{"title":"A New Kind of Diplomacy","authors":"MichaelCook","doi":"10.1525/9780520936324-017","DOIUrl":"https://doi.org/10.1525/9780520936324-017","url":null,"abstract":"","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121420289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mr. Magoo as Public Dream","authors":"M. J. Rosenberg","doi":"10.2307/1209993","DOIUrl":"https://doi.org/10.2307/1209993","url":null,"abstract":"thirties, the psychoanalytic approach to the study of mass entertainments has steadily won adherents and sometimes transformed them into partisans. Its root proposition is now very well known: the contents of popular entertainments may be symbolically reduced and translated so as to provide a picture of the unconscious needs and fears of their audiences. Production workers, critics, and social scientists have, in the main, been willing to accept this proposition; to grant that entertainments are public and saleable dreams. But, in recent years, they have come to suspect that the contentanalysis techniques that flow from this proposition are sometimes methodologically deficient. At least two such failings have become sharply evident. One of these objections is based upon the fact that all the members of the national public do not consume mass entertainments with equal frequency or equal pleasure. If, for example, the moviegoing audience is drawn largely from the ranks of adolescents and unmarried adults, must not the major themes of our films, if they reflect anybody's unconscious needs and fears, be more diagnostic of the immature rather than the mature members of our","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1957-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132297638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Word of Caution for the Intelligent Consumer of Motion Pictures","authors":"F. Fearing","doi":"10.2307/1209899","DOIUrl":"https://doi.org/10.2307/1209899","url":null,"abstract":"FRANKLIN FEARING, professor of psychology at the University of California at Los Angeles, is a member of the editorial board of the Quarterly of Film, Radio, and Television. He is directing the research of graduate students in the fields of social psychology and the problems of human communication. During the summer of 1951 he conducted graduate courses at Columbia University, and spoke at the Consumer's Union Conference at Vassar College. The following article is based on the talk Dr. Fearing delivered at the conference. Both his address and one given at the same meeting by Dallas W. Smythe, which appears on page lo9, will be published in a forthcoming volume, Consumer Problems in a Period of International Tension, Consumer's Union of the United States.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1951-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120960720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Notes on Five Italian Films","authors":"Lauro Venturi","doi":"10.2307/1209618","DOIUrl":"https://doi.org/10.2307/1209618","url":null,"abstract":"In Chronicle of an Affair, Enrico, an industrialist, asks a private investigator to inquire into the past of his young wife, Paola. The operative unearths an \"accident\" that enabled Paola to get rid of a school friend and to acquire the other girl's fiance, Guido. The snoopings of the detective are reported to Paola and Guido, and bring them together again. Once more they fall in love. Paola persuades Guido to kill her husband. The night chosen for the crime, while Guido is waiting for the husband, Enrico overturns in his car and is killed. Guido abandons Paola.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1951-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122615075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Films for Television","authors":"I. Pichel","doi":"10.2307/1209615","DOIUrl":"https://doi.org/10.2307/1209615","url":null,"abstract":"sent out by television cameras as they are performed,' films made especially for television, and old motion pictures no longer in theater release. Motion pictures, though popular with viewers, are not ideally adapted to the television screen, save in being visual and in being, if we are not too literal about it, entertaining. The television play is a new thing and the television film bears a much closer kinship to the live show than it does to its parent theater film, as marriage is presumed to be a closer relationship (among adults) than that of children and parents. There are, certainly, family resemblances among all three forms, as well as differences. The live television play imitates many of the traits of the theater film, but it and its filmed counterpart set out to serve a new and special medium, whereas the theater film was made originally to serve a different purpose and to reach its audience differently. The theater film uses film as a medium; the television film uses it primarily as a facility, for the format of the television film is that of the television play, as are many of its techniques. Producers of television films in their use of the camera, their sets, lighting, direction, and acting imitate the procedures of the television studio, not those of the film studio. The reasons for this are in part economic, but only in part. The screen of the television receiver is the real determinant, and economic factors in television production grow out of the inherent nature of the medium. These considerations became immediate to me in December,","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1951-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131891827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"French Film Publications (August 1944-December 1948): A Preliminary List to a Basic Bibliography. Part I","authors":"Alexis N. Vorontzoff","doi":"10.2307/1209454","DOIUrl":"https://doi.org/10.2307/1209454","url":null,"abstract":"THOSE interested in film, now find two major film bibliographies available: the Film Index published in the United States, and the huge work by H. Traub and H. W. Lavies, Das deutsche Filmschrifttum, dealing with the German motion picture industry. They provided at the time of their publication inexhaustible and practically complete sources of information. Although they are now a little out of date, their interest remains. Very little bibliographical material on the French film industry is available: the article by G. M. Coissac, published in Le Tout Cinema under the title \"Essai de bibliographie du cinematographe,\" is sixteen years old; the Index de la Cinematographie frangaise published in its first edition a paper entitled \"Livres sur le cinema.\" The biggest part of the work remains to be done. Two unpublished projects should, however, be noted. The first is by Miss Akakia Viala, head librarian at the Institut des Hautes Etudes Cinematographiques, who prepared the \"Lexique cinematographique.\" Unfortunately its publication has been delayed for an indefinite period. The other is by M. M. Lapierre who has been working for many years on a \"Bibliographie fransaise du cinema,\" but its date of publication is also indefinite. In this situation, the student of film may find a preliminary list of French film publications valuable. It does not pretend to be a complete bibliography, as its title indicates. In spite of the","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1951-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116948887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Venice Film Festival. 1950","authors":"Tullio Kezich","doi":"10.2307/1209616","DOIUrl":"https://doi.org/10.2307/1209616","url":null,"abstract":"national cinema festivals; that is to say, it has to find a compromise between the artistic requirements of the exhibition and the commercial interests of the various film companies which take part in it. Since it is not permissible to ask by name for certain films, the \"Biennale\" must rely on the honesty and good taste of the various national selection committees. But in truth, not all the films presented are worthy of appearing in an exhibition dedicated to showing the finest examples of cinematic art. The 1950 festival in Venice, the eleventh since the founding of the exhibition, was characterized by the brilliant success of French cinematography, which carried off the greatest number of awards. And the awarding of the International Grand Prize, the \"Leone di San Marco,\" to Andre Cayatte's Justice est faite was intended as an acknowledgment that, in general, the French selections were the most homogeneous and intelligent of all shown there. On the other hand, everyone admits that, even though many noteworthy films were shown at Venice in 1950, none was so far ahead of the others as to unqualifiedly deserve top honors. In awarding the Grand Prize, the judges (including critics and wellknown personalities of the Italian cultural world) had to arrive at a compromise which, like all compromises, did not completely satisfy anybody. And it is perhaps significant to note that the Italian motion picture critics awarded their 1950 annual prize to a film that was not in the competition: Edward Dmytryk's Give Us This Day. 373 E 373 1","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1951-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126162427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"U. S. Film Journalism: A Survey","authors":"E. Callenbach","doi":"10.2307/1209614","DOIUrl":"https://doi.org/10.2307/1209614","url":null,"abstract":"ERNEST CALLENBACH first became interested in films through the work of the Documentary Film Group, a student organization at the University of Chicago. In Paris, in 1949, he made an informal study of the French motion picture. He is now continuing his studies at the University of Chicago. Part of the material for this article was prepared by BRUCIA FRIED of New York City, and part by ALFRED G. BROOKS, a student in the Theater Arts Department at the University of California, Los Angeles.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1951-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131092105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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