Suchergebnisse

Edgar Reitz's film Heimat (1984), which chronicles three generations of a family in rural Schabbach, elicited a number of critical responses. Reminiscent of historical documentation, it was accused of recuperating an innocent past at the expense of truthful narration. This article analyzes Reitz's use of photo and film within Heimat to demonstrate how the film deconstructs the viewer's confidence in the ability of photographic and filmic documentation to deliver proof of historic events. Reitz genders his characters' interaction by casting men as photographers/narrators, and women as spectators, leaving it to the female characters to draw attention to the constructedness and unreliability of images.

The article analyzes the archival film materials of the RGAK-FD: Soviet documentary newsreels filmed during the Second World War, as well as films edited on their basis in a later period. The author reveals the informational potential of such film documents for studying the history of the Holocaust. The article examines in detail the films "Klooga — the death camp" (1944), "Auschwitz" (1945), "Film documents about the atrocities of the Nazi invaders" (1945), "Lodz" (1945), "Victims blamed" (1962) , "We were born here" (1969), "The Great Patriotic War. Film 16 — Liberation of Poland "(1979). The author reveals the reflection of the events of the Holocaust in the visual series of film documents, accompanying documentation for them and behind-the-scenes texts.

Abstract: Previous studies have emphasised mainly the competitive relationship and the resistance of host governments to the expansion of foreign firms in the film industry. Adopting the competitiveness approach, this article, by contrast, analyses how internationalisation has enhanced the competitiveness of China's film industry. It shows that Chinese filmmakers leverage Hollywood's resources via three channels of internationalisation—trade, foreign direct investment and international co-productions. The enhanced competitiveness of China's film industry serves as the foundation for its bargaining power vis-à-vis Hollywood, enabling China to respond more effectively to Hollywood's expansion into its film market. However, the Chinese government's recent tightening of censorship on film production has negatively affected the sustainable relationship between China and Hollywood and hinders China's pursuit of achieving global appeal for Chinese films.

Previous studies have emphasised mainly the competitive relationship and the resistance of host governments to the expansion of foreign firms in the film industry. Adopting the competitiveness approach, this article, by contrast, analyses how internationalisation has enhanced the competitiveness of China's film industry. It shows that Chinese filmmakers leverage Hollywood's resources via three channels of internationalisation—trade, foreign direct investment and international co-productions. The enhanced competitiveness of China's film industry serves as the foundation for its bargaining power vis-à-vis Hollywood, enabling China to respond more effectively to Hollywood's expansion into its film market. However, the Chinese government's recent tightening of censorship on film production has negatively affected the sustainable relationship between China and Hollywood and hinders China's pursuit of achieving global appeal for Chinese films. (China / GIGA)

Abstract
Throughout American history, cultural norms regarding the behaviour of men and women in public space have extended to their use of transportation, including the automobile. A series of crime films set in San Francisco spanning seven decades are examined in relation to these norms and how this has changed over decades. While Lefebvre observes a potential for art and culture to facilitate social change, these movies largely reinforce stereotypes about men, women and cars.

Europe's leading film-producing countries are France, Germany, Italy, Spain, and the United Kingdom. They were all hit by the global economic crisis, which had a particularly severe impact on Europe in 2010–2012. The consequences of this crisis for film policies and the film industry are understudied. Spain is a unique case for this study because it had to ask the European Union for a financial assistance programme. What changes were made to State film policies as a result of the crisis? How did those changes reflect on the feature film production? This article aims to answer these questions. The method used includes an analysis of film-industry policy documents and official data, and in-depth interviews. The period studied is 2007–2017. The results refer to topics such as State aid for film production; tax incentives; value-added tax (VAT); the obligation to provide advance funding for European audiovisual production, and the number, genre, and mean cost of the feature films produced.

Compares censorship's distinct and varying profiles across five different national contexts - U.S.A., Britain, Canada, Australia and FranceHistorical analysis of causes and consequences of the transition away from formal censor boards and toward current practices of classification and ratingsDetailed textual analysis of the relevant films to contextualize and evaluate rhetorical arguments put forth against them in controversial public receptionsDraws parallels between the rhetorical practices of censors, and those of the critics, distributors, and advertisers that have assumed the social control of film cultureFilm Regulation in a Cultural Context examines cinematic works that provoked censorious impulses throughout the shift away from formal film censorship in the late modern West. The public controversies surrounding Fat Girl, Irreìversible, Ken Park, The Brown Bunny, Wolf Creek and Welcome to New York, each highlight significant stages in this cultural shift, which necessitated policy revision within Britain, Canada and Australia's institutions of film censorship.Sacco draws parallels and distinctions between governmental film regulation policies and the social control mechanisms at work within a wider network of institutions, including news media, film festivals and advocacy groups. He examines the means by, and ends to which the social control of film content persists in a national 'post-censorship' media landscape, and how concepts of film 'classification' manifest in commercial market contexts, journalistic criticism and practices of distribution and advertising

This field-defining collection establishes unfinished film projects—abandoned, interrupted, lost, or open-ended—as rich and underappreciated resources for feminist film and media studies. In a series of deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders. Incomplete recovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy. Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always-unfinished project of film history, film spectatorship, and film studies

Established in 1955, the Leipzig Film Festival's location in the German Democratic Republic deeply implicated it in cultural and political competition between East and West Germany, opening a political and artistic exchange that would have otherwise been impossible. Screened Encounters represents the definitive history of this key event, recounting its history from its founding until reunification, and tracing the outsize influence it exerted on international cultural relations during the Cold War

An in-depth analysis of political organization and democratization during the crucial 1860-1920 period in Sweden and Germany, this book centers on the formation of liberalism. It argues that despite ideology's individualistic traits-which made liberals less susceptible to political organization on a mass basis-its followers chose to compromise between individual and collective action. Revealing how Swedish liberalism made way for peaceful democratization and collective modes of societal organization while German liberalism turned conservative and prepared for Nazism and extremist nationalism

What happened to shared historical experiences in the discursive processes of constitutional reform in Sweden and Finland? This article examines the use of 18th-century history in early 20th-century politics. Building on a long-term survey of Swedish and Finnish estate and parliamentary debates, it analyses the political implications of differing national historiographies in the two successor states of the 18th-century Swedish realm, focusing on how the ancient past and collective (and often selective) memories of the Age of Absolutism, the Age of Liberty and the Gustavian Age were used by parliamentarians in constitutional debates. The analysis demonstrates how the Finnish polity continued to be profoundly influenced by these 18th-century constitutions even after the Russian Revolution, while Sweden took the post-French Revolution constitution of 1809 as its point of departure. In both countries, interpretations of the long 18th century were ideologically motivated in an age of the parliamentarization of government and the democratization of the representative system. This leads us to a discussion of the history-political significance of the common and differing understandings of representative government in the two interconnected countries. ; peerReviewed