Suchergebnisse

This article will examine the position of critical cinema in socialist Yugoslavia by analysing the archives of the only documentary festival in the country, the Yugoslav Documentary and Short Film Festival in Belgrade (founded in 1954). It will compare the festival's most prosperous years, when a series of internationally acclaimed Black Wave films were screened (late 60 s/early 70 s), and its final socialist phase, when a series of 'patriotic' films, mostly seen as uninteresting by international programmers, were shown (late 80 s/early 90 s). Analysing the ideological change in the festival's programming, the article will show how Yugoslav documentary moved from a critique within a socialist perspective in the 60 s to the promotion of a predominantly anti-socialist and nationalist perspective in the 80 s. In doing so, it will demonstrate that although often regarded as 'the' dissident cinema of Yugoslavia, the Black Wave was in its essence in dialectical dialog with the socialist state, unlike the critical films of the late 80 s and early 90 s, which were arguing for regime change in favour of a nation-state. The article will shed light on the paradoxes of Yugoslav censorship and film exhibition opportunities, in the specific context of the only European country that was ruled by a communist government but that was outside of the Eastern Bloc.

This essay describes the history of the cinema exhibitors in a Dutch mining district through studying their business strategies and the shifting relations they enjoyed with the local community, in order to reconstruct the development of their profession between the world wars. The cinema exhibitor acted as an intermediary, not only between the local, the national and international contexts, but also in drawing the novelty of cinema into the cultural and social life of the region. Bourgeois elites, represented in government and church authorities, were anxious to exert control over commercial entertainment, but looked at in isolation, their policies would reveal more about bureaucratic zeal or middle-class fears than actual cinema practice. The film exhibitor had to negotiate between these pressures from above and the demands of his audience. How he tried to resolve these issues can teach us much about the integration of cinema in modern society

Abstract
Cinema Context is an online database for researching the history of cinema exhibition and distribution in the Netherlands. It contains structured information on venues, persons and companies involved in the dissemination of film from the late nineteenth century until the present day, with an emphasis on the first half of the twentieth century. Aim of this paper is to document and critically reflect on the creation of the database and account for and motivate the choices made in constructing the data model and collecting the data.

"The story of the (now restored) Regent Street Cinema is the fourth volume exploring the University of Westminster's long and diverse history. This multi-authored volume tells its history from architectural, educational, legal and cinematic perspectives and is richly illustrated throughout with images from the University of Westminster archive.
A print paperback can be purchased direct from the University of Westminster for £20 following this link: www.westminster.ac.uk/historybooks
Staff, students and alumni can claim a 20% discount on this price."

Because commercial film production was seen as a danger to the morality of the Church, Italian Catholics developed the idea of exerting a positive influence over producers by creating an extensive network of parish cinemas where films could be rigorously selected and screened. While from a religious point of view, parish cinemas were meant to be a way of spreading an evangelical message, from a purely commercial perspective, they were businesses like every other cinema. This system provided the Vatican with a means of exerting pressure on the Italian film industry. However, when one considers the programming, the marketing processes and the oral history, a new picture emerges. While parish cinemas could only show films approved by the Censorship Commission of the Centro Cattolico Cinematografico (Catholic Cinema Center, hereafter CCC) to be screened in religious venues, in practice, films officially only considered suitable in a public venue ( For all and For all with appropriate changes ) were often still shown in parish cinemas. This was a consequence of the limited number of 'suitable' films available at the time. Therefore, if the process of both moralizing cinema and attracting audiences employed by the Vatican in conjunction with the government presented profuse compromises, oral history allows us for the first time to better comprehend how the educational role of a parish cinema network was perceived by its actual audiences. Rome is used here as a case study because it is the center of the Catholic world, housing the Vatican, the Catholic curia and all the main Catholic administration offices. In responding to Martin Barker's questions "What spaces and traditions are available to people, and how do these shape and enable participation?" and "What information, comparisons, judgments, expectations, hopes and fears precede and then accompany encounters?" 1 this chapter analyzes 325 questionnaires followed by thirty-two video interviews. 2 Looking at the parish cinemas as spaces available to Roman audiences in the post-war period and analyzing the audience's responses concerning this particular type of space allow us to understand how they shaped and enabled participation in the capital's audiences. Moreover, the chapter attempts to discover whether the process of moralizing audiences was successful in Rome and how it was remembered by its protagonists.

This paper empirically analyzes the impact of several factors on a 'conventionality index' in the specific context of the cinema exhibition sector. To our knowledge, it is the first time that a standard conventionality index has been constructed for this purpose. Econometric analysis of the determinants of variation in this index provides decision-makers with an empirical focus for analyzing distributional aspects of the movie exhibition market, with particular emphasis on product differentiation. Specifically, (i) do cinemas based in a city area have a different or 'specialized' focus in contrast to cinemas in small towns? Or, (ii) do multiplexes have a different or more specialized focus in comparison with cinemas? To this end, cross-sectional econometric models are estimated to help analyze these effects in three Italian regions for a sample of cinemas covering the 2006 season.

Although historically detached from the films of the so-called golden ages of Cebuano cinema in the 1950s and the 1970s, a new breed of Cebuano filmmakers have emerged in the 21st century. Through a series of interviews with Cebuano filmmakers, this article will map the alternative modes of distribution and exhibition in contemporary Cebuano cinema. In order to do this, the article begins with a discussion culled from a fresh interview with one of the brains behind the 1970s Cebuano blockbuster, Ang Manok ni San Pedro, Domingo Arong. Ang Manok provides a valuable roadmap for contemporary Cebuano filmmakers. In attempting to connect Ang Manok's mode of distribution and exhibition with that of the contemporary Cebuano filmmakers, this article hopes to describe Cebuano cinema's alternative modes of distribution and exhibition.

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- CONTENTS -- List of Illustrations -- Introduction -- Suggested Further Reading -- 1 The History of Cinema -- Introduction -- Precursors -- Early Cinema -- The "Golden Era" of Fiction Film -- Auteurs, Independents, and Global Blockbusters -- Suggested Further Reading -- 2 Film Theory -- Introduction -- Early Film Theory -- Critical Film Theories -- Suggested Further Reading -- 3 Context of Production, Distribution, and Exhibition -- Introduction -- Context of Production -- Third Cinema -- Contexts of Distribution and Exhibition -- Social and Cultural Contexts - Anthropology of the Cinema -- Suggested Further Reading -- 4 Context of Reception -- Introduction -- Reception and Audience Studies -- Suggested Further Reading -- Conclusion -- Notes -- Bibliography -- Index.

The identity of European cinema, like the identity of Europe itself, is multiple, complex, and fascinating. Providing both a general survey of contemporary European cinema production, distribution and exhibition and detailed critical analysis of specific films, directors, and national cinemas, this volume offers a stimulating and thought-provoking contribution to current film debate. While the book's critical essays offer keen insight into the complex identities of European cinema, its combination of breadth and detail, and its interdisciplinary focus and background ensure its wider relevance to anyone interested in questions of contemporary culture and European affairs in general. Its stylistic clarity and freedom from jargon make it readable and accessible. The essays have been written by respected academics working in a number of disciplines including Film and Media Studies, Modern Languages, and Cultural Studies

Раскрываются принципы и последовательность изучения социально-экономического положения административно-территориального образования с целью представления ситуации в сфере кинозрелищных услуг города. Рассматриваются основные типы предприятий кинопоказа, действующих на территории мегаполиса. ; The author discloses the foundations and the sequence of the research of the political subdivision's socio-economic condition for the purpose of the view of the situation in the area of the local cinema exhibition. Also the main types of the megalopolis cinema exhibition businesses are considered.

Vision and touch, photography and women's popular culture in the nineteenth century / Patrizia Di Bello -- Joseph Burton Wallett (1835-1916) : the life of a travelling photographic artist / Anne Hartley -- Cheap fiction, popular periodicals and early film dramas : some continuities and exchanges / Gerry Turvey -- Popular sensations : institutional modernity and The long strike / Joe Kember -- Trilby's community of sensation / Kaveh Askari -- Dead babies : representations of infant mortality before the First World War / Ine van Dooren and Amy Sargeant -- The neo-institutionalisation of cinema as a new medium / Andre ́Gaudreault and Philippe Marion -- The May Irwin kiss : performance and the beginnings of cinema / Charles Musser -- 'What the vicar saw' or 'The kiss in the park' / David Williams -- Viewing deadly targets for feminine identity : Alar, the human arrow / Peta Tait -- Early political film in Britain / Alan Burton -- Punch and the lantern slide industry / Helen Walasek -- Skylights onto infinity : The world in a stereoscope / William Merrin -- Optical recreations, transparencies, and the invention of the screen / John Plunkett -- Biologiska Museet : a habitat panorama in late nineteenth-century Stockholm / John Fullerton and Elaine King -- The Brighton school and the quest for natural colour / Luke McKernan -- The sensation of the century : Robert Paul and film exhibition in Brighton in 189697 / Frank Gray -- Film and postcards : cross media symbiosis in early Bamforth films / Richard Brown

"In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. The vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns"--