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Film History: An International Journal最新文献

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The Geocultural Provenance of Narratives: The Case of the Kuleshov Effect 叙事的地理文化渊源:以库列绍夫效应为例
Film History: An International Journal Pub Date : 2020-11-04 DOI: 10.2979/filmhistory.32.2.03
A. Kolesnikov
{"title":"The Geocultural Provenance of Narratives: The Case of the Kuleshov Effect","authors":"A. Kolesnikov","doi":"10.2979/filmhistory.32.2.03","DOIUrl":"https://doi.org/10.2979/filmhistory.32.2.03","url":null,"abstract":"ABSTRACT:Although the Kuleshov effect is often cited as fundamental to the cinematic vocabulary, our understanding of the genesis and evolution of its narrative is incomplete. This paper aims to shed light on the evolution and plasticity of Kuleshov's early accounts of the experiment as well as the interweaving and contradictory trails that shaped the cultural understanding of the Kuleshov effect in Europe, the US, and the USSR through Kuleshov's and Pudovkin's writings. Finally, it will examine how this has contributed to an ongoing narrative within film theory and history.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115038973","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
"The Film Is Our Director": Interview with Ken Winokur, Terry Donahue, and Roger Miller—The Alloy Orchestra “电影是我们的导演”:采访肯·维诺库，特里·多纳休和罗杰·米勒-合金乐团
Film History: An International Journal Pub Date : 2020-11-04 DOI: 10.2979/filmhistory.32.2.06
Scott Macdonald
{"title":"\"The Film Is Our Director\": Interview with Ken Winokur, Terry Donahue, and Roger Miller—The Alloy Orchestra","authors":"Scott Macdonald","doi":"10.2979/filmhistory.32.2.06","DOIUrl":"https://doi.org/10.2979/filmhistory.32.2.06","url":null,"abstract":"","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126008217","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
Brushstroke Cinema: The Concept of Matte Painting in the Work of Peter Ellenshaw and Albert Whitlock 一笔电影:彼得·艾伦肖和阿尔伯特·惠特洛克作品中的哑光绘画概念
Film History: An International Journal Pub Date : 2020-11-04 DOI: 10.2979/filmhistory.32.2.04
Dario Lanza
{"title":"Brushstroke Cinema: The Concept of Matte Painting in the Work of Peter Ellenshaw and Albert Whitlock","authors":"Dario Lanza","doi":"10.2979/filmhistory.32.2.04","DOIUrl":"https://doi.org/10.2979/filmhistory.32.2.04","url":null,"abstract":"ABSTRACT:Matte painting, the creation of a cinematographic space through pictorial methods, is a particular element of film construction that has, until now, been considered of secondary importance in academic research and studies on filmmaking. This article aims to substantiate its value as a practice and demonstrate the importance of the careers and works of two of the most influential matte painters whose contributions had a lasting aesthetic impact on filmmaking at a global level: Peter Ellenshaw, an advocate for the purity of profilmic practical trickery, and Albert Whitlock, whose work explored the limits of matte painting and its dynamic conditions. This study offers a detailed analysis of their work, enabling us to illustrate the different visions of matte painting developed by these two creators as well as their individual contributions to this art form and the ways they utilized this particular filmmaking technique in which cinema is intertwined with painting.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114494550","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 March of Time in Britain and the International History of Documentary Film 英国的时间进行史与纪录片的国际历史
Film History: An International Journal Pub Date : 2020-11-04 DOI: 10.2979/filmhistory.32.2.01
Ramírez
{"title":"The March of Time in Britain and the International History of Documentary Film","authors":"Ramírez","doi":"10.2979/filmhistory.32.2.01","DOIUrl":"https://doi.org/10.2979/filmhistory.32.2.01","url":null,"abstract":"ABSTRACT:This article explores the historical formation of news cinemagazines through the international production of the US series The March of Time. Established in 1935, the series quickly achieved success by dealing with current affairs through a blend of actual footage plus reenacted and dramatized scenes. The American producers set up an office in London with which John Grierson and other British filmmakers from the General Post Office (GPO) film unit were associated. To date, this key relationship in the history of documentary film remains underexplored. Here, I trace US and UK interactions between 1935 and 1946 in order to illuminate the institutionalization of documentary filmmaking across countries during a critical period.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132053009","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
Another Footnote to the History of Riefenstahl's Olympia 里芬斯塔尔奥林匹亚历史的另一个注脚
Film History: An International Journal Pub Date : 2020-11-04 DOI: 10.2979/filmhistory.32.2.05
Srđan Radaković
{"title":"Another Footnote to the History of Riefenstahl's Olympia","authors":"Srđan Radaković","doi":"10.2979/filmhistory.32.2.05","DOIUrl":"https://doi.org/10.2979/filmhistory.32.2.05","url":null,"abstract":"ABSTRACT:This article reveals completely unknown information regarding the production of a film covering the 1936 Berlin Olympics. It introduces and analyzes a translation of forgotten interviews that Leni Riefenstahl gave in Berlin and then in Belgrade in advance of the Olympic Games beginning that July, and which occurred before her journey to Athens for the filming of the events. Leni Riefenstahl's statements in these heretofore unexamined interviews fully support Susan Sontag's view that the two-part Olympics film was entirely planned and funded by the Nazi government.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"280 1-2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123726085","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
"All Those Little Spools and Lights": The Moving Image at Angola Prison “所有那些小线轴和灯光”:安哥拉监狱的动态影像
Film History: An International Journal Pub Date : 2020-11-04 DOI: 10.2979/filmhistory.32.2.02
J. A. Mitchell
{"title":"\"All Those Little Spools and Lights\": The Moving Image at Angola Prison","authors":"J. A. Mitchell","doi":"10.2979/filmhistory.32.2.02","DOIUrl":"https://doi.org/10.2979/filmhistory.32.2.02","url":null,"abstract":"ABSTRACT:This article provides a cultural history of film and television at Louisiana's Angola Prison in the 1950s to show that moving images coexisted with the brutalities for which the prison is known, including stark labor conditions, corporal violence, and punitive racism. Despite their promotion as improvements during an era of reform, the technologies of film and television accommodated the prison's repressive hierarchies of race, gender, and labor. By analyzing the penitentiary's newspaper, the Angolite, alongside its peer publications at other prisons, I show that prison newspapers played a significant role in promoting film exhibition in carceral spaces.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133627225","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
Emerging from the Shadows: Alice Burton Russell—African American Film Producer, Actress, and Screenwriter 从阴影中浮现:爱丽丝·伯顿·罗素——非裔美国电影制片人、女演员和编剧
Film History: An International Journal Pub Date : 2020-07-12 DOI: 10.2979/filmhistory.32.1.05
Charlene B. Regester
{"title":"Emerging from the Shadows: Alice Burton Russell—African American Film Producer, Actress, and Screenwriter","authors":"Charlene B. Regester","doi":"10.2979/filmhistory.32.1.05","DOIUrl":"https://doi.org/10.2979/filmhistory.32.1.05","url":null,"abstract":"ABSTRACT:The first black women filmmakers frequently remain unacknowledged for their contributions to the early years of black cinema. This essay examines the life and career of Alice Russell Micheaux (wife to black filmmaker Oscar Micheaux) who worked for the Micheaux Film Company between 1926 and 1948, where she served in a variety of capacities. Given her contributions, this essay argues that she deserves recognition among other early black women filmmakers in her own right as a significant film pioneer whose involvement propelled the development of this emergent cinema. I consider her formative years as the daughter of black newspaper editor and publisher Robert Russell, explore her adult years in Montclair, New Jersey, and critique the services she provided to the Micheaux Film Company","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127044569","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
December 7th, The Battle of Midway, and John Ford's Career in the OSS 12月7日，中途岛战役，以及约翰·福特在战略情报局的职业生涯
Film History: An International Journal Pub Date : 2020-07-12 DOI: 10.2979/filmhistory.32.1.01
L. Jacobs
{"title":"December 7th, The Battle of Midway, and John Ford's Career in the OSS","authors":"L. Jacobs","doi":"10.2979/filmhistory.32.1.01","DOIUrl":"https://doi.org/10.2979/filmhistory.32.1.01","url":null,"abstract":"ABSTRACT:December 7th was made in 1942 by John Ford's Field Photographic Branch of the Office of Strategic Services (OSS) at the request of the Secretary of War and the Secretary of the Navy. It was ultimately rejected for exhibition to the general public on the advice of the Office of War Information. Ford and director Gregg Toland eventually prepared an abbreviated version which was allowed only a limited release. This article considers the rejection of December 7th in the context of Field Photo's development as a unit, and in relation to Ford's most famous World War II documentary, The Battle of Midway. It seeks to explain how Ford was able to secure government approval and a general theatrical release for The Battle of Midway in the latter part of 1942 and how the policies and protocols of the government and military agencies that regulated wartime propaganda had altered by the time that December 7th came under review in the first half of 1943.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"166 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127920469","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
Rereading the Decline of the Illustrated Song: Three Crisis Discourses in Moving Picture World, 1908 再读绘歌的衰落:电影世界的三种危机话语，1908
Film History: An International Journal Pub Date : 2020-07-12 DOI: 10.2979/filmhistory.32.1.04
Robin Cauche, T. Barnard
{"title":"Rereading the Decline of the Illustrated Song: Three Crisis Discourses in Moving Picture World, 1908","authors":"Robin Cauche, T. Barnard","doi":"10.2979/filmhistory.32.1.04","DOIUrl":"https://doi.org/10.2979/filmhistory.32.1.04","url":null,"abstract":"ABSTRACT:Historians have well documented the decline of illustrated songs in nickelodeons in the United States from 1909 to 1913. In this article, a close examination of the 1907 and 1908 issues of Moving Picture World shows that several crises occurred before 1909 that help us understand this decline. Here I examine three main crises: the structural crisis of free music, the economic and aesthetic crisis of piracy, and the legal dispute over exclusive illustration rights.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132967152","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
Beyond the Infinite Interpretations: The Reception of 2001: A Space Odyssey and the Reframing of Stanley Kubrick's Authorial Reputation 超越无限诠释:《2001太空漫游》的接受与斯坦利·库布里克作家声誉的重塑
Film History: An International Journal Pub Date : 2020-07-12 DOI: 10.2979/filmhistory.32.1.03
Friedman
{"title":"Beyond the Infinite Interpretations: The Reception of 2001: A Space Odyssey and the Reframing of Stanley Kubrick's Authorial Reputation","authors":"Friedman","doi":"10.2979/filmhistory.32.1.03","DOIUrl":"https://doi.org/10.2979/filmhistory.32.1.03","url":null,"abstract":"ABSTRACT:2001: A Space Odyssey (1968) cemented Stanley Kubrick's reputation as Hollywood's most visionary director. Many accounts attribute its success to Kubrick's calculated artistic decisions and the film's countercultural appeal; however, 2001's production and reception histories as well as archival evidence reveal that collaborators intervened to bolster its performance after shaky theatrical premieres. This essay charts how MGM and other partners employed strategies to mitigate initial frustrations with 2001's unconventional properties. These improvised efforts gradually helped audiences contend with the film's ambiguities. This ultimately fostered Kubrick's enduring brand and aligned him with European art-cinema auteurs and proto-transmedia storytelling.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127950531","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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