Zeitschriftenartikel: „Motion pictures and history“

1

Jennifer Tebbe-Grossman. „Medicine’s Motion Pictures“. Film & History: An Interdisciplinary Journal of Film and Television Studies 39, Nr. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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2

Heinemann, Julia. „Motion Pictures of the Royal Family“. French Historical Studies 44, Nr. 2 (01.04.2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.

3

Swartz, Mark E. „Motion Pictures on the Move“. Journal of American Culture 9, Nr. 4 (Dezember 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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4

Oliver, Willard M. „Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures“. Journal of Criminal Justice Education 22, Nr. 3 (September 2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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5

Joyce, Simon, und Jennifer Putzi. „“Greatest Combination in Motion Pictures”: Film History and the Division of Labor in the New York Motion Picture Company“. Film History: An International Journal 21, Nr. 3 (September 2009): 189–207. http://dx.doi.org/10.2979/fil.2009.21.3.189.

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6

Ayers, Lee. „Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures“. Criminal Justice Review 39, Nr. 4 (25.06.2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

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7

Eckardt, Michael. „South African film history vs the history of motion pictures in South Africa“. South African Theatre Journal 25, Nr. 1 (März 2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

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8

ELLIS, PATRICK. „A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory“. British Journal for the History of Science 50, Nr. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.

9

Knight, Arthur. „Spotlight on Film: All the World's a Stage“. Media Information Australia 43, Nr. 1 (Februar 1987): 9–11. http://dx.doi.org/10.1177/1329878x8704300103.

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One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.

10

Dym, Jeffrey A. „Benshi and the Introduction of Motion Pictures to Japan“. Monumenta Nipponica 55, Nr. 4 (2000): 509. http://dx.doi.org/10.2307/2668250.

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11

Lee, Sangjoon. „Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association“. Historical Journal of Film, Radio and Television 37, Nr. 3 (10.03.2016): 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

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12

Martin L. Johnson. „Motion Pictures: A Problem to Be Co-operatively Solved“. Film History 29, Nr. 4 (2017): 157. http://dx.doi.org/10.2979/filmhistory.29.4.07.

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13

Jenkins, C. Francis. „History of the Motion Picture“. SMPTE Journal 98, Nr. 3 (März 1989): 188–94. http://dx.doi.org/10.5594/j02808.

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14

Mottahedeh, Negar. „Collection and recollection: On studying the early history of motion pictures in Iran“. Early Popular Visual Culture 6, Nr. 2 (Juli 2008): 103–20. http://dx.doi.org/10.1080/17460650802150374.

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15

Algazi, Gadi. „Norbert Elias’s motion pictures: history, cinema and gestures in the process of civilization“. Studies in History and Philosophy of Science Part A 39, Nr. 3 (September 2008): 444–58. http://dx.doi.org/10.1016/j.shpsa.2008.06.014.

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16

Berman, Aaron, und Charles Lawrence Gellert. „The Holocaust, Israel, and the Jews: Motion Pictures in the National Archives.“ Journal of American History 77, Nr. 4 (März 1991): 1457. http://dx.doi.org/10.2307/2078427.

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17

Serene, Frank H. „Motion Pictures, Videotapes and Sound Recordings at the National Archives“. Historical Journal of Film, Radio and Television 16, Nr. 1 (März 1996): 55–67. http://dx.doi.org/10.1080/01439689600260091.

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18

Griffiths. „A Portal to the Outside World: Motion Pictures in the Penitentiary“. Film History 25, Nr. 4 (2013): 1. http://dx.doi.org/10.2979/filmhistory.25.4.1.

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19

Kotte, Claudia. „Homo Cinematicus: Science, Motion Pictures and the Making of Modern Germany“. Historical Journal of Film, Radio and Television 38, Nr. 3 (03.07.2018): 674–76. http://dx.doi.org/10.1080/01439685.2018.1459028.

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20

Ickerodt, Ulf. „The spatial dimension of history: propagation of historical knowledge via open-air museums, leisure parks and motion pictures“. Public Journal of Semiotics 2, Nr. 2 (01.07.2008): 73–102. http://dx.doi.org/10.37693/pjos.2008.2.8828.

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Man's environment is full of references to history. Archaeological sites and cultural landscapes are examples. History is a constituent of our social identity. In this sense, on a social level, it has an integrating function and helps to structure and canalize social behaviour. In this paper we shall examine, taking archaeological sites, open-air museums, leisure parks and motion pictures as examples, how this form of promotion of history works and what effect it has on society.

21

Jurca, Catherine. „Motion pictures' greatest year (1938): public relations and the American film industry“. Film History: An International Journal 20, Nr. 3 (September 2008): 344–56. http://dx.doi.org/10.2979/fil.2008.20.3.344.

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22

CHING, May Bo. „Rethinking media history in modern China: the cases of lithography, slide shows, the telegraph, and motion pictures“. Journal of Modern Chinese History 12, Nr. 2 (03.07.2018): 175–79. http://dx.doi.org/10.1080/17535654.2018.1561095.

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23

Laderman, Scott. „Hollywood's Vietnam, 1929––1964: Scripting Intervention, Spotlighting Injustice“. Pacific Historical Review 78, Nr. 4 (01.11.2009): 578–607. http://dx.doi.org/10.1525/phr.2009.78.4.578.

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Before 1965 and the introduction of the .rst of.cial American combat troops, the political unrest and revolutionary insurgency in Vietnam had already appeared in nearly a dozen Hollywood .lms. Yet while the anti-communist politics of these productions was predictable, it would be a mistake to view them as mere vehicles for Cold War propaganda. Although they served that obvious function, early American filmmakers who set their pictures in Vietnam also constructed the area as a childlike place in need of U.S. tutelage and instruction. At the same time, Vietnam became, by the 1950s, ironically transformed into a site of contestation over American values, especially with respect to race and gender. Drawing on rare prints of these early motion pictures, as well as numerous archival documents, this article spotlights the Indochinese conflict that was screened in the decades before Hollywood, in the 1970s and 1980s, began to perhaps forever reimage the war in American memory.

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Antomi, Satria, und Zubaidah A. Zubaidah A. „MOTION GRAFIS SEJARAH JEMBATAN RATAPAN IBU PAYAKUMBUH SUMATERA BARAT“. DEKAVE : Jurnal Desain Komunikasi Visual 11, Nr. 1 (04.05.2021): 154. http://dx.doi.org/10.24036/dekave.v11i1.112338.

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Payakumbuh has historical events. Among the historical events that occurred in the city of Payakumbuh called the Ratapan Ibu bridge. The bridge is one proof of the history of struggle in West Sumatra, especially in Payakumbuh City. Lack of public appreciation for historical stories and evidence of historical heritage of the Ratapan Ibu bridge. This causes the later generations to know less about the story and care less about its historical evidence. It is necessary to re-communicate these historical events to the public, through motion graphics. The advantage ofmotion graphicscombination is aof illustration, typography, photography, video and audio using animation techniques.The design method used is the 4D (design methodfour-D)using 4 design stages, namely define, design, development, and disseminate. Sources of data used in this design are in the form of statements about the tools, properties, conditions and specific activities concerned.The design results in the form of motion graphics that have stories, pictures, and audio, can make today's young generation learn local history, so that its sustainability can be maintained. The motion graphic of thehistory of the Ratapan Ibu bridge is supported by supporting media in the form of mugs, billboards, tote bags, Youtube, Instagram, twitter and facebook, which are able to promote the Motion Graphic of the History of the Ratapan Ibu Bridge.Keywords: Motion Graphic, History, Mother's Lamentation Bridge,Payakumbuh

25

Cirlin, Bernard D., und Jack N. Peterman. „Pre-Testing a Motion Picture: A Case History“. Journal of Social Issues 3, Nr. 3 (14.04.2010): 39–41. http://dx.doi.org/10.1111/j.1540-4560.1947.tb02212.x.

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26

Brégent-Heald, Dominique. „Leaky Borders: Smuggling Opium and Chinese Labor in Progressive-Era Motion Pictures“. Journal of American Culture 37, Nr. 4 (Dezember 2014): 393–403. http://dx.doi.org/10.1111/jacc.12270.

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27

HUANG, Jianmin. „From motion pictures to still photographs: a case study of A Page in the History of the Republic“. Journal of Modern Chinese History 12, Nr. 2 (03.07.2018): 246–62. http://dx.doi.org/10.1080/17535654.2018.1550302.

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28

Dischl, Jonas. „"Nuit et brouillard" – Die erinnerungskulturelle Gedächtnismaschine. Ein Blick auf Alain Resnais' Meisterwerk“. Didactica Historica 3, Nr. 1 (2017): 47–51. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.47.

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he documentary film Nuit et brouillard of the year 1955 is a masterpiece. Ten years after the end of World War II, Alain Resnais (1922‒2014) created a striking documentary about the NS regime’s policy of extermination. The movie had a lasting impact on the visual commemorative culture of the Shoa. Numerous iconographic illustrations of the Shoa are based on this documentary. Hence, later documentaries and motion pictures borrowed heavily from the imagery of Nuit et brouillard. This paper focuses on the history of reception of Nuit et brouillard and outlines one possible application for history lessons at secondary levels I and II.

29

Larson, Edward J., und Martin S. Pernick. „The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915.“ Journal of American History 84, Nr. 2 (September 1997): 698. http://dx.doi.org/10.2307/2952674.

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30

Bowers, Lauren. „The “Devil-May-Care Song of the Leathernecks”: A HISTORY OF THE “MARINES’ HYMN,” 1920–47“. Marine Corps History 7, Nr. 2 (27.12.2021): 36–53. http://dx.doi.org/10.35318/mch.2021070203.

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From 1920 to 1947, the “Marines’ Hymn” was a familiar sound over the radio waves and in motion pictures. Beyond its popular appeal, however, the hymn was scrutinized by Marine Corps leadership under the reforms of Major General Commandant John A. Lejeune, subjected to a prolonged ownership dispute, updated during a world war, and given an official birthday. This article continues the author’s research on the topic and examines these important milestones in the history of the “Marines’ Hymn” and the conflicts that arose as Marine Corps leadership attempted to maintain and promote one dignified official version that would foster a positive public image for the increasingly professional Corps.

31

Carlson, W. Bernard, und Michael E. Gorman. „Understanding Invention as a Cognitive Process: The Case of Thomas Edison and Early Motion Pictures, 1888-91“. Social Studies of Science 20, Nr. 3 (August 1990): 387–430. http://dx.doi.org/10.1177/030631290020003001.

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32

Landsberg, A. „America at Work, America at Leisure: Motion Pictures from 1894-1915, http://memory.loc.gov/ammem/awlhtml/awlhome.html. Created and maintained by the Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed Jan. 2007“. Journal of American History 94, Nr. 3 (01.12.2007): 1047–48. http://dx.doi.org/10.2307/25095309.

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33

Higashi, Sumiko, und Martin S. Pernick. „The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915“. American Historical Review 103, Nr. 4 (Oktober 1998): 1340. http://dx.doi.org/10.2307/2651353.

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34

DeBauche, Leslie Midkiff, Peter C. Rollins und John E. O'Connor. „Hollywood's World War I: Motion Picture Images.“ Journal of American History 85, Nr. 4 (März 1999): 1636. http://dx.doi.org/10.2307/2568366.

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35

Widegren, Kajsa. „Sexualiserade bilder av flickor. Pippi Examples och den manliga blicken“. Tidskrift för genusvetenskap 25, Nr. 4 (15.06.2022): 9–27. http://dx.doi.org/10.55870/tgv.v25i4.4048.

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The aim of this article is to examine shifts of meaning of the visual material in a piece of art called Pippi Examples (2001). The Swedish artist Palle Torsson uses parts of the Pippi Långstrump motion picture for this video work, which has been accused of "making porn of Pippi". It is when the visual material is moved from its original context of children'scultureand placed in a context ofart, that the perception of the viewers' position changes. Four pictures from Pippi Examples are examined through a semiotic method. These pictures are related in different ways to signs of sexualisation used in visual pornographic material. The girls in the material are exposed in a sexualised way, related to two frames of interpretation. The first one is the references in the pictures to a pornographic visual tradition. The second important frame of interpretation is the concept of the male gaze, in the article also referred to as the male viewer's position. This position is structured through the historical meaning of children's sexuality, cultural boundaries for girls' physical use of their body and the sexualised gaze of male adults. The theoretical ground for the article is Laura Mulvey^ essay on the male gaze and Michel Foucaulfs work on the history of sexuality. In the final part of the article the gender of the artist is discussed as a vital part of Pippi Examples. The artisfs male gender both confirms the sexual content of the visual material and tums the interest to his person rather than to the art. This can be seen as a new situation for the male artist that historically has had a position related neither to sexuality nor gender.

36

Marsden, Michael T., und Craig W. Campbell. „Reel America and World War I: A Comprehensive Filmography and History of Motion Pictures in the United States, 1914-1920“. Journal of American History 73, Nr. 4 (März 1987): 1114. http://dx.doi.org/10.2307/1904194.

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37

Nelson, Otto. „1926 Early History and Growth of the Motion Picture Industry“. SMPTE Journal 105, Nr. 10 (Oktober 1996): 606–7. http://dx.doi.org/10.5594/j17186.

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38

Razlogova, E. „Inventing Entertainment: The Motion Pictures and Sound Recordings of the Edison Companies, http://memory.loc.gov/ammem/edhtml/. Created and maintained by the Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed June 15-18, 2006“. Journal of American History 93, Nr. 3 (01.12.2006): 1002. http://dx.doi.org/10.2307/4486607.

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39

Varghese, Priju. „Marriage in Cinema“. Journal of Student Research 4, Nr. 2 (03.06.2015): 33–35. http://dx.doi.org/10.47611/jsr.v4i2.260.

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Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past century.

40

Miller, B. M. „The Spanish-American War in Motion Pictures, http://memory.loc.gov/ammem/sawhtml/sawhome.html. Created and maintained by the National Digital Library Program team, Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed Feb. 22-27, 2006“. Journal of American History 93, Nr. 2 (01.09.2006): 624. http://dx.doi.org/10.2307/4486397.

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41

Cochrane, Robert H. „Beginning of motion picture press agenting“. Film History: An International Journal 19, Nr. 3 (September 2007): 330–32. http://dx.doi.org/10.2979/fil.2007.19.3.330.

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42

Barrett, Deborah, und Martin S. Pernick. „The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915.“ Social Forces 75, Nr. 3 (März 1997): 1136. http://dx.doi.org/10.2307/2580542.

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43

Giovacchini, Saverio. „:Banned in Kansas: Motion Picture Censorship, 1915–1966“. American Historical Review 113, Nr. 4 (Oktober 2008): 1195–96. http://dx.doi.org/10.1086/ahr.113.4.1195.

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44

Musser, Charles. „Reading Local Histories of Early Film Exhibition: Sylvester Quinn Breard's ‘A History of the Motion Pictures in New Orleans, 1896–1908’“. Historical Journal of Film, Radio and Television 15, Nr. 4 (Oktober 1995): 581–85. http://dx.doi.org/10.1080/01439689500260451.

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45

Lewis, Kevin. „Rev. Herbert Jump and the Motion Picture“. Film History: An International Journal 14, Nr. 2 (Juni 2002): 210–15. http://dx.doi.org/10.2979/fil.2002.14.2.210.

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46

Jump, Herbert A. „The Religious Possibilities of the Motion Picture“. Film History: An International Journal 14, Nr. 2 (Juni 2002): 216–28. http://dx.doi.org/10.2979/fil.2002.14.2.216.

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47

Alvarez, Max. „The Motion Picture Distributing and Sales Company“. Film History: An International Journal 19, Nr. 3 (September 2007): 247–70. http://dx.doi.org/10.2979/fil.2007.19.3.247.

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48

Koppes, Clayton R., und Gregory D. Black. „Blacks, Loyalty, and Motion-Picture Propaganda in World War II“. Journal of American History 73, Nr. 2 (September 1986): 383. http://dx.doi.org/10.2307/1908227.

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49

Apple, Rima D. „The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915. Martin S. Pernick“. Isis 88, Nr. 2 (Juni 1997): 369–70. http://dx.doi.org/10.1086/383755.

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50

Broderick, Suzanne. „Piracy In The Motion Picture Industry (review)“. Film & History: An Interdisciplinary Journal of Film and Television Studies 34, Nr. 1 (2004): 87–89. http://dx.doi.org/10.1353/flm.2004.0007.

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Zeitschriftenartikel zum Thema „Motion pictures and history“

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