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The paper contains a strictly legal and economic analysis of public policies in Spanish cinema production. Often the study of administrative law is limited to a discussion of the instruments, forgetting their evaluation and achieved results towards the ultimate goals of promoting the industry and national culture. It focuses on the regime's interests reflected on the cinematographic sector of Spain; control, in connection with and resulting from the societal crisis, especially over the morality of a given product and over its economic parameters; censorship; control over information, quotas, subsidies, credits, etc.; market relations and a range of protectionist measures.

AbstractThis article uses fresh archival evidence to point at a rarely noticed phenomenon, namely the undermining of the planned economy by a myriad of dispersed acts of resistance during the last years of the Cultural Revolution. Villagers reconnected with the market in some of the poorest places in the hinterland as well as in better-off regions along the coast. This silent, structural revolution often involved the quiet acquiescence, if not active cooperation, of local cadres. In conclusion, the article suggests that if there was an architect of economic reforms, it was the people and not Deng Xiaoping: as with his counterparts in Central Europe and the Soviet Union, Deng had little choice but to go along with the flow.

Campus‐based antiwar protest and black activism in the 1960s exposed fundamental class and cultural divisions in America. This study focuses on the role a liberal and increasingly cosmopolitan university had in provoking a white working‐class backlash in its community. As activist academics and students sought to influence the Democratic party at the national and local level, the progressive New Deal coalition fractured. This article will examine the largely blue‐collar and Roman Catholic city of Buffalo, New York, a bastion of New Deal democracy, which in response to university protest and black ghetto discontent increasingly embraced conservative Republican candidates. This "silent majority" of culturally and politically threatened whites generally opposed both antiwar protest and the Vietnam War iiself.

Explorations in New Cinema History brings together cutting-edge research by the leading scholars in the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema & rsquo;s audiences, the experience of cinema, and the cinema as a site of social and cultural exchange. Includes contributions from Robert Allen, Annette Kuhn, John Sedwick, Mark Jancovich, Peter Sanfield, and Kathryn Fuller-Seeley among othersDevelops the original argument that the social history of cinema-going and of the experience of cinema should take precedence over

There is no denying the fact that Indian cinema has always followed print and the written works by the major authors of different ages of literature. Later, Cinema emerged as a potent medium of expression of literary works and also of cross-cultural parleys and a platform for evocative discussions pertaining to hegemonies and politics. The present paper studies astonishing similarities and comparison between the Indian film Haider directed by Vishal Bhardwaj and Hamlet written by Shakespeare. The movie is an intriguing film on revenge, love and about the Kashmir Valley. The paper also encapsulates and comments upon the ability of the cinema to render the human experiences in a unique way through its technocratic quotient and imagistic jugglery which enthralls the audience like literature.

Having provided an overview of the introduction of films in Korea (in 1903) and films produced in this country between 1919 and 1945, the authors discuss the struggle for Korean films (1945-61), the Korean films under (South Korean) government control (1962-79) and Korean films produced during the Fifth Republic (1980-88). Films imported into South Korea from other countries are briefly mentioned. (DÜI-Sen)

Review of the books: Melodrama and Asian cinema, ed. by W. Dissanayake; Film in contemporary China: critical debates, ed. by S. Samsel; Cinematic landscapes: observations on the visual arts and cinema of China and Japan, ed. by Linda Ehrlich and D. Desser; New Chinese cinemas: forms, identities, politics, ed. by N. Browne, P. Pickowicz, V. Sobchack and Esther Yau; and Primitive passions: visuality, sexuality, ethnography, and contemporary Chinese cinema, by Rey Chow. + The reviewer discusses cross-cultural studies, Western film theory and Chinese texts, the notion of contemporary Chinese cinema as "ethnography and autoethnography", re-envisioning the directions of critical practice etc. (DÜI-Sen)

"Through the lens of cinema, this book explores the ways in which the United States, Britain and India impacted each other politically, culturally and ideologically. It argues that American films of the 1920s posited alternative notions of whiteness and the West to that of Britain, which stood for democracy and social mobility even at a time of virulent racism.The book examines the impact that the American cinema has on Indian filmmakers of the period, who were integrating its conventions with indigenous artistic traditions to articulate an Indian modernity. It considers the way American films in the 1920s presented an orientalist fantasy of Asia, which occluded the harsh realities of anti-Asian sentiment and legislation in the period as well as the exciting engagement of anti-imperial activists who sought to use the United States as the base of a transnational network. The book goes on to analyse the American 'empire films' of the 1930s, which adapted British narratives of empire to represent the United States as a new global paradigm.Presenting close readings of films, literature and art from the era, the book engages cinema studies with theories of post-colonialism and transnationalism, and provides a novel approach to the study of Indian cinema"--

Since the Euromaidan revolution, Ukrainian cinema has been experiencing a renaissance, associated with both the wave of civic and creative activity and the policy of the post-Maidan authorities supporting the film industry. The article analyzes the development of Ukrainian cinema from 2014 to 2019, focusing not only on organizational, institutional, and legal changes but also on the accompanying controversies. It addresses the main socio-political, economic, and cultural factors influencing progress in the number of films produced in Ukraine and their popularization on the domestic and foreign market. The article particularly emphasizes the context of Russian aggression toward Ukraine and the ongoing war in Donbas, as it influences not only the topics taken up by filmmakers but also the priorities of authorities in the field of cultural policy. Cinema has become one of the fronts of the conflict. Thus, the post-Maidan authorities' concern was both to block Russian content deemed dangerous from the point of view of national security and to produce and promote "Ukrainian-centric" narratives. The last part of the article will discuss the new Ukrainian "patriotic cinema," supported and subsidized by the state, with a focus on the role it plays in a society experiencing conflict.

Pasolini and Crane both refer to practices of melding different styles and traditions in order to produce fresh and unusual aesthetic experiences. The discussion focused on the importance of physical locations and the specificity of geography in their work. Place was a heuristic for Pasolini's practice and politics as it is for Cathy Lee Crane. The conversation also engaged with Pasolini's concept of 'Cinema of Poetry' and the stylistic freedom and intensity that it proposes. It grounded the viewing of Crane's film Pasolini's Last Words on 26 September 2014 in the Pasolini retrospective at the Cinema Arsenal in the context of the Pasolini Roma exhibit at the Martin-Gropius-Bau. Cathy Lee Crane has been making hybrid films on 16mm since 1994. Her first feature Pasolini's Last Words (2012) was supported by a grant from the New York State Council on the Arts in 2010 and a 2009 New York Foundation for the Arts Fellowship in Film, and premiered at Festival du Nouveau Cinema in Montreal as a 'gem of world cinema'. She received the prestigious Guggenheim Fellowship in 2013 for her lyrical re-combinations of archival and staged material. Currently she is associate professor in the Department of Cinema, Photography, and Media Arts at Ithaca College. John David Rhodes is a university lecturer in film studies in the Department of Italian, University of Cambridge. His research focuses on cinema's engagement with other aesthetic forms and on the mutual implication of theory and material history. He is he author of Stupendous, Miserable City: Pasolini's Rome (2007) where he places the city of Rome at the center of this in-depth examination of the work of Pasolini. Manuele Gragnolati (Oxford University/ICI Berlin) is professor of Italian at Oxford University and Fellow of Somerville College. His latest book is entitled Amor che move. Linguaggio del corpo e formal del desiderio in Dante, Pasolini e Morante (2013). He is the associate director of the ICI Berlin. ; Adrift in Pasolini's Rome: Excursions into The Cinema of Poetry , ...

"A Silent Revolution? explores how urban women managed wealth at a time when they were thought to have little independence - including economic - and shows that women were in fact important players in the world of capital. Peter Baskerville situates women in their immediate gendered and familial environments as well as within broader legal, financial, spatial, temporal, and historiographical contexts. He analyses women's probates, wills, land ownership, holdings of real and chattel mortgages, investment in stocks and bonds, and self employment, revealing that women controlled wealth to an extent similar to that of most men and invested and managed wealth in increasingly similar, and in some cases more aggressive, ways."--Book cover