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Journal articles on the topic 'Cinema history'

To see the other types of publications on this topic, follow the link: Cinema history.

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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 ‚Äúcontent in context‚Äù 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‚Äôs 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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8

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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9

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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10

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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11

Radstone, S. "Cinema/memory/history." Screen 36, no. 1 (March 1, 1995): 34–47. http://dx.doi.org/10.1093/screen/36.1.34.

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12

Volkov, E. V., and M. V. Sapronov. "Wartime Leningrad Cinemas: During and After the Blockade." Modern History of Russia 12, no. 3 (2022): 581–95. http://dx.doi.org/10.21638/11701/spbu24.2022.303.

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This article considers cinemas in Leningrad during the Great Patriotic War was a social space, which, using concept of the French sociologist Henri Lefebvre, can be considered as having three levels. First, there is a “representation of space”, that implies these aspects: how cinemas were represented and embodied in material forms (architectural appearance and interior decoration), and how the work of this institution was planned. The second level is “spatial practices”: the functioning of the cinema in real conditions through the activities of its employees, which could differ from orders from above. The third level is the “space of representations”, or how the cinema appears to viewers who visited it. During the Great Patriotic War, the social space of architectural structures in Leningrad cinemas largely remained the same as in the pre-war period. However, in wartime, mobilization acquired a larger character in cinemas. The spatial practices of cinema employees, whose composition has undergone changes in connection with the mass conscription to the front, labor mobilizations, diseases, and high mortality (mostly elderly and disabled people worked there) were also been transformed. The working day for cinema workers increased significantly. At the same time, a number of cinemas in Leningrad were temporarily closed and “conserved”. Cinemas as “spaces of representation” were associated for many viewers with a place of cultural practices, recreation, and distraction from the scourge of war. The repertoire of cinemas in Leningrad in contrast to the pre-war period, has changed significantly in the direction of increasing the display of newsreels, educational and documentary films, as well as military-historical feature films and “allied films” of American and British production.

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13

Smith, Frances. "Femininity, ageing and performativity in the work of Amy Heckerling." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 49–63. http://dx.doi.org/10.33178/alpha.10.03.

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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 ‚Äúcontent in context‚Äù 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‚Äôs 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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14

Horton, Andrew, and James Goodwin. "Eisenstein, Cinema, and History." Russian Review 53, no. 4 (October 1994): 596. http://dx.doi.org/10.2307/130998.

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15

Gemünden, Gerd. "Austrian Cinema: A History." Monatshefte 99, no. 1 (2007): 131–33. http://dx.doi.org/10.1353/mon.2007.0007.

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16

Donald, James. "Cinema, History and Culture." Theory, Culture & Society 3, no. 2 (June 1986): 141–46. http://dx.doi.org/10.1177/0263276486003002012.

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17

O'kane, John. "History, Performance, Counter Cinema." Screen 26, no. 6 (November 1, 1985): 2–17. http://dx.doi.org/10.1093/screen/26.6.2.

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18

Sorlin, Pierre. "Cinema: an undiscoverable history?" Paragraph 15, no. 1 (March 1992): 1–18. http://dx.doi.org/10.3366/para.1992.0001.

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19

España Rodríguez, Jesús. "El cine de José Luis Guerín: En construcción (2001) y Unas fotos en la ciudad de Sylvia (2007)." Norba. Revista de Arte, no. 43 (January 11, 2024): 261–83. http://dx.doi.org/10.17398/2660-714x.43.261.

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The thinker Jacques Aumont confirms in Du visage au cinéma that a special treat-ment of the face has developed throughout the history of the cinema but refuses to admit the existence of a cinema portrait. The career of filmmaker José Luis Guerin calls into question such categorical statements. This work studies Guerin´s work, confronts it with that of Aumont´s and aims to establish a bridge between theory and practice that, in turn, brings cinema closer to a genre, portraiture, whose integration with other arts has never been questioned.

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20

Scheible, Jeff. "Expanded Cinema, Recycled Cinema." Feminist Media Histories 8, no. 2 (2022): 180–207. http://dx.doi.org/10.1525/fmh.2022.8.2.180.

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VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT’s 1968 Ping Pong and Varda’s 2006 “Ping Pong, Tong, et Camping”), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists’ repeated returns to ping pong by staging a “volley,” alternating between different scenes and iterations across Europe and the US, from the 1960s to the 2010s. Additional works discussed include EXPORT’s 1980s television documentary on avant-garde film, The Armed Eye, and Varda’s final two documentaries, Faces Places (2017) and Varda by Agnès (2019).

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21

van Oort, Thunnis. "Cinemas in Britain: a history of cinema architecture (revised edition)." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 178–79. http://dx.doi.org/10.1080/01439685.2012.728337.

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22

Biltereyst, Daniel. "Sex Cinemas, Limit Transgression and the Aura of ‘Forbiddenness’: The Emergence of risqués Cinemas and Cinema Leopold in Ghent, Belgium, 1945–54." Film Studies 18, no. 1 (2018): 14–33. http://dx.doi.org/10.7227/fs.18.0002.

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Arguing that limit transgression is a key feature for understanding the cinematic performance of, and the controversy around, sexuality in the public sphere, this contribution focuses on various aspects of limit transgression in relation to sex cinemas. Following a new cinema history approach and concentrating on the case of an emerging sex cinema in postwar Belgium (Cinema Leopold in Ghent, 1945–54), this article looks at various dimensions of limit transgression in terms of concrete physical and spatial relations; programming strategies; audience experiences; and a range of disciplining societal practices and institutional discourses.

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23

Hake. "German Cinema as European Cinema: Learning from Film History." Film History 25, no. 1-2 (2013): 110. http://dx.doi.org/10.2979/filmhistory.25.1-2.110.

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24

López, Ana M. "The State of Things: New Directions in Latin American Film History." Americas 63, no. 2 (October 2006): 197–203. http://dx.doi.org/10.1017/s0003161500062969.

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Twenty-five years ago, English-language scholarship on Latin American film was almost entirely identified with the New Latin American Cinema movement. The emerging “new” cinemas of Brazil, Cuba and Argentina, linked to evolving social movements and to the renewal of the pan-Latin American dreams of Martí and Bolivar (Nuestra América, “Our America”), had captured the imagination of U.S.-based and other scholars. As I argued in a 1991 review essay, unlike other national cinemas which were introduced into English-language scholarship via translations of “master histories” written by nationals (for example, the German cinema, which was studied through the histories of Sigfried Kracauer and Lotte Eisner), the various Latin American cinemas were first introduced in English-language scholarship in the 1970s ahistorically, through contemporary films and events reported in non-analytical articles that provided above all, political readings and assessments. Overall, this first stage of Latin American film scholarship was plagued by problems that continued to haunt researchers through the 1980s: difficult access to films, scarce historical data, and unverifiable secondary sources. Above all, this work displayed a blissful disregard of the critical and historical work written in Spanish and Portuguese and published in Latin America.

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25

Andrzej Dębski, Andrzej Dębski. "Kina na Dolnym Śląsku: rekonesans historyczny." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 129–45. http://dx.doi.org/10.14746/i.2019.35.07.

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The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.

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26

Mayhall, L. E. N. "Teaching British Cinema History as Cultural History." Radical History Review 2002, no. 83 (April 1, 2002): 193–97. http://dx.doi.org/10.1215/01636545-2002-83-193.

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27

Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.

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28

Velez-Serna, Maria A. "Explorations in New Cinema History: approaches and case studies; Cinema, Audiences and Modernity: new perspectives on European cinema history." Historical Journal of Film, Radio and Television 32, no. 3 (September 2012): 489–91. http://dx.doi.org/10.1080/01439685.2012.699625.

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29

Rice, Tom. "Distant Voices of Malaya, Still Colonial Lives." Journal of British Cinema and Television 10, no. 3 (July 2013): 430–51. http://dx.doi.org/10.3366/jbctv.2013.0149.

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Through the example of the Crown film Voices of Malaya (1948), this article examines interrelated postwar shifts in colonial history and British documentary cinema. Produced over three tumultuous years (1945–8) – in Malaya and England, with local film-makers and British documentarians – Voices of Malaya is a hybrid text torn between traditions of British documentary cinema and an emerging instructional, colonial cinema; between an international cinema for overseas audiences and a local cinema used within government campaigns and between an earlier ideal of empire and a rapidly changing, late liberal imperialism. The article challenges the traditional decline and fall narrative of the British documentary movement, as I examine the often overlooked ‘movement overseas’ of film-makers, practices and ideologies into the colonies after the war. In charting the emergence of the Malayan Film Unit, I examine the role of the British documentary movement in the formation of local postcolonial cinemas.

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30

Murad, Husain A., Husain A. Ebrahim, and Ali A. Dashti. "Kuwait Cinema History and Future:." المجلة العلمية لبحوث الإذاعة والتلفزيون 2022, no. 23 (January 1, 2022): 1–13. http://dx.doi.org/10.21608/ejsrt.2022.243070.

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31

Leventopoulos, Mélisande. "Review: Cinema and Counter-History." Memory Studies 10, no. 1 (January 2017): 101–4. http://dx.doi.org/10.1177/1750698016670796d.

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32

Mowitt, John. "Cinema As Slaughterbench of History." Journal of Communication Inquiry 9, no. 1 (January 1985): 62–75. http://dx.doi.org/10.1177/019685998500900105.

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33

Helt, Richard C., and Thomas Elsaesser. "New German Cinema -- A History." German Studies Review 13, no. 1 (February 1990): 189. http://dx.doi.org/10.2307/1431094.

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34

Hsiao‐Hsien, Hou, and Petrus Liu. "Cinema and history: critical reflections." Inter-Asia Cultural Studies 9, no. 2 (June 2008): 173–83. http://dx.doi.org/10.1080/14649370801965547.

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35

Nowell-Smith, G. "On history and the cinema." Screen 31, no. 2 (June 1, 1990): 160–71. http://dx.doi.org/10.1093/screen/31.2.160.

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36

Clayton, J. Douglas. "A History of Russian Cinema." Historical Journal of Film, Radio and Television 30, no. 3 (September 2010): 447–48. http://dx.doi.org/10.1080/01439685.2010.509966.

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37

Milonaki, Angeliki. "A History of Greek Cinema." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 340–43. http://dx.doi.org/10.1080/01439685.2013.793013.

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38

McDonald, Paul. "Researching film and cinema history." New Review of Film and Television Studies 8, no. 3 (September 2010): 261–63. http://dx.doi.org/10.1080/17400309.2010.499760.

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39

Losensky, Paul. ":Iranian Cinema: A Political History." American Historical Review 114, no. 2 (April 2009): 521–22. http://dx.doi.org/10.1086/ahr.114.2.521a.

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40

Nordfjörd, Björn. "A History of Danish Cinema." Scandinavian Studies 95, no. 2 (July 1, 2023): 272–75. http://dx.doi.org/10.5406/21638195.95.2.07.

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41

Nordfjörd, Björn. "A History of Danish Cinema." Scandinavian Studies 95, no. 2 (2023): 272–75. http://dx.doi.org/10.3368/sca.95.2.0272.

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42

Bachynska, Yulia. "GENDER STEREOTYPING OF THE IMAGE OF WOMEN IN CINEMATOGRAPHY DURING THE REGIME OF F. FRANCO." Intermarum history policy culture, no. 14 (May 29, 2024): 197–212. http://dx.doi.org/10.35433/history.112077.

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The purpose of the article is to analyze gender stereotypes in the depiction of female images and the use of female physicality for the purpose of forming new sex-role models. The research methodology is based on the principles of historicism, multifactoriality and objective knowledge. At the theoretical level of research, analytical, synthetic methods and abstraction were applied; methodological techniques of comparison, grouping of individual elements of the phenomenon according to a certain criterion are used. The methods of general scientific research were used to write the article: system-structural, periodization method, retrospective, historical-genetic. The scientific novelty consists in the application of a gender approach to the analysis of the stereotyping of the depiction of female images and physicality in the cinema of Spain during the F. Franco regime. Conclusions. The results of the research allow us to draw a conclusion about the widespread use of gender stereotypes in the depiction of female physicality in cinema, as well as the specifics of the demonstration of female images and the use of clichés depending on the stages of activity of F. Franko's regime. Characteristic features of the first period of the Francoist regime were militarism, nationalism, and the concept of the "Crusade against Communism." In the cinema, this was expressed through strict censorship regarding the depiction of female physicality. The specificity of the autarky period was an appeal to history, religion and patriotism. Women who embodied "true Spanish virtues" on the movie screens had to look and behave modestly, within the framework of generally accepted norms. Looseness, revealing clothes, bright makeup and other attributes of the eroticization of the female image served as markers of danger. But at the end of this period, a departure from the strict framework began as a result of the changes that took place in society. At the last stage of F. Franko's regime, almost all spheres of life were liberalized. During this period, the pressure of censorship significantly decreased, clichés and gender stereotypes of previous periods lost their relevance, instead, new female images appeared in cinema. New means of expression appeared in movie plots, and the depiction of female physicality was freed from former strict restrictions and corresponded to pan-European trends.

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Landy, Marcia. "Opera, cinema, melodrama, and history: The case of Italian cinema." European Legacy 1, no. 4 (July 1996): 1597–601. http://dx.doi.org/10.1080/10848779608579617.

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Wood, M. "Report. Cinema, identity, history: an international conference on British cinema." Screen 40, no. 1 (March 1, 1999): 94–96. http://dx.doi.org/10.1093/screen/40.1.94.

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Rajabi, Helen. "Cinema, Audiences and Modernity: New Perspectives on European Cinema History." European Review of History: Revue europeenne d'histoire 19, no. 4 (August 2012): 627–29. http://dx.doi.org/10.1080/13507486.2012.702061.

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Frodon, Jean-Michel. "Answers." Studies in World Cinema 1, no. 1 (January 27, 2021): 87–91. http://dx.doi.org/10.1163/26659891-0000b0004.

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Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema relates to a more specific type of films, that are not so many but gives a particular visibility to an immensely vast phenomenon with films that are either “without borders”, or mixing various origins and references. By keeping these in mind, the research on world cinema should be issue based, acknowledging de vast rainbow of various ways to make cinema, related with socio-economical and cultural contexts, political environment, inscription in various aspects of history of cinema aesthetics and other artistic and cultural means of expressions, local, regional and global. The films of world cinema are, or at least should be objects of research, objects of thinking, but also if not primarily objects of love.

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Belica, Ondřej. "Cinema as a Problem: Inventions and Innovations in the History of Cinema (Benoît Turquety, Inventing Cinema: Machines, Gestures and Media History)." Iluminace 33, no. 1 (March 1, 2021): 133–40. http://dx.doi.org/10.58193/ilu.1698.

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Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (July 2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.

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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.

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Stojanova, Christina. "The Great War: Cinema, Propaganda, and The Emancipation of Film Language." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 131–56. http://dx.doi.org/10.1515/ausfm-2017-0006.

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AbstractThe relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916:Battle of Somme, With Our Heroes at the Somme(Bei unseren Helden an der Somme) andBattle of Somme(La Bataille de la Somme), as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’sHearts of the World(1918) and Allen Holubar’sThe Heart of Humanity(1919), and explains the longevity of the former with the powerful “text effect” of the authentic wartime footage included. Thus, while these WWI propaganda works do validate Virilio’s ideas of the integral connections between technology, war and cinema, and between cinema and propaganda, they also herald the emancipation of post-WWI film language.

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Khan, Mahek. "REFLECTIONS ON THE INTERFACE WITH REALITIES AND IDEAS: AN OVERVIEW OF IRANIAN CINEMA." Rashhat-e-Qalam 2, no. 2 (September 15, 2022): 60–78. http://dx.doi.org/10.56765/rq.v2i2.72.

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Cinema has been playing one of the most significant influences in our modern life. A lot of countries are involved in filmmaking, so the Iranian has been actively involved in cinema which has become famous across the world. Iranian cinema offers a fascinating even astonishing masterwork; it gives an artistic sophistication, mesmerisation, and passionate significance to humanism. While Hollywood, dominated by flashy fantasies, has put up many national cinemas out of business, Iran's filmmakers have still continued to influence the world audience with their unique and notable formal ingenuity and adherence to real-life people and their problems. In the international arena, Iranian cinema inspired successive generations. There has never been a bit of a moment in the history of Iranian cinema when it remained restricted to its current domains or boundary. Iranian cinema is huge and heterogeneous in its character, as are the historical-cultural, political, and social aspects of Iran itself. 'Realism' in Iranian films can be elucidated through different models or patterns, which has been attempted to deal with in this paper.

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