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The aim is to create a historiographical portrait of Marc Ferro as one of the most prominent representatives of the French historical of the Annales school, to update the methodological principles of history study introduced by the French historian, to determine his contribution to the development of world-historical thought and his significance for the development of modern Ukrainian historiography. The methodological approaches are based on the foundations and principles of historical biography, intellectual history, anthropology, and historical psychology. Methods and techniques of historiographical analysis are used. The scientific novelty lies in the systematisation of M. Ferro's scientific views and ideological and worldview ideas, highlighting new conceptual approaches to the study of history that are being developed in foreign science and have not yet been properly assessed in domestic historiography. Conclusions. The article focuses on the figure of M. Ferro as one of the leaders of the third generation of the Annales school, the founder of modern "cultural history", and a researcher of the history of ideas as the basis of direct human activity. [ABSTRACT FROM AUTHOR]

In introducing this special issue on ‘Nation, Narration and Nationalism in Indian Popular Bollywood Movies’ this locates a shifting articulation of Indian national identity within the wider context of domestic social and political issues and the impact of globalisation. The 1980s are identified as a pivotal decade, as highlighted in the opening articles in this collection. These are followed by pieces which map the onset and varied impact of the Hindutva movement on Bollywood. This introduction further discusses the range of cinematic genres in which nationalistic tropes are inscribed and how these convey national identity. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Canadian Journal of Film Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Following a boom of user-friendly artificial intelligence tools in recent years, AI-enhanced (or manipulated) films have been framed as a serious threat to film archives. The purpose of this article is to trace and critically evaluate how AI artists use algorithmic upscaling to modify early cinema, more particularly surviving films of the film company Swedish Biograph, and how fragments of this company's cinematic past circulate online today. [ABSTRACT FROM AUTHOR]

It is a truth—mostly unacknowledged—that the majority of film projects are incomplete: thwarted, aborted, lost, paused or ongoing. Often, the material lack which by nature constitutes the incomplete film, begets a reception that construes these absences as an indicator of deficiency. As a result, rather scant attention has been paid to incomplete works in film theory and history. Additionally, the circumstances that impede completion are often intricately bound up with conditions of race, class, and gender—factors in and of themselves that have been overlooked in efforts to assign film a tidy and singular history of film. It is out of these manifold relegations and absences that Alix Beeston and Stefan Solomon’s collection Incomplete arises. Spanning thirteen chapters, Beeston and Solomon’s collection adds to a growing scholarly interest in “unproduction studies”—taken up by James Fenwick, Kieran Foster, and David Eldridge’s Shadow Cinema: The Historical and Production Contexts of Unmade Films—that has emerged alongside the recent attention paid to cinematic ambiguity, such as Hoi Lun Law’s Ambiguity and Film Criticism: Reasonable Doubt and Kelli Fuery’s Ambiguous Cinema: From Simone de Beauvoir to Feminist Film-Phenomenology.

This article outlines some of the key cultural shifts that influenced moviegoing for girls and women in British Malaya. To reconstruct the patterns of film exhibition during the silent and early sound era, it draws on archival resources, including American trade press, local popular press, and oral interviews with elderly Singaporeans; these were conducted in the 1980s, by the Singapore National Archives, when spectators who experienced silent moviegoing were still alive. Methodologically, this work draws on feminist film scholarship that focuses on the socio-cultural role of cinematic consumption at a defined, historical moment. The article contextualises cinemagoing within a wider framework of spatial geographies under colonial rule. It also interrogates the popularity of Hollywood on the national screens, and the related, gendered anxieties on moviegoing expressed across the Malayan public sphere. [ABSTRACT FROM AUTHOR]

This essay examines the role of rumors in F. W. Murnau's films as well as in later writings about his life and career. While Murnau perpetuates long-standing figurations of gossip as a frivolous or even malicious activity, he also grants unverified information a truth value. Where Heidegger claimed that Gerede (idle talk) is based on "groundlessness" and "indifferent intelligibility," this essay shows that rumors in Murnau's films are often well-founded and also essential to a nuanced understanding of his work. Bringing together film analyses, archival materials, and philosophical texts, the essay sheds light on an underexamined aspect of Murnau's oeuvre and addresses broader questions about the status of speculative, uncertain, or contested knowledge. A study of Gerede does not entail a concealment of authentic discourse but illuminates Murnau's philosophy of rumors as part of a dialectic of destabilized knowledge. [ABSTRACT FROM AUTHOR]

This article traces historical trends in film titling practices in Poland, based on quantitative analysis of film metadata. The authors analyse a corpus of 2,519 films produced in Poland until 2023, looking at regularities in the naming of Polish original films: the average length of titles, title duplication, the most frequent content words typical of successive phases in the history of Polish cinematography, lexical diversity, and the presence of proper names and foreignisms. Then they replicate some of the tests on the corpus of foreign films translated into Polish, which includes 5,585 foreign films distributed in Poland between 1945 and 1989 and 33,794 films released in Poland after 1989. The authors compare the peculiarities of the original titles and those translated into Polish in search of similarities and discrepancies, potentially symptomatic of translationese, or titlese.

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]

In this article, I show the potential of feminist film archiving to unsettle dominant paradigms in Peruvian film historiography. I describe my work as a curator of Rebeldes y Valientes (1913–2019) (Rebels and Braves, 1913–2019), the first digital archive that sheds light on the participation of women filmmakers in the history of Peruvian cinema. I argue that Rebels and Braves has challenged the overrepresentation of male filmmakers constructed by Peruvian film historiography, even as it was constrained in its capacity to redress the structural conditions that erase and delegitimize women's contributions to film. This article also makes the case for a disruptive archive that visualizes a feminist approach to curation and film history. [ABSTRACT FROM AUTHOR]

Le présent article revisite The Adventure of Faustus Bidgood , un long-métrage de Mike et Andy Jones paru en 1986 qui est un emblème du cinéma terre-neuvien et qui est bien trop peu étudié dans l'histoire du cinéma canadien, à part le traité révolutionnaire de Darrell Varga sur le cinéma régional de l'Atlantique canadien, qui évalue l'utilisation généralisée des trames, des thèmes et des métaphores. L'autrice y aborde la signification des trames dans le film au-delà de la réalité des trames, une théorie que le patron de Faustus, Fred-Bonia Coombes, élabore après avoir vu une énorme trame suspendue dans le ciel lorsqu'un ami a été heurté mortellement par un sac de soupe congelé tombé du ciel. Dans un dialogue avec les écrits sur la forme de la trame par des penseuses comme Eugenie Brinkema et Rosalind Krauss, l'autrice perçoit les trames graphiques et les métaphores du film—les fenêtres, les clôtures de grillage, les tuiles de plafond, les croix, l'architecture moderniste, les écrans de télévision et un capteur de pépins de raisin—comme des points de rencontre capitaux de la structure et de l'imprévu. Ce faisant, le présent article défend non seulement l'importance historique ou politique du film pour la modernisation culturelle de la province ou la Renaissance de Terre-Neuve, mais propose également une interprétation approfondie du film qui en fait valoir l'importance historiographique et théorique pour son attachement formel envers les questions de structure et d'imprévu et le rôle qu'y joue le cinéma This article revisits Mike and Andy Jones' 1986 feature film The Adventure of Faustus Bidgood , a landmark Newfoundland film that has appeared in too few accounts of Canadian cinema besides Darrell Varga's groundbreaking treatise on Atlantic Canadian regional cinema, to analyze its pervasive use of grid forms, themes, and metaphors. It discusses the grid's significance in the film beyond grid-reality, a theory that Faustus's boss, Fred-Bonia Coombes, develops after seeing an expansive grid suspended in the sky when a friend gets fatally struck by a falling bag of frozen soup. In dialogue with writings on the grid as a form by thinkers such as Eugenie Brinkema and Rosalind Krauss, it examines the film's graphic grids and metaphors— windows, chain-link fences, ceiling tiles, crosses, modernist architecture, television monitors, and a grape seed catcher—as crucial meeting points for structure and contingency. In doing so, this article not only makes an argument for the film's historical or political importance for a culturally modernizing province or the Newfoundland Renaissance but also offers an in-depth reading of the film that argues for its historiographic and theoretical importance as a film that formally engages with questions of structure and contingency and cinema's role therein. [ABSTRACT FROM AUTHOR]

In his history of Unilever, Charles Wilson stated that cinema advertising was not part of the company's marketing strategy until the late 1930s. However, despite the paucity of surviving archival sources, recent research has proved that Lever Brothers was engaged with the new medium of cinematography from its earliest days and that the practice continued up to and after the formation of Unilever in 1930. William Lever is renowned for his innovative approach to advertising and marketing, and as a pioneer of creating brand identity, but he was also one of the first British businessmen to recognise the value of film as a marketing tool. This article will argue that Lever Brothers was active in the use of cinematography from the mid-1890s and that it played a significant role in the company's marketing campaigns. [ABSTRACT FROM AUTHOR]

This essay presents a little-known chapter in the film history of the Federal Republic of Germany. Alfred Andersch, founding member of Gruppe 47 and influential broadcast editor, was one of the few authors who was intensively involved with film. The essay reconstructs Andersch's attempt to associate film and literature and thereby develop an alternative concept to the European cinéma des auteurs. To this end, the essay discusses not only Andersch's critical writings but also a number of documents from his estate. Andersch's film theory is evaluated in light of the contemporary literary debate on the medium. His screenplays for the adaptations of his novels Die Rote and Die Entwaffnung are used to examine the conclusions Andersch drew regarding film aesthetics in his own poetics of screenwriting. In sum, the essay reconstructs Andersch's attempt at a literary response to the crisis of West German film around 1960. [ABSTRACT FROM AUTHOR]

This article explores the relationship between film and cities, focusing on how cities have influenced cinema and how cinema has shaped our understanding of urban spaces. It reviews four books that examine different aspects of this relationship, including censorship debates in early twentieth-century urban America, Black filmmaking in Los Angeles, location shooting in San Francisco, and the global circulation of urban imagery in film. The books highlight the intersections of regulation, race, and capital in the construction of cinematic representations of cities. The article provides a detailed analysis of each book's contributions to the field of film and urban history. It also discusses the representation of cities in Hollywood films, contrasting the depictions of San Francisco and Los Angeles in films from the late 1960s and early 1970s. The emergence of the L.A. Rebellion filmmakers, a group of Black independent filmmakers who focused on South Central Los Angeles, is also explored. The article mentions the book "Noir Urbanisms," which offers a global perspective on cinematic urban history by examining the portrayal of cities in film noir. Overall, the article emphasizes the importance of considering the political and economic factors that shape the representation of cities in film. [Extracted from the article]

The review does not make the case that the recent republication of George Littera's work is relevant for todays film criticism. On the contrary, it suggests that contemporary film criticism might not stand very well in the light of Littera's work. In particular, it shows how his writing is concerned with the idea of value and contradictions, which is less investigated in new work concerned with subjects of history such as the working class. First, it details Littera's assessment of Soviet avant-garde cinema. Second, it compares his book with the work of one of his UNATC collegues such as Florian Potra. Finally, it briefly investigates a mode of production and essay writing which has disappeared as technique. [ABSTRACT FROM AUTHOR]

The “Information for All” editorial house published new monograph “Evolution of theoretical film studies concepts in the Cinema Art journal (1931-2021)”. This book is one from a series of articles and books on cinema published in recent years as part of the same research collective. New research “Evolution of theoretical film studies concepts in the Cinema Art journal (1931–2021)” supported by the Russian Science Foundation (grant No. 22-28-00317), and devoted to the analysis of transformations of theoretical concepts and is based on a review of materials presented on the pages of the Cinema Art journal. This analysis is very extensive and covers the period from the 1930s (when this journal first began to appear) to the present. The material of this book might be of interest for higher-school teachers, students, graduate students, researchers, film critics, cinema scholars, journalists, as well as for the wide range of readers who are interested in the history of cinema art, problems of cinema, film criticism and film sociology. In connection with the publication of the monograph Alexander Fedorov gave an interview to Professor Marina Tselykh. [ABSTRACT FROM AUTHOR]

This essay constructs a post-auteurist historiography of the French New Wave centred on the role of the producer. Examining the scattered recollections and contradictory accounts of producers Pierre Braunberger, Anatole Dauman, Georges de Beauregard, Mag Bodard and Christine Gouze-Rénal, the author builds a case for considering the New Wave's director-oriented legacy, its aura of genius creators, as in part the product of producers' own tactics and attitudes of self-effacement. By conceiving of the New Wave producer figure as curatorial – curating a movement and a sensibility in the role of patron and promoter of both films and directors – this investigation finds a production culture shaped by particular economic, cultural and intellectual contexts that enabled the New Wave to exist and thrive. This production culture positioned itself outside the established production industries of France. It was also masculinist and characterised by gender imbalance. Finding that women productrices faced unique challenges and setbacks, sometimes at the hands of their fellow producers, the essay analyses the hidden role of the New Wave producer while recognising that this role's agency varied based on gender. [ABSTRACT FROM AUTHOR]

While Australian film studies has located various genres, including horror, comedy, action/adventure, science fiction, and crime within the broader 'Ozploitation' discourse and the increase in Australian genre production in the 2010s, there has been little discussion of how a variety of song- and music-based Australian cinema operates in dialogue with the classical Hollywood musical and the global musical genre. Existing scholarship on the Austrlian musical has largely focused on singular well-known examples, including Strictly Ballroom (1992), The Adventures of Priscilla: Queen of the Desert (1994), Moulin Rouge! (2001), Bran Nue Dae (2009) and The Sapphires (2012). Specific film studies on successful musicals, particularly on Moulin Rouge! and The Sapphires, are often framed in popular and academic circles as 'reviving' the genre for Australian audiences, due in large part to their box office success. This does not account for the long history of Australian musical films, and their popularity. This article posits a theoretical re-evaluation of the Australian film musical genre through its unusual variations and lesser-known examples, including dance films, animations, and musical biopics. It traces the Australian film musical genre in detail, considering its rich history, numerous subgenres, and its interconnections with Australian national cinema and the global musical genre. [ABSTRACT FROM AUTHOR]

This article introduces the concept of “distribution struggle”—the panoply of cultural and industrial conflicts that must be traced and accounted for in distribution histories—to sequence a primary-sourced media history of J. Brian’s gay media enterprises. In tracing this history, primary sources are surprisingly accessible, and provide new insights into J. Brian’s industrial operations. By triangulating archival records with secondary accounts, this article provides a more nuanced cultural and industrial portrait of J. Brian. It argues that media industry historiography must frame historical narratives by accounting for the cultural and industrial struggles that culminated in the available archival sources, in this case, an accounting for the fact that the public record traces of J. Brian exist because of anti-gay interventions in gay media distribution.

The contribution presents in a first step those pedagogical and aesthetic concepts that have played an essential role in the development of the Kulturfilm (cultural film) as well as in its differentiation from the educational and instructional film. In a second step, from the perspective of educational science, we will examine which meaninggiving parameters also determine the pedagogical dispositive of (moving) images, which modalities of showing enable experience and learning, and which processes the (learning) subject goes through. In recent years, these questions have increasingly been linked to an examination of the term of attention (Neuendank, 2022). After an introduction to the concept of attention, it will be applied to a reading sketch of the Kulturfilm “Die Wunder des Films” which had selected and newly reassembled previously known educational and Kulturfilm material along a teaching of cinematic recording processes.

A conference review of the Doing Women’s Film and Television History conference, held June 2023 at Sussex University in Brighton, England. The conference theme ‘Changing Streams. Channels, and Currents’.

Movement was introduced as a key element of attraction in the animated images of the late 19th and early 20th centuries, hence the success, the attraction, of early animated images with different dances. The movement of dances of Spanish origin could not be absent from the early filmed repertoire. An account of the views with Spanish dances is carried out, establishing their relationship with the concept of cinema of attractions, basic to understand the history of early cinema. [ABSTRACT FROM AUTHOR]

Analysing World War II films, from Allied propaganda to Good Neighbor Policy productions, this work probes the visual construction of the idea of the Western Hemisphere and Latin America's place in it. It finds how war propaganda carried messages beyond the explicit anti-Axis one. In the films discussed here, the resources of novel aerial photography, cartography, and time-travel plots achieved the contradictory effect of showing the entire continent as one, while North and South were in contrast. During the war, Good Neighbor Policy productions promoting a continental alliance used many of the same visual elements as war propaganda to shore up morale ahead of battles. A focus on Brazil offers a counterpoint to US-based pan-Americanism, considering its nationalist discourse in the Estado Novo. Wartime cinema created a New World where the US was the future of "Western" civilisation as a continuum of Europe, while Latin America was visualised as existing in the past, resulting in a deeply ambivalent Western Hemisphere. [ABSTRACT FROM AUTHOR]

Pat Rocco's ONE Adventure, a promotional film for a gay men's nonprofit's tourism subsidiary, documented early 1970s US‐Europe homophile coalitions but also incorporated softcore sequences for commercial appeal to a gay male market. Yet Rocco's disavowal of pornography generally — and specifically in the case of ONE Adventure — elides the precarious labor that undergirded his films' productions. This article proposes that gay media history needs to critically confront nonmaterial overelaboration — the covering over of the material conditions of media production — in media products, their paratexts, and historiography itself. It is necessary for gay media history to take up feminist production history methods to interrogate this elision of labor enacted by cultural history approaches to Pat Rocco's filmmaking. More broadly, the article's concept of nonmaterial overelaboration provides a critical avenue for focalizing labor in other areas of media history. [ABSTRACT FROM AUTHOR]

American Christmas traditions developed throughout the nineteenth and twentieth centuries as an amalgamation of various communities' customs, media representations of the holiday, and civic celebrations within the public sphere. One cultural touchstone throughout this period was within department stores where store Santas helped to streamline the identity of the national secular holiday. Miracle on 34thStreet, in portraying an updated version of the Santa Claus figure within Macy's department store on film, rebranded the Christmas figure and his connections to commercialism through manipulation of his mythology. By emphasising the secular faith placed in Santa, Miracle on 34th Street contributed to a lasting connection between the American Christmas and an emerging commercialist religion. [ABSTRACT FROM AUTHOR]

The figure of the zombie has undergone constant change in film history. From the Haitian zombie of the 1930s, related to the Atlantic history of enslavement, to zombie cannibals since the late 1960s and the fast-running zombie of the second millennium, it has been adapted to new realities and regimes of representation to better articulate, channel, and at times even stimulate the specific fears of their contemporaneous publics. This article analyzes a selection of zombies across film and TV history, focusing on contemporary high-grossing films like World War Z and TV shows like The Walking Dead. It aims at a critical reading of those zombies in the context of capitalism, globalism, and cosmopolitanism, asking to what various ends the undead have been mobilized in mainstream cinema. [ABSTRACT FROM AUTHOR]

This article examines the absence of African cinemas in three key fronts of western-led global film canons: cinema history, film criticism and the industry. It reflects on the mechanisms and processes that, invariably, have been creating and replicating in mass form the so-called global film culture that reveals itself in a more or less evident, hegemonic way. It also argues that as world cinemas advance on these three fronts, African cinemas have not made much headway to impact global directions in cinema canons significantly. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since 1895, through the analog and the digital eras, color is among the many narrative and aesthetic tools cinema language used in its creative process to shape a unique, multi-sensorial experience for its audience. Over these 120+ years, endless cinema color techniques, technologies, aesthetics, and ideologies came and went. One thing that stayed the same is that color in cinema, more than a technology, is a complex system made up by many components: filmmakers’ ideas and intent, negotiations with the audience, technologies (such as film stocks, chemicals, cameras, printers, developing machines, projectors), and laboratory processes and practices. Taken individually, none of these elements tells the whole story of color use and experience in cinematographic works. This complexity adds to the fact that much of film color technology history is not recorded in books, journals and patents and is often forgotten as so much of it relies on individuals’ practices and memories. Consequently, a novel and more comprehensive theoretical and methodological approach is needed in order to make it possible to preserve and restore cinema colors, that is, to faithfully recreate their original chromatic effects in a modern, completely different environment.