Suchergebnisse

Immer noch Neues über Hitlers Propagandaminister, den Herrn über Medien und Kommunikationsmittel in NS-Deutschland? Der Autor, 1994 mit einer Arbeit über die Goebbels-Tagebücher promoviert, für diesen Bereich also kompetent, hat die Tagebücher, die jetzt mit Ausnahme weniger Lücken (in den Vorlagen) vollständig gedruckt vorliegen und eine Menge Interna verzeichnen, sorgfältig ausgewertet. Goebbels schrieb/diktierte täglich 1 Stunde Tagebuch, stets im Hinblick auf die Zukunft und das Bild, das die Nachkommenden sich von ihm machen sollten: Tagebuch als Propagandamittel, bei sorgsamer Quellenanalyse aber auch Quelle allerersten Ranges, die gerade in Sachen Goebbels und der Film nicht unerhebliche Retuschen am Bild der NS-Filmpolitik und der Filmwirklichkeit in NS-Deutschland zuläßt; wer allerdings Aufschlüsse über des Ministers Frauengeschichten erhofft, wird enttäuscht werden. Insgesamt ein umfassender, erhellender, wichtiger Beitrag zur NS-Geschichte. (2) (Friedrich Andrae)

Lange angekündigte, erst jetzt erschienene Romanausgabe zum Kinofilm "Die Welle" (Kinostart war 13.03.2008), basierend auf den Drehbüchern von Dennis Gansel und Peter Thorwarth nach der Vorlage des berühmten Klassikers von Morton Rhue. Mit farbigen Filmfotos in der Mitte. Vgl. auch Hör-CD und Film-Musik (IN 11/08).. - Roman zum Kinofilm "Die Welle" nach einer Vorlage des Klassikers von Morton Rhue.

With the rise of indie cinema in the Philippines, many say that another golden age is again in the making, and, like its predecessor, the films are being produced in the midst of widespread poverty and political instability. Understandably, a significant number of indie films has consciously returned to and explored the limits of the urban realist film of the 'golden age' (1975-1984), revisioning city spaces and signifying patterns in Philippine and global film cultures. The essay has three intricately connected sections. On the one hand, it delineates the shifting contexts of Philippine and global film cultures and situates current indie cinema in these contexts. On the other hand, by considering several key films, it traces the development and revisions of urban realism from its birth until today and reflexively problematizes the critical discourses that define and are defined by such realism.

Media economics investigations of the international flow of media such as films reveal the importance of domestic consumer spending on films. Television penetration is seen as a threat to this. In this article, the effect of television penetration on the annual number of theatrical admissions, the annual number of films produced and the number of screens was examined using time series data from the introduction of television until the year 2005. This was examined in the context of the five major film producing countries: US, UK, France, Germany and Japan. Statistically, India fits the international pattern of a significant negative effect of television penetration on aggregate and per capita theatrical film admissions. Further, television penetration had a negative but non-significant effect on the number of films produced and on the number of screens. Descriptive data show that India's persistent aggregate admissions appear to be more an artifact of the population size rather than a higher frequency in visits to the theatres. Since 74 per cent of Indian film industry revenues come from theatrical admissions, these results may interest policy makers in view of the fact that India is the only country in the world other than the US where domestic films have approximately 93 per cent market share.

Until recently, studies on films from colonial Korea in the Japanese empire had to rely primarily on secondary texts, such as memoirs, journal and newspaper articles, and film reviews. The recent discovery of original film texts from archives in Japan, China, Russia, and elsewhere and their availability on DVD format, prompted an important turning point in the scholarship. However, juxtaposing these newly released DVD versions with other archival sources exposes significant differences among the existing versions of texts. For instance, a newly discovered script reveals that important segments are missing in the recently released DVD version of the propaganda film Volunteer . There also exist important discrepancies in the dialogue among the original film script, the actual film version, the synopsis, and the Japanese subtitles. Some of the Korean-language dialogue, which might be interpreted as exhibiting some ambivalence toward Japanese imperial policies, was completely silenced through strategic omissions in the Japanese-language subtitles targeting Japanese audiences. Some Japanese-language translations of the script also exhibit drastic changes from the original Korean-language dialogue. Piecing together such fragmented and fraught linguistic dissonance found in the colonial archives, we can conjecture that viewers from the colony and the metropole of Volunteer may have consumed very different versions of the film. This article aims to examine the significance of such dissonance, which has only recently become audible in so-called films of transcolonial coproduction.

With the rise of indie cinema in the Philippines, many say that another golden age is again in the making, and, like its predecessor, the films are being produced in the midst of widespread poverty and political instability. Understandably, a significant number of indie films has consciously returned to and explored the limits of the urban realist film of the 'golden age' (1975-1984), revisioning city spaces and signifying patterns in Philippine and global film cultures. The essay has three intricately connected sections. On the one hand, it delineates the shifting contexts of Philippine and global film cultures and situates current indie cinema in these contects. On the other hand, by considering several key films, it traces the development and revisions of urban realism from its birth until today and reflexively problematizes the critical discourses that define and are defined by such realism. Keywords: Philippine cinema, realism, city studies, film culture

Este artigo parte do pressuposto de que o uso do termo "entrevista" para descrever performances verbais oferecidas em resposta aos questionamentos ou solicitações dos cineastas é restritivo e até mesmo enganoso quando empregado no contexto da realização de filmes etnográficos. Por isso, sugere-se o termo "testemunho oral". Ademais, considera-se uma ampla variedade de formas nas quais o testemunho oral tem sido usado no filme etnográfico e em gêneros relacionados.ABSTRACTThis article proposes that the use of the term 'interview' to describe verbal performances offered in response to a series of questions from a film-maker is restrictive and even misleading, particularly when employed in the context of ethnographic film-making, and suggests that the term 'oral testimony' be used instead. It then considers a broad range of modes in which oral testimony has been employed in ethnographic film and related genres.