Gotowe bibliografie tematyczne / Motion picture industry – Australia – History

Gotowa bibliografia na temat „Motion picture industry – Australia – History”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 lutego 2022

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Artykuły w czasopismach na temat "Motion picture industry – Australia – History"

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

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Fielding, Raymond. "Accounting practices in the early American motion picture industry". Historical Journal of Film, Radio and Television 12, nr 2 (styczeń 1992): 115–25. http://dx.doi.org/10.1080/01439689200260071.

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Rosenbloom, Nancy J., Frank Walsh i Janet Staiger. "Sin and Censorship: The Catholic Church and the Motion Picture Industry." Journal of American History 83, nr 3 (grudzień 1996): 1042. http://dx.doi.org/10.2307/2945725.

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Pivar, David J., i Frank Walsh. "Sin and Censorship: The Catholic Church and the Motion Picture Industry." American Historical Review 102, nr 2 (kwiecień 1997): 554. http://dx.doi.org/10.2307/2171002.

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Pyron, Darden Asbury, i Richard Alan Nelson. "Florida and the American Motion Picture Industry, 1898-1980. Volumes I and II." Journal of Southern History 52, nr 3 (sierpień 1986): 478. http://dx.doi.org/10.2307/2209600.

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Rice, Tom. "Protecting Protestantism: The Ku Klux Klan vs. The Motion Picture Industry". Film History: An International Journal 20, nr 3 (wrzesień 2008): 367–80. http://dx.doi.org/10.2979/fil.2008.20.3.367.

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Bakker, Gerben. "Building Knowledge about the Consumer: The Emergence of Market Research in the Motion Picture Industry". Business History 45, nr 1 (styczeń 2003): 101–27. http://dx.doi.org/10.1080/713999299.

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Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood". Pacific Historical Review 80, nr 2 (1.05.2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.

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Dawson, Andrew. "Challenging Lilywhite Hollywood: African Americans and the Demand for Racial Equality in the Motion Picture Industry, 1963-1974". Journal of Popular Culture 45, nr 6 (grudzień 2012): 1206–25. http://dx.doi.org/10.1111/jpcu.12005.

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Rozprawy doktorskie na temat "Motion picture industry – Australia – History"

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-50)". Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.
Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).

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Urquhart, Peter. "1979 : reading the tax-shelter boom in Canadian film history". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.

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More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them.
I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.
The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.

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Ryu, Jae Hyung. "Reality & effect a cultural history of visual effects /". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.

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Thesis (Ph. D.)--Georgia State University, 2006.
Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

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Hope, Cathy. "A history of the Sydney and Melbourne Film Festivals, 1945-1972 negotiating between culture and industry /". Connect to this title online Connect to this title online (alternate address), 2004. http://cicada.canberra.edu.au/public/adt-AUC20050630.130907/.

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Cork, Kevin James, of Western Sydney Nepean University i Faculty of Humanities and Social Sciences. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales". THESIS_FHSS_XXX_Cork_K.xml, 1994. http://handle.uws.edu.au:8081/1959.7/684.

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Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areas
Master of Arts (Hons)

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Boden, Susan, i n/a. "'an unsettled state': the real and the imainary in Australian cinematic and designed landscapes". University of Canberra. Design, 2002. http://erl.canberra.edu.au./public/adt-AUC20060426.161116.

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This thesis considers varied representations of landscape in Australian narrative film and designed landscape. Landscape is taken as an active concept that combines the associative meanings of place and the dynamism of space. Sixteen film and designed landscapes are examined to derive their landscape sources, forms and ideas, using the methodology of 'contextual poetics', Each of these landscapes is considered under a specific theme: landscape as delight, absence, nation or hope. In addition to detailing specific landscape responses by the designers of the examined landscapes, this project aims to contribute to an enhanced conversation about the effective, just practice of landscape architecture. The topic derives from a question central to landscape architectural practice in a post-colonial context, such as Australia. In a cultural setting where no single, agreed definition of landscape is allowed by the conditions of its history, which versions do practitioners of landscape architecture take up? What should be their limits, where are their inspirations and whose landscape narratives are ignored in these decisions?

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Kontour, Kyle, i n/a. "Making culture or making culture possible : notions of biculturalism in New Zealand 1980s cinema and the role of the New Zealand Film Commission". University of Otago. Department of Communication Studies, 2002. http://adt.otago.ac.nz./public/adt-NZDU20070508.140943.

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In the 1970s and 1980s New Zealand experienced significant socio-economic upheaval due in part to the global economy, economic experiments, and the gains of Maori activism. Despite the divisiveness of this period (or possibly because of it), anxieties over notions of New Zealand national identity were heightened. There was a general feeling among many Kiwis that New Zealand culture (however it was defined) was in danger of extinction, mostly due to the dominant influences of the United states and Britain. New Zealanders sought ways to distinguish themselves and their nation. One of the ways in which this desire was manifested was in the establishment of the New Zealand Film Commission (NZFC). This government sponsored body corporate was designed to provide an infrastructure for New Zealand filmmaking, through which New Zealand and New Zealanders could be represented. As a result, New Zealand filmmaking boomed during the early to mid-1980s. Significantly, this boom occurred simultaneous to the increasing relevance and importance of notions of biculturalism, both in cultural and socio-political terms. The question that drives this thesis is how (or whether) biculturalism was articulated in the explicit or implicit relationships between cultural debates, governmental policies, the NZFC�s own policies and practices and its interaction with filmmakers. This thesis examines the ways in which aspects of the discourse of biculturalism feature in New Zealand cinema of the 1980s in terms of the content, development, production and marketing of three films of this era that share particular bicultural themes and elements: Utu (Geoff Murphy, 1983), The Quiet Earth (Geoff Murphy, 1985) and Arriving Tuesday (Richard Riddiford, 1986). This thesis also examines the role of the NZFC in these processes as prescribed by legislation and in terms of the NZFC�s own policies and procedures. This thesis consults a variety of primary and secondary sources in its research. Primary sources include film texts, public documents, archival material, trade journals, and interviews with important figures in the New Zealand film industry. Conclusions suggest that the interaction of numerous socio-historical factors, and the practices and policies of the NZFC, denote a process that was not direct in its articulation of notions of biculturalism. Rather, this involved an array of complex cultural, fiscal. industrial, professional and aesthetic forces.

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Li, Yan 1959. "The Chinese Film Industry After 1976". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500539/.

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After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 1976 and 1988 in the Chinese film history and its influence on the development of the Chinese film industry; it concludes with the discussion of the direction the Chinese film industry is heading in the future.

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黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

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Sa, Neto Arthur Autran Franco de. "O pensamento industrial cinematografico brasileiro". [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285100.

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Orientador: Jose Mario Ortiz Ramos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T03:27:30Z (GMT). No. of bitstreams: 1 SaNeto_ArthurAutranFrancode_D.pdf: 11882720 bytes, checksum: db30cbb6ee1df82ebd19160092a2442e (MD5) Previous issue date: 2004
Resumo: Esta tese versa sobre o pensamento industrial cinematográfico brasileiro no período que vai de 1924 a 1990. Partindo da constatação da centralidade para o meio cinematográfico das discussões em tomo da formação de uma indústria de cinema no Brasil e de que esta nunca chegou a se configurar plenamente, investigam-se quais as propostas para sua constituição, analisando desde as promessas aí contidas até suas limitações e contradições. Para realizar tal pesquisa foram utilizados livros, artigos, entrevistas, memórias e os próprios filmes nos quais diretores, críticos, produtores e políticos expõem suas idéias sobre como formar a indústria cinematográfica e quais devem ser os seus objetivos econômicos e culturais. Também foram realizadas comparações com o rádio e a televisão, a fim de se delinear diferenças presentes no ideário das três áreas passíveis de explicar, ainda que parcialmente, os motivos pelos quais o cinema não se desenvolveu economicamente tanto quanto aquelas indústrias culturais
Abstract: Not informed.
Doutorado
Multimeios
Doutor em Multimeios

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Książki na temat "Motion picture industry – Australia – History"

1928-, Fraser John, i Greater Union Organisation, red. 75 years of cinema in Australia: The Greater Union story 1910-1985. Sydney: Greater Union Organisation, 1985.

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Hodson, Barrett. Straight roads and crossed lines: The quest for film culture in Australia from the 1960s? [sic]. Redaktor Mudie Peter. Shenton Park, W.A: Bernt Porridge Group, 2001.

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Reid, Mary Anne. Long shots to favourites: Australian cinema successes in the 90s. North Sydney, NSW: Australian Film Commission, 1993.

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Australian History and Film Conference (6th 1993 La Trobe University, Melbourne). Screening the past: Aspects of early Australian film : selected papers from the Sixth Australian History and Film Conference and other sources. Acton, ACT: National Film and Sound Archive, 1995.

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Herd, Nick. Chasing the runaways: Foreign film production and film studio development in Australia, 1988-2002. Sydney: Currency House in association with the Australian Writers' Foundation, 2004.

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Moran, Albert. Projecting Australia: Government film since 1945. Sydney: Currency Press, 1991.

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Michael, Bodey, red. Aussiewood: Australia's leading actors and directors tell how they conquered Hollywood. Crows Nest, NSW: Allen & Unwin, 2004.

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Dermody, Susan. The screening of Australia. Sydney: Currency Press, 1987.

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Spencer, Michael. Hollywood North: Creating the Canadian motion picture industry. Montréal, QC: Cantos International, 2003.

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The Asian film industry. London: Christopher Helm, 1990.

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Części książek na temat "Motion picture industry – Australia – History"

"Movie stars and the distribution of ﬁnancially successful ﬁlms in the motion-picture industry". W An Economic History of Film, 234–55. Routledge, 2004. http://dx.doi.org/10.4324/9780203358047-13.

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Marzola, Luci. "A Community of Engineers". W Engineering Hollywood, 15–41. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0002.

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In the motion picture industry, large East Coast manufacturers such as Kodak, GE, DuPont, and Bausch & Lomb produced materials such as lights, film stock, and lenses for production. Beginning with a brief history of the motion picture technology field before 1915, this chapter describes how the industry increasingly became reliant on these American industrial concerns. Beginning around 1916, the manufacturing side of the business was professionalized and unified by the Society of Motion Picture Engineers (SMPE), while continuing to isolate itself from the production side of the industry for another decade. SMPE emphasized standardization across companies in the manufacturing of motion picture tools, creating a stable industry and a community for knowledge sharing that had little contact with the production center in the west.

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Erish, Andrew A. "Conclusion". W Vitagraph, 219–20. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0008.

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The Conclusion summarizes of a fundamental key to Vitagraph's success. Smith and Blackton's decision to embrace the vaudeville aesthetic of providing a variety of family-friendly entertainment proved so profitable that it laid the foundation upon which the rest of the American motion picture industry was to follow for well over half a century. It is posited that Vitagraph produced a greater variety of subjects than most other companies because of the inherent differences of its founding partners, Blackton being a humanist and Smith a Christian. It is an approach that American producers have chosen not follow for several decades as motion picture attendance declines. Not only does a comprehensive history of Vitagraph correct fundamental inaccuracies to the canon, it can also serve as a blueprint for a more inclusive and profitable future.

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Marzola, Luci. "Introduction". W Engineering Hollywood, 1–12. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0001.

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While the early years of Hollywood are usually seen in light of legendary figures such as Adolph Zukor, it is the engineers, technicians, and bureaucrats who supported the system that were responsible for every frame Hollywood produced. This introduction reorients the reader away from stars and producers and toward these technical workers and their organizations. It discusses the role of concepts such as creative industries, Hollywood’s invisible style, scientific management, technological determinism, scientific progressivism, engineering history, and trade organizations in the broader arguments presented throughout the book. When we look at Hollywood motion picture production as a technology business, rather than an anomalous industry, the studio system takes its place within its proper historical context of the American economy and culture as a whole.

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Papp, Susan M. "The Politics of Exclusion". W Polin: Studies in Polish Jewry Volume 31, 289–312. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764715.003.0014.

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THIS CHAPTER seeks to present a comparative examination of the film industries in Hungary and Poland from the invention of the first motion picture cameras in the 1890s up to and including the Second World War, and the important role played in this industry by Jews from both countries. Throughout the period, Hungary had a vibrant film industry, yet, from the end of the First World War, each successive government tried to politicize and shape it. In Poland, government interference was less intrusive until the late 1930s, and Jews continued to play an important role in the film industry until the German invasion in September 1939. Nevertheless calls were made to limit the role of Jews. Even though the history of filmmaking in the two countries was very different, there still remain some interesting historical comparisons to be explored. In particular, this chapter will examine the Hungarian Theatre and Film Chamber (A SzínműVészeti és a Filmművészeti Kamara), established in 1938 by the regime of Miklós Horthy in order to limit the number of Jews working in the film business in Hungary....

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Regev, Ronny. "Bargaining". W Working in Hollywood, 165–94. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0007.

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The sixth chapter recounts the history of Hollywood collective bargaining. On a day-to-day basis, the American motion picture industry relied on its ability to balance a modern, rationalized production operation with a more unstructured creative process. However, in times of crisis, when the harmony was interrupted, the creative element was often surrendered. During the 1930s, the presidency of FDR, his New Deal policies, and the empowerment of organized labor throughout the U.S. had a significant influence on Hollywood. The chapter focuses on the rise of the Screen Writers Guild, the Screen Actors Guild, and the Screen Directors Guild, their struggles, the way they chose to pursue them, and the attitude embraced towards them by studio management. However, as is shown, while they borrowed tactics from industrial unions and appealed to the National Labor Relations Board, Hollywood creative employees aligned with traditional industrial labor causes only as long as it served their immediate goals.

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