Shell Shock Cinema: Weimar Culture and the Wounds of War
In: German politics and society, Band 28, Heft 4, S. 89-93
ISSN: 1045-0300, 0882-7079
In: German politics and society, Band 28, Heft 4, S. 89-93
ISSN: 1045-0300, 0882-7079
In: Futures: the journal of policy, planning and futures studies, Band 36, Heft 6, S. 797-810
ISSN: 0016-3287
In: Futures, Band 36, Heft 6-7, S. 797-809
In: Safundi: the journal of South African and American Comparative Studies, Band 10, Heft 2, S. 239-253
ISSN: 1543-1304
In: Democracy & nature, Band 7, Heft 1, S. 159-181
ISSN: 1469-3720
Introduction: Of painters, politicians, and film stars -- Chennai's banner industry: artists and their methods -- Cooperation and conflict in Chennai's visual culture: financiers, artists and their audiences -- Tamil cinema: history, celebrities, genres -- Cine signs: semiotics of Chennai's cinema banners -- Coalescence of Tamil nationalism and the cinema industry -- Political cutout: celebrity and cult in Tamil Nadu -- Darshan and cinematic spectatorship -- Future of Chennai's visual culture
In: Smith , J , Hunter , I & Porter , L (eds) 2017 , The Routledge Companion to British Cinema History . Routledge .
Over 39 chapters The Routledge Companion to British Cinema History offers a comprehensive and revisionist overview of British cinema as, on the one hand, a commercial entertainment industry and, on the other, a series of institutions centred on economics, funding and relations to government. Whereas most histories of British cinema focus on directors, stars, genres and themes, this Companion explores the forces enabling and constraining the films' production, distribution, exhibition, and reception contexts from the late nineteenth century to the present day. The contributors provide a wealth of empirical and archive-based scholarship that draws on insider perspectives of key film institutions and illuminates aspects of British film culture that have been neglected or marginalized, such as the watch committee system, the Eady Levy, the rise of the multiplex and film festivals. It also places emphasis on areas where scholarship has either been especially productive and influential, such as in early and silent cinema, or promoted new approaches, such as audience and memory studies.
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The Russian Cinema of the DissolutionThe paper takes the issue of Russian reckoning cinema after 1989. This current can be defined as comprising the films which try to lay the foundations of a new narrative about the Soviet Union (alternative to the dominant narrative). The authors reflect on the specificity of the filmmakers' critical attitude towards the previous system. The story of the break-up of the Soviet Union turns to be a story of the great catastrophe – the tragedy of the whole society, abandoned by hypocritical intelligentsia and deceived by political elites. Rosyjskie kino rozpaduTekst podejmuje problematykę rosyjskiego kina rozliczeniowego po 1989 roku – słabo widocznego nurtu próbującego stworzyć zręby nowej narracji o Związku Radzieckim, która mogłaby stanowić alternatywę wobec narracji dominującej. Stanowi próbę namysłu nad specyfiką krytyki poprzedniego systemu przeprowadzaną przez twórców tego nurtu. Opowieść o rozpadzie Związku Radzieckiego okazuje się tu opowieścią o wielkiej katastrofie – tragedii całego społeczeństwa, opuszczonego przez obłudną inteligencję i oszukanego przez elity polityczne.
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World Affairs Online
In: Neprikosnovennyj zapas: NZ ; debaty o politike i kulʹture = debates on politics & culture, Heft 3, S. 115-121
Cover -- Half-Title -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction -- Section I Filming the Primitive -- Chapter 1 The Body as Artifact: Early Cinema and Ethnography -- Chapter 2 The Evolution of Vision: The Visual Culture of Early German Ethnographic Films -- Chapter 3 Paradise Lost: Colonialist and Adventure Films of the 1910s and 1920s -- Section II German Anthropology and Early Film Theory -- Chapter 4 Leo Frobenius and Kino-Vision -- Chapter 5 Primitive Spectators: Lukacs and Hofmannsthal on Film -- Chapter 6 The Visible Man: The Film Theory of Bela Balazs -- Section III Conclusion: Documenting Primitive Cinema -- Chapter 7 Ethnotopia: F. W Murnau's Tabu -- Notes -- Bibliography -- Index.
In: European journal of communication, Band 9, Heft 3, S. 291-309
ISSN: 1460-3705
The profound transformations of the cinema and audiovisual industries (indeed their growing interdependence) that present new challenges in the 1990s have not as yet provoked a global, coherent response nor, it seems, jarred Portuguese policymakers from their silent policy of disregard. This study shows how, in the doldrums of neglect, the crisis of Portuguese cinema grows ever deeper.
From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Extreme Cinema draws from interviews with film festival programmers, distributors, critics, and directors to demonstrate how these seemingly transgressive films actually operate within a strict set of codes and conventions, translating global notoriety into success within a competitive marketplace, and perpetuating a system that runs on provocation.