests and the connection of the largest (and not only) film industry representatives with the state. Also, within the framework of the article, it was analyzed how the state interacted with animators and studios, along with how it itself was involved in the creation of propaganda and animation films. In particular, the history and activities of the “First Motion Picture Unit” and the first results of its work at the beginning of the war were considered. The case studies showed how American animation was modified in response to new needs and characteristics of the market, how existing characters were used for propaganda purposes and new works were created, as well as what stereotypes about America’s opponents were formed in cartoons. The article is based on literature and sources on the topic.

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Paul, Andrew. "“Sometimes a Bee Can Move an Ox”: Biblical Epics and One Man's Quest to Promote Jewish Values in Blacklist-Era Hollywood." Modern American History 1, no. 2 (May 15, 2018): 173–94. http://dx.doi.org/10.1017/mah.2018.11.

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In the 1950s, the top American Jewish organizations chose a single man, John Stone, to represent their collective interests in Hollywood. Over the course of the decade, Stone's Motion Picture Project sought to prevent antisemitism on film and to inspire the creation of positive Jewish characters. Negotiating the cultural politics of the era, however, resulted in an increasing tendency to favor depictions of biblical Jews over contemporary American ones. In a strange twist, Stone endorsed no film with as much zeal asBen-Hur, a New Testament celebration of Jesus. By following Stone's tortuous attempts to navigate Cold War controversies, and by casting new light on the phenomenal success of biblical epics in the 1950s, this essay suggests that at the heart of postwar popular culture was a shift toward a particular discourse of liberal humanism.

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Lindee, Susan. "Experimental Wounds: Science and Violence in Mid-Century America." Journal of Law, Medicine & Ethics 39, no. 1 (2011): 8–20. http://dx.doi.org/10.1111/j.1748-720x.2011.00543.x.

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Taken from a published report on wound ballistics research during World War II, Figure 1 depicts the abdomen of a cat that has been shaved, anesthetized, marked with a grid, and shot. The individual squares are frames, the caption says, “(2880 per second) from a high speed motion picture of a cat’s abdomen, showing the volume changes and movements caused by a 6/32nd inch steel sphere.” We can recognize in this image the conventions of scientific inscription. The technologies are sophisticated, quantitative, impressive. The image speaks for itself. Or does it? What exactly is happening when an anesthetized cat with a shaved abdomen painted with a grid gets shot, in a laboratory, and when that event is hyper-documented in high speed photographs, and deployed in a range of texts as evidence? And what do these human creations — these highly quantified experimental wounds — tell us about the culture and practice of twentieth-century science?

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Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (February 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (January 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (April 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (January 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (April 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (April 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (May 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (May 1992): 32. http://dx.doi.org/10.1038/357032a0.

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Gomery, Douglas. "Motion Pictures." Communication Booknotes 16, no. 5 (May 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 1 (January 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 9-10 (September 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 7-8 (July 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 9-10 (September 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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Gomery, Douglas. "Motion Pictures." Communication Booknotes 19, no. 5 (September 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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