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The history of African American males in the entertainment industry begins with the African background and extends through the transatlantic slave trade and to the various aspects of the black presence in the Americas. African American males have contributed enormously to the American cultural wealth in dance, music, theater, and film. Minstrelsy, the cakewalk, the Charleston, the lindy hop, the twist, the break dance, rap, jazz, blues, spirituals, soul-these and many others have enriched the American cultural experience at various stages of American history. African American male performers, directors, producers, musicians, playwrights, dancers, choreographers, and filmmakers, working individually or as a group, have made an indelible mark both on the American stage and in the American collective memory. These entertainers, especially those who began their profession at a time of social inequality, prejudice, and the ever present threat of physical violence, laid the foundation for African Americans of a later age to realize their potential and be called stars of Hollywood and Broadway. Their accomplishments have made it possible to look positively toward the future.

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

In 1950s Japan, films about the Second World War, especially the conflict in the Pacific, were very popular. Though some of them concentrated on misery and suffering, others were surprisingly positive in their portrayal of Japanese soldiers. The 1950s have the reputation of a pacifist decade in Japan, when people were only too glad to forget the war as they turned instead to the future. This orthodox view is undermined, however, by the undeniable fact that a great many people wanted to see cinematic dramatizations of the war. The movies they watched left room for pride, dignity, the recognition of Japanese military power and even nostalgia for the war years. They were an important means by which people explored the meanings of the recent conflict. In particular, they explained and dramatized what had happened; presented examples of heroic soldiers and sailors; and contributed to the reintegration of ordinary soldiers who had been convicted as war criminals back into Japanese society. In doing so they played a vital role in reclaiming and validating the actions of military men, and in promoting the idea that there had been positive aspects of the war experience, despite the suffering the conflict had undoubtedly brought.

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)

The author details her experience teaching a course on feminism through the use of films at a prison. Adapted from the source document.

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.

AbstractIn Swedish child welfare, there are no mandatory guidelines on what interventions to use. Local authorities are able to set their own criteria for implementing or designing interventions. We carried out a survey to identify interventions in use in Children's Social Services and Child and Adolescent Psychiatric Care in Sweden. A total of 102 interventions were stated to have been in use, with between 31 and 45 different interventions for each of the four different child welfare populations. Of the 102 interventions, 56 were designed outside Sweden and later imported. Only 27 interventions were supported with some kind of research evidence. About half of the interventions targeted the child. Possible implications for practice and research are discussed.