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This study provides an original interpretation of 53 newsreels, produced and projected in the People's Republic of Bulgaria in the year 1968. Based on a thorough audio-visual analysis, the article shows that newsreels are prime examples for the power of politics to employ visual art and the unique features of cinema for its own aims. The study has three main findings. First, it establishes the multifaceted role of newsreels in Bulgaria in the historical context of 1968, drawing particular attention to the dynamic relations between the Soviet and Bulgarian peoples. Second, it investigates the ways in which newsreels construct underlying ideological oppositions and visual presentations of Us versus Them. More specifically, the article outlines several distinct forms of and relations between Us and Them in their historical and ideological contextualization. Third, the article shows that Bulgarian newsreels from 1968 cannot be regarded as one among many kinds of works of socialist art, or as just visualized news. Newsreels carry a strongly politicized message and are therefore a highly potent means of shaping and manipulating the public opinion. The article contributes to the broader field of newsreel studies, offering new insight to a subject matter that is still underrepresented.

Ulster versus Éire (1938) was an American March of Time newsreel exploring the complexities of Irish politics on both sides of the border. It came hot on the heels of an earlier film made by the same company, misleadingly titled Irish Republic (1937). The first film had sparked an attempt by the Northern Ireland government to present a propagandised film about the north in response to what was seen to be a favourable depiction of the south. Remarkably, the two films utilised much of the same footage to present two starkly contrasting narratives of 'two Irelands'. This article explores how representations of the border in cinema newsreels failed to fully reflect the complexities of partition, but very clearly established a partitionist mentality in depicting two separate peoples, north and south of the border. The growth of this partitionist mentality is traced through stories covering the Home Rule movement and partition of Ireland in the 1910s and 1920s, the growing divide between north and south during the economically turbulent 1930s and the pressure placed on Ireland to reconsider its neutral status during the Second World War. Against this backdrop, the newsreels function as both a reflective cultural barometer of shifting perspectives on Ireland throughout the early twentieth century and an active Althusserian 'Ideological State Apparatus' in embodying and circulating British and American political attitudes to the border in an 'unofficial' capacity.

December 17, 1926 marked a change for the young independent Republic of Lithuania. On that day a military coup d'état replaced the democratically elected government with the authoritarian government led by ultra-conservative Lithua- nian Nationalist Union (Tautininkų sąjungos) party leader Antanas Smetona. The new government increased the control of various means of mass communication. In 1932 Film censorship law was passed, which created one centralised institution to censor all films shown in Lithuania (before this law, censorship was sporadic and done by different district officials). The same year Newsreels law was passed, which ordered that before any feature film screening, a Lithuanian newsreel must be shown. This law boosted the small Lithuanian film-making community. But not for long, by 1935 all rights to make Lithuanian newsreels were granted to one company run by filmmaker Jurgis Linartas, and old acquaintance of Anta- nas Smetona. From then on, only the Lithuanian newsreels produced by Jurgis Linartas could be shown in theatres. By means of censorship and control of news- reel production, Antanas Smetona's regime tried to create an alternative reality to be shown in cinemas. But the new reality not only contrasted with real life too much, its making was too much of a task to handle by the regime. Audience reac- tion to Antanas Smetona's period newsreels and their shortcomings, show us the construction of ideal image of Lithuania failed in interwar Lithuanian newsreels.

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

AbstractAudiovisual news is a critical cultural phenomenon that has been influencing audience worldviews for more than a hundred years. To understand historical trends in multimodal audiovisual news, we need to explore them longitudinally using large sets of data. Despite promising developments in film history, computational video analysis, and other relevant fields, current research streams have limitations related to the scope of data used, the systematism of analysis, and the modalities and elements to be studied in audiovisual material and its metadata. Simultaneously, each disciplinary approach contributes significant input to research reducing these limitations. We therefore advocate for combining the strengths of several disciplines. Here we propose a multidisciplinary framework for systematically studying large collections of historical audiovisual news to gain a coherent picture of their temporal dynamics, cultural diversity, and potential societal effects across several quantitative and qualitative dimensions of analysis. By using newsreels as an example of such complex historically formed data, we combine the context crucial to qualitative approaches with the systematicity and ability to cover large amounts of data from quantitative methods. The framework template for historical newsreels is exemplified by a case study of the "News of the Day" newsreel series produced in the Soviet Union during 1944–1992. The proposed framework enables a more nuanced analysis of longitudinal collections of audiovisual news, expanding our understanding of the dynamics of global knowledge cultures.

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)

During the 1960s, Filmske Novosti (the state-run Yugoslav Newsreels) played a key role in the representation of President Josip Broz Tito's international travels. Tito visited newly independent African and Asian countries in search of political alliances, and the newsreel reports framed these diplomatic travels as solidarity performances. Assigning two cameramen to follow the presidential trips Filmske Novosti produced a series of portraits of nascent nation states and their receptions of Tito, accentuating a discourse of similarity and unity as a challenge to Western political hegemony. As Yugoslav Newsreels extended their reach, exchanging these reports with a total of 40 countries by the end of the 1960s, their work became an influential medium advocating the process of decolonization in the international arena. This article looks at the legacy and perspective they offer in constructing narratives of an 'alternate' representation of non-aligned countries to Yugoslav audiences. It further argues that this strategy of representation had significant consequences for the political situation within Yugoslavia. In 1968, this narrative resulted in a public sentiment of solidarity and identification which became evident in the protests that erupted in Yugoslavia, revealing how the internal political narrative was also reshaped in terms of alterity.

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.

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.

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.

As part of a project on melodrama in Korean film, this article examines the ways that films from the late colonial period (1937–1945) blurred the traditional boundaries between newsreel documentary and fictional features in an attempt to suture the film spectator into the cinematic representation of what André Bazin called, in relation to the newsreel, "total history." Drawing on theoretical discussions of sentimentality and melodrama, the article compares the earlier fictional film Sweet Dream (1936) to the wartime film Straits of Chosŏn (1943) in order to trace how melodrama was transformed through its incorporation into political propaganda. It discusses how narrative cinematic techniques such as point of view, shot/reverse shot, and crosscutting allowed Straits of Chosŏn to draw the viewer into spectacles of mobilization that were formerly represented through the more anonymous mass medium of the newsreel documentary. The remainder of the article touches on the films Volunteer (1941) and Spring of Korean Peninsula (1941), discussing how the interpretive excess enabled by melodrama remained visible after the hybridization of fictional film and newsreel, primarily through the disjuncture between the films' melodrama narratives and their spectacles of mobilization. In conclusion, the article suggests that the gradual elimination of any narrative excess in 1940s films reflects an apprehension about the multiple codings, identifications, and interpretations enabled through the combination of melodrama narrative with political propaganda. Keywords: Korea, Japan, film, documentary, melodrama, mobilization, total war, newsreels, colonialism, point of view, shot/reverse shot, spectacle, propaganda

As part of a project on melodrama in Korean film, this article examines the ways that films from the late colonial period (1937–1945) blurred the traditional boundaries between newsreel documentary and fictional features in an attempt to suture the film spectator into the cinematic representation of what Andre Bazin called, in relation to the newsreel, "total history." Drawing on theoretical discussions of sentimentality and melodrama, the article compares the earlier fictional film to the wartime film Korea in order to trace how melodrama was transformed through its incorporation into political propaganda. It discusses how narrative cinematic techniques such as point of view, shot/reverse shot, and crosscutting allowed Korea Strait to draw the viewer into spectacles of mobilization that were formerly represented through the more anonymous mass medium of the newsreel documentary. The remainder of the article touches on the films and , discussing how the interpretive excess enabled by melodrama remained visible after the hybridization of fictional film and newsreel, primarily through the disjuncture between the films' melodrama narratives and their spectacles of mobilization. In conclusion, the article suggests that the gradual elimination of any narrative excess in 1940s films reflects an apprehension about the multiple codings, identifications, and interpretations enabled through the combination of melodrama narrative with political propaganda.