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Relevant bibliographies by topics / Motion pictures - political aspects

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Academic literature on the topic 'Motion pictures - political aspects'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Motion pictures - political aspects"

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CHO, Kang Sok. "A STUDY ON THE ASPECTS OF EUROCENTRISM AND DIFFUSIONISM REPRESENTED IN FOREIGNERS’ TRAVEL RECORDS ON KOREA IN EARLY 1900s." International Journal of Korean Humanities and Social Sciences 3 (July 8, 2017): 117–26. http://dx.doi.org/10.14746/kr.2017.03.07.

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This paper deals with three different perspectives appeared in foreign visitors’ records on Korea in 1900s. Jack London was a writer who wrote novels highly critical of American society based on progressivism. However, when his progressive perspective was adopted to report the political situation of Korea in 1904, he revealed a typical perspective of orientalism. He regarded Korea and ways of living in Korea as disgusting and ‘uncivilized.’Compared with Jack London’s perspective, French poet Georges Ducrocq’s book was rather favorable. He visited Korea in 1901 and he showed affectionate attitude toward Korea and its people. However, his travel report, Pauvre et Douce Coree, can be defined as representing aesthetic orientalism. He tried to make all the ‘Korean things’ seem beautiful and nice, but it is true that this kind of view can also conceal something concrete and specific. This perspective at once beautifies Korea and also conceals the reality about Korea.E. Burton Holmes was a traveler and he often used his ‘motion-picture’ machine to record things he witnessed while travelling around worldwide countries. So, his report (travelogue) and motion picture film on Korea written and made in 1901 was based on close observation and rather objective point of view. Nonetheless, he couldn’t avoid the perspective of the colonizer’s model of the world, in other words, geographical diffusionism of western culture.

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Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (October 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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Glotov, M. B. "College Students and Motion Pictures." Russian Education & Society 39, no. 7 (July 1997): 73–88. http://dx.doi.org/10.2753/res1060-9393390773.

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Heinemann, Julia. "Motion Pictures of the Royal Family." French Historical Studies 44, no. 2 (April 1, 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 private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.

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Traube, Elizabeth G., Stephen Powers, David J. Rothman, and Stanley Rothman. "Hollywood's America: Social and Political Themes in Motion Pictures." Contemporary Sociology 26, no. 6 (November 1997): 763. http://dx.doi.org/10.2307/2654673.

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Fisher, Bradley J. "Exploring Ageist Stereotypes through Commercial Motion Pictures." Teaching Sociology 20, no. 4 (October 1992): 280. http://dx.doi.org/10.2307/1318969.

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Wall, Michael. "Censorship and Sovereignty: Shanghai and the Struggle to Regulate Film Content in the International Settlement." Journal of American-East Asian Relations 18, no. 1 (2011): 37–57. http://dx.doi.org/10.1163/187656111x577456.

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AbstractThe Nationalist government struggled to control the content and exhibition of motion pictures in Shanghai in the 1920s. Officials of the Shanghai Municipal Council in the foreign-controlled International Settlement, empowered by the right of extraterritoriality, stymied Chinese efforts to control foreign – predominantly American – motion pictures shown in the enclave. The struggle over political control was exacerbated by increasing nationalist sentiment and belief that foreign motion pictures contained distorted and unflattering images of China and its people. Demonstrations targeted Hollywood films including those by Douglas Fairbanks and Harold Lloyd. Ultimately, neither strenuous Chinese efforts nor stubborn foreign resistance could resolve the matter satisfactorily, but the dispute became moot with Japan's seizure of Shanghai in 1937.

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Halaby, Samia. "The Political Basis of Abstraction in the 20th Century As Explored by a Painter." Manazir Journal 1 (October 1, 2019): 94–110. http://dx.doi.org/10.36950/manazir.2019.1.1.7.

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The political nature of abstraction presented from an artist’s point of view – one who considers the most advanced task is the exploration of the language of pictures. Such exploration is understood as a separate discipline from the many others that employ pictures for practical functions. The author examines the development of 20th century abstraction as an effect of revolutionary social motion. Historic steps to abstraction, taking shape as rising and receding artistic movements, are correlated to revolutionary motion. The materialist underpinning of abstraction is distinguished from the idealism of Post-Modernism. The paper ends with an examination of contemporary discourse in the Western art world that attempts to erase the internationalism of abstraction and, thereby, marginalize non-Western practitioners.

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Jeffries, Judson L. "Jordan Peele (Dir.), Us (Motion Picture), Universal Pictures." Journal of African American Studies 24, no. 2 (April 14, 2020): 288–96. http://dx.doi.org/10.1007/s12111-020-09470-x.

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Frenţiu, Luminiţa, and Codruţa Goşa. "From West to East: Romeo Must Die but Shakespeare is the Sun." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 167–82. http://dx.doi.org/10.2478/rjes-2014-0021.

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Abstract The paper presents a mini survey of the hallmark English language motion pictures which are explicitly based on William Shakespeare’s Romeo and Juliet. The selection of the six films under investigation takes into account various criteria such as aspects of chronology, culture, impact or novelty of approach. The analysis is based on four categories: genre, auteurism (authorship), reception and verisimilitude.

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Dissertations / Theses on the topic "Motion pictures - political aspects"

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Chan, Shuen-yan, and 陳旋茵. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951843.

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Thomas, Patricia Brooks. "Propaganda on film : shadows from the past, projections for the future?" Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678661.

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Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.

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Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.

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Chan, Kim-mui Eileen, and 陳劍梅. "Postmodernity and recent Hong Kong cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.

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Chen, Fangyu. "The post-2000 Hong Kong film workers." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.

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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.

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Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.

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African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.

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Gazetas, Aristides. "Imagining selves : the politics of representation, film narratives and adult education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25053.pdf.

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Giordano, Maria Graciela. "Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.

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Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure.
The purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role.
In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.

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Cicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.

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This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the meta-narrative of America stands in opposition to a deterritorialising tendency that - as a body of recent critical scholarship attests - inform the post 9/11 context, a tendency borne out of a new, shared awareness of historical violence within the national community. As it displaces codified social boundaries, and established links between individual and communities, such deterritorialising rhetoric threaten the symbolic coherence of the world. The conflict between long-standing symbologies of the nation and the impact of a new cultural milieu thus emerges in the cinema as a representational impasse, whose different textual outcomes are addressed in the main chapters of this thesis. In order to investigate the interplay of different symbolic maps, the present study focuses on four spatial signifiers - the house, the village, the city and the land - and derives its methodological tools from a body of scholarship largely comprised within the so-called 'spatial turn'. The terms of this theoretical engagement are specified in the first part the thesis, while the conclusion expands on the direction of the research, and connects the study to other related disciplinary discourses, both in Film studies and American studies.

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Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.

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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

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Books on the topic "Motion pictures - political aspects"

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J, Rothman David, and Rothman Stanley 1927-, eds. Hollywood's America: Social and political themes in motion pictures. Boulder, Colo: Westview Press, 1996.

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1945-, Crowdus Gary, ed. The political companion to American film. Chicago: Fitzroy Dearborn, 1994.

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Merrill, Kelley Beverly, ed. Reelpolitik: Political ideologies in '30s and '40s films. Westport, Conn: Praeger, 1998.

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Ryan, Michael. Camera politica: Politics and ideology of contemporary Hollywood film. Bloomington: Indiana University Press, 1988.

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Susana, Velleggia, ed. El cine de "las historias de la revolución": Aproximación a las teorías y prácticas del cine de "intervención política" en América Latina (1967-1979). Buenos Aires: Grupo Editor Altamira, 2002.

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Michael, Ryan. Camera politica: The politics and ideology of contemporary Hollywood film. Bloomington, Ind: Indiana University Press, 1988.

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Shapiro, Michael J. Cinematic political thought: Narrating race, nation, and gender. New York: New York University Press, 1999.

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Thomsen, Christian Braad. Min syge moster: 15 års erfaring med og mod den danske filmbranche. København: Frydenlund, 1986.

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Scott, Ian. American politics in Hollywood film. Edinburgh: Edinburgh University Press, 2000.

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Franklin, Daniel P. Politics and film: The political culture of film in the United States. Lanham, MD: Rowman & Littlefield Publishers, 2004.

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Book chapters on the topic "Motion pictures - political aspects"

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Wasko, Janet. "Critiquing Hollywood: The Political Economy of Motion Pictures." In A Concise Handbook of Movie Industry Economics, 5–31. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511614422.002.

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Hochberg, Julian, and Virginia Brooks. "Movies In The Mind’s Eye." In In The Mind’s Eye Julian Hochberg, 376–95. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195176919.003.0020.

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Abstract Most writers on film, and most filmmakers, need no science. But any serious discussion of whether the medium was used effectively or artistically in any instance requires some understanding of how we perceive and remember moving pictures, and that must derive from research: Introspection will not serve. Scattered aspects of cognitive science have begun to appear, therefore, in recent writings on film. On the other side of the aisle, students of perception and visual memory cannot afford to ignore moving pictures, but until recently they have mostly confined their attention to low-level motion phenomena, as have introductory film texts. The latter, if they write at all about perception, still proclaim that we perceive motion from successive still frames because of (heavens protect us!) ‘‘persistence of vision.’’ In any case, stroboscopic motion is only a small part of the perception of visual events, which is what film is about.

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Hay, Peter. "Real To Reel." In Movie Anecdotes, 16–28. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195045949.003.0002.

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Abstract Motion pictures, because of the enormous technical complexity involved, is the ultimate art form of our technological era. As Francis Ford Coppola once observed, very few inside the profession are familiar with more than one or two aspects of film-making. And, despite the avalanche of magazines, behind-the-scenes and interview programs, the whole process of how films are made remains a complete mystery to the average moviegoer.

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Gillespie, Michael Patrick. "Gothic Forms in Irish Cinema." In Irish Gothic, 83–97. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0005.

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Though many Irish films have aspects of the Gothic, their structures generally adhered in a programmatic fashion to the guidelines of Classic Hollywood Cinema, and in this way they are similar to generic motion picture structures that could come from international studios in any part of the world. A select few films have produced uniquely Irish Gothic narratives, that is to say motion pictures that echoed the post-Modern tendencies of German Expressionists with unapologetically fragmented cultural contexts. To underscore these contrasts, this essay offers a sampling of the more conventional approaches and then take a closer look at these truly innovative forms. The construction of the Gothic films touched on underscores the oscillating perspectives of homegrown filmmakers presenting motion pictures contextualized in an environment of evolving characteristics of Irishness. In the twenty-first century, Irish cinema, like all of Irish society, struggles to discern a cultural identity. The Celtic Tiger did much to make Ireland more European, and even after the economic bubble burst those sentiments remain strong. It seems most likely that future Irish Gothic films will increasingly put their national character in brackets and move towards a more post-Modern sensibility.

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Musser, Charles. "Introduction." In Politicking and Emergent Media. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292727.003.0001.

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Defines a mediascape that includes the mass media of newspapers, radio, television and the Internet; audio-visual technologies such as photography, motion pictures, and the telephone; as well as expressive forms such as oratory and public pageantry which do not depend on technology. It sketches the historical backdrop of industrialization for the political campaigns and media formations of the 1890s: the telegraph, railroad and mass circulation newspapers of the 1830s and 1840s, and the emergence of a new wave of communication and transportation technologies in the 1890s. Finally it considers the evolving state of historical research and writing on film and media facilitated by new digital technologies that enable random word searches of huge amounts of new data.

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Costanzo, William V. "Film Comedy in Africa." In When the World Laughs, 211–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0011.

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The rich oral traditions of storytelling in Black Africa have evolved into cinematic forms, adapting social satire and political humor to the realities of modern life. After a brief history of the region and its early encounters with the medium of motion pictures, this chapter introduces concepts like négritude, the griot storyteller, pan-Africanism, and Afropolitanism to explain how African beliefs and sub-Saharan cinema differ from others in the world and how African filmmakers like Ousmane Sembène and Djibril Diop Mambéty, Jean-Pierre Bekolo and Adama Drabo, Henri Duparc and Benoît Lamy, Flores Gomes and Fanta Régina Nacro have fashioned a cinema that reflects the way Africans see themselves and their place in the world.

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Mask, Mia. "Black Masculinity on Horseback." In Black Rodeo: A History of the African American Western, 57–88. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252044878.003.0003.

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Between 1966 and 1972, Sidney Poitier starred in ten films, two of which were westerns: Duel at Diablo (1966) and Buck and the Preacher (1972). Yet many people do not know that these films exist. These motion pictures were not merely star vehicles for the actor, who in 1967 was the most successful Hollywood leading man thanks to three releases (Guess Who’s Coming to Dinner, To Sir with Love, and In the Heat of the Night). Both of Poitier’s westerns were meaningful stepping-stones in his career because they led him to make his directorial debut. Poitier was a fan of westerns from childhood onward. The chapter offers a close textual analysis of Duel at Diablo and Buck and the Preacher. Mainstream films and counter-cultural events provided the political and industrial contexts in which he worked. Poitier endeavored to make progressive political change at the level of cinematic ideology and workforce inclusivity.

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"Silence, Perseverance, and Survival in State-Run Philippine Film Archives." In The Archival Afterlives of Philippine Cinema, 76–106. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027867-003.

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The 2004 closure of the Philippine Information Agency's Motion Picture Division (PIA-MPD) had negative repercussions on three key collections entrusted to the PIA: films from the National Media Production Center; the Movie and Television Review and Classification Board (including remnants of the defunct Film Archives of the Philippines); and LVN Pictures. Analyzing the makeshift digitization of two propaganda films about Ferdinand Marcos's 1972 declaration of martial law, the chapter affirms the need for public accountability and legislation to safeguard the institutional continuity and autonomy of audiovisual archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the collapse of various archives, the chapter concludes by conceptualizing archival survival as involving more than the material preservation of media. Philippine archival survival also entails exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.

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"A Tale of Three Buildings." In The Archival Afterlives of Philippine Cinema, 51–75. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027867-002.

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The 2004 closure of the Philippine Information Agency's Motion Picture Division (PIA-MPD) had negative repercussions on three key collections entrusted to the PIA: films from the National Media Production Center; the Movie and Television Review and Classification Board (including remnants of the defunct Film Archives of the Philippines); and LVN Pictures. Analyzing the makeshift digitization of two propaganda films about Ferdinand Marcos's 1972 declaration of martial law, the chapter affirms the need for public accountability and legislation to safeguard the institutional continuity and autonomy of audiovisual archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the collapse of various archives, the chapter concludes by conceptualizing archival survival as involving more than the material preservation of media. Philippine archival survival also entails exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.

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Kusmer, Kenneth L. "A Changing Image: The Homeless in Popular Culture, 1890 –1930." In Down & out, on the Road, 169–91. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195047783.003.0009.

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Abstract As The Homeless Became An Established feature of American society in the early twentieth century, the image of this outcast group underwent a dramatic transformation. In middle-class literature and periodicals the view of the tramp as a dangerous, criminal agitator all but disappeared. No single stereotype replaced it; rather there emerged a number of overlapping—and frequently competing— images. Aspects of the traditional view that were not discarded were sometimes transformed in a way that would have astounded the moralists of the 1870s. What was once regarded as a defect in the moral sensibilities of the vagabond—such as his irresponsible desire to avoid work—sometimes became little more than a quaint idiosyncracy, if not actually a trait to be admired. The figure of the tramp also was significant in vaudeville, popular music, and early motion pictures. Reflecting the concerns and sentiments of a working- class or mixed-class audience, these popular entertainment forms often employed the symbol of the homeless man to criticize the in- equities of the new industrial order.

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Conference papers on the topic "Motion pictures - political aspects"

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Popescu, Maria magdalena, and Filofteia Repez. "TEACHING DIGITAL IN PANDEMIC TIMES: RECALIBRATING THE CLASSROOM FOR WEB 3.0 STUDENTS." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-057.

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In post pandemic times when looking forward to the normality is the focus of everyone's attention, research areas abound in papers spinning around the same topic- COVID-19. From disinformation to a mired economy, to the effects on global mobility, education, health, social and political aspects, all papers observe, analyze, count and draw conclusions on what COVID-19 meant for the whole world. Studies vary from a national level approach to the international, continental and global, with a specialist or generalist approach, from analyses on figures from economy and tourism to lexical analyses on occurrences of news topics or frequently used words, to measure society in terms of psychological unrest and confidence, after an invariable introductory section about the context and time COVID-19 first started and where it initiated, to stages of the virus spread and sectors affected. Looked at on the long term, education along with general and mental health are among the most frequently brought under lenses mainly due to the long term isolation consequences on social evolution. In this context, the present paper aims at highlighting the need for a recalibration of the educational process, to tune in with a virtual area, to accommodate a differently represented type of student and a variety of pedagogical approaches to adapt the syllabus and tailor activities to facilitate learning in an environment which has been recently re-purposed to fit and last, to answer and to teach. The universal tool-bag is extremely generous, the technological support products are abundant in apps designed for educational purposes, while the key to set it all in motion is creativity, attention to students' needs, a proper selection of the pedagogical resorts and of the content, in a close combination with specificities of online communication in such contexts. A comparison will be drawn between two apps used for formal synchronous learning, three types of students, and four components in class management, all having one goal, the knowledge transfer.

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