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Film History: An International Journal最新文献

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From Photoplays to Movies: A Distant Reading of Cinema's Eventual Legitimation from Below 从影视剧到电影:对电影最终合法化的远观解读
Film History: An International Journal Pub Date : 2018-08-23 DOI: 10.2979/FILMHISTORY.30.2.01
L. Pelletier
{"title":"From Photoplays to Movies: A Distant Reading of Cinema's Eventual Legitimation from Below","authors":"L. Pelletier","doi":"10.2979/FILMHISTORY.30.2.01","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.2.01","url":null,"abstract":"ABSTRACT:This paper posits that the two divergent strategies aiming to legitimize cinema in the transitional and early classical eras—imitation of the established arts, and emphasis on the popular nature and specificity of the new media—can be correlated to different sets of words and expressions used to label moving pictures. It then proceeds to track the fate of these connoted words and expressions through the distant reading of the vast corpuses of digitized historical publications explored by Project Arclight and the Google Books Ngram Viewer. The findings foreground the role played by newspapermen in the institutionalization of cinema.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132696019","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}
引用次数: 0
Benjamin Chapin: "The Lincoln Man" and his Lincoln Cycle 本杰明·查宾:“林肯人”和他的林肯自行车
Film History: An International Journal Pub Date : 2018-08-23 DOI: 10.2979/FILMHISTORY.30.2.03
Richard Koszarski
{"title":"Benjamin Chapin: \"The Lincoln Man\" and his Lincoln Cycle","authors":"Richard Koszarski","doi":"10.2979/FILMHISTORY.30.2.03","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.2.03","url":null,"abstract":"ABSTRACT:The Lincoln Cycle was an ambitious attempt to present the life and work of a major American historical figure to early motion-picture audiences, as well as an experiment in extended film narrative that sought to differentiate itself from such competing forms as the serial, the series production, and the multireel feature. Produced independently by the noted Lincoln impersonator Benjamin Chapin, who would die before completing this visionary project, The Lincoln Cycle was first exhibited as a theatrical feature (1917) and then as a series of shorts distributed by Paramount under the title The Son of Democracy (1918). During the 1920s it reached new audiences by successfully crossing over into the emerging nontheatrical market.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125214153","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}
引用次数: 0
Larry Ceballos as Busby Berkeley: The Credit Dispute in Footlight Parade and the Branding of "Buzz" 拉里·塞巴洛斯《巴斯比·伯克利》:《Footlight Parade》中的信用纠纷与“Buzz”的品牌化
Film History: An International Journal Pub Date : 2018-08-23 DOI: 10.2979/FILMHISTORY.30.2.05
M. Larocco
{"title":"Larry Ceballos as Busby Berkeley: The Credit Dispute in Footlight Parade and the Branding of \"Buzz\"","authors":"M. Larocco","doi":"10.2979/FILMHISTORY.30.2.05","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.2.05","url":null,"abstract":"ABSTRACT:Unbeknown to most Busby Berkeley scholars, two dance numbers in one of his most popular films, Footlight Parade (1933), were ghost-directed by fellow choreographer Larry Ceballos, who received no credit on the screen despite contractual obligations to the contrary. I suggest that the omission of Ceballos's name from the film was the result of Warner Bros.' attempts to solidify Berkeley's marketing utility as a behind-the-scenes star. The miscredit in Footlight Parade underscores the precarious, faceless nature of offscreen labor in the studio era and the industrial mechanisms beyond filmic text that contribute to the construction of an auteur persona.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132141636","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}
引用次数: 1
"You Can't Replace Gone with the Wind with Chūshingura": China Nights and the Problem of Japanese Film Policy in Occupied Shanghai “你不能用Chūshingura代替乱世佳人”:《中国之夜》与被占领上海的日本电影政策问题
Film History: An International Journal Pub Date : 2018-08-23 DOI: 10.2979/FILMHISTORY.30.2.06
Michael Raine
{"title":"\"You Can't Replace Gone with the Wind with Chūshingura\": China Nights and the Problem of Japanese Film Policy in Occupied Shanghai","authors":"Michael Raine","doi":"10.2979/FILMHISTORY.30.2.06","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.2.06","url":null,"abstract":"ABSTRACT:The Japanese-made film Shina no yoru (China Nights, 1940) featured Ri Kōran, an ethnically Japanese actress who masqueraded as Chinese both on and off the screen. The film is widely regarded as Japanese propaganda, but it was condemned by Japanese cultural bureaucrats and, contrary to historiographic orthodoxy, became surprisingly popular with Chinese audiences in occupied Shanghai. Drawing on box-office figures and official reports, this essay argues that the popularity of the film depended on a transnational and transmedia complex of popular song and ersatz Hollywood romance that sustained a disaffiliated reading formation, in Japan as well as in Shanghai. Such fissures in the production, distribution, and especially reception of cinema in wartime China remind us of the gaps between critics and audiences in the power-laden and ambiguous construction of all national cinemas.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124829080","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}
引用次数: 1
A Vernacular National Cinema: Amateur Filmmaking in Catalonia (1932–1936) 乡土民族电影:加泰罗尼亚的业余电影制作(1932-1936)
Film History: An International Journal Pub Date : 2018-06-23 DOI: 10.2979/FILMHISTORY.30.1.02
Enrique Fibla-Gutiérrez
{"title":"A Vernacular National Cinema: Amateur Filmmaking in Catalonia (1932–1936)","authors":"Enrique Fibla-Gutiérrez","doi":"10.2979/FILMHISTORY.30.1.02","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.1.02","url":null,"abstract":"ABSTRACT:This essay argues that the development of amateur cinema in Catalonia in the 1930s is key to understanding the role that film played in Spain's complex engagement with modernity. I pose amateur cinema as a forgotten avant-garde that spearheaded the emergence of film culture beyond the commercial screen in regions with minor film industries. I examine the particular visual regime fostered by these filmmakers, the distribution of social bodies in their films, and their class-oriented view of reality. I argue that their films embodied the anxiety of a dominant class faced with the reality that public life suddenly had to be shared with the so-called masses who were advancing to the foreground of society. Therefore, I understand the cultural production of Catalan amateurs as a reflection of the archaic class relations that were fueling radicalization in the Spanish sociopolitical realm. The amateur archive is thus a necessary repository to aid our understanding of how moving images became the most widespread form of cultural representation—but also social domination and indoctrination—throughout the twentieth century.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123802237","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}
引用次数: 2
"A Recognized Screen": The New York Annual Movie Parties from Parlor to Public “公认的屏幕”:纽约年度电影派对从客厅到公众
Film History: An International Journal Pub Date : 2018-06-23 DOI: 10.2979/FILMHISTORY.30.1.04
Charles Tepperman
{"title":"\"A Recognized Screen\": The New York Annual Movie Parties from Parlor to Public","authors":"Charles Tepperman","doi":"10.2979/FILMHISTORY.30.1.04","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.1.04","url":null,"abstract":"ABSTRACT:Scholars and archivists of amateur cinema in recent years have started to appreciate the significant creative accomplishments of this kind of filmmaking. However, amateur films often remain somewhat opaque because we know relatively little about the contexts of their exhibition and reception. To address this challenge, this essay closely examines a specific series of amateur-film screenings held annually in New York during the 1930s. The shifting exhibition circumstances and institutional collaborations of these events illuminate some of the general parameters and challenges of amateur-film exhibition during the period.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130195842","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}
引用次数: 0
The Cineguf Years: Amateur Cinema and the Shaping of a Film Avant-Garde in Fascist Italy (1934–1943) 辛尼古夫年代:意大利法西斯时期的业余电影和前卫电影的形成(1934-1943)
Film History: An International Journal Pub Date : 2018-06-23 DOI: 10.2979/FILMHISTORY.30.1.03
A. Mariani
{"title":"The Cineguf Years: Amateur Cinema and the Shaping of a Film Avant-Garde in Fascist Italy (1934–1943)","authors":"A. Mariani","doi":"10.2979/FILMHISTORY.30.1.03","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.1.03","url":null,"abstract":"ABSTRACT:In 1934, Benito Mussolini's Fascist regime firmly intervened in the crisis of Italian cinema and the shaping of a national film culture. Among its major actions, the regime centralized all the cine-clubs, film associations, and amateur cinema organizations within the Fascist University Groups (Gufs). Their objective was to reform amateur film practice toward what we might call a committed, rationalized, and top-down-driven avant-garde. This article will examine how amateur filmmaking practices were transformed into an instrument that served the totalitarian state, as well as how a semantic shift from the notion of amateur to experimental cinema took place in relation to the actual mechanisms of cinematic distribution, exhibition, and production.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131005074","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}
引用次数: 2
The Little Devil Comes Home: Video, the State, and Amateur Cinema in Iran 《小恶魔回家:伊朗的录像、国家和业余电影》
Film History: An International Journal Pub Date : 2018-06-23 DOI: 10.2979/FILMHISTORY.30.1.07
Blake Atwood
{"title":"The Little Devil Comes Home: Video, the State, and Amateur Cinema in Iran","authors":"Blake Atwood","doi":"10.2979/FILMHISTORY.30.1.07","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.1.07","url":null,"abstract":"ABSTRACT:This article studies the 1983 ban on video technology in Iran in order to place amateur filmmaking within the larger historiography of Iranian cinema. I examine debates that emerged in the country's newspapers both at the time of the ban in 1983 and again when it was lifted in 1994. I read these editorials alongside the laws and policies that took shape in response to video technology in order to understand both the government's anxieties about amateur filmmaking and the informal practices that formed around those anxieties. The history of analog video in Iran presented in this article expands video studies to include nonwestern cinemas and to address the political as well as the economic concerns of amateur filmmaking.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134064611","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}
引用次数: 1
Introduction: Toward a Global History of Amateur Film Practices and Institutions 导言:走向业余电影实践和机构的全球历史
Film History: An International Journal Pub Date : 2018-06-23 DOI: 10.2979/FILMHISTORY.30.1.01
Masha Salazkina, Enrique Fibla-Gutiérrez
{"title":"Introduction: Toward a Global History of Amateur Film Practices and Institutions","authors":"Masha Salazkina, Enrique Fibla-Gutiérrez","doi":"10.2979/FILMHISTORY.30.1.01","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.1.01","url":null,"abstract":"","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133573124","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}
引用次数: 4
The Cinema Section of Foto Cine Clube Bandeirante: Ideals and Reality of Amateur Film Production in São Paulo, Brazil 摄影电影俱乐部Bandeirante电影部分:理想和现实的业余电影制作在圣保罗，巴西
Film History: An International Journal Pub Date : 2018-06-23 DOI: 10.2979/FILMHISTORY.30.1.05
L. Foster
{"title":"The Cinema Section of Foto Cine Clube Bandeirante: Ideals and Reality of Amateur Film Production in São Paulo, Brazil","authors":"L. Foster","doi":"10.2979/FILMHISTORY.30.1.05","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.1.05","url":null,"abstract":"ABSTRACT:This essay undertakes a historical investigation of the activities of Foto Cine Clube Bandeirante's cinema section during the 1940s and 1950s and the discourses surrounding amateur film practice in Brazil at the time. Through the pages of Boletim Foto-Cine, the club's official publication, we can identify how commercial narrative cinema and foreign standards were initially considered the models for amateur production. In addition, the beginning of the amateur-film contests in 1950 created a rich context for amateur practice, inspiring the production of different film genres and close attention to Brazilian culture. The connection with the international cinema-club circuit will also be highlighted, as well as the particularities concerning Brazilian amateur cine culture.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115656810","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}
引用次数: 0
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