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This paper examines the role of participatory cinephilia in the resistance to censorship near the end of the Franco regime in Spain (1968–1974). It takes as its case study the letters pages, or Consultorio, of "Mr Belvedere" in the commercial Barcelona-based film magazine Nuevo Fotogramas. Reconstructing as much as possible the identities and concerns of those who wrote to the magazine, the paper concentrates above all on the distinctive style and mode of address of "Mr Belvedere" and the relationship and community that he built up with suffering cinéfilos and cinéfagos deprived of films, in whole or in part, by the censor. The paper concludes that the Consultorio not only had a key function in the continued transmission of film knowledge under the dictatorship, but that Mr Belvedere's playful and ironic style was consistent with the overall disposition of Nuevo Fotogramas, whose deliberate frivolity was in itself a challenge to the regime's values and norms. [ABSTRACT FROM AUTHOR]

This paper focuses on the journal Las Naves 1, manifiestos cinematográficos contemporáneos (2013) to see the way Posmodernism, as a philosophical and aesthetic movement, affects contemporary cinema manifestos. We start from considering the manifesto as a proposal of a "big narrative", a programmatical and political statement, a statement of principle. To assert an identity involves the construction of an "enemy": this can clearly be seen in the cinema manifestos from the sixties and seventies, though it cannot be seen in its contemporary counterparts. [ABSTRACT FROM AUTHOR]

During the first half of the 1930s, the idea of glamour was changing. Early in the decade, the term referred to a particular category of character or star: the sophisticated, mysterious woman. But this type came to be represented in a recognizable way, turning glamour into a visual style that could be copied-within Hollywood and beyond. Soon, the word glamourhad become a synonym for beauty itself. This essay discusses the shifting meanings of the term, while examining glamour's visual construction in three distinct sites: Vanity Fair, the fan magazines, and the films of Greta Garbo. [ABSTRACT FROM AUTHOR]

This essay examines a regional film magazine, Revista del Cinema, to illuminate the vibrant film culture that flowered in Yucatán in the late teens. As a close analysis of the publication shows, cinema was conceived of as part of a broader, regional commercial culture and its growth the product of the region's place along global trade networks. Revista del Cinemaexposes the intimate links between other cultural forms, which likewise circulated via trade networks and regional film production and exhibition. In the journal, distributors, exhibitors, and even projectionists emerge as artists who contributed to the production of the filmic text. [ABSTRACT FROM AUTHOR]

The article discusses the increasing fan following of motion pictures among women in the 1910s in the U.S. Topics discussed include the role that imitation of movie actresses played in the increase in fan following, the works of film theorist Jackie Stacey on this, and the role of movie magazines in creating fans.

The article offers information on submission guidelines to the periodical "Film History," including how to submit essays, ephemerata and books received.

The Mexico City magazine El Universal Ilustrado (1917-34) is best known today fo r its promotion of the avant-garde estridentista movement and the rival Contemporáneos group; however, the publications engagement with cinema, unparalleled in the Mexican press, has gone largely unexamined. This essay contends that El Universal Ilustrado's remediation of cinema through literary, journalistic, and visual discourses negotiated between postrevolutionary cultural nationalism and US mass culture, and thus between the intellectual ambitions of lettered elites and emerging popular audiences. Cinema's social ejfects in the period highlighted a perceived divide between cultural producers and consumers, given Mexico's status as an importer rather than a producer of moving-image entertainment. A t the same time, the publication staged procedures for assimilating the medium of film (as a technology, an industry, and a set of subjective experiences) by linking cinema to new forms of urban circulation and erotically charged social encounters, highlighting Mexicans' role as cultural producers in the imagined space ofLos Angeles, and articulating and enforcing ideals for domestic film production and consumption. El Universal Ilustrado s visual and verbal heterogeneity allowed it to negotiate the conflicting cultural meanings attached to cinema, even as discourses on the medium reinscribed hierarchies of nation, race, gender, and class. [ABSTRACT FROM AUTHOR]

This article offers a close reading of Inter/View, a film magazine founded by Warhol in 1969 that eventually became the influential style magazine, Andy Warhol's Interview. It traces the ambivalent relations between fashion, queerness and politics in the context of magazine culture. I am arguing that despite its subversive/underground visual politics Interview's focus on style parallels a trend affiliated with an emerging neoliberal economic culture. [ABSTRACT FROM AUTHOR]

Most scholars would agree that cinephilia results not simply from a spontaneous love of movies but historically has also been inseparable from processes of legitimization, audience training, and formations of taste. Yet we still know little about the deeper history of cinephilia's emergence: how audiences learned to love the movies and why. This article considers one site for thinking about this question during the "first wave" of cinephilia in the 1920s, namely the puzzle contest as it developed and proliferated in the new landscape of popular magazines in England, France, Germany, and other European countries. Culminating in a discussion of the Viennese magazine Mein Film, this article examines the media-historical and cultural contexts of photographic puzzles to show how they figured in a broader program of participatory and playful pedagogy by which readers could learn to frame film knowledge, film affect, and film experience in the context of an emerging European star system. [ABSTRACT FROM AUTHOR]

The paper looks atFilmindiamagazines from 1946 to 1948 on the eve of transition of India from being a colony to an Independent nation. The paper uses the Habermasian public sphere, Kellner’s media culture and Gaonkar’s ideas of alternative modernities to analyse the magazine. Magazines likeFilmindiaconstituted literary public spheres which became a site for deliberation on defining the ideals of masculinity and femininity for the new nation. By virtue of being the most influential magazine of the time,Filmindia’s views also gain significance in constructing gender role models for the new nation.Filmindia, in its construction of the ideal man and woman, promotes societal modernization but opposes cultural modernization. The cultural core was to be protected and cinema with its ability to influence the masses posed a threat to it. Thus censorship becomes a tool to enforce the gender norms defined for the nation. [ABSTRACT FROM AUTHOR]

The article presents a reprint of the September 3, 1916 issue of the journal "Weekly Film News" published in Detroit, Michigan. The issue discusses topics such as censorship in motion pictures, the film "The Big Sister" starring Mae Murray, the construction of a movie theater in Madison, Wisconsin, and cinematography.

Motion-picture house organs, or theater programs, were notoriously ephemeral in the silent period. Among the rare few that survive are the Weekly Film News, published by J. H. Kunsky Theatrical Enterprises in Detroit and given out to patrons of Kunsky's circuit of downtown and neighborhood theaters. The fifty or more issues extant, from May 1916 to April 1919, offer a unique opportunity to deepen our knowledge of early cinema history. This unique ephemera illuminates the weekly programming of a major theater circuit in an unexamined metropolis, what that circuit assumed its patrons wanted to read and why, and perhaps even who those patrons were. [ABSTRACT FROM AUTHOR]

This article examines questions of agency, identity, and fan-industry collaboration underpinning the fabrication of an exclusively feminine personification of excessive film fandom. Dubbed "the screen-struck girl," this white, adolescent figure was presented in American fan magazines and popular newspapers of the 1910s as a pathological consumer and a self-erasing aspiring star. However, in autobiographical letters to the press, girl fans proudly self-identified as movie bingers and aspiring actresses. Investigating girl fans' willing and public adherence to such a pejorative stereotype, I complicate our understanding of early twentieth-century female fan agency and its relation to Hollywood's burgeoning press machine. [ABSTRACT FROM AUTHOR]

The article presents a compilation of essays on technology in historical trade journals and industrial journalism related to the motion picture industry. Contributors include authors such as Eric Hoyt, Greg Wilsbacher, and Meraj Dhir. Emphasis is given to topics such as the relationship between labor and technology, the adoption of digital technology, and the history of cinematography.

The article offers reviews of articles published previously in the issue of the journal such as “Convergent Consortia: Format Bat­tles in High Definition" by Bryan Sebok in the Fall 2009 issue, "'53: The New Era: A Brief History of the Three-Dimensional film" by Tim Onosko in the Winter 1974 issue, and "Widescreen Aesthetics and Mise-en-Scene Criticism" by David Bordwell in the Summer 1985 issue.

This article aims to delve into the prior practices of film-related writing by certain directors who became acquainted with professional film directing in Spain between 1939 and 1971, dates corresponding to the end of the Spanish Civil War and the demise of the magazine Nuestro Cine, respectively. The hypothesis governing these pages is the difficulty to achieve the assumptions regarding nature - what it is and what it should be - and film functions which pose the critical paradigms which support the value exercise of the criticism. Many of the texts mentioned here deal exclusively with some of the more representative paradigms of their time, and some first films of their authors seek to personify them in the film scene. [ABSTRACT FROM AUTHOR]

Amateur film-making, motoring and holidaymaking were three complementary leisure activities that re-emerged with a greater intensity for middle-class consumers in Britain in the immediate post-war period. The end of restrictions on travel, an increasing availability of film stock and the first real chance to take advantage of the Holidays With Pay Act (the latter of which had been disrupted by the Second World War) created new opportunities for cine enthusiasts to produce a holiday film after 1945. In this article, I consider how instructional articles on how to make a holiday film may have helped to construct ideologically a sense of British national identity for the middle-class readers of Amateur Cine World between 1945 and 1951. These articles can be mapped closely with the shifting patterns of holidaymaking in the post-war period, and tend to encourage cine hobbyists to construct a sense of Britishness through their representations of the holiday; initially through images of the British countryside and coastline, and eventually by the framing of cultural difference in their first holidays abroad. A close analysis of this discourse can provide an insight into a construction of class, gender and national identity that is an alternative to the mainstream British feature film, for instance. [ABSTRACT FROM AUTHOR]

In the story of the fight for democratic freedom and the drive to bring Europe and the world closer to Francoist Spain, Nuevo Fotogramas (NF) deserves a central position. Fuelled by the spirit of May 1968, the long-running Barcelona-based magazine Fotogramas became NF in 1968 and set out to define the pro-democracy struggle in contrast from the Madrid-based film cultures. It also set out to engage with European cultural production as if censorship and being closed off from European modernity were simply temporary situations. NF helps us to write the transition differently, by debunking the myth of its having been a process led solely by the film-makers and critics who engaged in direct confrontation. Explaining the different approach that NF had to documenting and taking part in the cultural industries of the transition helps us to locate resistance in the "trivial" and "female" world of consumption rather than exclusively in the production sector, more often associated with visible and well-documented acts of opposition. Three aspects of the magazine contribute to this reconfiguration of inherited ideas about the transition, particularly the ethos of the publication, the writers who collaborated in it and what seems to be more "marginalia": its letter section, "El consultorio de Mr. Belvedere", and its advertisements. [ABSTRACT FROM AUTHOR]

The editor introduces the articles in this issue, with topics that include film festivals in the US and Canada, the cinematographer Yang Fudong, and the film "Ida" and discusses the passing of cultural theorist Stuart Hall.

In most film histories of the twentieth century Hollywood's dominance has been indisputable. Apparently, European filmmakers were always facing one choice: either imitating the American style or finding a niche in the Hollywood system. This dominance is often referred to as evidence for an ‘Americanisation’ of popular culture in Europe. This article shows that this narrative leaves out a central development between 1927 and 1968: the nationalisation of popular European cinema. The paper asks which conditions facilitated and shaped national film cultures and shows how the political regulation of production in European countries, the momentum of the market, technology and the national industries contributed to the nationalisation of European film. Ultimately, however, the productions of these national cinemas resonated with audiences who sustained them for years following the Second World War. [ABSTRACT FROM PUBLISHER]

In the United Kingdom, the journal Screen has since the 1950s been the main bibliographic source for the theorists of cinema. At the moment, there are other journals in this area which are making room for themselves in the global arena of film publications. This article studies the internationality-nowadays a key factor in the process of scientific evaluation-of sixteen British film journals as part of an ongoing research project on the evolution of criteria used to measure the quality of scientific journals in the period 2008-2012. In order to measure their level of internationality, four indicators are studied: presence in national and international databases, internationality of both editorial and scientific boards, internationality of contributions, and, finally, the existence of peer-review evaluation in the selection process of the manuscripts. [ABSTRACT FROM AUTHOR]

The article discusses the role of motion pictures in popular culture in Great Britain during World War II, focusing on the mindset of motion picture audiences and their viewing preferences. It presents a chronological history of "Picturegoer," a fan magazine regarding the film industry, and examines how the war impacted both the content and production of the weekly publication. It also analyzes how advertisements in the magazine were marketed toward women readers by emphasizing glamour and romance as well as reminding women to save money for the war effort. Other topics include statistics regarding the readership of "Picturegoer," the themes of films in British film during World War II, and several images of film stars including Betty Hutton, Humphrey Bogart, and Ann Sheridan.

The article discusses the influence of the American film industry on the development of the Romanian sound film industry, focusing on the years 1934 to 1939. It examines American investment and knowledge in technology and marketing. The author comments on American investor D. Richman and his Romanian colleague Tudor Posmantir. Other topics include the Romanian political context, the Romanian film periodicals "Curierul Filmului" and "Cinema," and "Cinema" editor Ion Golea. The popularity of American films in Romania is also noted.

The article focuses on the American film magazine "Experimental Cinema" and its contribution to American modernism during the period of Great Depression. It investigates the magazine's discursive thinking of a dialectical cinema, engaging political radicalism and formal experimentation, that might compete with the Soviet montage epics. It says that the magazine was able to capture the tensions and complexities within American modernism.

This article examines how Sydney movie magazines connected provincial audiences to a globalized culture centered on Hollywood. Such publications recognized that they had to mediate both the economic and the geographic gap that existed between images of film-inspired modernity and their readers' lives. By promising an insider's view, movie magazines brought the distant world of Hollywood celebrity to Australian readers with a powerful immediacy, and urged them to incorporate this information into their daily lives. Movie magazines offered a seductive image of society in which a woman's fate was determined not by her wealth, but by the transformative potential of personal style and self promotion learnt from movies. These sources allow for a case study exploring the nexus between the global and the local in the construction of particular models of femininity, consumption, and modernity. [ABSTRACT FROM AUTHOR]

The article examines several newspaper pages and columns from March 1914 and discusses the representation of motion pictures in the press. Newspapers featured in the article include the "Chicago Tribune," the "Washington Times," and a separate column from the "Tribune." The author talks about the history of film promotion in the U.S. through the use of a national trade press and the prevalence of female film critics like Dorothy Day. The author argues that the cinema's institutionalization as a mass entertainment in the U.S. depended on more than developments in the film industry itself. The profitable relationship between newspapers and motion pictures is also examined.

Jacques Demy's importance in the French New Wave ironically becomes clearest by way of his least obviously New Wave work of the 1960s. The Umbrellas of Cherbourg, which represents a curious intersection between the New Wave aesthetic and that of the "Tradition of Quality," against which the movement claimed to rebel. [ABSTRACT FROM AUTHOR]

The article discusses the influence of the music of composer Richard Wagner, such as the song "Ride of the Valkyries" from the opera "Die Walküre," on films prior to the 1915 film "The Birth of a Nation," directed by D. W. Griffith. Articles about Wagner by accompanist Clarence E. Sinn from the motion picture magazine "The Moving Picture World" (MPW) are discussed, as well as melodrama in music, the history of American motion picture reform, and film music. Film audiences, social reform in the U.S., and film adaptations of classic literature are also discussed.

The author discusses the role of the journal "Cahiers du cinéma," in establishing cinema as the "seventh art." The journal was founded in 1951 under the editorship of André Bazin and helped in making cinema viewing a serious business. Playing an important role in formatting cinema as an art form, it still exists free from the clutches of mainstream cinema. Originally, the journal was a product of the brilliant flourishing of radical intellectual culture in the post-war era.

This regular section presents calls for papers for the Spring of 2004 from film studies periodicals. New books in the fields of film studies, television studies, and media studies are listed. Articles of film and TV in nonscreen journals are compiled.

The author writes about his participation in the early activities of the Society for Cinema and Media Studies. In 1957 a group of cinema teachers started holding meetings and conferences regarding the teaching of film (not film production). In 1958 a new academic organization was proposed as the Society of Cinematologists, and in 1959 it was founded. The founders and presidents of the society from 1959 to 1972 are discussed. Some of the conferences are highlighted. The author also recounts the history of the publications of the society, including the "Journal of the Society of Cinematologists." The journal became "Cinema Journal," and the author was among its' editors.

"This essay focuses on a seldom studied but long-lived and robust ancillary product of classical Hollywood cinema, the monthly movie story magazines devoted to article-length fictionalizations of feature films. These magazines flourished in a variety of forms from the late 1920s through the 1970s."

Presents a list of back issues of the Journal 'Film History- volumes 1-12 (1987-2000)' as published in volume 14, number2, 2002 issue of 'Film History.' Articles on filmmakers and filmmaking published in the volume 11, number 2, 1999 issue of 'Film History'; Articles related to film technology published in the volume 11, number 1, 1999 issue of 'Film History.'