Relevant bibliographies by topics / Cinema history

Academic literature on the topic 'Cinema history'

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Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Cinema history"

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Leonard, Michael. "Cinema/history." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 89–104. http://dx.doi.org/10.33178/alpha.1.07.

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This article compares the engagement with the history of May 1968 in Philippe Garrel’s Les Amants réguliers/Regular Lovers (2005)and Bernardo Bertolucci’s The Dreamers (2004). Through a close study of both films, it demonstrates how Garrel finds a more nuanced and transformative aesthetic than Bertolucci in representing this defining moment in modern French culture and politics. The films share a number of aspects; most notably, they draw upon the history of cinema itself in recalling this period, an approach that can be related to Godard’s project in Histoire(s) du Cinéma (1988-1998). However, their differing approaches to cinematographic citation (metonymic in the case of Bertolucci, and metaphoric in the case of Garrel) have significant implications for the temporal dynamics of each film. The article argues that Bertolucci’s method is intrinsically conservative—reactionary, even—implying an historical linearity that reinforces the “pastness” of May, its significance as a piece of “heritage” rather than part of an ongoing historical process, or dialectic. Garrel’s practice of citation, by contrast, generates a more radical, heterochronous form that constitutes a testimony to May 1968 by evoking its continued presence. In the course of its discussion, the article also reflects on the relationship between Les Amants réguliers and the nouvelle vague, exploring in particular the relations between this film and Jacques Rivette’s Paris nous appartient (1961).
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Hartanto, Denny Antyo. "HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER." JURNAL PAKARENA 8, no. 1 (July 4, 2023): 56. http://dx.doi.org/10.26858/p.v8i1.42032.

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This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema production in Jember City. Before the industrialization of film exhibitions which was dominated by the Cinema 21 Group and modern cinemas with the Cineplex concept as it is today, the city of Jember once had several local cinema buildings as public spaces to be able to communicate film products to the audience as a fulfillment of the entertainment needs of the Jember people. However, in the 1990s some cinema buildings are now just history. The existence of the cinema building has disappeared from the circulation of the film industry in the city of Jember. The methods used are descriptive qualitative research methods and historical or historical methods. The results of the study are in the form of findings about historical facts and the problems that lie behind the local cinema industry in Jember experiencing operational closures and no trace so that historical documentation and historiography interests or historical writing of local cinema developments in Jember are needed. There are several factors that are indicated to be the cause of the closing of cinemas in Jember, namely: (1) Jember people have experienced boredom with hot films that are often screened in cinemas, (2) The emergence of private TV channels in the 1990s, (3) The ease of obtaining pirated film VCDs and the proliferation of VCD Players in people's homes, (4) The decline in the quality of Indonesian films, and (5) The ease with which people get new films in internet cafes (internet cafes) before the advent of the era of social media such as youtube.
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Messnaoui, Mostafa. "History of Arab cinema (introduction to understanding and interpretation)†." Contemporary Arab Affairs 7, no. 2 (April 1, 2014): 195–208. http://dx.doi.org/10.1080/17550912.2014.902183.

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Since the inception of cinema, historians have totally ignored or only briefly mentioned Arab productions and achievements in their depictions of the history of cinema. Therefore, some Arab writers, such as Jalal Sharqawi, broke an Arab ‘tradition’ of confining works on cinema to narrating stories about movie stars and ‘subject inventories’ to talk about this cinema and its history. Another concern was that technical cinematic terms translated into Arabic were frequently inaccurate and included some major mistakes which made the Arab reader misunderstand this history. Aside from that, though, the general lack of interest of Arab readers in all cognitive fields and their lack of awareness of history and the need for it may be the core of the problem. The main focus of historians of Arab cinema is Egypt, thus relegating all other countries to the margins, although many Arab cinemas have proved themselves internationally in the field of production, including Morocco, Tunisia and Lebanon, while the United Arab Emirates have been pioneering in the field of film festivals, keeping pace with the modernization witnessed in Dubai and Abu Dhabi. The main problem, however, resides in the allocation of public or private funding for film production, while overlooking other significant cinema-related issues, such as the availability of cinema halls and training institutes.
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Олена Василівна Цимбалюк. "POLISH CINEMA AND ACTORS IN SOVIET REALITY." Intermarum history policy culture, no. 5 (January 1, 2018): 263–72. http://dx.doi.org/10.35433/history.111819.

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The article considers the preconditions and distribution of Polish cinema in the Soviet Union in the second half of the 60’s – the first half of the 80’s of the XX century. The paper states that the Soviet authorities used cinema as a means of influencing the society, propagating the values and ideals of the Communist Party. It is noted that the spread of Polish cinema was facilitated by the state policy of cooperation with socialist Poland, but only within the limits set by the Soviet state censorship. The restrictions were imposed on the films presenting alternative interpretation of the history of Soviet-Polish relations, religious and mystical subjects, as well as approval of the creative activity of film directors who emigrated to the West. The content and distinctive features of such artistic movements in Polish cinema of the socialist era as «Polish cinema school» (1956-1961) and «cinema of moral anxiety» (1975-1981) are disclosed. The examples of Polish films which appeared in Soviet cinema during the period from 1964 to 1985 are provided, taking into account their genre classification. Based on the reviews, it is determined that Polish films aroused interest among Soviet audience and film critics. The representatives of the Polish acting school became very popular, and Soviet film directors began to extensively shoot actors from Poland in their films. Polish actors have become real idols for ordinary movie viewers. They imparted the appearance of their favorite film characters in everyday life, copying their hairstyles, clothes, behavior, and the like.
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Melia, Matthew. "Cinemas in Britain: a history of cinema architecture." Planning Perspectives 27, no. 4 (October 2012): 647–49. http://dx.doi.org/10.1080/02665433.2012.709069.

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Iordanova, Dina. "Women’s Place in Film History: the Importance of Continuity." Panoptikum, no. 23 (August 24, 2020): 10–23. http://dx.doi.org/10.26881/pan.2020.23.01.

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The author calls for continuity and continuation of the study of women’s cinema. Attention is drawn to the blurring of memory and even erasing women from the history of national film industries. They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker. The filmmakers are made through the commitment and work of film critics and then cinema historians. The expert does not hide the fact that those relationships are strengthened by bonds of friendship, without the fear of being accused of having a lack of objectivity, and are often associated with the support of the author on the international festival circuit. The author calls for ‘watching across borders’, i.e. a supranational approach to the study of women’s cinema. Crossing the borders of national cinemas, in which the authors have not been recognised, allows a broader perspective to see the critical mass of the authors of world cinema. Politically, for the feminist cause, it is better to talk about European women’s cinema. Iordanova selects from the history of Central and Eastern European cinema, the names of authors who did not receive due attention. Moreover, she proposes specific inclusive and corrective feminist practices: the inclusion of filmmakers in the didactics, repertoires of film collections and festival selections; a commitment to self-study by watching at least one woman’s film a week.
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Noordegraaf, Julia, Loes Opgenhaffen, and Norbert Bakker. "Cinema Parisien 3D." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 45–61. http://dx.doi.org/10.33178/alpha.11.03.

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In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of “content in context” helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet’s Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.
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Agustin, Nurmalia, Deby Ayu Ismawati, and Mustasyifa Fauziah. "Membuka Pintu Hiburan di Era Kolonial: Sejarah Perkembangan Bioskop di Batavia, 1900-1942." Warisan: Journal of History and Cultural Heritage 4, no. 1 (August 16, 2023): 27–37. http://dx.doi.org/10.34007/warisan.v4i1.1816.

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This research aims to discuss the history of cinema in Batavia from entertainment before the existence of cinemas, the background of the beginning of cinemas to Chinese involvement in the cinema industry. Of course, in the past, watching in theaters already existed during the Dutch colonial period. Movie theaters have existed in Batavia since 1900. The culture of watching this movie began to enter in the early 20th century where the indigenous people at that time called the moving image "Ideop Picture". The method used in this research is the historical method in which there are heuristics, internal and external criticism, interpretation, and historiography. From the results of this study, it is hoped that it can provide insight to the public about the history of cinema, not only exist to be enjoyed at this time but also can be remembered and remembered how the history of cinema in Batavia opened the gateway to entertainment in Indonesia.
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Venegas, Cristina. "Cinema and history." Norsk medietidsskrift 11, no. 01 (April 26, 2004): 93–97. http://dx.doi.org/10.18261/issn0805-9535-2004-01-09.

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Mack, Katy. "Making Cinema History." Poem 5, no. 2-3 (April 3, 2017): 279. http://dx.doi.org/10.1080/20519842.2017.1293322.

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Dissertations / Theses on the topic "Cinema history"

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com, patsorn_sungsri@hotmail, and Patsorn Sungsri. "Thai Cinema as National Cinema: An Evaluative History." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.145601.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O’Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed—economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation’s text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation’s emphasis on three resilient and potent signifiers of Thai identity—nation, religion, and monarchy—and their interrelationship and influence in the development of Thai National Cinema. These three ‘pillars’ of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Sungsri, Patsorn. "Thai cinema as national cinema: an evaluative history." Thesis, Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/354/.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Sungsri, Patsorn. "Thai cinema as national cinema : an evaluative history /." Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Maya, Neto Olegario da Costa. "Actualizing Che's history." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/177352.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2017.
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Che Guevara é um dos ícones mais populares na pós modernidade. A figura de Che vestindo uma boina, olhando para o horizonte, representa o mito que cerca a figura de Guevara e é uma daquelas imagens facilmente reconhecidas ao redor do mundo. Morto aos trinta e nove anos de idade, ele se tornou o símbolo da rebeldia juvenil, tendo em vista que a imagem de Guevara foi associada ao Maio Francês e a pôsteres políticos. Entretanto, já que a imagem de Guevara também tem sido utilizada comercialmente, ilustrando produtos os mais diversos, é de se perguntar se Che Guevara possui ainda alguma relevância política e histórica. De fato, diversos acadêmicos ? discutidos no capítulo introdutório ? têm analisado a reificação de Che, geralmente com conclusões negativas. Eu gostaria de discordar. Nessa dissertação de mestrado, eu questiono a ideia de Che Guevara como uma imagem congelada e vazia, atualizando-a no sentido proposto por Walter Benjamin, ao considerar o processo de mitologização de Guevara e investigar a representação de Guevara em dois filmes biográficos, Os Diários de Motocicleta (Walter Salles 2004) e El Che: Investigando uma Lenda (Maurice Dugowson 1998).

Abstract : Che Guevara is one of the most popular icons in post-modern culture. The bereted image of Che gazing at the horizon is the epitome of his mythological fame and is one of those images people around the world instantly recognize. Dead at thirty-nine, he has become the face of youthful rebellion, his image associated with the 1968 uprising and with political posters. However, as Guevara's image came to be used commercially, illustrating anything from T-shirts to mugs, one wonders if there is still any political and historical meaning associated with it. In fact, several scholars ? discussed in the introductory chapter ? have raised the issue of Che's reification, usually with negative conclusions. I beg to differ. In this Master Thesis, I challenge the idea of Che Guevara as a frozen and empty image, actualizing it in the sense of Walter Benjamin, by considering the process of mythologizing Guevara and by investigating his representation in two biographical movies, The Motorcycle Diaries (Walter Salles 2004) and El Che: Investigating a Legend (Maurice Dugowson 1998).
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Faulkner, S. "Adapting Spanish literature : cinema, form, history." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598953.

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This thesis examines literary adaptation in Spanish cinema as a site for the interaction of formal questions central to the study of film and literature and ideological concerns crucial to late twentieth-century Spain. While cinematic adaptations of literary texts have previously been neglected as they seemingly dilute 'pure' cinema, or have been subjected to analyses which seek to prove the artistic superiority of literature, this study demonstrates that the literary adaptation genre can be creatively energetic and conceptually challenging by drawing examples from Spanish cinema and television of the late dictatorship, transitional and democratic periods. Given the propaganda exercise mounted through cinema under Franco, in chapter one I argue firstly that ideological issues are particularly significant in Spanish film - even though a contradictory appeal to a historical Structuralist models is prevalent in Spanish film scholarship. I contend secondly that because literary adaptation constitutes a dialogue between two media, formal issues are also inevitably raised. In chapters two, three and four I foreground ideological questions by examining three themes of particular importance to late twentieth-century Spain - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and consider the related stylistic issues of the supposed affinities between cinematic expression and nostalgia, the city and phallocentrism. In chapter five I place the formal question of the narrator centre stage by assessing Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana, and examine the ideological implications of the two artists' shared subversion of realism. Questions of history and form are therefore inseparable, and every cinematic adaptation holds in tension its influence by, or its inflection of, the ideology and form of the literary text on which it is based.
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Shand, Ryan John. "Amateur cinema : history, theory and genre (1930-80)." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4923/.

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This thesis, Amateur Cinema: History, Theory, and Genre (1930-1980), draws largely on primary material from the Scottish Screen Archive and related museum sources. The project establishes a critical dialogue between university-based Film Studies and the archive sector, via a series of case studies of influential groups, individuals, and movements. Prefaced by a chapter entitled 'Theorising Amateur Film: Limitations and Possibilities' detailing the domination of amateur cinema studies by discussion of the 'home mode', I suggest that work to date has obscured an understanding of films made by cine-clubs within the highly organised film culture of the British amateur cine movement. The main body of the thesis consists of four chapters exploring the most popular generic practices of 'institutionalised' amateur filmmakers, focusing on: art cinema, the 'film play', community filmmaking, and the amateur heritage picture. I argue that these production strands were formed by discourses circulating within amateur film journals, 'how to do it' manuals and amateur film festivals. Amateur cinema was viewed throughout as a parallel cine movement existing alongside professional practices, enjoying an ambivalent relationship to inherited professional standards. The final chapter, 'Amateur Film Re-Located', proposed a fresh theorisation of 'local' amateur production within a national film culture, marked by distinctly cosmopolitan connections.
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Grievson, Lee. "The policing of cinema, 1907-1915." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300941.

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Powell, Ryan. "Man country : a social history of seventies gay cinema." Thesis, King's College London (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549682.

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Nagtegaal, Jennifer. "(Re)animating history : animated documentaries in contemporary Hispanic cinema." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60174.

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Animation for adult audiences is a booming sector in Hispanic cinema in both fiction and non-fiction films alike. This is particularly true of the documentary genre, in which Spanish and Latin American filmmakers are employing various animation techniques to essentially (re)animate particularly traumatic periods of history. That is to say, they do the work of reconstructing or re-creating history through the cinematic practice of animation. Jairo Carrillo and Oscar Andrade’s Pequeñas voces (Colombia, 2010), María Seaone’s Eva de la Argentina (Argentina, 2011), and Manuel H. Martín’s 30 años de oscuridad (Spain, 2012) do this work of reconstructing periods of political unrest through a blending of animation and archival materials. The recent turn to animation in recounting historical narratives leads us to contemplate the purpose and effect of veering away from conventional live-action portrayals in documentary history. Accordingly, our first research question asks why and how animation is effective as a representational strategy in the re-telling of the historical moments and subjects that the films in our corpus depict. To answer this first research question, we consider the three functions of animation proposed by leading animated documentary scholar Annabelle Honess Roe (2013): non-mimetic substitution, mimetic substitution, and evocation. Beyond being linked by their exemplification of Roe’s three functions of animation, the films in our corpus all have a relationship to the uncanny that arises directly from the juxtaposition of the animated and the audiovisual archival elements. Animated film scholarship has begun to draw connections between Sigmund Freud’s (1919) notion of the ‘uncanny’ and films that combine animation and the archival. Accordingly, our second research question asks: in what ways does the ‘uncanny’ animated aesthetic in these three films manifest itself, and to what end?
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Stubbs, Jonathan. "Inventing England: representations of English history in Hollywood cinema." Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441622.

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This thesis examines the representations of English history in Hollywood cinema with a particular emphasis on popular films released between 1950 and 1964. Adopting a principally empirical and archival approach, I examine why Hollywood filmmakers and audiences have been so attracted to images and narratives from English culture, why these images and narratives have so frequently focused on England's past, and why the resulting English historical films became so prominent in the 1950s and early 1960s. My first chapter establishes a broad context for Hollywood's English historical cinema by tracing the history of Anglo-American relations from the eighteenthcentury. Further contextual material is provided in Chapter Two, which examines the presence of English historical material in the American film history up to 1950. Chapter Three examines the long script development of Ivanhoe (1952) and Knights of the Round Table (1953) and the ways in which they were redrafted to suit their changing political contexts. The remaining chapters focus on the period between 1950 and 1964. Chapter Four surveys the major production trends of the period, while Chapter Five examines the connections between the English historical films and British `runaway' production. Chapter Six analyses Around the World in 80 Days (1956) in the context of postwar American internationalism, while Chapter Seven examines a more ambiguous treatment of similar themes in Lawrence of Arabia (1962). Finally, Chapter Eight looks at the construction of an ostensibly more modem image of England in Tom Jones (1963) and the first three James Bond films.I argue that American investments in the English past during the 1950s and early 1960s can be traced to three historical developments: first, the newfound acceptability of English culture as British economic and political power diminished; second, the growing resemblance between England's imperial past and America's internationalist present; and third, the efforts of the Hollywood studios to adapt to a business model where profits increasingly derived from international markets.
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Books on the topic "Cinema history"

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Gormley, Kirstie. Taiwan cinema = Le cinéma taiwanais. Lyon, France: Asiexpo, 2009.

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Centre, University of Warwick Modern Records. Cinema history sources. [Coventry]: The Centre, 1995.

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Penzi, Marco. Cinema e storia: Cinéma et histoire. Lecce: Pensa multimedia, 2012.

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Ashton, Bridgette. British cinema: A history. Huntington: Elm Pubns., 1992.

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Eisenstein, cinema, and history. Urbana: University of Illinois Press, 1993.

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Il cinema oltre il cinema. Pisa: ETS, 2011.

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Parente, André. Ensaios sobre o cinema do simulacro: Cinema existencial, cinema estrutural e cinema brasileiro contemporâneo. Rio de Janeiro: Editora Pazulin, 1998.

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Mann, Brenda. Cinema. Hove: Wayland, 1989.

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Meiresonne, Bastian, and Sasithorn Ariyavicha. Thai cinema. Lyon, France: Asiexpo, 2006.

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Manning, Sam. Cinemas and Cinema-Going in the United Kingdom. London: University of London Press, 2020.

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Book chapters on the topic "Cinema history"

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Martin-Jones, David. "History/Ethics." In Cinema Against Doublethink, 35–62. New York: Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315694832-2.

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Martin-Jones, David. "Ethics/History." In Cinema Against Doublethink, 63–87. New York: Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315694832-3.

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Rosenstone, Robert A. "Seediq Bale as history." In Taiwan Cinema, 134–45. Milton Park, Abingdon, Oxon ; New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315170244-11.

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Chiu, Kuei-fen. "Violence and indigenous visual history." In Taiwan Cinema, 146–58. Milton Park, Abingdon, Oxon ; New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315170244-12.

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Maltby, Richard. "New Cinema Histories." In Explorations in New Cinema History, 1–40. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396416.ch1.

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Walker, Michael. "Beaches: Early History." In Endings in the Cinema, 103–13. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-31657-0_6.

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Joo, You-shin. "Writing a History Through Cinema." In Korean Film and History, 52–66. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003279013-5.

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Chakraborty, Abin. "Hindutva, History and Hindi Cinema." In Engaging with a Nation, 88–101. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003504504-9.

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Gregersdotter, Katarina, Nicklas Hållén, and Johan Höglund. "A History of Animal Horror Cinema." In Animal Horror Cinema, 19–36. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496393_2.

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Herbert, Stephen. "The Somnolent Cinema." In A History Of Early Television Vol 3, 91–100. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032660387-14.

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Conference papers on the topic "Cinema history"

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Funk, Walter. "History of autostereoscopic cinema." In IS&T/SPIE Electronic Imaging, edited by Andrew J. Woods, Nicolas S. Holliman, and Gregg E. Favalora. SPIE, 2012. http://dx.doi.org/10.1117/12.909410.

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Nekita, A. G. "Didactic And Heuristic Potential Of American Horror Cinema." In Pedagogical Education: History, Present Time, Perspectives. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.02.54.

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RAMOS, Igor, and Helena BARBOSA. "The orient and the occident through cinema and film posters: A Portuguese case study." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_008.

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Yuan, Xiaoyan. "The Research Methods of Spatial Memory and Local Cinemas History: Taking Nanjing Dahua Cinema in the 1940s as an Example." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.269.

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Kostrov, A. V. "The reflection of Semeiskie of Transbaikal region in the cinema sources of the Soviet period." In Old Belief: History and Modernity, Local Traditions, Relations in Russia and Abroad. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0771-8-75-80.

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Āboliņa, Daira. "Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.

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The research is focused on the development of the means of artistic expression applied in the cinema of a specific time period (1966–1989), analysing the films made at the Riga Film Studio (Rīgas Kinostudija), commissioned by the Central Television of the USSR. Both innovative and formal solutions can be found in the films of that era, especially considering the creation of the two-part format. The current publication focuses on the genesis of the artistic and production processes of the film “Lielais dzintars” (“The Great Amber”, “Dziesma par Rīgu” / “A Song About Riga”, 1972), in the context of the cinema development of that time, based on the documents of the Latvian State Archives of the Latvian National Archives. The inclusion of humorous elements in the film’s narrative, the use of music, visually impressive Latvian landscapes on the screen, an international cast corresponding to the scale of the USSR, was a way to sell the film to the customer. Riga Film Studio and its authors agreed to modify the script and film several times, subjecting themselves to artistic compromises. Censorship in the USSR realized its ideological goals by idealizing the Soviet man’s way of life, destroying the narrative and aesthetics of the film “Lielais dzintars”.
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Bohanţov, Alexandru. "Intercultural dialogue in today’s documentary fi lm." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.21.

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It is well known that in traditional human societies, intercultural communication is mainly achieved through natural language. In the contemporary era, however, the written/oral discourse has been continuously integrated into increasingly complex semiotic systems by means of sophisticated information technologies. Th is phenomenon amplifi ed the intercultural dialogue and, thus, a regeneration of the exchange of symbolic goods at the planetary level was attested. In general, throughout history, mass media, starting with print media, radio communication, cinema, television and up to the Internet have stimulated public debate in human communities, and the production and reception of media messages has acquired an overwhelming role. Th is article is focused on the “cinema of reality”, trying to shed light on the presence of intercultural communication in today’s documentary fi lm. We will refer to the documentary dialogue Life in a Day from 2011 and 2020, respectively; the fi lm Marica (2011) directed by Mircea Surdu; At home in Marienfeld (2014) by Eugeniu Popovici, Lucia Tăut and Irina Crăciun (screenplay and direction).
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Rincón, Aintzane. "POPULAR CINEMA AND HUMANITIES. NORTH AMERICAN RECENT HISTORY AND THE MEANINGS OF ITS DEPICTION IN FORREST GUMP (ROBERT ZEMECKIS, 1994)." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/iceri.2016.1473.

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Margineanu, Virgiliu. "The trend of the film industry in the Republic of Moldova during the 30 years of independence." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.25.

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In the 90s, with the collapse of the Soviet Empire, the systems by which certain artistic fields functioned were also ruined. Heavy names of Moldovan cinema became legends. The few new names seemed devoid of the prospect of a bright future, and the film, as the seventh art, turned off the light and drew the curtain. By taking a look at the past, on the one hand, Moldovan cinematography has a path with high-impact achievements, with a rich history, but at the same time, it is the least developed field, if we relate it to the rise which other arts have experienced since our independence.
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Фунтикова, А. Д. "THE IMAGE OF THE HERO TRANSLATED IN CULTURE (PETER THE GREAT IN PAINTING AND CINEMA)." In Образ героя. От прошлого к настоящему. Crossref, 2023. http://dx.doi.org/10.54874/9785605054252.2023.1.19.

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Личность Петра — одна из самых значительных в русской истории. Масштабы его деятельности поистине велики. Русская мысль неизменно обращается ко времени царствования Петра — в поисках причин современного кризиса, образца или антиидеала. Целью работы было раскрыть особенности воплощения образа Петра I в русском изобразительном и кинематографическом искусстве в связи со спецификой его восприятия в разные исторические периоды, а также тенденциями, определяющими развитие художественной культуры времени. Peter I’s personality is one of the most significant in Russian history. The scale of its activities is truly great. Russian thought invariably turns to the time of Peter’s reign — in search of the causes of the modern crisis, a model or an anti-ideal. The aim of the work was to reveal the features of the embodiment of the image of Peter I in Russian visual and cinematographic art in connection with the specifics of its perception in different historical periods, as well as trends that determine the development of artistic culture of this time.
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Reports on the topic "Cinema history"

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Pryt, Karina. Polish-German film relations in the process of building German cultural hegemony in Europe 1933-1939. Universitätsbibliothek Johann Christian Senckenberg, December 2022. http://dx.doi.org/10.21248/gups.70888.

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The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological terms, it belongs to cultural diplomacy and adds simultaneously to film history and New Cinema History.
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HOLDEN, N. E. A SHORT HISTORY CSISRS - AT THE CUTTING EDGE OF NUCLEAR DATA INFORMATION STORAGE AND RETRIEVAL SYSTEMS AND ITS RELATIONSHIP TO CINDA, EXFOR AND ENDF. Office of Scientific and Technical Information (OSTI), December 2005. http://dx.doi.org/10.2172/862430.

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Suárez, Nicólas. Museos del cine latinoamericanos Políticas de preservación fílmica en contextos conviviales y desiguales. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, June 2022. http://dx.doi.org/10.46877/suarez.2022.46.

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Hacia mediados del siglo XX, en distintas partes del mundo se crearon diversos museos del cine y cinematecas, para preservar el patrimonio cultural de sus respectivas comunidades. En el caso de Latinoamérica, al establecerse en contextos socialmente desiguales y culturalmente diversos, estas instituciones se desarrollaron como configuraciones conviviales en las que las relaciones entre las personas y los archivos se vieron afectadas por profundas diferencias culturales y asimetrías de financiamiento. Este artículo provee un análisis comparativo de la historia de una serie de instituciones emblemáticas del Cono Sur que dan cuenta de esas relaciones. Para ello, se examina el modo en que estos archivos toman la forma de configuraciones conviviales que, por un lado, legitiman jerarquías existentes, y, por el otro, constituyen estrategias antihegemónicas de memorialización frente a políticas públicas deficientes y frente a tecnologías digitales que aceleran la obsolescencia del cine. Esta formulación estético-política de relaciones conviviales desiguales que abarcan la preservación, producción y circulación del patrimonio cinematográfico es lo que denomino “museos del cine latinoamericanos”.
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