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Filmed in New York City's Central Park, the 1968 experimental documentary Symbiopsychotaxiplasm: Take One involved three film crews who were each tasked with capturing different aspects of the film production process simultaneously. One crew filmed the actors conventionally while a second crew filmed the first crew, and a third crew filmed the reactions of innocent passersby who happened upon the entire spectacle. At the center of the action is the (purportedly) bumbling director, William Greaves, who appears on camera throughout the film struggling (perhaps ostensibly) to give his cast and crew adequate direction. The result of this complicated exercise in acting and documentary filmmaking is a series of technical failures caused by Greaves's incompetent direction in addition to various equipment issues. This article considers the political dimensions of these technical failures that constitute the film's aesthetics. It argues that these technical failures create space for surprising critiques of 1960s American racial and sexual politics. Through its close readings, the article highlights the film's often overlooked themes of sexuality and offers a more capacious understanding of the revolutionary possibilities of failure in documentary cinema aesthetics. [ABSTRACT FROM AUTHOR]

Since ancient times, man has attempted to express his inner feelings, covetousness and inclination to the world through various mediums e.g. poetry, drama, story, etc. Literature is one of the outcomes of the man's efforts to reveal his aspirations to the world. Literature has avalanche of the widespread genre which is always subject to precisely apprehend and assimilate. Biography and autobiography are the two different genres of literature. The life of an individual is full of sweet and bitter experiences. There are incidences in an individual's life which he or she never wants to share with anybody. Politicians, Rulers, Socialites, Movie Stars and other public personalities are also normal human beings. They too have their personal share of problems in their lives and in an attempt to resolve those issues they sometimes commit mistakes and even crimes which they never want anyone to know. Sometimes they commit these mistakes, misdemeanours, felonies or crimes because of their lustful desires or inclinations. The present paper is a result of interest and curiosity to know if individuals share such information in their autobiographies. [ABSTRACT FROM AUTHOR]

As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States' studio system from 1929 through 1948 in two ways: Muni's and Robinson's critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield's films from 1946 through 1948. [ABSTRACT FROM AUTHOR]

The history of Hollywood's on-screen relationship with the State of Israel is often thought to have begun with Otto Preminger's Exodus, an epic account of Jewish bravery in late-1940s Palestine released in 1960. This article takes an in-depth look at an earlier American movie about Israel, Edward Dmytryk's The Juggler, released in 1953. The Juggler was Hollywood's first film set and shot on location in modern Israel. Written by Michael Blankfort and produced by Stanley Kramer, The Juggler tells the story of a German-Jewish variety entertainer who has lost his family in the Holocaust and is struggling to settle in Israel in the aftermath of its war of independence in 1948. The film starred Kirk Douglas, who thanks to his work on The Juggler became one of Israel's biggest supporters in Hollywood. The article uses Israeli and American archival evidence to explore why and how the film version of The Juggler differs markedly from the novel on which it was based. It shows that The Juggler represented a particular phase in Hollywood's relationship with Israel, one in which a group of political progressives sought to use film as a way of introducing Americans to a Zionism that was left of centre and grounded in the life of the kibbutz. The article examines how those progressive ideals were diluted from script to screen as commercial imperatives took precedence over political ideals. At the same time, the article demonstrates how The Juggler inadvertently 'documented' a living symbol of the Nakba, the 'disaster' of the Palestinian Arabs during the 1948 war. [ABSTRACT FROM AUTHOR]

The standard of beauty has changed. A perfect smile was once necessary only for celebrities, movie stars, or the wealthy. Now, with pressure from social media, many young people believe they need an ideal smile to feel confident and appealing. We must address these patients' requests and do it responsibly. We also must attract younger patients so our practices can grow and thrive. Utilizing technology gives us an advantage in time and expertise. The single most important factor on which patients base treatment acceptance may be convenience. With access to CBCT scanners, intraoral digital scanning, 3D printers, and other technology, diagnosis is almost instantaneous, allowing the general dentist to be at the forefront of patient service and clinical care. [ABSTRACT FROM AUTHOR]

This paper explores how the Lianhua Film Company, founded in 1930 and active until 1937, communicated its identity and project through its films. These drama films offered an idealized portrait of the movie world and the Chinese society, revealing how the company's members defined their role in a society looking to build a national identity. The paper focuses on three films: Two Stars of the Milky Way (1931) was a cinematographic interpretation of the founding statement of the company and depicts the company's utopia. Lianhua's Symphony (1936), composed of eight shorts, was a patriotic call to resist the Japanese enemy. A Sea of Talents (1937) was produced in the final days of Lianhua, just before the Japanese invasion. It offers a portrait of the artistic world disillusioned and far from patriotic anxieties. These films, analysed here alongside written sources, draw a portrait of the company both as it wanted to be seen and as it actually was. Studying them illuminates the hopes, battles and disillusions of a world of professionals who projected on the screen theirs visions, sometimes conflicting, of a stronger and unified Nation. [ABSTRACT FROM AUTHOR]

When it comes to director Fred Zinnemann's two films starring Montgomery Clift - 1948's The Search and 1953's From Here to Eternity - there is certainly much more going on at the level of intriguing subtext than typically meets the (heterosexual) eye. In the years following the end of the Second World War, fears surfaced regularly in US society about whether soldiers returning home would successfully be able to fit back into the hegemonic expectation of being heterosexual family men, given that research findings revealed many of them had participated in homosexual acts with some regularity during their years of overseas military service. Such concerns are indeed raised at the level of subtext quite efficiently in The Search, through the living arrangements and emotionally charged interactions of Clift's character and one of his fellow military officers, and a bit more blatantly and elaborately in From Here to Eternity, which to the careful viewer reveals itself to be a bisexual love story involving two military men. Accordingly, this article provides in-depth subtextual analyses of the bisexual undertones evident in both films, which were necessary in an era when Production Code Administration restrictions prohibited explicit references to nonheterosexuality in all US cinematic offerings. [ABSTRACT FROM AUTHOR]

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The article explores the ways in which the body of the actor in the sports film can be more fully accentuated through a rethinking of the relationship between their sports performance and the other cinematic elements. This focus on the actor's body will be achieved at the pre-production stage, through a short rehearsal video which represents an alternative form of scripting, known as 'scripting with the body' (Maras, 2009). This serves as an accompaniment to my unproduced screenplay, entitled Game, Set and Murder, in the genre of the sports film. The video carefully choreographs the movements of the actor as tennis player, training them to move in accordance with the camera. As a result of this previsualisation method, the actor's bodily technique is foregrounded, culminating in the cinematic construction of the heightened sports performance and the delineation of the corporeal, tactile and sensory nature of the character. On another level, scripting with the body provides the screenwriter with a more dynamic role in the filmmaking process, facilitating a more corporeal collaboration between screenwriter, actor, cinematographer, and director that could ultimately translate into an embodied, multisensory viewing experience. To this end, such an alternative scripting methodology could also have significance and practical applicability for the wider screenwriting and filmmaking practices in their attempts to make the character readily translatable from the written page onto the screen, thus suggesting new directions for exploring the relationship between words and images. [ABSTRACT FROM AUTHOR]

The focus of this article is to provide a linguistic description of the 'language of Wakanda' – a non-existent, fictional language that the makers of the Hollywood science-fiction blockbuster Black Panther represent by using isiXhosa. Our data is collected from the script, subtitles and linguistic performances of isiXhosa by the actors in the film. While cultural and media studies are germane to the discussion, they are not our primary focus, although we provide reference to scholarship on these topics generally, and more specifically to academic commentary on the film Black Panther. As the language of Wakanda has never before been described by linguists, our research objectives are to examine how this language features in the movie in relation to other languages used (a statistical analysis) and also how it is rendered in text by the makers of the subtitles (grammatical and syntactical observations) and by the actors (a phonological analysis). [ABSTRACT FROM AUTHOR]

This article responds to James Bennett and Su Holmes's essay 'The "Place" of Television in Celebrity Studies' from the inaugural issue of Celebrity Studies, reflecting on developments in the field over the past ten years, especially the expansion of social media, its intersection with the authentic ordinariness expected of the television celebrity, and 2020's COVID-19 pandemic. If domesticity and ordinariness are hallmarks of the television star (Mann 1992), a pandemic makes us all television stars. As film stars, television stars, 'digital stars,' and ordinary people all remained confined to domestic spaces in 2020, it seems prudent to theorise celebrity in this moment just as Bennett and Holmes suggested in 2010: television fame has much to tell us about fame in a pandemic. [ABSTRACT FROM AUTHOR]

The article features some of the top stories in the motion picture industry around the world in 2020. It explores the impact of the COVID-19 pandemic on the industry, including the cancellation of film festivals and related events. The death of U.S. film actor Chadwick Boseman due to colon cancer is also highlighted.

In the early years of synchronized sound film, cinema's relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium's future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema's emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star's stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France. [ABSTRACT FROM AUTHOR]