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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.

Chapter 1. Introduction: 'Millions of People Every Day' – Cinema as part of the quotidian of life (John Sedgwick) -- Chapter 2. Managing Risk - Key Concepts and Methods (John Sedgwick) -- Chapter 3. How did the Department of Justice Get it so Wrong? Philadelphia 1935-36: the Stanley Warner Chain, competitive practices, and consumer welfare (Andrew Hanssen) -- Chapter 4. Comparative Film Popularity in Three English Cities - Bolton, Brighton, and Portsmouth: an exercise in POPSTAT methodology (John Sedgwick) -- Chapter 5. Popular films in Stockholm during the 1930s: a presentation and discussion of the pioneering work of Leif Furhammar (John Sedgwick) -- Chapter 6. Dutch films in the Dutch market in the 1930s: A characteristics approach to film popularity (Clara Pafort-Overduin) -- Chapter 7. Unravelling Australia's "Infamous 'contract' system." Evidence from Adelaide, 1942-3. (Dylan Walker) -- Chapter 8. Film exhibition, distribution, and popularity in German-occupied Belgium (1940-1944): Brussels, Antwerp, and Liege (John Sedgwick) -- Chapter 9. Five Italian Cities: Comparative analysis of cinema-types, film circulation, and relative popularity in the mid-1950s (John Sedgwick) -- Chapter 10. Cinemagoers should '…learn from progressive movies, again and again.' Cinemagoing in Czechoslovakia, 1949-52 (John Sedgwick) -- Chapter 11. 'It seems to me that the most popular films in the West are very harmful to us': Film Popularity in Poland during the years of 'High Stalinism' (John Sedgwick) -- Chapter 12. Americanisation in reverse? Hollywood films, international influences, and US audiences, 1946-1965 (Peter Miskell).

Between 2005 and 2015, a distinctly cosmopolitan form of art cinema flourished in Chile. Alberto Fuguet, Pablo Larraín, Alicia Scherson, and Sebastián Silva, who released their first feature-length films between 2005 and 2007, are markedly cosmopolitan filmmakers who exemplify this strain of cinema. Four films by these filmmakers—Fuguet's Se arrienda (2005), Larraín's Tony Manero (2008), Scherson's Il Futuro (2013), and Silva's Nasty Baby (2015)—are emblematic of the cosmopolitan and porous qualities of early-21st-century Chilean art cinema. The defining features of these four films are the cosmopolitan profiles of their filmmakers; their creators' use of transnational strategies of production, distribution, and exhibition; their circulation at film festivals; their affiliation with the genre of art cinema; and their depiction of cinephilia and filmmaking as quintessentially cosmopolitan practices.The release of these Chilean productions and co-productions coincides with the beginning of the post-Transition to Democracy period as well as the expansion and maturation of the country's film industry. From 2005 through 2015, the number of new Chilean productions and co-productions released in local theaters increased significantly over the preceding Transition to Democracy period (1988-2005). Many of these films were exhibited at some of the world's most prestigious film festivals, including Berlin, Cannes, and Venice. This decade-long series of success at film festivals culminated at the 2015 Berlin International Film Festival, where Larraín's El club and Silva's Nasty Baby won the Silver Bear Grand Jury Prize and Teddy Award, respectively. Notwithstanding its accumulation of awards and prestige at film festivals, contemporary Chilean art cinema has received limited attention from scholars, especially outside of Chile. This dissertation contributes to the conversation about Chile's art cinema and film industry in the early-21st century.This dissertation is divided into two parts. In the first two chapters, I focus on the structural factors shaping the development of this cinema between 2005 and 2015. In the first chapter, I analyze Chile's film industry with a focus on production output, audiences, legislation, and organizations involved in the production, distribution, and exhibition of Chilean cinema. In the second chapter, I examine film festivals' multifaceted roles as exhibitors, curators, producers, and distributors of Chilean art film. The second half of the dissertation, chapters three through six, offers close analyses of Se arrienda, Tony Manero, Il Futuro, and Nasty Baby and their representation of cosmopolitanism through the interrelated practices of cinephilia and filmmaking.

Este artigo busca uma interseção entre Cinema, Educação e Gênero, sobretudo considerando a aprovação da Lei 13.006/14, que determina a exibição de cinema nas escolas públicas e as resistências em incorporar a perspectiva da educação em gênero nas escolas a partir de 2014, com o Plano Nacional de Educação. Estudos são trazidos ao texto para elucidar como a prática escolar historicamente perpetua e reproduz uma cultura dominante sexista e, a partir de um diálogo com a teoria fílmica feminista, sustentamos a hipótese-cinema como dispositivo insurgente capaz de contribuir para processos educativos pautados pela emancipação e equidade de gênero.Palavras-chave: Educação. Cinema. Mulheres. Feminismo. Movies in education: a look from the gender categoryABSTRACTThis article seeks an intersection between Movies, Education and Gender, especially considering the approval of Law 13.006/2014, which determines the exhibition of movies in public schools and the resistance to incorporate the perspective of gender education in schools from 2014, with the National Education Plan. Studies are presented in the text to show how the school reproduces a dominant sexist culture and, from a dialogue with feminist fi lm theory, we support the cinema-hypothesis as an insurgent device capable of contributing to educational processes guided by emancipation and gender equity.Keywords: Education. Movies. Women. Feminism. Cine en la educación: Una mirada desde la categoría géneroRESUMENEste artículo busca una intersección entre Cine, Educación y Género, sobre todo considerando la aprobación de la Ley 13.006/14, que determina la exhibición de películas en las escuelas públicas y las resistencias en incorporar la perspectiva de la educación en género en las escuelas a partir de 2014, con el Plan Nacional de Educación. Se acude a estudios en el texto para elucidar como la práctica escolar históricamente perpetúa y reproduce una cultura dominante sexista y, a partir de un diálogo con la teoría cinematográfi ca feminista, sostenemos la hipótesis-cine como dispositivo insurgente capaz de contribuir para procesos educativos pautados por la emancipación y equidad de género.Palabras clave: Educación. Cine. Mujeres. Feminismo.

Archival Film Curatorship is the first book-length study that investigates film archives at the intersection of institutional histories, early and silent film historiography, and archival curatorship. It examines three institutions at the forefront of experimentation with film exhibition and curatorship. The Eye Film Museum in Amsterdam, the George Eastman Museum in Rochester, NY, and the National Fairground and Circus Archive in Sheffield, UK serve as exemplary sites of historical mediation between early and silent cinema and the digital age. A range of elements, from preservation protocols to technologies of display and from museum architectures to curatorial discourses in blogs, catalogs, and interviews, shape what the author innovatively theorizes as the archive's hermeneutic dispositif. Archival Film Curatorship offers film and preservation scholars a unique take on the shifting definitions, histories, and uses of the medium of film by those tasked with preserving and presenting it to new digital-age audiences.

Science is a discipline defined by empiricism and reliable methodologies that result in predictable outcomes. Yet, cutting-edge experiments inevitably involve an element of the unknown, an aspect which science fiction exploits for dramatic effect. Furthermore, fictional science is freed from the ethical constraints that regulate real-world experimentation and is therefore often transgressive. Even as films capitalize on unethical practices and cutting-edge scenarios for dramatic and commercial reasons, the origin of the filmmaker and/or place of production may affect a film's content. A film is also obviously subject to legal constraints, according to the country of origin, and classification codes in its place of exhibition. Thus, while the very nature of science fiction may cause it to appear morally unbridled, there are nonetheless multiple inhibitions entrenched in such depictions. By drawing on relevant cinematic examples, including Prometheus, The Hunger Games and District 9, and scientific scenarios on which these films are based, this essay explores how the unpredictable nature of advances in science, in combination with a lack of ethics, foregrounds the dangerous dimensions of science fiction.

This article charts commercial cinema's role in promoting the war effort in Scotland during the First World War, outlining three aspects of the relationship between cinema and the war as observed in Scottish non-fiction short films produced between 1914 and 1918. The existing practice of local topical filmmaking, made or commissioned by cinema managers, created a particular form of engagement between cinema and war that was substantially different from the national newsreels or official films. The article offers an analysis of surviving short 'topicals' produced and exhibited in Scotland, which combine images of local military marches with kilted soldiers and enthusiastic onlookers and were designed to lure the assembled crowds back into the cinema to see themselves onscreen. Synthesising textual analysis with a historical account of the films' production context, the article examines the films' reliance on the romanticised militarism of the Highland soldier and the novelty appeal of mobilisation and armament, sidelining the growing industrial unrest and anti-war activities that led to the birth of the term 'Red Clydeside'. The article then explores how, following the British state's embracing of film propaganda post-1916, local cinema companies such as Green's Film Service produced films in direct support of the war effort, for example Patriotic Porkers (1918, for the Ministry of Food). Through their production and exhibition practice exhibitors mediated the international conflict to present it to local audiences as an appealing spectacle, but also mobilised cinema's position in Scottish communities to advance ideological and practical aspects of the war effort, including recruitment, refugee support, and fundraising.

Cinema-going was the most popular commercial leisure activity in the first half of the twentieth century, peaking in 1946 with 1.6 billion recorded admissions. Though 'going to the pictures' remained a popular pastime, the transition to peacetime altered citizens' leisure habits. During the 1950s increased affluence, the growth of television ownership and the diversification of leisure led to rapid declines in attendance. Cinema attendances fell in all regions, but the speed, nature and extent of decline varied widely across the United Kingdom. By linking national developments to detailed case studies of Belfast and Sheffield, this book adds nuance to our understanding of regional variations in film exhibition, audience habits and cinema-going experiences during a period of profound social and cultural change. Drawing on a wide range of quantitative and qualitative sources, Cinema and Cinema-Going conveys the diverse nature of this important industry, and the significance of place as a determinant of film attendance in post-war Britain.

Culture is often regarded as desirable rather than essential in international relations. It is a common view that, while cultural diplomacy can help establish and support working relationships between countries, it is subordinate to laws, treaties, bilateral agreements and the military. There is a stark difference between the amount of attention and money given to cultural diplomacy and other more formal types of diplomacy. Historically, Argentina and Australia have engaged in modest levels of trade and political contact. This is the primary reason that cultural exchange has remained underdeveloped and overlooked between the two countries. It is only recently that international governments have seen the need to invest in cultural diplomacy as a means of nurturing international relationships. As a result, many of the cultural exchanges currently undertaken by the Argentine and Australian governments have a foundation of long established political collaboration. The domain of cultural diplomacy extends much further than exhibitions appearing in museums. It encompasses dance, food, theatre, cinema, visual art and music. This report, however, will concentrate on the importance of investing in museum exhibitions in cultivating and encouraging diplomatic relations. There are two ways in which international exhibits can appear in large Australian museums. The first is to arrange a cultural agreement between governments. This avenue is the most likely to succeed as the Australian government already has established trading links with Argentina and has allocated funds to dedicate to this process. The second is through an exchange between individual institutions. This possibility depends upon the relationship cultivated between individuals at either institution, their ongoing communication to ensure the success of the exhibition and the funding needed to support the exhibition. There are obstacles that undermine the process of cultural exchange. There is an enormous cost involved in creating an exhibition, a language barrier that discourages interaction between individual institutions and the lack of sources that discuss the benefits of investing in the international ' cultural industry'. There is the self-perpetuating problem that because of the lack of cultural exchange, Australians know very little about Argentina. Ergo, many investors are not aware of the potential of the Argentine cultural sector and are unlikely to consider Argentina as a valid exchange partner. This report investigates the best opportunities for exchange by analysing examples of international exhibitions within Australia and what Argentina itself has exchanged internationally. It is difficult to decipher the themes of exchange between each of the countries because they seem to be infinite, but the examples do illustrate common factors that will allow international exhibitions to proceed. There needs to be an established exhibition from an Argentine institution on a subject that is likely to attract interest outside of Canberra. It needs to be a profitable venture for the host institution and have continual support and planning for a period of at least three years. This report also outlines the way the Embassy of Argentina in Australia can help facilitate international cultural exchange, particularly by approaching large Argentine museums and helping them coordinate exhibition proposals to Australian institutions. The report will also propose how the Embassy of Argentina can increase cultural exposure within Australia without incurring a great increase in costs.

This article charts commercial cinema's role in promoting the war effort in Scotland during the First World War, outlining three aspects of the relationship between cinema and the war as observed in Scottish non-fiction short films produced between 1914 and 1918. The existing practice of local topical filmmaking, made or commissioned by cinema managers, created a particular form of engagement between cinema and war that was substantially different from the national newsreels or official films. The article offers an analysis of surviving short 'topicals' produced and exhibited in Scotland, which combine images of local military marches with kilted soldiers and enthusiastic onlookers and were designed to lure the assembled crowds back into the cinema to see themselves onscreen. Synthesising textual analysis with a historical account of the films' production context, the article examines the films' reliance on the romanticised militarism of the Highland soldier and the novelty appeal of mobilisation and armament, sidelining the growing industrial unrest and anti-war activities that led to the birth of the term 'Red Clydeside'. The article then explores how, following the British state's embracing of film propaganda post-1916, local cinema companies such as Green's Film Service produced films in direct support of the war effort, for example Patriotic Porkers (1918, for the Ministry of Food). Through their production and exhibition practice exhibitors mediated the international conflict to present it to local audiences as an appealing spectacle, but also mobilised cinema's position in Scottish communities to advance ideological and practical aspects of the war effort, including recruitment, refugee support, and fundraising.

Early Film in San Francisco. Bold Visions and Frontier Conditions: The Emergence of Film in San Francisco -- "If I Had the Power to Do So I Would Destroy Them with My Own Hands": Film and Politics in Post-Quake San Francisco -- Chinatown Exhibition and Movie Theaters -- "The Most Cosmopolitan City in the World": Chinese San Francisco at the Turn of the Twentieth Century -- "Eyes Darting Around, Spirit Dashing About" -- Mapping Chinatown Film Culture, 1906-1915 -- The Chinesque Aesthetic: Orientalist Stereotypes in Post-Quake Film Culture -- Chinese American Audiences. "Where the People Aren't All American": Chinatown Audiences and Spectators -- Chinatown Modernity: Revolutions and Movie Theaters -- Trajectories and Concluding Remarks.

Disability Studies and Spanish Culture is the first book to apply the tenets of Disability Studies to the Spanish context. In particular, this work is an important corrective to existing cultural studies of disability in Spain that tend to largely ignore intellectual disabilities. Taking on the representation of Down syndrome, autism, alexia/agnosia as well as childhood disability, its chapters combine close readings of a number of Spanish cultural products (films, novels, the comic/graphic novel and the public exhibition) with a broader socio-cultural take on the state of disability in Spain. While researchers and students of cinema will be particularly interested in the book's detailed analyses of the formal aspects of the films, comics, and novels discussed, readers from backgrounds in history, political science and sociology will all be able to appreciate discussions of contemporary legislation, advocacy groups, cultural perceptions, models of social integration and more.

Disability Studies and Spanish Culture is the first book to apply the tenets of Disability Studies to the Spanish context. In particular, this work is an important corrective to existing cultural studies of disability in Spain that tend to largely ignore intellectual disabilities. Taking on the representation of Down syndrome, autism, alexia/agnosia as well as childhood disability, its chapters combine close readings of a number of Spanish cultural products (films, novels, the comic/graphic novel and the public exhibition) with a broader socio-cultural take on the state of disability in Spain. While researchers and students of cinema will be particularly interested in the book's detailed analyses of the formal aspects of the films, comics, and novels discussed, readers from backgrounds in history, political science and sociology will all be able to appreciate discussions of contemporary legislation, advocacy groups, cultural perceptions, models of social integration and more.

Newsreel cinema and television not only served as an important tool in the shaping of political spheres and the construction of national and cultural identities up to the 1960s. Today's potent televisual forms were furthermore developed in and strongly influenced by newsreels, and much of the archived newsreel footage is repeatedly used to both illustrate and re-stage past events and their significance. This book addresses newsreel cinema and television as a medium serving the formation of cultural identities in a variety of national contexts after 1945, its role in forming audiovisual narratives of a »biopic of the nation«, and the technical, aesthetical, and political challenges of archiving and restaging cinematic and televisual newsreel. ; Kornelia Imesch et al.: Introduction Part 1: Constructions of Cultural Identities in Newsreel Samuel Sieber: The Politics of Archives. Media, Power, and Identity Knut Hickethier: The Creation of Cultural Identity through Weekly Newsreels in Germany in the 1950s. As Illustrated by the NEUE DEUTSCHE WOCHENSCHAU and the UFA-WOCHENSCHAU (With a Side Glance at the DEFA Weekly Newsreel DER AUGENZEUGE) Uta Schwarz: West German State Newsreels in the Period of the Economic Miracle 1950-1964. Gender as an Open Approach Hilde Hoffmann: The Visual Memory of the Cold War. The Long Afterlife of the FOX TÖNENDE WOCHENSCHAU Newsreels on the Building of the Berlin Wall Catalina Ravessoud and Gianni Haver: Art Exhibitions through Newsreels. An Avatar for Identity Politics (1945-1960) Part 2: Art and Culture in Newsreel, Cinema, and Television Kornelia Imesch: Jean Tinguely & Le Corbusier in Swiss Weekly Film Newsreels and Television. Medial Rhetorics-Medial Discourses Pietro Giovannoli: Fiction and Newsreel Documentary in Godard's Cinema Marie-Therese Mäder: Between Migration and Integration. Representing Religious Boundaries in Swiss Documentaries Nadja Borer: Re-marking of Differences: Culture Television and Art Interplaying. Variability of Cultural Magazines and their Heterogeneous Dispositions Marcel Bleuler: Constructing an Emancipated Culture of Art Spectatorship? The Ambiguity of Ben Lewis's Reportage-Series ART SAFARI (2003-2006)

The histories of New Zealand and Australian film production, distribution and exhibition have been characterized by significant exchanges in terms of culture, technology, creative personnel and policy approaches. Despite forming a persistent characteristic of the film industries of both countries, these connections have so far been either ignored or under-examined. This article investigates the technological, industrial, economic and cultural factors that influenced the relationship between Australian and New Zealand filmmaking during the early period of cinema until the 1930s. During this period, film production and distribution in New Zealand and Australia was conceived as an Australasian initiative characterized by both extensive labour mobility and an integrated film market. Early Australasian filmmakers moved seamlessly across the Tasman, producing films both in Australia and in New Zealand and contributing to both national cinematic traditions. This article argues that to fully grasp the histories of Australian and New Zealand film, it is essential to consider the contribution that these Australasian filmmakers made to the cultural, technological and industrial development of both national cinemas.