HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION最新文献

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TV Snapshots – An Archive of Everyday Life 电视快照-日常生活档案
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232153
K. Geddes
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引用次数: 1
Billy Wilder: Dancing on the Edge 比利·怀尔德:在边缘跳舞
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232148
Gillian Kelly
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引用次数: 1
Film Noir and Los Angeles: Urban History and the Dark Imaginary 电影《黑与洛杉矶:城市历史与黑暗想象》
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232155
William B. Covey
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引用次数: 0
The Dark Interval: Film noir, Iconography and Affect 黑暗间隔:黑色电影,图像学和情感
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232151
Kevin Brianton
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引用次数: 0
Horror Film and Otherness: Film and Culture 恐怖电影与另类:电影与文化
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232154
Michael Gibson
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引用次数: 0
Our Blessed Rebel Queen: Essays on Carrie Fisher and Princess Leia 我们神圣的叛逆女王:凯丽·费雪和莱娅公主随笔
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232149
Gillian Kelly
{"title":"Our Blessed Rebel Queen: Essays on Carrie Fisher and Princess Leia","authors":"Gillian Kelly","doi":"10.1080/01439685.2023.2232149","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232149","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46478051","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}
引用次数: 0
Before the Paris Fire: Projecting the Cinematograph in London from 1889-4th May 1997, Part IV of the London County Council and the Cinematograph 巴黎大火之前:投影1889年至1997年5月4日伦敦的电影摄影,伦敦郡议会和电影摄影第四部分
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-06 DOI: 10.1080/01439685.2023.2232147
L. Haven
{"title":"Before the Paris Fire: Projecting the Cinematograph in London from 1889-4th May 1997, Part IV of the London County Council and the Cinematograph","authors":"L. Haven","doi":"10.1080/01439685.2023.2232147","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232147","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45873963","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}
引用次数: 0
The Wrath to Come: Gone with the Wind and the Lies America Tells 《愤怒将至:乱世佳人与美国的谎言
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-07-04 DOI: 10.1080/01439685.2023.2232152
Kevin Brianton
{"title":"The Wrath to Come: Gone with the Wind and the Lies America Tells","authors":"Kevin Brianton","doi":"10.1080/01439685.2023.2232152","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232152","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46280926","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}
引用次数: 0
Offensive Screens: The Italy-China Diplomatic Agreement (1936–37) and the Transnational Censorship of Films 攻击性银幕:意中外交协定(1936-37)与跨国电影审查制度
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-06-19 DOI: 10.1080/01439685.2023.2218060
C. Keating, Xiaochun Zhang, C. O’Sullivan
{"title":"Offensive Screens: The Italy-China Diplomatic Agreement (1936–37) and the Transnational Censorship of Films","authors":"C. Keating, Xiaochun Zhang, C. O’Sullivan","doi":"10.1080/01439685.2023.2218060","DOIUrl":"https://doi.org/10.1080/01439685.2023.2218060","url":null,"abstract":"Between late 1936 and early 1937 Italy and China became embroiled in a series of diplomatic exchanges about two controversial films. One was Abyssinia (dir. Kopalin, 1936), a Soviet documentary feature about Italy’s invasion of Ethiopia, whose screening in a Shanghai cinema triggered a riot in February 1937. The other was The General Died at Dawn (dir. Milestone, 1936), a Paramount melodrama set in 1920s war-torn China whose international exhibition in late 1936, including in Italy, was criticised by the Chinese government. This article describes the reactions of diplomats and of local pressure groups to the exhibition of these films and to their ‘offensive’ representations of Italian colonialism and of China’s internal politics and people. Research in classified diplomatic files shows the involvement of the Italian authorities in the organisation of a violent attack on the Isis cinema in Shanghai in February 1937, and provides rich detail about the inner workings of Fascist government officials in Rome and in Shanghai which could not be obtained from press reports alone. Both film cases foreground the limited power of intervention of national censorship boards and illustrate the types of actions and actors involved in transnational film exchanges where questions of national prestige or political authority are at stake. They also bear witness to a momentous time of geo-political transition and alliance-making in the lead-up to the Second World War.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48362775","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}
引用次数: 0
Engineering the ‘Sense of Being There’: Electronovision and the Invention of the Stage Performance Documentary 工程化的“存在感”:电漫游与舞台表演纪录片的发明
IF 0.3 3区 艺术学
HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION Pub Date : 2023-06-14 DOI: 10.1080/01439685.2023.2218050
Landon Palmer
{"title":"Engineering the ‘Sense of Being There’: Electronovision and the Invention of the Stage Performance Documentary","authors":"Landon Palmer","doi":"10.1080/01439685.2023.2218050","DOIUrl":"https://doi.org/10.1080/01439685.2023.2218050","url":null,"abstract":"This article investigates the stage performance documentary – the moving image record of a play, concert, comedy routine, or other type of onstage performance – as a mode of media production that has been historically constituted by a multimodal engagement across categories of media and culture. It chronicles the short-lived history of Electronovision, a 1960s moving image capture process that augmented television technologies to record and reproduce live stage events for theatrical exhibition. Electronovision’s history demonstrates how a production company sought legitimacy for the nascent stage performance documentary as more than ‘filmed theater’, but a modern hybridization of stage and screen via cutting-edge technology. Using archival memoranda, industry discourse, and an interview with its director, this article gives particular focus to Electronovision’s production of the rock ’n’ roll revue The T.A.M.I. Show (1964). The work that most convinced the entertainment industry of Electronovision’s ambitions, The T.A.M.I. Show suggests an alternate trajectory that stage performance documentaries might have taken outside of its 16-millmetre formalization by direct cinema.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47521410","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}
引用次数: 0
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