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The purpose of the article is to conduct a cultural analysis of the Nouvelle Vague phenomenon in European cinema of the 1950s, which will reveal the reasons that led to the emergence of this phenomenon. The methodology of the work is based on various methods of analysis and research of the cinematic phenomenon during the twentieth and early twentyfirst centuries. The comparative historical method was used to establish similarities and differences between cinema in different periods of its development. The anthropological method was used to study the impact of cinema on cultural environments and to investigate the changes that took place in these environments under the influence of cinema. The scientific novelty of the study is due to the significant relevance of cinema as a medium and a component of the creative industries, offering a comprehensive study of the emergence and evolution of the Nouvelle Vague in European cinema of the 1950s, with a special emphasis on its aesthetics and cultural context, which formed the basis for the emergence of modern cinema, which is centred on the individual with their philosophy of everyday life and lifestyle. Conclusions. This article examines the mediatisation of art in the mid-twentieth century through the formation of the Nouvelle Vague cinematic movement. The results show that the Nouvelle Vague had a significant impact on cinema, introducing innovative approaches to film production and promoting the creative autonomy of filmmakers. Thus, the Nouvelle Vague not only influenced the development of the film industry, but also became an important part of the discourse on the mediatisation of art, confirming its significance and influence on contemporary cinema. [ABSTRACT FROM AUTHOR]

The lack of archival materials and objects appears as a primary challenge in conducting research on the history of media and communications in India, specifically while writing a comprehensive historical account of Bengali cinema. This paper will try to look at video halls and video tapes as the transient media spaces and objects. In the case of West Bengal, video tapes and video halls are an important part of media history about which little has been written or researched. This paper will try to look into the process of writing media history of scarcely archived media forms following the method of media archaeology and question how the method becomes important in cases of absence of archival materials. This paper will also try to enquire how media ethnography unfolds a different narrative of media history which is otherwise absent in the material archives or institutional records. Using the theoretical framework of the study of archives, this paper tries to explore new archives which present a different history of intermedia transactions in the history of Bengali cinema. [ABSTRACT FROM AUTHOR]

Schlager shows were one of the main attractions on early Finnish television. Featuring a popular music genre, the shows were soon followed by a wave of Schlager films. In this article, I discuss Schlager film as an intermedial genre that sheds light on the early forms of cooperation between television, film and record industries. Focusing on the Schlager film Hit parade (1959), I suggest that while television was often seen merely as a competitor of the film industry, contributing to the crisis of Finnish film production, the relation between the two was more ambiguous than that: the case of Hit parade indicates that the film industry was also interested in the potential provided by the new medium. [ABSTRACT FROM AUTHOR]

The editorial presents the impetus behind this Special Issue, 'The Politics of Gendered Work and Representation in the Nordic Screen Industries', and describes its connection to production studies, in particular feminist production studies. Outlining the last two decades' growing interest in investigating the interrelated issues of gender, equality, working conditions and on-screen representations of women, the editorial notes that this kind of research is being conducted both in the humanistic disciples and the social sciences. In conclusion, the seven contributions to the Special Issue are introduced. All of them help shed light on various aspects of the Nordic film industries in relation to gender. [ABSTRACT FROM AUTHOR]

By exploring the critical, journalistic and popular reception of Ingmar Bergman's films in Australia in the late 1950s and '60s, as well as tracing their patterns of exhibition and distribution, this essay examines how particular discourses and approaches to Bergman were already well and truly in place by the early '60s and prior to the arrival of most of the director's films in the country. The critical response to and release of Bergman's work in Australia does reveal minor antipodean variations and is an important staging ground for an emerging and quickly evolving screen culture, as well as debates around film as "art". But it is also highly referential and reverential to received opinion from overseas and evidences the truly global reach of Bergman's cinema and reputation during this period. This essay will examine the appearance of a range of Bergman films in Australia starting with Smiles of a Summer Night in 1957 and concluding with the controversial release of the heavily censored The Silence in 1965, fashioning evidence for a boom in "Bergmania" that reaches a peak in 1961–62 and provides an important test case for the rise of "foreign" film distribution in Australia. [ABSTRACT FROM AUTHOR]

This paper aims to investigate major changes in the concept of Brazilian independent cinema. Although it refers primarily to a mode of production that is alternative to that of the so-called industrial cinema, the term independent cinema often refers to both an aesthetics and a means of production, distribution and exhibition which vary throughout the history of the film industry in Brazil, with different ways to relate with the State and with its own antithesis - the mainstream cinema (both American and Brazilian manstream films). While analyzing the Brazilian independent cinema as a strategy of affirmation in opposition to the mainstream or the dominance of the Brazilian film market by big-budget film production, it is necessary to reflect upon this category (independence) by taking into account a complex set of articulations, to finally admit its fluidity and complexity, as well as its relevance in the history of Brazilian cinema. [ABSTRACT FROM AUTHOR]

During the Francoist dictatorship, censorship and heterosocial heteronormativity hindered the filmic representation of gender and sexuality dissents. Frequently, these appeared in comic contexts, flirting with the limits of what could be publicly voiced at the time. Más bonita que ninguna is a musical comedy where transvestism is central to the narrative and some of its musical numbers, generating numerous textual tensions that allude to homosexuality. This article uses queer film theory to analyse the queer representations in the film and to highlight the queer authorship of its creators, among whom homosexual producer Luis Sanz stands out. [ABSTRACT FROM AUTHOR]

This chapter looks at the construction of Pola Negri's persona by discussing her films, as well as her off-screen antics. Negri's figure was emblematic of a representation of an exotic and threatening foreign woman, the association which inevitably incapacitated her career in the American movie industry. Firstly, I position the iconography of the vamp in the cultural context of the era. The figure of a pagan, earthy female sexuality had been popularised at the end of the nineteenth century by symbolist painters and consequently re-invented in the America of the 1920s to mobilise fears surrounding the growing economic independence of women and to reflect concerns linked to the new wave of immigration. I will analyse the ways in which Negri's movies re-enacted those anxieties through their gender portrayal. The femme fatale crosses the boundaries of patriarchal norms, class and ethnicity, and produces a threat. In films such as Spanish Dancer,1 Negri not only personified a threat to the status quo, questioning rigid limitations of sexuality, but above all represented an ethnic hazard. Her exotic otherness threatened to undermine the existing cultural order, making Negri a unique symbol of the possibility of foreign invasion. From the outset of the star's relationship with American media, the press insisted on seeing her mainly through the prism of her European otherness. Many articles contained deliberate misspelling to convey Negri's Eastern European accent. By the late twenties the representational scheme Negri was widely associated with fell out of fashion, marking a turning point in her career. The fact she could not escape the typecasting (nor dismiss the threatening characteristics of the vamp figure) contributed to her demise as an artist. [ABSTRACT FROM AUTHOR]

This essay is a part of ongoing attempts to shift the focus of research on Indian cinemas from textual analyses, studies of authorial styles, movements, also from language specific readings of cinema of the regions, to a more complex understanding of film practices and viewership. Through research conducted on certain single-theatres of Calcutta, it shows how some of these theatres, namely Rupabani, Chhabighar, and Regal, operating since the 1930s, bore the signs of historical changes. The emphasis on ‘spatial’ transformation draws attention to alterations within the industry, narratives of migration into the city, changes within public cultures and cinematic forms, and the ‘Bengali’ film industry’s dependence on Hindi films or its big-Other. The essay reads photographs and printed materials as sources that inform us about the formation of these theatres in specific locations, their significance and years of growth, and gradual weakening since the 1980s, after which many of the theatres closed down, especially during 1990s. Nevertheless, some of the theatres, like Regal, survive through multiple intercessions and in effect, bear the physical marks of change. [ABSTRACT FROM AUTHOR]

This paper examines the film reviews of Kenneth Slessor, an Australian poet, journalist and war correspondent best known for his contributions to Australian poetry between the two world wars. His film reviews of early Hollywood, British, and Australian sound cinema were an important part of his journalism at Smith's Weekly from 1931 to 1940. Mostly overlooked until recently these reviews reveal a sophisticated approach towards the new (sound) cinema. The criteria he advanced for evaluating film and the range of qualities he discerned, criticised and celebrated in films were based on appreciating film as a unique artform with its own formal repertoire and modes of production. While such standpoints are now familiar in film reviewing, at the time he was writing such standpoints were just coming into being. Close attention to Slessor's film reviewing discloses a fecund critical imagination attuned to cinema's range. He deserves wider recognition as a distinctive voice on the cinema in general and Australian cinema in particular. [ABSTRACT FROM AUTHOR]

The article discusses the rise of Mexican film industry in 1940 and the birth of Spanish-language film exhibition era in the United States. Frank Fouce's Mayan Threater in Los Angeles, California had became an epitome of the release of Spanish language films. It states that in the wake of World War II, the immigrants from Mexico and laborers from Mexican borders were drawn theaters in U.S. seeking entertainment in their native language.

In Mongolia cinema has been a medium of artistic expression and documentation for more then seventy years and a popular leisure activity for the Mongolians for even longer. This article frames the investigation of Mongolian Cinema within the field of small nation cinema studies and subsequently traces the historical development of a national based film culture in Mongolia from its implementation in the 1930s under communist rule to its present state. The article explores the question of what happened to the national based film culture in the wreck of the Soviet meltdown around 1990 and how the socio-political transformation of the country since the early 1990s has challenged the existence of a locally rooted film culture in Mongolia. [ABSTRACT FROM AUTHOR]

This article gives a short introduction to the distinctly different wartime experiences of the film industries in the Nordic countries during World War II. [ABSTRACT FROM AUTHOR]

Existing literature has identified a number of exogenous advantages that enabled US firms to dominate the global film industry. This article explores how these firms actually operated in their largest foreign market, and in doing so looks for evidence of endogenous advantages that may have enabled some US firms to outperform their rivals. It finds that firms which developed the most distinct local element to their production portfolios typically achieved a greater share of the British market. However, it does not find evidence that locally-based producers were any more effective at developing such locally-themed films than those based in Hollywood. [ABSTRACT FROM AUTHOR]

Addresses the purported Americanization of French cinema, or the Gallicization of an American cinema by suggesting that at stake in the process is the historically rooted identity of Frenchness itself. Cinema as one of the preeminent cultural activities of the French; Cinema as a privileged space in which to study the evolution of French culture and identity.

The article reports on traveling projectionist films. It mentions that there is the tradition of films being shown in open-air venues by projectionists and which include political and social themes. The tradition is shown in several films including "The Picture Showman" by John Power wherein a projectionist, his son and pianist went around Australia showing silent films. The article also discusses "Battu's Bioscope" by Andrej Fidyk wherein the character wanted to show a film to a rural Indian community as he searched for his kidnapped wife. An overview of films showing traveling projectionists is provided.