Film In America Research Articles

Queer Images: A History of Gay and Lesbian Film in America (review)

Queer Images: A History of Gay and Lesbian Film in America (review)

Selling Memories, Strengthening Nationalism: The Marketing of Film Company of Ireland's Silent Films in America

Selling Memories, Strengthening Nationalism: The Marketing of Film Company of Ireland's Silent Films in America

The Little Theatre Movement: The Institutionalization of the European Art Film in America

The Little Theatre Movement: The Institutionalization of the European Art Film in America

Foreign Films in America (review)

Foreign Films in America (review)

The Little Theatre Movement: The Institutionalization of the European Art Film in America

The Little Theatre Movement: The Institutionalization of the European Art Film in America

War and Film in America: Historical and Critical Essays (review)

War and Film in America: Historical and Critical Essays (review)

War and film in America: historical and critical essays

Americas chief exports are war and entertainment; combined, they are the war films viewed all over the world. The film industry is a partner of the government; American film shapes the ways in which both Americans and others view war. The authors herein explore differing film perspectives across five decades. The essays, written especially for this volume, explore topics such as frontier justice, Cold War fervor, government-sponsored terrorism, the back-to-Nam films, films as a venue for propaganda, and war's far-reaching effects on personal values, family relationships, and general civility. The movies used in these analyses vary from conventional battle epics like Bridge on the River Kwai and The Green Berets to motion pictures with a war motif either as part of the story (The Way We Were) or as a historical setting (The Graduate). Some of the films are satirical (Dr. Strangelove); some are propagandistic (The Alamo, Big Jim McLain). Other films include Black Hawk Down, True Lies, The Deer Hunter, Patriot Games and Let There Be Light.

Propaganda, Patriotism and Profit: Charles Urban and British Official War Films in America During the First World War

Propaganda, Patriotism and Profit: Charles Urban and British Official War Films in America During the First World War

Magical Girls and Atomic Bomb Sperm: Japanese Animation in America

Research Article| October 01 1995 Magical Girls and Atomic Bomb Sperm: Japanese Animation in America Annalee Newitz Annalee Newitz Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1995) 49 (1): 2–15. https://doi.org/10.2307/1213488 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Annalee Newitz; Magical Girls and Atomic Bomb Sperm: Japanese Animation in America. Film Quarterly 1 October 1995; 49 (1): 2–15. doi: https://doi.org/10.2307/1213488 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1995 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

THE AMERICAN HISTORY OF ANNE FRANK'S DIARY

The American history of Anne Frank's diary is one which sees the diary evolve from a European document of World War Il into an Americanized representation of the Holocaust. Through its adaptation into a play and film in America during the 1950s, the Diary turns into one of the first popular symbols of the Holocaust. Both the play and the film also universalize the Holocaust. albeit in a particular American idiom. They are rooted in the environment of America of the late 1940s and the 1950s, and this is reflected in their content.

The Documentary Film in America

William Alexander. Films on the Left: American Documentary Film from 1931 to 1942. Princeton: Princeton University Press, 1981.355 pp, Sol Worth. Studying Visual Communication. Philadelphia: University of Pennsylvania Press, 1981.216 pp. Set opposite each other, in the way in which Lumière and Méliès are, Dziga-Vertov and Robert Flaherty established the terrain of the documentary film as the social, political and cultural quality of lived experience. Differentiated by their roots in Russian formalism and American romanticism, Dziga-Vertov and Flaherty nonetheless gave substantive weight to a nascent tendency which has gone on to become a major tributary of filmmaking practice. The documentary film does not represent a radically distinct practice from narrative film; indeed, it frequently borrows the same conventions and strategies, even though the effect may be noticeably different (a difference itself deliberately set into play in most docu-dramas). What most distinguishes documentary today is what distinguished it in the time of Dziga-Vertov and Flaherty: a distinct form of material practice, supported by specific individuals and distinct agencies or institutions, with its own distinct rhetoric and accompanying sense of purpose. In many instances these distinctions blur as we trace them toward the avant-garde or the feature fiction film, but as an overall organizing principle the difference is real enough.

Review: The Movies in Our Midst: Documents in the Cultural History of Film in America by Mast Gerald

Book Review| July 01 1983 Review: The Movies in Our Midst: Documents in the Cultural History of Film in America by Mast Gerald The Movies in Our Midst: Documents in the Cultural History of Film in AmericaMast Gerald Bruce Kawin Bruce Kawin Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1983) 36 (4): 64. https://doi.org/10.2307/3697131 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Bruce Kawin; Review: The Movies in Our Midst: Documents in the Cultural History of Film in America by Mast Gerald. Film Quarterly 1 July 1983; 36 (4): 64. doi: https://doi.org/10.2307/3697131 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1983 Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

Review: The Movies in Our Midst: Documents in the Cultural History of Film in America, by Gerald Mast

Book Review| April 01 1983 Review The Movies in Our Midst: Documents in the Cultural History of Film in AmericaGerald Mast Angela Woollacott Angela Woollacott Search for other works by this author on: This Site PubMed Google Scholar The Public Historian (1983) 5 (2): 125–126. https://doi.org/10.2307/3377268 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Angela Woollacott; Review. The Public Historian 1 April 1983; 5 (2): 125–126. doi: https://doi.org/10.2307/3377268 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentThe Public Historian Search This content is only available via PDF. Copyright 1983 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

Impressionism and Ideology: The State of Recent Genre Film Criticism

Carlos Clarens, Crime Movies. New York : Norton, 1980.351 pp. Stephen Neale. Genre. London : British Film Institute. 1980.74 pp. Eugene Rosow. Born to Lose: The Gangster Film in America. New York: Oxford University Press, 1978. 422 + xv pp. Thomas Schatz. Hollywood Genres: Formulas. Filmmaking, and the Studio System. New York: Random House, 1981.297 + xiv pp. When film study began to mature in the mid-seventies, interest in the narrative film, which had been nurtured a decade earlier by auteurism's enthusiasm for popular film, waned in favor of more formal concerns. Critical interest shifted from the signified of films to the practice of signification, from what a film means to how it produces meaning. Structural film was particularly amenable to such an approach. No longer was film assumed to have an inviol- able meaning ; rather, meaning was now understood to arise from the con- junction of various discursive codes at work in the cinematic text. Auteurs no longer existed apart from such contexts, nor could they acceptably be studied in this manner again; as Roland Barthes had shown, writing degree zero was impossible.1

The Italian Film in America

The Italian Film in America