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Film History: An International Journal最新文献

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What Is This Thing? Framing and Unframing the Science-Fiction Film 这是什么东西?科幻电影的框架与解构
Film History: An International Journal Pub Date : 2019-05-01 DOI: 10.2979/FILMHISTORY.31.1.0056
J. P. Telotte
{"title":"What Is This Thing? Framing and Unframing the Science-Fiction Film","authors":"J. P. Telotte","doi":"10.2979/FILMHISTORY.31.1.0056","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.31.1.0056","url":null,"abstract":"ABSTRACT:This essay considers the uncertainties surrounding the advertising of science fiction when it was still a relatively new player among film genres in the 1950s. Because it was sourced in the science-fiction pulp magazines—based on John W. Campbell Jr.'s story \"Who Goes There?\"—and was the first science-fiction film advertised in the pulps, The Thing from Another World (1951), as well as RKO studio's unconventional ad campaign for it, offers some insight into this uncertainty. While science fiction was starting to powerfully emerge in various media, as evidenced by the new television space operas, comic books, and a growing number of pulp magazine platforms, RKO seemed unsure of how best to frame The Thing. Instead of presenting it in a science-fiction context, RKO mounted a campaign that framed this work, even for the pulp audience, in various non-science-fiction ways: as a horror movie, as an exploitation effort, and even as a mystery or suspense narrative. The approach of this curious campaign, the essay argues, reveals the film industry's indecision about the box-office potential of science fiction, even as the genre was poised to explode in popularity during the decade. That uncertainty underscores the extent to which science fiction has followed what Rick Altman describes as a \"process\" route in its perception as a genre.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128523875","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
Going to the Cinema as a Czech: Preferences and Practices of Czech Cinemagoers in the Occupied City of Brno, 1939–1945 作为一个捷克人去电影院:1939-1945年布尔诺占领区捷克电影观众的偏好和实践
Film History: An International Journal Pub Date : 2019-05-01 DOI: 10.2979/FILMHISTORY.31.1.0027
Pavel Skopal
{"title":"Going to the Cinema as a Czech: Preferences and Practices of Czech Cinemagoers in the Occupied City of Brno, 1939–1945","authors":"Pavel Skopal","doi":"10.2979/FILMHISTORY.31.1.0027","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.31.1.0027","url":null,"abstract":"ABSTRACT:After the occupation of the Czech lands by Nazi Germany in March 1939, Czechs embraced domestic (and ignored German) movies more vigorously than they had before. This implies that the occupation caused notable changes in the mode of movie reception. After about 1942, however, the popularity of a portion of German production was increasing. This fact raises the question of whether cinemagoers' values and identities were undergoing significant change under the occupation. This paper focuses on Brno, a city with a long history of coexistence and rivalry between those who identified as Germans and as Czechs. I argue that watching a Czech movie became one of the behaviors that defined the Czech national identity. The later embrace of German entertainment by Czechs was accompanied by two strategies that redeemed watching the desired cinematic distraction from being an un-Czech behavior: by indexing the movies as not fully German due to the presence of non-German stars, and by a parallel redefinition of cinemagoers' Czech behavior from choosing Czech movies to choosing cinemas identified as non-German. These strategies represent culturally specific reactions by Czech audiences living in a nationally divided city to the distribution and exhibition practices applied during the occupation.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"4 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132624852","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: 3
Old Corporate Films and Former Factory Workers: Film Reception as Social Memory 老企业电影与前工厂工人:作为社会记忆的电影接受
Film History: An International Journal Pub Date : 2019-05-01 DOI: 10.2979/FILMHISTORY.31.1.0102
Emilia Marques
{"title":"Old Corporate Films and Former Factory Workers: Film Reception as Social Memory","authors":"Emilia Marques","doi":"10.2979/FILMHISTORY.31.1.0102","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.31.1.0102","url":null,"abstract":"ABSTRACT:This article explores the seemingly compliant reception of old corporate films by former workers in a deindustrialized Portuguese town. The analysis identifies a particular, memory-focused mode of film reception among those workers, prompting joint consideration of convergent acquisitions from memory studies and film reception theory. This sheds light on the ways in which these workers reshape corporate film as their own relevant memory tool, the specific features of corporate film that support its memory value from a worker's point of view, and the workers' crafting, even so, of a lucid, class-bound relationship to the films as (corporate) discourse.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125351882","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
From Cage to Classroom: Animal Testing and Behaviorist Educational Film 从笼子到教室:动物实验和行为主义教育片
Film History: An International Journal Pub Date : 2019-02-20 DOI: 10.2979/FILMHISTORY.30.4.06
Benjamin Schultz-Figueroa
{"title":"From Cage to Classroom: Animal Testing and Behaviorist Educational Film","authors":"Benjamin Schultz-Figueroa","doi":"10.2979/FILMHISTORY.30.4.06","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.4.06","url":null,"abstract":"ABSTRACT:This essay analyzes the behavioral psychologist Neal E. Miller's 1948 educational film, Motivation and Reward in Learning, as a pivotal example of the overhaul of educational media in the wake of animal experiments into behavioral psychology during the mid-twentieth century. Drawing from historical research and close analysis of the formal components of the film, this essay reveals the impact of the animal laboratory as a vital site where films were produced and where the effects of spectatorship were tested. Ultimately, it concludes that the onscreen animals in films like Motivation and Reward in Learning reflected the intended experience of their viewers, both of whom had their motivations and actions managed by their manufactured settings of the laboratory and the screen.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122398695","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
Lobbyology and the Role of Lobby Spectacles in Silent-Film Exhibition 游说学与大厅景观在默片展览中的作用
Film History: An International Journal Pub Date : 2019-02-20 DOI: 10.2979/FILMHISTORY.30.4.03
Peter Graff
{"title":"Lobbyology and the Role of Lobby Spectacles in Silent-Film Exhibition","authors":"Peter Graff","doi":"10.2979/FILMHISTORY.30.4.03","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.4.03","url":null,"abstract":"ABSTRACT:This article traces the development of lobby spectacles from the crude ballyhoo methods of the early nickelodeon era to the lavish, multisensory displays of the 1920s picture palace. I focus largely on two case studies—The Thief of Bagdad (1924) and The Arab (1924)—and demonstrate how exhibitors crafted thematically cohesive experiences from curb to curtain. By examining these two productions within the context of silent-era exhibition practices, we see a trajectory that moves from individual and localized efforts to more standardized and corporatized national campaigns, which continue to inform the industry's in-theater marketing strategies.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128660157","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
"It's Only Convincing If They Say It Is": Documenting Civil Rights Progress in the USIA's Nine from Little Rock “只有他们这么说才有说服力”:记录美国小石城九州的民权进步
Film History: An International Journal Pub Date : 2019-02-20 DOI: 10.2979/FILMHISTORY.30.4.02
Erin Krutko Devlin
{"title":"\"It's Only Convincing If They Say It Is\": Documenting Civil Rights Progress in the USIA's Nine from Little Rock","authors":"Erin Krutko Devlin","doi":"10.2979/FILMHISTORY.30.4.02","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.4.02","url":null,"abstract":"ABSTRACT:In 1964, the United States Information Agency (USIA) produced the film Nine from Little Rock to reshape the way international audiences perceived the 1957 Little Rock school desegregation crisis. The film revisited Central High School and several members of the Little Rock Nine to document American progress in race relations, particularly in the field of education. To advance this narrative, the agency manipulated documentary film's association with actuality, obscuring the sentiments and opinions of the Little Rock Nine and persistent segregation in the nation's public schools.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127096051","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
"It's a Fake!": Early and Late Incredulous Viewers, Trick Effects, and CGI “这是假的!”:早期和晚期难以置信的观众，特技效果和CGI
Film History: An International Journal Pub Date : 2019-02-20 DOI: 10.2979/FILMHISTORY.30.4.01
Lisa Bode
{"title":"\"It's a Fake!\": Early and Late Incredulous Viewers, Trick Effects, and CGI","authors":"Lisa Bode","doi":"10.2979/FILMHISTORY.30.4.01","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.4.01","url":null,"abstract":"ABSTRACT:This paper offers a historical inquiry into industry worries about incredulous viewers, prompted by the persistence of claims by prominent contemporary film industry figures that computer-generated imagery (CGI) is intrinsically detrimental to cinematic realism and is eroding viewer immersion in screen fiction. Examining a range of fan and trade magazines from the 1910s and 1920s, I find evidence of an earlier anxiety in the film industry about incredulous viewers. This anxiety, however, was blamed not on the intrinsic unreality of cinematic tricks but a broader film culture, including fake actuality films and journalistic revelations of filmmaking secrets. I show that the industry made a concerted effort to manage such viewership by cultivating uncertainty about the reality or artifice of what appeared on the screen. Finally, moving back to the present, I argue that CGI is not inherently less real. Rather, a broader viewing culture of incredulity has reemerged due to a combination of production publicity, cult viewing of bad cinema, online forums, editorial photoshopping, and image hoaxes.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133676181","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: 5
From Social Problem to Maternal Melodrama: The Lost Lynching Scene in John M. Stahl's Imitation of Life 从社会问题到母性情节剧:约翰·m·斯塔尔《模仿生活》中缺失的私刑场景
Film History: An International Journal Pub Date : 2019-02-20 DOI: 10.2979/FILMHISTORY.30.4.05
Kirsten M. Lew
{"title":"From Social Problem to Maternal Melodrama: The Lost Lynching Scene in John M. Stahl's Imitation of Life","authors":"Kirsten M. Lew","doi":"10.2979/FILMHISTORY.30.4.05","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.4.05","url":null,"abstract":"ABSTRACT:This paper argues that a lynching scene that was cut from Imitation of Life (1934) likely comprised the original dramatic ending of the film. This knowledge should cause us to rethink the ideological motivations behind the resolution that the film eventually invented, in which the tragic mulatto daughter Peola (Fredi Washington) appears at her black mother Delilah's (Louise Beavers) funeral and tearfully repents for breaking her heart. The lynching scene's removal brings into relief not only how the film navigates its racial commentary but also how its maternal melodramatic apparatus counteracts attempts to address racism as a social problem. This avoidance in part stems from the film's refusal to address how sexuality—specifically, paranoia of miscegenation—motivates racist violence. Instead, the film posits racism as a personal and familial problem between two women.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127226233","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
"He Sees Now What He Looked Like": Soldier Spectators, Topical Films, and the Problem of Onscreen Representation during World War I “他现在看到了他的样子”:第一次世界大战期间的士兵、观众、时事电影和银幕表现问题
Film History: An International Journal Pub Date : 2019-02-20 DOI: 10.2979/FILMHISTORY.30.4.04
Chris Grosvenor
{"title":"\"He Sees Now What He Looked Like\": Soldier Spectators, Topical Films, and the Problem of Onscreen Representation during World War I","authors":"Chris Grosvenor","doi":"10.2979/FILMHISTORY.30.4.04","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.4.04","url":null,"abstract":"ABSTRACT:Utilizing a variety of historical sources, including new evidence pertaining to the faking of scenes in The Battle of the Somme (1916), this essay examines how British soldiers of World War I responded to topical films purporting to document the realities of the war and their lives as soldiers. As this essay documents, such soldiers, primed by their firsthand experience of the conflict, became a demographic of wartime filmgoers positioned to interrogate, negotiate, and ultimately deconstruct the artifice of cinematic imagery that had been primarily constructed for a comparatively naïve civilian audience.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133046359","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: 3
Exhibiting Ali's Super Fights: The Contested Politics and Brief History of Closed-Circuit Boxing Broadcasts 展示阿里的超级战斗:有争议的政治和闭路拳击广播的简史
Film History: An International Journal Pub Date : 2018-11-29 DOI: 10.2979/FILMHISTORY.30.3.01
Travis Vogan
{"title":"Exhibiting Ali's Super Fights: The Contested Politics and Brief History of Closed-Circuit Boxing Broadcasts","authors":"Travis Vogan","doi":"10.2979/FILMHISTORY.30.3.01","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.30.3.01","url":null,"abstract":"abstract:This article considers the cultural politics of closed-circuit prizefighting broadcasts—a seldom examined part of media history—by examining Muhammad Ali and The Super Fight (1970), a film based on a computerized simulation of a match between Ali and retired former heavyweight champion Rocky Marciano. It demonstrates how public, closed-circuit telecast exhibitions informed Ali's divisive identity, and, in turn, how Ali impacted the culture, industry, and metamorphosis of closed-circuit sports TV.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134352004","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
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