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Film History: An International Journal最新文献

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Cinema in Extremis: Mount Everest and the Poetics of Monumentality 电影在极端:珠穆朗玛峰和纪念性的诗学
Film History: An International Journal Pub Date : 2020-07-12 DOI: 10.2979/filmhistory.32.1.02
A. Griffiths
{"title":"Cinema in Extremis: Mount Everest and the Poetics of Monumentality","authors":"A. Griffiths","doi":"10.2979/filmhistory.32.1.02","DOIUrl":"https://doi.org/10.2979/filmhistory.32.1.02","url":null,"abstract":"ABSTRACT:Two British attempts to climb Mount Everest cosponsored by the Royal Geographical Society and the Alpine Club in the 1920s, equipped with motion-picture cameras, telescopic lenses, and filters, promised to elevate Britain's reputation within international mountaineering circles, as well as claim victory for machine and humanity in extreme altitude. This essay examines how ideas of monumentality circulate textually and discursively in the two extant films, Climbing Mount Everest (1922) and The Epic of Everest (1924), homing in on how Everest's scale denuded cinema of some of its essential capabilities while paradoxically capturing saturated moments of monumentality through specific cinematic techniques. Though commercial success eluded the filmic records of the failed climbing attempts, the films' negotiation of the complex dialectics of British national identity and Tibetan life brings the poetics of monumentality into conversation with issues of culture, memory, indigenous agency, and history.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"26 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":"125456020","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
Reserving the Kill: The Suicide Ban and Criminal Punishment in Code-Era Hollywood Film 保留杀戮:密码时代好莱坞电影中的自杀禁令与刑罚
Film History: An International Journal Pub Date : 2020-02-20 DOI: 10.2979/filmhistory.31.4.01
Sara Sligar
{"title":"Reserving the Kill: The Suicide Ban and Criminal Punishment in Code-Era Hollywood Film","authors":"Sara Sligar","doi":"10.2979/filmhistory.31.4.01","DOIUrl":"https://doi.org/10.2979/filmhistory.31.4.01","url":null,"abstract":"ABSTRACT:During the 1930s and 1940s, the Production Code Administration systematically censored cinematic representations of criminals \"escaping justice\" through suicide, instead forcing studios to conclude films with scenes of police arrest and allusions to future trials. Instituted in consultation with police officials, the suicide ban emerged as the American criminal justice system was rapidly shifting to an institutionalized, sociological model. Rereading the averted-suicide ending of Crime Without Passion (1934) as a manifesto on the appropriate death of the accused, I argue that the suicide prohibition, which proved uniquely resistant to ironic subversion, became a powerful tool for consolidating state authority over criminal punishment.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"199 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115683561","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
A Specter Haunts Bombay: Censored Itineraries of a Lost Communistic Film 幽灵在孟买游荡:一部丢失的共产主义电影的审查行程
Film History: An International Journal Pub Date : 2020-02-20 DOI: 10.2979/filmhistory.31.4.02
Debashree Mukherjee
{"title":"A Specter Haunts Bombay: Censored Itineraries of a Lost Communistic Film","authors":"Debashree Mukherjee","doi":"10.2979/filmhistory.31.4.02","DOIUrl":"https://doi.org/10.2979/filmhistory.31.4.02","url":null,"abstract":"ABSTRACT:This article situates a lost film titled Mill or Mazdoor (1934/1939) and its history of proscription at the intersection of three arguments: (1) that the loss of the film artifact should not preclude attempts for historiographic engagement and interpretation; (2) that site-specific histories of film censorship tell a significant story about the meanings and emotions generated by a film; and (3) that the repeated return of the censored, proscribed, or lost film complicates approaches to origins, authorship, and provenance. Through archival research, analysis of publicity materials, and engagement with scholarship on film censorship, urban and industrial history, and geography, I embed the story of Mill within a dense history of local industrial unrest, transnational fears of filmic communism, and wranglings with a colonial censor regime. The singular travails of a proscribed film thus embody the stories of a specific place whose specificity is wrought out of its links with other places in the world.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125735882","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
CelluloidTM: Cecil M. Hepworth, Trick Film, and the Material Prehistory of the Plastic Image 塞西尔·m·赫普沃斯:《特技电影和塑料影像的材料史前史》
Film History: An International Journal Pub Date : 2020-02-20 DOI: 10.2979/filmhistory.31.4.04
Pansy Duncan
{"title":"CelluloidTM: Cecil M. Hepworth, Trick Film, and the Material Prehistory of the Plastic Image","authors":"Pansy Duncan","doi":"10.2979/filmhistory.31.4.04","DOIUrl":"https://doi.org/10.2979/filmhistory.31.4.04","url":null,"abstract":"ABSTRACT:This essay builds on emerging ecomaterialist accounts of film history to advance an argument about the primitive thermoplastic, celluloid, that served as the base for early photosensitive emulsions. It contends that, more than simply feeding early film technology, this \"pioneer plastic\" helped shape developments in early film aesthetics. Drawing on a close analysis of the early writings and film output of pioneering British director Cecil M. Hepworth, it shows that a series of encounters with this volatile vegetable compound played a key role in the director's early filmmaking practice, mediating his burgeoning appreciation of the medium's plastic as opposed to its purely photographic possibilities.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"3 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132815475","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 Dickson Experimental Sound Film, Popular Music, and the Invention of Moving Pictures 迪克森实验有声电影、流行音乐和电影的发明
Film History: An International Journal Pub Date : 2020-02-20 DOI: 10.2979/filmhistory.31.4.03
K. Kalinak
{"title":"The Dickson Experimental Sound Film, Popular Music, and the Invention of Moving Pictures","authors":"K. Kalinak","doi":"10.2979/filmhistory.31.4.03","DOIUrl":"https://doi.org/10.2979/filmhistory.31.4.03","url":null,"abstract":"ABSTRACT:When W. K. L. Dickson walked up to the recording horn with his violin sometime in 1894 or 1895 to perform in the earliest known surviving sound film, he played two excerpts from the 1877 French operetta Les Cloches de Corneville (The Chimes of Normandy) by Jean Robert Planquette. Two male employees danced to these very popular pieces of music from an enormously popular entertainment in what might be called the first music video. This essay unpacks this historic pairing of popular music and moving images to see what it can tell us about the role of popular music in the invention of motion pictures.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132551151","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
Bedsheet Cinema: The Materiality of the Segregating Screen 床单电影:隔离屏的物质性
Film History: An International Journal Pub Date : 2019-11-16 DOI: 10.2979/filmhistory.31.3.01
Andrea J. Kelley
{"title":"Bedsheet Cinema: The Materiality of the Segregating Screen","authors":"Andrea J. Kelley","doi":"10.2979/filmhistory.31.3.01","DOIUrl":"https://doi.org/10.2979/filmhistory.31.3.01","url":null,"abstract":"ABSTRACT:This essay examines the bedsheet as a historic screen technology while tracing the cultural discourses that emerge from and around the bedsheet as both a cinematic and cultural object. The history of the bedsheet screen reveals origin stories of moving-image exhibition and illuminates the entwined histories of US cinema and race. In its examination of the sheet-screen across a range of moving-image practices and representations in popular and industry discourse, this essay foregrounds the materiality of the screen and its relationship to nontheatrical exhibition sites, segregationist practices, and the social significance of the screen.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128523010","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
Bound by Paper: Girl Fans, Movie Scrapbooks, and Hollywood Reception during World War I 纸的束缚:第一次世界大战期间的女孩粉丝，电影剪贴簿和好莱坞接待
Film History: An International Journal Pub Date : 2019-11-16 DOI: 10.2979/filmhistory.31.3.06
Diana W. Anselmo
{"title":"Bound by Paper: Girl Fans, Movie Scrapbooks, and Hollywood Reception during World War I","authors":"Diana W. Anselmo","doi":"10.2979/filmhistory.31.3.06","DOIUrl":"https://doi.org/10.2979/filmhistory.31.3.06","url":null,"abstract":"ABSTRACT:Fan media practices, shaped by the advent of commercial narrative cinema in the 1910s, owe much to young female audiences. However, in-depth knowledge of these early fan communities is slim, having gone largely unexamined by silent-film historians. Focused on paper-based scrapbooks, tutorials, and correspondence crafted by movie-loving girls coming of age in North America during World War I, this article traces the tensile relationship established between a burgeoning male-presided film industry and the first demographic to be culturally addressed as “adolescent” and “screen-struck.” By privileging first-person accounts of girl-led movie collectives from assorted walks of life, I introduce a richly diverse, if mostly unknown, reception archive that showcases the formative modes of spectatorial engagement, consumer participation, peer belonging, and affective subversiveness engendered by an audience historically deemed negligible or unproductive. Reading personal fan objects in tandem with newspaper articles urging girls to reuse film ephemera also reveals that the outbreak of World War I recalibrated how moviegoers and the US press conceived of appropriate film fandom and useful female labor. Visible and valuable due to their passionate attachment to the pictures, young female audiences came to be recruited to participate in war-relief efforts, their paper crafts and domestic upcycling contributing to the nationwide debate on resource scarcity, public female agency, and the decline of western civilization.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126759337","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
Censorship, Scripts, Suppression, and Selection: Twentieth Century-Fox and the Story of the Berlin Airlift in The Big Lift and Es begann mit einem Kuß (It Started with a Kiss), 1950–1953 审查，剧本，压制和选择:二十世纪福克斯和柏林空运的故事，《大电梯》和《它始于一个吻》，1950-1953
Film History: An International Journal Pub Date : 2019-11-16 DOI: 10.2979/FILMHISTORY.31.3.04
Tobias Hochscherf, C. Laucht
{"title":"Censorship, Scripts, Suppression, and Selection: Twentieth Century-Fox and the Story of the Berlin Airlift in The Big Lift and Es begann mit einem Kuß (It Started with a Kiss), 1950–1953","authors":"Tobias Hochscherf, C. Laucht","doi":"10.2979/FILMHISTORY.31.3.04","DOIUrl":"https://doi.org/10.2979/FILMHISTORY.31.3.04","url":null,"abstract":"ABSTRACT:This article analyzes various political, economic, creative, and cultural levels of censorship in Twentieth Century-Fox’s semidocumentary feature film The Big Lift (1950) and its German-language release version Es begann mit einem Kuß (It Started with a Kiss, 1953). Alongside the political context of the early Cold War, it locates the two versions within major socioeconomic changes that film studios faced at the time. In this, the study also offers the first comprehensive comparison of The Big Lift with its West German release version, examining the nature and impact of cuts and dubbing on the plot of Es begann mit einem Kuß.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"75 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132432870","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 Gray Zone of Noncompromise: Sponsored Film, the American Film Center, and One Tenth of Our Nation 不妥协的灰色地带:赞助电影、美国电影中心和我们国家的十分之一
Film History: An International Journal Pub Date : 2019-11-16 DOI: 10.2979/filmhistory.31.3.05
C. Kridel
{"title":"A Gray Zone of Noncompromise: Sponsored Film, the American Film Center, and One Tenth of Our Nation","authors":"C. Kridel","doi":"10.2979/filmhistory.31.3.05","DOIUrl":"https://doi.org/10.2979/filmhistory.31.3.05","url":null,"abstract":"ABSTRACT:During the 1940s, the American Film Center was established to coordinate documentary film production and its distribution in the United States. With one of its first projects, One Tenth of Our Nation (1940), differences developed between the funding agency and filmmaker. This essay introduces the conflicts among socially conscious documentarists, black and white educators, and Northern philanthropists during the making of One Tenth of Our Nation and its revision, As Our Boyhood Is (1943), and examines the struggles for social agency in sponsored film and the tensions between sponsors and filmmakers in the field of nontheatrical film.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"5 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132722737","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
Filmland’s Forgotten Man: Paul Rotha and Reputation Studies 电影界被遗忘的人:保罗·罗塔与声誉研究
Film History: An International Journal Pub Date : 2019-11-16 DOI: 10.2979/filmhistory.31.3.03
Martin Stollery
{"title":"Filmland’s Forgotten Man: Paul Rotha and Reputation Studies","authors":"Martin Stollery","doi":"10.2979/filmhistory.31.3.03","DOIUrl":"https://doi.org/10.2979/filmhistory.31.3.03","url":null,"abstract":"ABSTRACT:Filmmakers’ reputations rise, fall, and reach different audiences due to a range of interrelated factors, which include interpersonal reputational networks that form during their lifetime, and may or may not expand after their death. The decline in Paul Rotha’s reputation, from widespread acknowledgment of his role as a leading British documentary filmmaker during the 1940s to an overlooked figure now, apart from some limited academic interest, is a case in point. This essay traces the multiple factors—social, cultural, and individual—that need to be considered to fully assess the rise and fall of filmmakers’ reputations.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123186426","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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