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No presente artigo, realizaremos a remontagem e interpretação das anotações e manuscritos do historiador brasileiro de cinema Paulo Emílio Sales Gomes para o curso Os filmes na cidade (1966), no qual analisa a história do Brasil no século XIX em busca da gênese de um estado de subdesenvolvimento imanente à fisionomia do cinema brasileiro. No curso, Paulo Emílio investiga o século XIX em busca de exemplos para explicar na longa duração a persistência de aspectos econômicos, psicológicos, sociais e culturais que serão decisivos em sua interpretação da história do cinema brasileiro, marcada pelo subdesenvolvimento. Palavras-Chave: Paulo Emílio; história do Brasil; cinema brasileiro; subdesenvolvimento

The aim of the article is to investigate the history of the formation and current state of development of archiving of audiovisual heritage in Great Britain. The research methodology is based on a system of modern basic scientifi c pproaches (socio-cultural, systemic, interdisciplinary) and a set of general scientifi c methods – bibliographic, comparative-historical, retrospective, empirical (descriptive), critical, typological, of system analysis. The tendencies of the organization of British audiovisual archives, means and methods of formation of collectives and infrastructure are analyzed. The following methods were used: genetic, inductive, historical, comparative, as well as systematization, generalization, classifi cation. A special place in the study is occupied by the art history approach, within which, in particular, morphological analysis allowed to distinguish the genre-species structure of audiovisual heritage in individual centers of its storage. The scientifi c novelty of the study is that for the fi rst time the main reasons for the foundation and some historical stories of 4 key centers for audiovisual heritage in the UK are traced: the Imperial War Museum, the National Archive of the British Film Institute, the Moving Image Archive of the National Library of Scotland, the National Screen and Sound Archive of Wales; and also revealed the composition of the documents concentrated there – an important component of world cultural heritage. The historical role of British archivists in the development of the theory and practice of audiovisual archiving is shown. The peculiarities of the British archival policy, focused (in pre-Internet times) primarily on the formation and preservation of audiovisual collections and its impact on the world practice of audiovisual archiving, are analyzed. Changes in the priorities of archives’ activity in the context of digital transformation and integration into the digital media space are identifi ed. Emphasis is placed on archival initiatives in the direction of providing and updating the information and source potential of audiovisual collections. The peculiarities of the British model of organization of archiving of audiovisual heritage and functional specifi cs of its separate subjects are revealed. It is concluded that in the future the main research interest should be focused on the formation of a network of regional audiovisual archives and modern strategies for audiovisual archiving with relevant practices. References: 1. A history of the archive. Retrieved from: https://www2.bfi.org.uk/archive-collections/about-bfi-national-archive/history-archive [in English].2. Edmondson, R. (2016). Audiovisual archiving: philosophy and principles. 3rd edition. UNESCO. Paris. Retrieved from: https://unesdoc.unesco.org/ark:/48223/pf0000243973 [in English].3. Ballhausen, T. (n.d.). On the History and Function of Film Archives. Retrieved from: https://www.efgproject.eu/downloads/Ballhausen%20-%20On%20the%20History%20and%20Function%20of%20Film%20Archives.pdf. [in English].4. Bottomore, S. (1995). The Collection of Rubbish. Animatographs, Archives and Arguments: London, 1896-97. In Film History (Vol. 7). Р. 293. [in English].5. Dupin, Ch. (2006). The Origins and Early Development of the National Film Library: 1929–1936. In Journal of Media Practice, 7(3), 199–217. [in English].https://doi.org/10.1386/jmpr.7.3.199_26. Enticknap, L. (n.d.) Have Digital Technologies Reopened the Lindgren/Langlois Debate? Retrieved from: https://cinema.usc.edu/assets/054/10924.pdf [in English].7. Francis, D. (2006). From Parchment to Pictures to Pixels Balancing the Accounts: Ernest Lindgren and the National Film Archive, 70 Years On. Journal of Film Preservation, 7, 21–41. [in English].8. Frick, Caroline J. Restoration Nation: Motion Picture Archives and «American» Film Heritage. Retrieved from https://www.lib.utexas.edu/etd/d/2005/ frickd15921/frickd15921.pdf [in English].9. Garcia-Casado, P. & Alberich-Pascual, J. (2014). Las filmotecas en la encrucijada: funcion y expansion de la actividad filmotecaria en el nuevo escenario digital [Film libraries at the crossroads: function and expansion of film library activity in the new digital scenario]. In El profesional de la informacion (Vol. 23, рр. 59–64). [in Spanish].https://doi.org/10.3145/epi.2014.ene.0710. Hiraux, F. (2009). Les archives audiovisuelles. Politiques et pratiques dans la societe de l'information [Audiovisual archives. Policies and practices in the information society]. Louvain-la-Neuve, Academia Bruylant. [in French].11. Houston, P. (1994). Keepers of the frame: the film archives. London. [in English].12. Kula, S. (1983). History and Organisation of moving images archives. In The archival appraisal of moving images: a RAMP study with guidelines (pp. 5–18). Paris: UNESCO. [in English]. 13. Kula, S. (1995). Film Archives at the Centenary of Film. Archivaria, 40, 210–225. [in English].14. McKernan, L. (2001, April). A Short History of Film Archiving. AHRB Centre for British Film and Television Studies website. Retrieved from: http://www.bftv.ac.uk/events/archhist.htm [in English].15. Memorandum by the British Film Institute (BFI). Retrieved from: https://publications.parliament.uk/pa/ld200910/ldselect/ldcomuni/37/9061704.htm [in English].16. Nicholson, H. N. (2001). Regionally Specific, Globally Significant: Who’s Responsible for the Regional Record? The Moving Image, 1, 152–163. [in English].17. Nowell-Smith, G. & Dupin, Ch. (2012). The British Film Institute, the Government and Film Culture, 1933–2000. Manchester: Manchester University Press [in English].18. Paliienko, M. (2011). Osoblyvosti zberihannia dokumentalnoi spadschyny u Velykobrytanii: istorychni tradytsii ta suchasna orhanizatsiia [Special aspects of documentary heritage preservation in Great Britain: historical traditions and modern organization]. Studii z arkhivnoi spravy ta dokumentoznavstva, 19(1), 18–24. [in Ukrainian].19. Brown, H. (1990). Physical characteristics of early films as aids to identification. FIAF. [in English].20. Rogers, Ch. (2017). Behind the scenes at the BFI. Retrieved from http://www.chrismrogers.net/blog/4555515884/Behind-the-scenes-at-the-BFI/11157692 [in English].21. Schuller, D. (2008). Audiovisual research collections and their preservation. Amsterdam: European Commission on Preservation and Access. Retrieved from http://www.tape-online.net/docs/audiovisual_research_collections.pdf [in English].22. Smither, R. & Walsh, D. (2000). Unknown Pioneer: Edward Foxen Cooper and the Imperial War Museum Film Archive, 1919–1934. Film History (Vol. 12, рр. 187–203). [in English].23. Yemelianova T. (2017). Notatky z istorii kinoarkhiviv [Notes in regards to the history of film archives]. Arkhivy Ukrainy, 5–6, 56–74. [in Ukrainian].

The article describes the main stages of the history of film phototheodolite and its scope for military purposes and science. The history of manufacturers, who were the first to create prototypes of film phototheodolite, as well as designers who improved its structure by making qualitatively new changes in the design of the device. The role it played in scientific research, in particular, in determining the parameters of position and orientation of fast-moving objects in space, film phototheodolite KFT-10/20 and its place in the museum exposition of the Kiev Astronomical Observatory. Emphasis is placed on the use of the device for astronomical purposes. Its structure, use (for military purposes), improvement and re-equipment (with further use for scientific purposes), as well as modern analogues are described. Key words: film phototheodolite, optics, observation, photography, trajectory measuring instruments, visual tracking.

Filmed during a key transition period in the history of film sound, G. W. Pabst’s Kameradschaft (1931) thematizes the challenges and possibilities presented by the new sound technology in surprisin...

This article provides a detailed history of film classification, or age ratings, in Japan. It describes historical precedents for Eirin, the agency responsible for film classification in Japan, and...

‘What if we shift our viewfinder slightly off center while tracking into the thickness of history?’ (the film historian Weihong Bao quoted, 14). Daisuke Miyao’s important work draws our attention t...

In their recent volume, Japan’s Green Monsters: Environmental Commentary in Kaiju Cinema, coauthors Sean Rhoads (film historian and Japanologist) and Brooke McCorkle (music historian and Japanologi...

Going back to history of film editing we can see quite a number of systematic attempts to classify the editing types. Bela Balazs, Vsevolod Pudovkin, Semen Timoshenko, Sergei Eisenshtein, Raymond Spottiswoode were doing their best at the time of 1920s-1930s to construct the classification of film editing types. Being at that time at the edge of the “film practice”, nowadays these attempts become aware of the lack of conjunction in “film practice” and “film science” that have been developed up to now. Moreover, the mentioned attempts were accented mainly on emotional component of audience perception. The real functionality of the cut, at this very moment, just at this very frame happened to be out of the look. In addition, all classifications were built on linear principle – i.e. the simple list of types. It is clear now that the simple listing cannot cover all the variety of existing editing types, and that it is not possible to mix the editing types and editing techniques in one simple listing.The scope of the article is within the multi-level hierarchical classification that is based on the motivation principle of the cut. That means the functional causes for film director or film editor to cut at a frame to achieve the desired impact on audiovisual perception. This makes it easy to construct the conjunction of editing types and editing techniques, the latter being the consequently subordinated to functions of editing.There are three main functions of editing in terms of primitive audiovisual perception of shot sequences that apply on content perception. These are:continuity (or continuity editing), meaning just to tell the story without the redundant details (i.e. shots);intellectual (or intellectual comparison of the shots), meaning the effect of any shot differs sharply from that of its precursor and successor, resulting in an impact of the sensation and concept deriving from contiguous shots; and from this impact may arise a third concept different from that of either of the components which produced it;disjunctive (or provocative editing), meaning the effect of combining the shots together that are against the editing rules, with the deliberate aim to attract the audience attention, sometimes even to shock (the best samples could be found with the almost every music video, however, it happened to be the distinctive practice for many feature films, as well).

This paper focuses on the problem of restoring and developing the film distribution and exhibitionsystem in Leningrad in the first years after the end of World War II. The purpose of the article is to studycinema-going as the most popular form of Soviet citizens’ leisure. Such topics as availability and comfortof watching films, activities of film distribution management, and attitude of Leningrad citizens to cinemaare considered. The study turned to such sources as records management documentation, statisticaldata, and reminiscences of film distribution staff and cinema-goers. There are very few special workson the history of Soviet people’s leisure and, in particular, the organization of film service. Dissertationson film production and distribution in the USSR were not written until recent years. New approaches toand research concepts of the history of film distribution are being developed in modern historiography.Individual works on film production, distribution and exhibition, as well as on the relationship betweenthe film service system and the viewer are being published. This study is based on the materials of twoarchives: St. Petersburg Central State Archives and St. Petersburg Central State Archives of Literatureand Art. It should be noted that records management documentation is the most informative type ofwritten sources, as it contains comprehensive data on the functioning of the film service and distributionsystem at various levels, from the relationship between the state authorities and film organizationsto the work of film distribution offices and individual cinemas with viewers. The main stratum of thistype of sources is the documentation of the Leningrad City Council of People’s Deputies, the ChiefDirectorate for Cinema Development and Film Distribution of the State Committee for Cinematography,the Leningrad Regional Lenkinoprokat Office, and the Directorate for Cinema Development of theExecutive Committee of the Leningrad City Council of People’s Deputies. This paper is the first attemptin scientific literature to study the organization of mass leisure activities in the Soviet Union after the endof World War II, the effectiveness of film distribution in Leningrad, and the role of cinematography in thelives of citizens.

This piece examines the most recent work of the acclaimed Mexican director Guillermo del Toro, focusing on his use of intertextuality, self-referentiality and subversion as stylistic elements that to simultaneously critique and celebrate cinema Through his unique visual aesthetics and mastering of the mise-en-scène, del Toro explores themes of identity, displacement and humanity Famed for his use of ‘monster-as-metaphor’ narratives, his work is rich in cinematic language and iconography that acts as both an homage to his idols and inspiration for his fans.Del Toro acts as a film historian, a bibliophile, a critic and a fan, championing those on the edges of society while rejoicing in his Mexican heritage.

Going back to history of film editing we can see quite a number of systematic attempts to classify the editing types. Bela Balazs, Vsevolod Pudovkin, Semen Timoshenko, Sergei Eisenstein, Raymond Spottiswoode were doing their the best at the time of 1920s-1930s to construct the classification of film editing types. Being at that time at the edge of the “film practice”, nowadays these attempts become aware of the lack of conjunction in “film practice” and “film science” that have been developed up to now. Moreover, the mentioned attempts were accented mainly on emotional component of audience perception. The real functionality of the cut, at this very moment, just at this very frame happened to be out of the look. In addition, all classifications were built on linear principle – i.e. the simple list of types. It is clear now that the simple listing cannot cover all the variety of existing editing types, and that it is not possible to mix the editing types and editing techniques in one simple listing.The scope of the article is within the multi-level hierarchical classification that is based on the motivation principle of the cut. That means the functional causes for film director or film editor to cut at a frame to achieve the desired impact on audiovisual perception. This makes it easy to construct the conjunction of editing types and editing techniques, the latter being the consequently subordinated to functions of editing.There are three main functions of editing in terms of primitive audiovisual perception of shot sequences that apply on content perception. These are:continuity (or continuity editing), meaning just to tell the story without the redundant details (i.e. shots);intellectual (or intellectual comparison of the shots), meaning the effect of any one shot differs sharply from that of its precursor and successor, resulting in an impact of the sensation and concept deriving from contiguous shots; and from this impact may arise a third concept different from that of either of the components which produced it;disjunctive (or provocative editing), meaning the effect of combining the shots together that are against the editing rules, with the deliberate aim to attract the audience attention, sometimes even to shock (the best samples could be found with the almost every music video, however, it happened to be the distinctive practice for many feature films, as well).

The article is devoted to the history of the Russian film studies and methodology of film history as science using the example of the Introduction of History of the Soviet Film Art by Nikolai Iezuitov (18991941), one of the founders of the national film studies. Since the manuscript of History of the Soviet Film Art the first history of the Soviet cinema has not yet been published and introduced into scholarly use, the author pays special attention to archival sources. Despite a number of essays and discussions about film history and its methodology, a fundamental scholarly work on the historiography of the history of Soviet and Russian cinema has not yet been written. The relevance and novelty of the article is that it is based on the study of archival manuscripts of Nikolai Iezuitov. The exploration of early approaches to the study of the history of the Soviet cinema is important both historically and pedagogically. One of the most important sources of the concept of film history at an early stage of the national film studies is Iezuitov's Introduction to History of the Soviet Film Art. The Introduction is valuable because: 1) it is a rare evidence of reflection on the foundations of film history as scholarship and its methodology; 2) it is given by the author of the first history of the Soviet cinema; 3) it is represented by the author not as a separate abstract essay but as a part of the history itself. The Introduction defines the scholarly tasks and content of film history; overviews foreign books on the history of cinema; emphasizes specific periods of Soviet film history; and indicates the principles of work with relevant sources. Iezuitovs main principles in relation to film history are established in connection, firstly, with Soviet history scholarship; and secondly, with the vision of film history as the history of film art. Thus, film history, according to Iezuitov, is the unity of Marxist understanding of history and art-historical (stylistic) analysis of films and the main film movements in Soviet cinema.

Part of a special issue devoted to the centenary of the Film Institute VGIK, this article remembers the figure of Nikolai Lebedev (1897–1978) as a leading film historian and one of the init...

The history of film style is structured by a division between two types of images, each with a unique relationship to the reality that they have commonly been understood to represent. Andre Bazin’s...

On 6 July 2018, Caroline Evans, a fashion historian and theorist at Central Saint Martins, and Jussi Parikka, a media archaeologist at Winchester School of Art, University of Southampton, co-organized a full-day conference at Central Saint Martins, University of the Arts London. Titled Archaeology of Fashion Film, it stemmed from their eponymous research project, funded by the Arts and Humanities Research Council, which they run with Marketa Uhlirova, a fashion film historian and curator at Central Saint Martins, and myself.

Most research on the relationship between film and nation-building focuses on the content of films (the nation on the screen). Much less common is research on the structural organisation of the film sector (the nation beyond the screen). This article argues for a combined focus in order to gain deeper insight into the relationship between film and nation-building. This is illustrated by a case study focusing on Flanders. The Flemish case shows that the relationship between film and nation-building is dynamic and multiple. There is a clear evolution from a Belgian, French-speaking film sector to a separate Flemish film sector. This process was stimulated by the coming of sound film in the early 1930s and by political developments towards more Flemish autonomy. But while Flemish nation-building keeps growing to this day, the concept of ‘Belgian cinema’ has gained renewed relevance since the 2000s.

Nos últimos anos, no Brasil, o cinema dirigido por mulheres tem sido reconhecido em sua importância por meio de publicações como Mulheres de cinema, organizado por Karla Holanda. Majoritariamente escrita por pesquisadoras brasileiras, a coletânea de 22 artigos se volta para o cinema de autoria feminina em sua riqueza de origens, temporalidades, gêneros e temáticas, de modo a contribuir para o aprofundamento do conhecimento sobre filmes escritos, dirigidos, estrelados e produzidos por mulheres no campo de estudos de cinema. Over the last years, films made by women have gained recognition in Brazil through publications such as Mulheres de cinema, edited by Karla Holanda. Composed of 22 articles, mainly written by Brazilian researchers, the volume focuses on women-authored films, taking into consideration the diversity of their origins, temporalities, genres and subjects. Mulheres de cinema, hence, is an important contribution to our knowledge of cinema written, directed, starred and produced by women in the field of film studies.

In this paper, I argue that the figures of invisibility in cinema (vanishing characters, blurred or fleeting figures) invent or reinvestigate historic modes of resistance to surveillance and identification techniques. The art of being unseen appears in many early films, in which characters fool the scrutinizing gaze of policemen. I argue that early cinema plays a key role in the depiction of the powers and limitations of surveillance. Indeed, whereas cinema has been largely celebrated through the triumph of vision, this paper provides counterpoints to this theory by identifying, comparing and classifying the limits of identification that have been (re)invented through the history of film.

Impressive cinema palaces with exterior façades illuminated appealingly at night were significant for the big city life of the roaring twenties. The film screenings in the prestigious buildings were framed by a diverse supporting programme. Siegfried Kracauer dealt critically with the formative tendency towards theatricality in the new large cinema buildings such as the Gloria-Palast in Berlin in 1926. He also discussed the supporting programme and the aspect of distraction in the context of modern mass and leisure culture in a progressive and extraordinary way. Over the past decade, luxury cinemas have been enjoying a revival. In order to examine today’s high-end boutique movie theatres, Siegfried Kracauerʼs thoughts on large cinemas in the “roaring twenties” in Berlin provide critical impulses. In the first part of my paper, two important texts by Kracauer are analysed. In contrast to previous research, Kracauer’s arguments are also compared in greater detail with those by contemporary progressive critics not only in Germany but also in other countries, such as Joseph Roth, Kurt Pinthus, Fritz Olimsky, Kenneth Macpherson, Harry Alan Potamkin and Philip Morton Shand, among others. This also reveals the special nature, quality, and depth of Kracauer’s essays. An analysis of modern luxury movie theatres inspired by Kracauer’s train of thought follows in the second part of this paper.&nbsp

De 1953 a 1999 Miguel Delibes publica en diferentes medios de comunicación una serie de artículos acerca del cine tratando diversos aspectos: reseña estrenos cinematográficos, reflexiona sobre géneros, sobre el cine español y europeo, sobre avances técnicos de la industria cinematográfica y sobre algunas de las adaptaciones de sus obras literarias al cine. Todos estos documentos, examinados actualmente y en conjunto, conforman una poética del arte cinematográfico escasamente señalado hasta la fecha y constituyen una importante aportación al estudio de la historia de la crítica cinematográfica en España. En esta investigación analizo y examino las principales contribuciones del escritor a esa poética del cine.

Historiadora do cinema, Miriam Hansen examinou e sistematizou as contribuições de Siegfried Kracauer, Walter Benjamin e Theodor Adorno para a teorização do cinema. Nesta pesquisa bibliográfica, buscamos sintetizar e apresentar aos leitores de língua portuguesa o desenvolvimento de sua investigação sobre o tema. Mostramos como Hansen foi capaz de identificar as principais diferenças entre os teóricos frankfurtianos, bem como evidenciar que eles, em comum, pensaram este fenômeno cultural contemporâneo em relação às condições sociais e econômicas de produção. Em suas reflexões, o cinema aparece como expressão da sociedade urbano-industrial, como um elemento sintomático da cultura de massa. Film historian Miriam Hansen examined and systematized the contributions of Siegfried Kracauer, Walter Benjamin and Theodor Adorno according to the theorization of cinema. In this bibliographic research, we seek to synthesize and present to Brazilian Portuguese language readers the development of her research on the topic. We show how Hansen was able to identify the main differences between Frankfurt theorists, as well as to show that they, in common, thought about this contemporary cultural phenomenon in relation to the social and economic conditions of production. In their reflections, cinema appears as an expression of urban-industrial society, as a symptomatic element of mass culture.

This article analyses the institutional developments in East German film culture during the 1950s and focuses on the so far under-researched filmaktiv movement (groups of individuals engaged in the promotion and discussion of films along political guidelines), and on a first wave of film clubs that arose around 1956. The study will illuminate the role played by both initiatives in the context of the state cultural policies as well as within a broader, international history of film culture. Even though they were rapidly integrated into state structures, in 1951 the aktivs opened up a new field of cultural exchange and cinematic activism. Openly opposed by the Ministry for Culture, the clubs challenged the state policies in a different way by successfully implementing an alternative approach to film consumption. In film cultural terms, the film clubs represented both an adaptation to national realities and a reaction to contemporary international trends. Compared to the work of the aktivs, they embodied a s...

This article uses the three-phase model proposed by Alain Bergala to explain the history and development of film education in France as a sympathetic framework through which to illuminate a double history of film education, first in Yugoslavia, and more recently in Slovenia. Surveying both continuities and discontinuities, this article details some of the key institutions and personalities that have shaped the history of Slovenian film education, before exploring some of the contemporary challenges practitioners continue to face within an evolving film education sector.