HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION最新文献

{"title":"Deben Bhattacharya at the BBC, 1949–79: Cultural entrepreneurism, precarity, and the business of post-war folklore collection","authors":"D-M Withers","doi":"10.1080/01439685.2023.2256636","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256636","url":null,"abstract":"Deben Bhattacharya (1921–2001) had a prolific career as a field recordist that spanned the second half of the twentieth century. Yet his impressive contributions in radio, tv and film have to date been overlooked. Bhattacharya arrived in London from India in November 1949; by the end of the year, he had made his first broadcast on the BBC Eastern Service. Drawing on material held in the BBC Written Archives, this article focuses on Bhattacharya’s work with the BBC from the late 1940s-1970s. It discusses Bhattacharya’s work across different BBC departments: the Eastern Service, the General Overseas Service, the Third Programme, and the BBC Sound Archive. Overall, it highlights Bhattacharya’s contribution to the curation of traditional folklore in the post-war period. I analyse how he interpreted cultural traditions via radio broadcasts and, through field recordings, made substantial contributions to the BBC Sound Archive’s international folklore collections. Bhattacharya’s relationship with the BBC reveals how he developed his career as a cultural entrepreneur, building speculative partnerships with large institutions that supported his activity in the field. The BBC offered Bhattacharya minimal upfront support for his work, however, which meant his field work was often conducted in deeply precarious circumstances. This article discusses how Bhattacharya negotiated institutional prejudices and embraced new opportunities to record and publish field recordings in the post-war creative and cultural industries.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136308101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Alice ‘Lavender’ Lee, ‘The Pictures Girl’: A ‘Star Search’ Competition of the Late 1910s","authors":"Andrew Shail, Marie-Claire Rackham-Mann","doi":"10.1080/01439685.2023.2256092","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256092","url":null,"abstract":"This article examines the ‘The Pictures Girl’ star search competition, run by the film fan magazine Pictures and Picturegoer from late 1918 to early 1919. It charts the stages of the competition, demonstrates the gap between the promised prize and the actual outcome for the winner, one Alice ‘Lavender’ Lee, and shows what motives underpinned talent competitions and continue to underpin them now. It also cuts through a body of myth that emerged around Alice Lee in her later life, and shows how and why this body of myth emerged.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136374478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Material Lives of Cold War Radio Pasts in India","authors":"Anandita Bajpai","doi":"10.1080/01439685.2023.2256128","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256128","url":null,"abstract":"This article explores radio’s material legacies by exclusively focussing on the trajectories of radio-objects, which travelled between foreign broadcasting stations and their Indian listeners during the Cold War years. The presence of such objects in listeners’ homesteads/private collections even today and their affective relationship(s) to them can enable us to examine how radio materially permeated the larger social fabric of listeners’ everyday lives, not just through sound but also a plethora of things. Zooming in on gifts, souvenirs, letters, photographs and memorabilia, the article shows how radio-objects enabled Indian listeners to perform difference and distinction locally, to imagine and experience foreign countries through landscape-objects, to establish networks of South-South epistolary exchange, and to ‘see’ both co-listeners and radio hosts through travelling photographs.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135015719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Stanley Kubrick, the 1974 Finance Act, and the crisis of the British film industry: a case study of access, power and privilege in British media and politics","authors":"James Fenwick","doi":"10.1080/01439685.2023.2256637","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256637","url":null,"abstract":"Between 1975 and 1977, filmmaker Stanley Kubrick secretly campaigned to overturn the new tax provisions of the Labour government’s 1974 Finance Act. His aim was to develop a crisis narrative in which the legislation that affected the amount of earnings foreign residents would pay tax on in the UK was deemed directly responsible for the imminent and absolute collapse of the British film industry. Drawing on archival sources from the Stanley Kubrick Archive, the Harold Wilson papers, and The National Archives, the article reconstructs Kubrick’s actions during this period to reveal how he planted stories in the press, lobbied MPs, ministers, the Chancellor of the Exchequer, and the prime minister, manipulated trade union officials, and secretly wrote press releases and campaign letters under the name of the general secretary of the ACTT, Alan Sapper. The archival case study widens understanding of the narrative of crisis pertaining to the British film industry in the 1970s and how this was exacerbated and exploited by powerful and wealthy individuals like Kubrick for personal gain. The article also contributes to the broader topics of access, power, and privilege in British society and how the rich subvert and undermine democracy, thereby aggravating structural inequalities, inequalities that have only deepened since Kubrick’s political interventions and machinations.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135396916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Growth of the Turkish Film Industry and the Death of Suphi Kaner: Articulating a Star’s Suicide to the History of Labour in Cinema","authors":"Serkan Şavk","doi":"10.1080/01439685.2023.2256126","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256126","url":null,"abstract":"AbstractThis article focuses on the death of Suphi Kaner by suicide in 1963, an incident that overlaps with the rapid growth of the domestic film industry in Turkey. Kaner’s tragic death is discussed in popular literature solely in relation to his alcohol addiction, his possible depression, and his inability to cope with sudden stardom, leaving almost unmentioned the key role of the boycott call of the Producers Association against him. In 1963, the power struggle between the producers and the star actors was very visible. Within the framework of this power struggle, producers made a boycott statement about Kaner, for allegedly interrupting the shooting of a film. I approach the chain of events that concluded with Kaner’s suicide as an early example of labour disputes in Turkish cinema. This case demonstrates that the scope of labour disputes in film industries encompasses even star actors who are often considered as a privileged class. I argue that Kaner’s suicide could have been avoided by fairer employment conditions, and if the Producers Association had not called for the boycott. To examine the case, I make use of a variety of historical texts including memoirs, auto-biographies, news pieces, interviews, and commentaries. AcknowledgementsI would like to thank Hakan Erkılıç, Mine Kasapoğlu Turhan, Ebru Özyurt, Bahar Emgin Şavk, Gürçim Yılmaz and Alican Sekmeç for their contributions during the writing of this article. I am also grateful to Gökçen Karanfil for working meticulously on the manuscript and making valuable suggestions; to Necip Sarıcı, a versatile artist and collector and a friend of Kaner, for sharing his memories; and to Simon Mumford for proofreading this article with diligent care as he always does.Disclosure statementThe author reports there are no competing interests to declare.Notes1 The word ‘artist’ was specifically used to designate cinema actors by then. For all the numeric data about films, I refer to the Center for Turkish Cinema Studies (Türk Sinema Araştırmaları, TSA) database, https://www.tsa.org.tr/en/, accessed 22 September 2022.2 Resources mention the name of this association with variations such as Producers Association (Prodüktörler Cemiyeti), Producers Guild of Turkey (Türkiye Prodüktörler Birliği) and Producers Guild (Prodüktörler Birliği). For the sake of consistency, I refer to it as the Producers Association thereafter.3 Michael C. Nielsen, ‘Labour Power and Organization in the Early U.S. Motion Picture Industry’, Film History 2, no. 2 (1988): 121.4 Ronny Regev, Working in Hollywood: How the Studio System Turned Creativity into Labour (Chapel Hill: University of North Carolina Press, 2018).5 Regev, 19.6 For introductive knowledge about Yeşilçam and its production mode see Dilek Kaya, ‘Yeşilçam Döneminde Film Sansürü: Bir Müzakere ve Mücadele Alanı Olarak Film Sesi’, Kültür ve İletişim 20, no. 39 (2017): 12–34; Remake, Remix, Rip-Off: About Copy Culture & Turkish Pop Cinema, Belgesel, 2014; Savaş Arslan, Ci","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Campbeltown Speaks: Small-Town Cinema and the Coming of Sound","authors":"Trevor Griffiths","doi":"10.1080/01439685.2023.2256081","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256081","url":null,"abstract":"The popularity of cinema from its earliest days in small-town settings emphasises the importance of local circumstances in explaining the medium’s success. This article employs surviving business records relating to the Picture House in the Scottish burgh of Campbeltown to explore aspects of cinema-going peculiar to that corner of rural Argyllshire, including a propensity, hitherto unidentified among Scottish audiences, to support the productions of the British film industry. Beyond this, the Picture House has a broader significance. As a monopoly provider of commercial entertainment to an enclosed market, it offers telling insights into a key point of transition for cinema, that from silent to sound film. Placed in the context of national trends, documented by data relating to the taxation of entertainments, Campbeltown provides compelling evidence that the advent of the talkies marked a fundamental discontinuity in the history of the medium at all levels, from the local to the national.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134970096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preserving the Imperial Project: Documenting Film Censorship Practices in the Gold Coast (Ghana)","authors":"Augustine Danso","doi":"10.1080/01439685.2023.2256123","DOIUrl":"https://doi.org/10.1080/01439685.2023.2256123","url":null,"abstract":"AbstractThe British colonialists employed cinema from two key viewpoints; the first was the use of cinema in consolidating and promoting the economic and political agendas of the imperial project. Secondly, cinema became a critical medium through which the moral and social welfare of the natives in the British colonies were promoted. The considerably scattering of scholarly works on African cinema have explored colonial film censorship in some parts of Africa, however, the specific case of the Gold Coast (Ghana) has been an under-studied subject. The article engages a critical dialogue on how early film censorship was practised and further seeks to interrogate the nexus between the imperial project and the British colonial film censorship activities in the Gold Coast. While this paper does not claim an exhaustive treatment of the field of film censorship practices in Ghana, it endeavors to lay out an initial inroad, generate interests and critical debates in this neglected field. AcknowledgementsThank you very much, Prof. Fatimah Tuggar of the University of Florida (U.S.A) for funding this project and for offering insightful contributions to this study. I also thank Prof. Mark Jancovich of University of East Anglia, UK, for his critical contributions.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 This article consciously slips between the use of ‘Gold Coast’ and ‘Ghana’ for the purpose of the wider audience, who may not be conversant with African and Ghanaian history. Specifically, Gold Coast is a former British colony, known today as Ghana.2 Samson Kaunga Ndanyi, ‘Film Censorship and Identity in Kenya’, Ufahamu: A Journal of African Studies 42, no. 2 (2021).3 Paul Ushang Ugor, ‘Censorship and the Content of Nigerian Home Video Films’, Postcolonial Text 3, no. 2 (2007).4 Rosaleen Smyth, ‘The Development of British Colonial Film Policy, 1927–1939, with special reference to East and Central Africa’, The Journal of African History 20, no. 3 (1979).5 Gairoonisa Palker, ‘The State, Citizens and Control: Film and African Audiences in South Africa, 1910–1948’, Journal of Southern African Studies 40, no. 2 (2014).6 Augustine Danso, ‘Reconstructing Cinematic Activities in the Early Twentieth Century: Gold Coast (Ghana)’, Journal of African Cinemas, 13:2 (2021): 148.7 John C. McCall, ‘West African Cinema’, Oxford Research Encyclopedia of African History, (2018): 1.8 Ibid.9 Ibid.10 Rosaleen, Smyth, ‘The Development of British Colonial Film Policy, 1927–1939, with Special Reference to East and Central Africa’, The Journal of African History 20, no. 3 (1979): 438.11 Ibid.12 Ibid.13 Rosaleen Smyth, ‘The British Colonial Film Unit and sub-Saharan Africa, 1935–1945’, Historical Journal of Film, Radio and Television, no. 8, no. 3 (1988): 286.14 Ibid.15 John Collins, ‘The Ghanaian Concert Party: African Popular Entertainment at the Crossroads’ (PhD dissertation, Buffalo: State University of New York, 1994), 322.16 Ibid.1","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Sentimental in Chinese Cinema","authors":"Shanshan Diao","doi":"10.1080/01439685.2023.2232157","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232157","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59096460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"100 American Horror Films. BARRY KEITH GRANT, 2022, London, UK, Bloomsbury for British Film Institute, pp. vi + 217, illus., index, list of illustrations, £19.99 (paper)","authors":"J. Deutsch","doi":"10.1080/01439685.2023.2232150","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232150","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"225 7","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41308298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Race and Radio: Pioneering Black Broadcasters in New Orleans","authors":"S. Wan","doi":"10.1080/01439685.2023.2232156","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232156","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47592782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}