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Journal articles on the topic 'Motion pictures – argentina – history'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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2

Heinemann, Julia. "Motion Pictures of the Royal Family." French Historical Studies 44, no. 2 (2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and pr

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3

Suleiman, Zaharaddeen, Abubakar Tahir A., and Torpev T.F. "Effect of motion-pictures on academic performance and retention of history senior secondary school students in Katsina, Katsina State-Nigeria." KIU Journal of Education 4, no. 2 (2024): 171–78. https://doi.org/10.59568/kjed-2024-4-2-16.

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The study investigated the Effect of Motion-pictures on Academic Performance and Retention Ability of History Senior Secondary Schools Students in Katsina Metropolis, Katsina State-Nigeria. Four corresponding research objectives, questions and hypotheses were formulated to guide the study. The research used pre-test and post-test quasi experimental research design. The population comprises a total of 3272 SSII students of History from 9 schools offering the subject. The sample of the study comprised of 220 including male and female SSII students from 2 intact classes of 110 and 100 in 2 out of

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4

Swartz, Mark E. "Motion Pictures on the Move." Journal of American Culture 9, no. 4 (1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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5

Amor, Monica. "Displaced Boundaries: Geometric Abstraction from Pictures to Objects." ARTMargins 3, no. 2 (2014): 101–17. http://dx.doi.org/10.1162/artm_r_00083.

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This review concerns Osbel Suarez, Cold America: Geometric Abstraction in Latin America (1934–1973), an exhibition presented by the Fundación Juan March in Madrid, Feb 11–May 15, 2011 and Alejandro Crispiani's book Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970] (Buenos Aires: Universidad Nacional de Quilmes, 2011). The review briefly assesses the state of the literature on Latin American Geometric Abstractio and analyzes these two p

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6

Oliver, Willard M. "Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures." Journal of Criminal Justice Education 22, no. 3 (2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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7

Ayers, Lee. "Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures." Criminal Justice Review 39, no. 4 (2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

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8

Eckardt, Michael. "South African film history vs the history of motion pictures in South Africa." South African Theatre Journal 25, no. 1 (2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

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9

Dym, Jeffrey A. "Benshi and the Introduction of Motion Pictures to Japan." Monumenta Nipponica 55, no. 4 (2000): 509. http://dx.doi.org/10.2307/2668250.

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10

Martin L. Johnson. "Motion Pictures: A Problem to Be Co-operatively Solved." Film History 29, no. 4 (2017): 157. http://dx.doi.org/10.2979/filmhistory.29.4.07.

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11

ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christ

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12

Berman, Aaron, and Charles Lawrence Gellert. "The Holocaust, Israel, and the Jews: Motion Pictures in the National Archives." Journal of American History 77, no. 4 (1991): 1457. http://dx.doi.org/10.2307/2078427.

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13

Serene, Frank H. "Motion Pictures, Videotapes and Sound Recordings at the National Archives." Historical Journal of Film, Radio and Television 16, no. 1 (1996): 55–67. http://dx.doi.org/10.1080/01439689600260091.

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14

Mottahedeh, Negar. "Collection and recollection: On studying the early history of motion pictures in Iran." Early Popular Visual Culture 6, no. 2 (2008): 103–20. http://dx.doi.org/10.1080/17460650802150374.

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15

Algazi, Gadi. "Norbert Elias’s motion pictures: history, cinema and gestures in the process of civilization." Studies in History and Philosophy of Science Part A 39, no. 3 (2008): 444–58. http://dx.doi.org/10.1016/j.shpsa.2008.06.014.

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16

BOTA-SIERRA, CORNELIO ANDRÉS, and RODOLFO NOVELO-GUTIÉRREZ. "Two new species of Colombian Epigomphus (Odonata: Gomphidae)." Zootaxa 4896, no. 2 (2020): 265–76. http://dx.doi.org/10.11646/zootaxa.4896.2.7.

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The Neotropical genus Epigomphus Hagen in Selys, 1854 groups 31 species distributed from Mexico to northern Argentina. Only two species have been recorded so far from Colombia. Here we present two new species found in the north of the Andean Colombian Cordillera Central, Epigomphus rufus sp. nov. and Epigomphus brillantina sp. nov. Full descriptions of adult male and female and adult male respectively, plus diagnoses, pictures of the diagnostic characteristics, natural history notes, and a distribution map are provided.

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17

Griffiths. "A Portal to the Outside World: Motion Pictures in the Penitentiary." Film History 25, no. 4 (2013): 1. http://dx.doi.org/10.2979/filmhistory.25.4.1.

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18

Ickerodt, Ulf. "The spatial dimension of history: propagation of historical knowledge via open-air museums, leisure parks and motion pictures." Public Journal of Semiotics 2, no. 2 (2008): 73–102. http://dx.doi.org/10.37693/pjos.2008.2.8828.

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Man's environment is full of references to history. Archaeological sites and cultural landscapes are examples. History is a constituent of our social identity. In this sense, on a social level, it has an integrating function and helps to structure and canalize social behaviour. In this paper we shall examine, taking archaeological sites, open-air museums, leisure parks and motion pictures as examples, how this form of promotion of history works and what effect it has on society.

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19

Kotte, Claudia. "Homo Cinematicus: Science, Motion Pictures and the Making of Modern Germany." Historical Journal of Film, Radio and Television 38, no. 3 (2018): 674–76. http://dx.doi.org/10.1080/01439685.2018.1459028.

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20

Laderman, Scott. "Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice." Pacific Historical Review 78, no. 4 (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 tr

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21

Knight, Arthur. "Spotlight on Film: All the World's a Stage." Media Information Australia 43, no. 1 (1987): 9–11. http://dx.doi.org/10.1177/1329878x8704300103.

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One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.

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22

Joyce, Simon, and Jennifer Putzi. "“Greatest Combination in Motion Pictures”: Film History and the Division of Labor in the New York Motion Picture Company." Film History: An International Journal 21, no. 3 (2009): 189–207. http://dx.doi.org/10.2979/fil.2009.21.3.189.

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23

Jurca, Catherine. "Motion pictures' greatest year (1938): public relations and the American film industry." Film History: An International Journal 20, no. 3 (2008): 344–56. http://dx.doi.org/10.2979/fil.2008.20.3.344.

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24

Antomi, Satria, and Zubaidah A. Zubaidah A. "MOTION GRAFIS SEJARAH JEMBATAN RATAPAN IBU PAYAKUMBUH SUMATERA BARAT." DEKAVE : Jurnal Desain Komunikasi Visual 11, no. 1 (2021): 154. http://dx.doi.org/10.24036/dekave.v11i1.112338.

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Payakumbuh has historical events. Among the historical events that occurred in the city of Payakumbuh called the Ratapan Ibu bridge. The bridge is one proof of the history of struggle in West Sumatra, especially in Payakumbuh City. Lack of public appreciation for historical stories and evidence of historical heritage of the Ratapan Ibu bridge. This causes the later generations to know less about the story and care less about its historical evidence. It is necessary to re-communicate these historical events to the public, through motion graphics. The advantage ofmotion graphicscombination is ao

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25

CHING, May Bo. "Rethinking media history in modern China: the cases of lithography, slide shows, the telegraph, and motion pictures." Journal of Modern Chinese History 12, no. 2 (2018): 175–79. http://dx.doi.org/10.1080/17535654.2018.1561095.

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26

Brégent-Heald, Dominique. "Leaky Borders: Smuggling Opium and Chinese Labor in Progressive-Era Motion Pictures." Journal of American Culture 37, no. 4 (2014): 393–403. http://dx.doi.org/10.1111/jacc.12270.

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27

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

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28

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

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29

HUANG, Jianmin. "From motion pictures to still photographs: a case study of A Page in the History of the Republic." Journal of Modern Chinese History 12, no. 2 (2018): 246–62. http://dx.doi.org/10.1080/17535654.2018.1550302.

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30

Bowers, Lauren. "The “Devil-May-Care Song of the Leathernecks”: A HISTORY OF THE “MARINES’ HYMN,” 1920–47." Marine Corps History 7, no. 2 (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

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31

Gangui, Alejandro, and Eduardo L. Ortiz. "Einstein's Unpublished Opening Lecture for His Course on Relativity Theory in Argentina, 1925." Science in Context 21, no. 3 (2008): 435–50. http://dx.doi.org/10.1017/s0269889708001853.

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In 1922 the University of Buenos Aires (UBA) Council approved a motion to send an invitation to Albert Einstein to visit Argentina and give a course of lectures on his theory of relativity. The motion was proposed by Jorge Duclout (1856–1927), who had been educated at the Eidgenössische Technische Hochschule, Zurich (ETH). This proposal was the culmination of a series of initiatives of various Argentine intellectuals interested in the theory of relativity. In a very short time Dr. Mauricio Nirenstein (1877–1935), then the university's administrative secretary, fulfilled all the requirements fo

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32

Khalilov, Vladimir. "Films as pedagogical tools: Cinema and the Teaching of History in the USA." Russia and America in the 21st Century, no. 3 (2023): 0. http://dx.doi.org/10.18254/s207054760026353-5.

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The article explores the historical and educational value of cinematic works drawing on the experience of the United States. The specific abilities of cinema to influence the audience in unique ways, to distribute certain information, and to develop skills of critical and historical thinking have turned it, at least potentially, into a powerful pedagogical tool. However, in the process of practical realization of this potential in educational institutions, many obstacles and challenges arise, depriving films of a significant portion of their pedagogical efficacy. By examining a number of films

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33

Larson, Edward J., and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." Journal of American History 84, no. 2 (1997): 698. http://dx.doi.org/10.2307/2952674.

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34

Carlson, W. Bernard, and Michael E. Gorman. "Understanding Invention as a Cognitive Process: The Case of Thomas Edison and Early Motion Pictures, 1888-91." Social Studies of Science 20, no. 3 (1990): 387–430. http://dx.doi.org/10.1177/030631290020003001.

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35

Lee, Sangjoon. "Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association." Historical Journal of Film, Radio and Television 37, no. 3 (2016): 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

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36

Varghese, Priju. "Marriage in Cinema." Journal of Student Research 4, no. 2 (2015): 33–35. http://dx.doi.org/10.47611/jsr.v4i2.260.

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Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past cent

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37

Fuchs, Michael, and Martin Butler. "Introduction Science and Popular Audio-Visual Media." Arbeiten aus Anglistik und Amerikanistik 47, no. 2 (2023): 171–87. http://dx.doi.org/10.24053/aaa-2022-0010.

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Our introduction to this special issue on science and popular audio-visual media sheds light on the intricate interconnections between science (and discourses about science) and different popular audio-visual media. Focusing on the topics of global warming and the ongoing pandemic, on the one hand, and the genres of horror, science fiction, and fantasy, on the other, we illustrate some functions of science and scientists in audio-visual media and also turn to the history of photography and motion pictures and their significance as both scientific tools and entertainment media, before briefly i

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38

Higashi, Sumiko, and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." American Historical Review 103, no. 4 (1998): 1340. http://dx.doi.org/10.2307/2651353.

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39

Gorchakov, S. Yu. "Mathematical modeling of velocity and accelerations fields of image motion in the optical equipment of the Earth remote sensing satellite." Russian Technological Journal 11, no. 6 (2023): 47–56. http://dx.doi.org/10.32362/2500-316x-2023-11-6-47-56.

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Objectives. The paper considers a satellite with an optoelectronic payload designed to take pictures of the Earth’s surface. The work sets out to develop a mathematical model for determining the dependencies between the state vector of the satellite, the state vector of the point being imaged on the Earth’s surface, and the distribution fields of the velocity vectors and accelerations of the motion of the image along the focal plane of the optoelectronic payload.Methods. The method is based on double differentiation of the photogrammetry equation when applied to a survey of the Earth’s surface

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40

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 (1987): 1114. http://dx.doi.org/10.2307/1904194.

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41

Caulton, Thomas. "Motion Pictures and Moral Panic: The Reception of 'White Slavery' Films in New York in 1913." Film & History: An Interdisciplinary Journal 53, no. 1 (2023): 61–78. http://dx.doi.org/10.1353/flm.2023.a903048.

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42

Viernes, Noah Keone. "Restricted vision: Censorship and cinematic resistance in Thailand." Journal of Southeast Asian Studies 52, no. 4 (2021): 634–57. http://dx.doi.org/10.1017/s0022463421000990.

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Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema,

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43

Barrett, Deborah, and Martin S. Pernick. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915." Social Forces 75, no. 3 (1997): 1136. http://dx.doi.org/10.2307/2580542.

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44

McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blo

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45

Horváth, Péter. "Connections between the folk dance culture and regionality in the area of Derecske and Mikepércs." Acta Agraria Debreceniensis, no. 55 (February 25, 2014): 49–54. http://dx.doi.org/10.34101/actaagrar/55/1908.

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The culture of folk dance has been prominently cultivated in Hungary nowadays, however some regions are yet to be discovered by ethnographers. Stopping this gap by this time is almost impossible due to the small number of informants. Nevertheless, memories of ethographers’ collections, motion pictures, photographs, notes and the choregraphies made from them endure, on the basis of which traditions can be reconstructed, that were so typical of some townships at one time and have been forgotten by now. What can a recreated tradition mean to a community, that sometime was left to waste by them? T

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46

Łazarz, Radosław. "Z czerwonym Kielichem. Przedmiot wiary husytów w Trylogii husyckiej Otokara Vavry." Slavia Occidentalis, no. 73/2 (June 14, 2018): 45–56. http://dx.doi.org/10.14746/so.2016.73.29.

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The study is dedicated to Otokar Vavra’s cinematographic “Hussites Revolutionary Trilogy”. The films were shot in the 1950s as colour motion pictures. The main idea is based on Alois Jirasek’s trilogy and Frantisek Palacky’s philosophy of history combined with some ideological concepts revolving around the communist interpretation of Hussites. The three films: Jan Hus (1954), Jan Žižka (1955) and Proti všem (Against All Odds, 1957) pose some sort of a challenge by showing a religious movement from an atheist’s perspective. Vavra indeed created a work of propaganda, a heroic story of the Czech

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47

Widegren, Kajsa. "Sexualiserade bilder av flickor. Pippi Examples och den manliga blicken." Tidskrift för genusvetenskap 25, no. 4 (2022): 9–27. http://dx.doi.org/10.55870/tgv.v25i4.4048.

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The aim of this article is to examine shifts of meaning of the visual material in a piece of art called Pippi Examples (2001). The Swedish artist Palle Torsson uses parts of the Pippi Långstrump motion picture for this video work, which has been accused of "making porn of Pippi". It is when the visual material is moved from its original context of children'scultureand placed in a context ofart, that the perception of the viewers' position changes. Four pictures from Pippi Examples are examined through a semiotic method. These pictures are related in different ways to signs of sexualisation use

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48

Musser, Charles. "Reading Local Histories of Early Film Exhibition: Sylvester Quinn Breard's ‘A History of the Motion Pictures in New Orleans, 1896–1908’." Historical Journal of Film, Radio and Television 15, no. 4 (1995): 581–85. http://dx.doi.org/10.1080/01439689500260451.

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49

Apple, Rima D. "The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915. Martin S. Pernick." Isis 88, no. 2 (1997): 369–70. http://dx.doi.org/10.1086/383755.

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50

FRONC, JENNIFER. "Local Public Opinion: The National Board of Review of Motion Pictures and the Fight against Film Censorship in Virginia, 1916–1922." Journal of American Studies 47, no. 3 (2012): 719–42. http://dx.doi.org/10.1017/s0021875812001375.

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This article examines the conflict that ensued when the National Board of Review of Motion Pictures (a New York City-based organization that opposed any form of legal film censorship) entered the debate over Virginia's state film censor board. Virginia's engagement with film censorship emerged out of its history and politics, particularly in regard to race relations. Elite white Virginians lived in fear both of federal intervention (with the specter of Reconstruction not far behind them) and of a local usurpation of political power by black Virginians. The National Board of Review (NBR) was la

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