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|Author||: William Guynn|
The Routledge Companion to Film History is an indispensable guide for anyone studying film history for the first time. The approach taken presents a substantial and readable overview of the field and provides students with a tool of reference that will be valuable throughout their studies. The volume is divided into two parts. The first is a set of eleven essays that approaches film history around the following themes: History of the moving image Film as art and popular culture Production process Evolution of sound Alternative modes: experimental, documentary, animation Cultural difference Film’s relationship to history The second is a critical dictionary that explains concepts, summarizes debates in film studies, defines technical terms, describes major periods and movements, and discusses historical situations and the film industry. The volume as a whole is designed as an active system of cross-references: readers of the essays are referred to dictionary entries (and vice versa) and both provide short bibliographies that encourage readers to investigate topics.
|Author||: Fearghal McGarry,Jennie Carlsten|
Using an interdisciplinary approach, Film, History and Memory broadens the focus from 'history', the study of past events, to 'memory', the processes – individual, generational, collective or state-driven – by which meanings are attached to the past.
|Author||: Jeff Codori|
The period in film history between the regimentation of the Edison Trust and the vertical integration of the Studio System--roughly 1916 through 1920--was a time of structural and artistic experimentation for the American film industry. As the nature of the industry was evolving, society around it was changing as well; arts, politics and society were in a state of flux between old and new. Before the major studios dominated the industry, droves of smaller companies competed for the attention of the independent exhibitor, their gateway to the movie-goer. Their arena was in the pages of the trade press, and their weapons were their advertisements, often bold and eye-catching. The reporting of the trade journals, as they witnessed the evolution of the industry from its infancy towards the future, is the basis of this history. Pulled from the pages of the journals themselves as archived by the Media History Digital Library, the observations of the trade press writers are accompanied by cleaned and restored advertisements used in the battle among the young film companies. They offer a unique and vital look at this formative period of film history.
|Author||: Maarten Pereboom|
The ability to view recorded moving pictures has had a major impact on human culture since the development of the necessary technologies over a century ago. For most of this time people have gone to the movies to be entertained and perhaps edified, but in the meantime television, the videocassette recorder (VCR), the digital versatile disk (DVD) player, the personal computer (desktop and laptop), the internet and other technologies have made watching moving pictures possible at home, in the classroom and just about anywhere else. Today, moving images are everywhere in our culture. Every day, moving picture cameras record millions of hours of activity, human and otherwise, all over the world: your cell phone makes a little video of your friends at a party; the surveillance camera at the bank keeps on eye on customers; journalists’ shoulder-carried cameras record the latest from the war zone; and across the world film artists work on all kinds of movies, from low-budget independent projects to the next big-budget Hollywood blockbuster. Moving pictures have had a great influence on human culture, and this book focuses on using moving images as historical evidence. Studying history means examining evidence from the past to understand, interpret and present what has happened in different times and places. We talk and write about what we have learned, hoping to establish credibility both for what we have determined to be the facts and for whatever meaning or significance we may attach to our reconstruction of the past. Studying history is a scientific process, involving a fairly set methodology. We tend to favor written sources, and we have tended to favor writing as a means of presenting our views of the past. But historians also use all kinds of other documents and artifacts in their work of interpreting the past, including moving pictures.
|Author||: Eleftheria Thanouli|
|Editor||: Bloomsbury Publishing USA|
History and Film: A Tale of Two Disciplines addresses the representation of history in cinema, a much-argued debate on the need to understand cinematic history in its own terms and develop a certain vocabulary for discussing historical films, their relation to public history, and their impact on public historical consciousness. Eleftheria Thanouli does this by changing the agenda altogether - combining a macro-level perspective with a micro-level one in order to argue that cinematic history is the dominant form of historiography in the 20th century, as it succeeded in remediating and repurposing the key formal, rhetorical, and ideological practices of 19th-century professional historiography. With case studies ranging from The Thin Red Line and Life is Beautiful, to The Fog of War and The Last Bolshevik, Thanouli bridges the gap between history and film studies and lays the foundations for a new visual historiography.
|Author||: Joshua Malitsky|
|Editor||: John Wiley & Sons|
This volume offers a new and expanded history of the documentary form across a range of times and contexts, featuring original essays by leading historians in the field In a contemporary media culture suffused with competing truth claims, documentary media have become one of the most significant means through which we think in depth about the past. The most rigorous collection of essays on nonfiction film and media history and historiography currently available, A Companion to Documentary Film History offers an in-depth, global examination of central historical issues and approaches in documentary, and of documentary's engagement with historical and contemporary topics, debates, and themes. The Companion's twenty original essays by prominent nonfiction film and media historians challenge prevalent conceptions of what documentary is and was, and explore its growth, development, and function over time. The authors provide fresh insights on the mode's reception, geographies, authorship, multimedia contexts, and movements, and address documentary's many aesthetic, industrial, historiographical, and social dimensions. This authoritative volume: Offers both historical specificity and conceptual flexibility in approaching nonfiction and documentary media Explores documentary's multiple, complex geographic and geopolitical frameworks Covers a diversity of national and historical contexts, including Revolution-era Soviet Union, post-World War Two Canada and Europe, and contemporary China Establishes new connections and interpretive contexts for key individual films and film movements, using new primary sources Interrogates established assumptions about documentary authorship, audiences, and documentary's historical connection to other media practices. A Companion to Documentary Film History is an ideal text for undergraduate and graduate courses covering documentary or nonfiction film and media, an excellent supplement for courses on national or regional media histories, and an important new resource for all film and media studies scholars, particularly those in nonfiction media.
|Author||: Douglas Gomery,Clara Pafort-Overduin|
|Editor||: Taylor & Francis US|
How can we understand the history of film? Historical facts don't answer the basic questions of film history. History, as this book shows, is more than the simple accumulation of film titles, facts and figures.
|Author||: Virginia Wright Wexman|
|Editor||: Allyn & Bacon|
Substantially revised for this edition, "A History of Film" is a comprehensive international survey of film from its beginnings to the present. This text highlights the contributions of major film-producing countries, significant filmmakers, and their films within social, artistic, economic, and technological contexts. This Sixth Edition incorporates major revisions designed to improve the book's focus and provide more balanced coverage. New to the Sixth Edition Includes new chapters on Indian and Chinese cinemas, emphasizing the exploding film industry in these two countries. Adds a chapter on "The Digital Future" in American film, bringing the text up-to-date with latest technological and industrial developments. Discusses more women filmmakers throughout the text and adds a section on Asian-American filmmakers, expanding the diversity and inclusiveness of the text. Replaces many illustrations with new examples, most of them frame enlargements, and, specifically, keys all illustrations to discussions in the text, ensuring that the images will be valuable learning tools for students. Adds more extended analyses of individual films, helping students grasp large historical questions by presenting them within specific cases rather than in abstract generalities. Provides a new glossary, helping students understand the technical, foreign-language, and industry terms used in the text. Praise for "A History of Film" "The reason why I selected "A History of Film" over all of the other textbooks has to do with the basic approach of the subject of film as a developing art form while paying careful attention to film genres and history; the organizational structure of the chapters; a clear and authoritative writing style that explains the interconnectivity of film as a global phenomenon; and the use of judiciously selected stills in support of the text. . . . The structure, organization and content of "A History of Film" is so good that it is, to me, still the standard by which all other film textbooks must be measured." -"Stephen Ambra, New Hampshire Technical Institute" "The text concisely covers all of film history, and its size makes it particularly useful for film history courses taught in a single term. . . . It is typically quite insightful, yet not too dense for motivated introductory students." -"Mark Gallagher, University of Missouri"
|Author||: Gillian McIver|
|Editor||: Bloomsbury Publishing USA|
From Eugene Delacroix's interpretation of the 1830 French revolution to Uli Edel's version of the Baader-Meinhof Gang, artistic representations of historical subjects are appealing and pervasive. Movies often adapt imagery from art history, including paintings of historical events. Films and art shape the past for us and continue to affect our interpretation of history. While historical films are often argued over for their adherence to "the facts," their real problem is realism: how can the past be convincingly depicted? Realism in the historical film genre is often nourished and given credibility by its use of painterly references. This book examines how art-historical images affect historical films by going beyond period detail and surface design to look at how profound ideas about history are communicated through pictures. Art and the Historical Film: Between Realism and the Sublime is based on case studies that explore the links between art and cinema, including American independent Western Meek's Cutoff (Kelly Reichardt, 2010), British heritage film Belle (Amma Asante, 2013), and Dutch national epic Admiral (Roel Reiné, 2014). The chapters create immersive worlds that communicate distinct ideas about the past through cinematography, production design, and direction, as the films adapt, reference, and transpose paintings by artists such as Rubens, Albert Bierstadt, and Jacques-Louis David.
|Author||: Jonathan Stubbs|
|Editor||: A&C Black|
Although precise definitions have not been agreed on, historical cinema tends to cut across existing genre categories and establishes an intimidatingly large group of films. In recent years, a lively body of work has developed around historical cinema, much of it proposing valuable new ways to consider the relationship between cinematic and historical representation. However, only a small proportion of this writing has paid attention to the issue of genre. In order to counter this omission, this book combines a critical analysis of the Hollywood historical film with an examination of its generic dimensions and a history of its development since the silent period. Historical Film: A Critical Introduction is concerned not simply with the formal properties of the films at hand, but also the ways in which they have been promoted, interpreted and discussed in relation to their engagement with the past.
|Author||: James Fenwick|
This book makes the case for unproduction studies, the study of films left unmade, unseen, or unreleased, as a radical discipline with the potential to uncover a shadow history of the American film industry. Exploring the archival methods that can be utilised in this endeavour, James Fenwick argues that a revisionist history is needed to understand the logic of the film industry, finding that it has long-been predicated on a system of unmade creativity in which finances, resources, and labour is invested into projects that production companies know will never be produced or have no intention of ever producing. Using the Production Code Administration (PCA) records, housed at the Margaret Herrick Library, as a case study, the book explores the material existence of the unmade and considers how archives and archival methods can be used to construct a shadow history that recovers the forgotten, marginalised, and overlooked figures in film history, providing explanations for structural forces that contributed to the unmade. Given its unique use of the unmade as an analytic for film history, this book will be an essential read for scholars interested in film and media history, performance studies, film production, and creative practice, as well as to archivists and archival researchers.
|Author||: William Guynn|
Historical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.
|Author||: Anthony Slide|
The New Historical Dictionary of the American Film Industry is a completely revised and updated edition of Anthony Slide's The American Film Industry, originally published in 1986 and recipient of the American Library Association's Outstanding Reference Book award for that year. More than 200 new entries have been added, and all original entries have been updated; each entry is followed by a short bibliography. As its predecessor, the new dictionary is unique in that it is not a who's who of the industry, but rather a what's what: a dictionary of producing and releasing companies, technical innovations, industry terms, studios, genres, color systems, institutions and organizations, etc. More than 800 entries include everything from "Academy of Motion Pictures Arts and Sciences" to "Zoom Lens", from "Astoria Studios" to "Zoetrope". Outstanding Reference Source - American Library Association
|Author||: Jeremy Stoddard,Alan S. Marcus,David Hicks|
|Editor||: Taylor & Francis|
Teaching Difficult History through Film explores the potential of film to engage young people in controversial or contested histories and how they are represented, ranging from gender and sexuality, to colonialism and slavery. Adding to the education literature of how to teach and learn difficult histories, contributors apply their theoretical and pedagogical expertise and experiences to a variety of historical topics to show the ways that film can create opportunities for challenging conversations in the classroom and attempts to recognize the perspectives of historically marginalized groups. Chapters focus on translating research into practice by applying theoretical frameworks such as critical race theory, auto-ethnography or cultural studies, as well as more practical pedagogical models with film. Each chapter also includes applicable pedagogical considerations, such as how to help students approach difficult topics, model questions or strategies for engaging students, and examples from the authors’ own experiences in teaching with film or in leading students to develop counter-narratives through filmmaking. These discussions of the real considerations facing classroom teachers and professors are sure to appeal to experienced secondary teachers, pre-service teacher education programs, graduate students, and academic audiences within education, history, and film studies. Part and chapter discussion guides, full references of the films included in the book, and resources for teachers are available on the book’s companion website www.teachingdifficulthistory.com.
|Author||: Susan E. Linville|
|Editor||: University of Texas Press|
History films were a highly popular genre in the 1990s, as Hollywood looked back at significant and troubling episodes from World War II, the Cold War era, and the techno-war in the Persian Gulf. As filmmakers attempted to confront and manage intractable elements of the American past, such as the trauma of war and the legacy of racism, Susan Linville argues that a surprising casualty occurred—the erasure of relevant facets of contemporary women's history. In this book, Linville offers a sustained critique of the history film and its reduction of women to figures of ambivalence or absence. Historicizing and adapting Freud's concept of the uncanny and its relationship to the maternal body as the first home, she offers theoretically sophisticated readings of the films Midnight Clear, Saving Private Ryan, The Thin Red Line, Nixon, Courage Under Fire, Lone Star, and Limbo. She also demonstrates that the uncanny is not only a source of anxiety but also potentially a progressive force for eroding nostalgic ideals of nation and gender. Linville concludes with a close reading of a recent 9/11 documentary, showing how the patterns and motifs of 1990s history films informed it and what that means for our future.
|Author||: J. Chapman,M. Glancy,S. Harper|
The first major overview of the field of film history in twenty years, this book offers a wide-ranging account of the methods, sources and approaches used by modern film historians. The key areas of research are analysed, alongside detailed case studies centred on well-known American, Australian, British and European films.
|Author||: Geoffrey Nowell-Smith|
|Editor||: OUP Oxford|
The Oxford History of World Cinema is the most authoritative, up-to-date history of the Cinema ever undertaken. It traces the history of the twentieth-century's most enduringly popular entertainment form, covering all aspects of its development, stars, studios, and cultural impact. The book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the Avant-Garde, and from Hollywood to Hong Kong, with an international team of distinguished film historians telling the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel. Other chapters outline the evolution of national cinemas round the world - the varied and distinctive filmic traditions that have developed alongside Hollywood. Also included are over 140 special inset features on the film-makers and personalities - Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman - who have had an enduring impact in popular memory and cinematic lore. With over 300 illustrations, a full bibliography, and an extensive index, The Oxford History of World Cinema is an invaluable and entertaining guide and resource for the student and general reader.
|Author||: Daw-Ming Lee|
|Editor||: Scarecrow Press|
The Historical Dictionary of Taiwan Cinema covers the history of Taiwan cinema during both the Japanese colonial period (1895–1945) and Chinese Nationalist period (1945–present). This is accomplished through a chronology, list of acronyms and abbreviations, an introductory essay, an extensive bibliography, and more than a hundred cross-referenced entries on directors, producers, performers, films, film studios, and genres. The book is an excellent access point for students, researchers, and anyone wanting to know more about Taiwan cinema, as well as the social, political, financial, and creative intricacies of how at least one important national cinema developed.