Suchergebnisse

1. Introduction -- Part I: Utopian Concepts -- 2. On Utopia -- 3. On Film -- 4. On Documentary -- 5. On Semio-Pragmatics -- Part II: Utopian Concepts -- 6. Films for the Future: The Zukunftsfilme by defa-futurum -- 7. Utopian Propaganda -- 8. Urban Utopias -- 9. Post-Classic Utopias -- 10. Conclusion.

This article uses AT&T's 1910s–30s "Weavers of Speech" campaign to read on-screen telegraph and telephone operators as vernacular translators of cinematic syntax and hypervisible avatars for the invisible cutter girls who "knitted the pieces of film together" on studio lots. While operators largely played peripheral roles in classical films, two transitional periods saw them rise to the surface of story en masse, as if temporarily hired to sew over a rupture. A comparative analysis of telephone girls' enlistment as temp techno-pedagogues during US film's introduction of crosscutting and European film's polyglot transition to sound suggests women's film-weaving labor as an alternative to the surgical rhetoric (suture) and auteur models that dominate theories of film editing. More broadly, the article suggests that the culturally conspicuous feminization of low-level information labor offers feminist film historians a crucial "mediatrix" for uncovering woman workers hidden in the cut of film.

Aus sowjetischer Sicht

Masculinity and Italian cinema begins with the imposition of film as a cultural phenomenon that can be employed to track and measure the shifts in the experience of masculinity in Italian society. ...

Dinah Shurey was the only woman to found her own film company in 1920s Britain, producing six films and directing one, all of which, despite their apparent popularity, are lost. Absence of films and (auto)biography, along with the "oddness" of Shurey's choice of military and naval melodramas, means film history has discounted her.
This article explores alternative historical sources—genealogical sites, popular magazines from her family's publishing house, autobiographies of women she worked with, source novels and short stories, industry meeting and law-court reports, trade papers and reviews, shipping manifests, and hospital records. Drawing on Debashree Mukherjee's concept of "cine-ecology," it pursues Shurey's career at the intersections of shifting social and professional networks and a diversity of sociocultural intertexts. It aims less to restore a forgotten woman filmmaker than garner insight into the lived experience of a career struggle, filtered through cultural changes, social and media events, conflicting industrial interests, and political calculations.

The history of industrial films - an orphan genre of twentieth-century cinema composed of government-produced and industrially sponsored movies that sought to achieve the goals of their sponsors, rather than the creative artists involved - seems to have left no trace in filmic cultural discourse. At its height the industrial film industry employed thousands, produced several trade journals and festival circuits, engaged with giants of twentieth-century industry like Shell and AT & T, and featured the talents of iconic actors and directors such as Buster Keaton, John Grierson and Alain Resnais. This is the first full-length book, anthology, and annotated bibliography to analyse the industrial film and its remarkable history. Exploring the potential of the industrial film to uncover renewed and unexplored areas of media studies, this remarkable volume brings together renowned scholars such as Rick Prelinger and Thomas Elsaesser in a discussion of the radical potential and new possibilities in considering the history of this unexplored corporate medium.

Cinematographic Theory and New Dimensions in Ethnographic Film. Paul Hockings and Yasuhiro Omori, eds.Anthropological Filmmaking: Anthropological Perspectives on the Production of Film and Video for General Public Audiences. Jack R. Rollwagen, ed.Disappearing World. Andre Singer and Leslie Woodhead.Visual Explorations of the World: Selected Papers from the International Conference on Visual Communication. Martin Taureg and Jay Ruby, eds.

Report: Film Festivals