Search results

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.

Die Dissertation von Annika Requardt untersucht Visualisierungs- und Narrativierungsstrategien im US-amerikanischen Kriegsfilm der Stummfilmzeit, indem sie die Theorie des kollektiven Gedächtnisses mit Bildanalyseverfahren kombiniert. Ob fiction oder non-fiction: Die Arbeit schlägt einen weiten Bogen vom Spanisch-Amerikanischen Krieg, über den Ersten Weltkrieg bis hin zum amerikanischen Bürgerkrieg, um zu zeigen, wie durch Verdichtung und Wiederholung standardisierte und schematisierte Bildtraditionen entstehen, die Kriege potentiell mit Sinn versehen und als nationale Identifikationsangebote fungieren können. Allerdings schließt die Autorin, ohne einen entsprechenden empirischen Nachweis zu führen, in einem rezeptionstheoretischen Kurzschluss von den Filmbildern direkt auf die Erinnerung des Krieges. Während sie das erklärende Potential des erinnerungskulturellen Ansatzes so leider nicht ausschöpfen kann, wissen die Filmanalysen zu überzeugen. ; Annika Requardt's dissertation analyses strategies of visualization and narrativization in American war films of the silent era, employing theories of collective memory and visual culture. It covers a wide range of fictional and non-fictional films that depict the Spanish-American War, World War I, and the Civil War. Requardt shows how, by concretion and repetition, there emerges a standardized and schematic tradition of filmic images that provides war with meaning, and offers a way for the nation to identify itself. However, lacking empirical evidence, the author deduces the remembrance of war simply from the existence of films and their images without taking the particular reception into account. While she therefore cannot utilize the full potential of the memory culture approach, the analyses of the films are very convincing in their own right.

This article aims to address the ways in which working-class and lower-middle-class British women used silent-era fan magazines as a space for articulating their role within the development of a female film culture. The article focuses on letter pages that formed a key site for female contribution to British fan magazines across the silent era. In contributing to these pages, women found a space to debate and discuss the appeal and significance of particular female representations within film culture. Using detailed archival research tracing the content of a specific magazine, Picturegoer, across a 15-year period (1913–28), the article will show the dominance of particular types of female representation in both fan and "official" magazine discourses, analyzing the ways in which British women used these images to work through national tensions regarding modern femininity and traditional ideas of female propriety and restraint.

All this – all the meanness and agony without endI sitting look out uponSee, hear and am silent.Walt Whitman, 'I Sit and Look'(Genius, 2018). Kurdish people constitute a significant part of the Turkish society for ages with some cultural and linguistic differences. This article focuses on the symbolic representation of Kurds in Turkish cinema through a close reading of the movie Sarmaşık (Ivy) in order to reveal how and at what limits the movie touches upon different forms of verbal and sound control imposed over them. Mainstream media portrays Kurds speaking Turkish with a heavy and funny accent. This tradition has changed by independent movies and at least they become visible in different types of silence. As a movie, one of the themes Sarmaşık discusses is the silence of Kurds and the role of discrimination process again by using and recreating the concrete silence. On the other hand this movie reveals how this silence provoke anxiety of majority towards minority identities, especially towards Kurds in last decades. The movie also stimulates a very important reality that losing a useful and functional part of a society is a severe lost that most people are not even aware of, and that they notice it in fear and with sorrow only after losing it.

Women in Ireland came into focus and onto the political stage during and as a result of nationalist and socialist movements that began in the mid-1700s and continued through the 1920s. Women like Anna Parnell, Constance Markievicz, and Hannah Sheehy-Skeffington participated in the land wars, struggles for independence from Britain and the suffragist movement. Indigenous silent feature filmmaking in Ireland was born out of this critical period of political and social change. From 1916 to 1935, Irish filmmakers produced over forty silent feature films only six of which have survived. A close study of these films, fragments of three others, and contemporary film reviews and archival synopses of the non-surviving films reveals how early Irish silent films tackled nationalist issues, but did little to represent the active participation of women. Women in these films are passive sisters, lovers, and mothers, impacted by rather than impacting historical events. This is not surprising. Irish silent cinema was a male-dominated industry with a nationalist agenda that perpetuated gender stereotypes. This study links nationalism and women in Irish silent cinema by looking at how female representation in these early films reflected a gendered ideology that existed in Irish culture alongside other narratives of the nation.

International audience ; Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager ...

International audience Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager des ...

International audience ; Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager des changements sociaux ?Cet article tente de voir comment le cinéma français des années 1895-1929 peut renverser les hiérarchies de genre informelles, tout en étant le symbole même, de par son industrie, d'une hiérarchisation très codifiée des genres en défaveur des femmes.

International audience ; Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager des changements sociaux ?Cet article tente de voir comment le cinéma français des années 1895-1929 peut renverser les hiérarchies de genre informelles, tout en étant le symbole même, de par son industrie, d'une hiérarchisation très codifiée des genres en défaveur des femmes.

This dissertation examines how melodrama in early twentieth century Argentina and Colombia shaped sites of intelligibility to record multiple processes of modernization—including but not limited to massive immigration, the import of new technologies, and the (gendered) reshuffling of social orders. This dissertation also analyzes the ways in which melodrama recast different senses of community. With an archival perspective, it traces how diverse social actors appropriated melodrama for individual and group agendas, as they entered the modern political pact, the pact of representation. More specifically, and by bridging Latin American and Euro-American theories of melodrama, this dissertation traces key narrative conventions and argues that, across the social spectrum, actors recast the dynamics of representation during the period by visualizing classed, raced, and gendered anxieties vis-à-vis change through the interrelated media of literature, illustrated periodicals, and film.The first chapter addresses how the national imagination and state formations in Latin America were shaped through melodrama, correlatively determining dominant narrative tropes across media. I focus on José Mármol's Amalia (1851-1855) and Jorge Isaacs' María (1867) and the cross-media iterations of both works engendered around the Argentine and Colombian centennial celebrations. The second chapter turns to 1920s tabloid newspapers and weekly novels. These served as platforms for emergent writers, many of them immigrants, who harnessed melodramatic narratives in periodicals to denounce social problems and inequity, particularly regarding destitute subjects who were marginalized in rapid urbanization processes. Turning the focus to early cinema, the third chapter examines the tense relations between material progress, tradition, and social change/immobility visualized in three filmic genres—the Argentine cine de ambiente campero, the porteño cinedrama, and the Colombian patriarchal family melodrama. These genres told contrasting tales of modernization: Argentine cinema capitalized on modernity's changes, its thrills and anxieties, while Colombian cinema depicted tradition and religiosity as compulsory conditions for material progress. This dissertation ultimately proposes that melodrama was not an escapist form, as it is commonly defamed. Rather, it visualized the present moment, unbarred the public sphere, and pointed to an inclusive future.