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Eastern Film Corporation was a local studio but its films were distributed and screened throughout New England with the exception of Rhode Island. At least twelve of its films, of various genres, which seemed to have generous budgets for size of the studio, have survived. Eastern's prime years of business were brief, 1915-1917. Unfortunately, a fire destroyed the building in 1917 and the expenses it would cost to repair it too high for its original founder, Frederick S. Peck, a wealthy Barrington politician. Nevertheless, the studio staggered on throughout the 1920s.

In November 2006, Janet McBain was awarded a Scottish Bafta by the Scottish section of the British Academy of Film and Television Arts, for 'outstanding contribution to film in Scotland'. Janet has been the archivist since its foundation in 1976. Here, she talks with the editor about her archive and her own contribution to the development of historical preservation and research into film in Scotland.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. A history of ethnographic film from the birth of cinema in 1895 until 2015 that analyses a large number of films made in a broad range of styles, on a broad range of topics and in many different parts of the world.For the period before the Second World War, it considers films made in reportage, exotic melodrama and travelogue genres as well as more conventionally ethnographic films made for academic and state-funded purposes. It then describes how after the war, ethnographic film-makers developed various different modes of authorship inspired by the ideas of Jean Rouch, Robert Gardner and Colin Young. It also considers films made from the 1970s by the indigenous subjects themselves as well as those made for British television up until the 1990s. In the final part, it examines various possible models for the future of ethnographic film

This book analyses the authoring of ethnographic films between 1895 and 2015. It is based on the general argument that the ethnographicness of a film should not be gauged according to whether it is about an exotic culture, but rather by the degree to which it conforms to the norms of ethnographic practice more generally. On these grounds, it considers films made in a broad range of styles, on a wide range of topics and in many different parts of the world. For the period before the Second World War, it discusses films made within reportage, travel and melodrama genres as well as more conventionally ethnographic films. In the postwar period, it examines the work of film-makers such as John Marshall, Asen Balikci, Ian Dunlop and Timothy Asch and considers the modes of authorship developed by Jean Rouch, Robert Gardner and Colin Young. It also discusses films authored by indigenous subjects using video technology from the 1970s, and the ethnographic films that flourished on British television until the 1990s. In the final part, it examines the recent work of David and Judith MacDougall, the Harvard Sensory Ethnography Lab, and various films authored in a participatory manner as possible models for the future.

Around 2005, the Swedish History Museum (SHM) in Stockholm reworked their Vikings exhibition, aiming to question simplistic and erroneous understandings of past group identities. In the process, all references to the Sámi were removed from the exhibition texts. This decision has been criticised by experts on Sámi pasts. In this article, it is argued that we can talk about a Sámi ethnic identity from the Early Iron Age onwards. The removal of references to the Sámi in the exhibition texts is discussed accordingly, as well as the implicit misrepresentations, stereotypes and majority attitudes that are conveyed through spatial distribution, choice of illustrations, lighting, colour schemes and the exhibition texts. Finally, some socio-political reasons for the avoidance of Sámi issues in Sweden are suggested, including an enduring colonialist relation to this minority.

Around 2005, the Swedish History Museum (SHM) in Stockholm reworked their Vikings exhibition, aiming to question simplistic and erroneous understandings of past group identities. In the process, all references to the Sámi were removed from the exhibition texts. This decision has been criticised by experts on Sámi pasts. In this article, it is argued that we can talk about a Sámi ethnic identity from the Early Iron Age onwards. The removal of references to the Sámi in the exhibition texts is discussed accordingly, as well as the implicit misrepresentations, stereotypes and majority attitudes that are conveyed through spatial distribution, choice of illustrations, lighting, colour schemes and the exhibition texts. Finally, some socio-political reasons for the avoidance of Sámi issues in Sweden are suggested, including an enduring colonialist relation to this minority.

"Since the first films played in nickelodeons, controversial movies have been cut or banned across the United States. Censorship continues today, with Utah's case against Deadpool pending in federal court and Robert Rodriguez's Machete Kills versus the Texas Film Commission. This state-by-state account covers the history of film censorship and the battle for free speech in America"--

Island-like Sweden in an arena of conflict -- The evolution of neutrality and the evolution of the Swedish policy formulation -- Dual challenge for Sweden : a strategic dimension and an economic dimension -- From 'metal' and 'tetra-pak' to 'paper' : the turn around on Europe -- A new start to domestic policy : cutting the 'Gordian knot' of security policy : a Swedish revolution -- Sweden and European security -- Russian disengagement : a leaner, meaner Swedish defence -- A suitable candidate for EU membership-EU referendum 1994 -- On the domestic front : Europeanized Sweden -- Sweden in Europe : one among many-small facets in a larger jewel.