Film History Research Articles

Aviation Themed Films in Turkish Cinema

Some researchers describe aviation and cinema as fields developed in parallel timelines (Paris,1995; Crompton, 2007; Carlson, 2012; Ferguson, 2015). Aviation films attract audiences' attention across eras and typically emerge as political productions based on national codes and nationalist discourse. Art, particularly cinema, can be seen as one of the essential ideological instruments in establishing national consciousness. The role of art as a state policy becomes increasingly significant during the founding period of the Republic of Türkiye as a means of national identity. The state-initiated cinema activities shortly after its invention in the Ottoman Empire and continued them during the Republic's early years. Although the events recorded in the early periods were deemed necessary for the state, it cannot be said that the new regime and national identity were effectively constructed through cinema as much as other arts. However, the relationship between art, politics, and cinema was recognized over time, and productions in this field began to be produced. The present study assumes that cinema as a political tool is vital in nation-building. The study aims to examine the political function of aviation-themed Turkish films, with a specific focus on Hürkuş Göklerdeki Kahraman (2018) (Hürkuş: Hero of the Sky), a fictional action aviation film directed by Kudret Sabancı. This film serves as a compelling case study for our research. The production was analyzed through ideological and historical film criticism.

Postcolonial frames in Michael Haneke's Caché

This article argues that in Caché, politics, aesthetics and life collapse into one another by setting a dystopic simulacrum from which the spectator becomes emancipated. Caché critiques colonial-racist discourses within the France–Algeria context alongside the society of the spectacle, subverting binary categorisations such as form/content, ethics/aesthetics and diegetic/extradiegetic through staged hyperrealism, self-reflexivity and manipulations. It forces the anaesthetised spectator to confront the postcolonial uncanny in its naked truth. This article presents an original contribution to existing scholarship by linking Caché to the genesis and ongoing legacy of anti-colonial dissent and resistance in the history of Francophone cinema.

CINEMA OF EGYPT (1927-1970)

Abstract Each film expresses a certain place and time through the language of cinema and is part of the national culture. However, this does not mean that everything shot on the film strip belongs to the art of cinema. Evaluating art is an extremely complex issue, and what determines whether a film is art is not primarily determined by the critic or the viewer, but by many interrelated factors. The most important and mysterious of these is the ability of the artistic work to resist time and remain in memory. Based on this idea, Arab cinema has been in existence for about a century and its beginnings are almost entirely rooted in Egypt. Cinema in Egypt was born in the hands of an Egyptian woman. Azîza Amîr, who presented the first feature-length Egyptian film "Leila" on the big screen in 1927, was the producer and lead actress of this film. In 1929, Assia Dagher produced and starred in the film numbered "7" in the history of Egyptian cinema. From that moment on, Egyptian cinema was on the rise, and for decades it rapidly transformed into Arab cinema. Sound cinema was born in Egypt and developed almost exclusively in Egypt for the first twenty-five years of its existence. In 1932, a new trend in the history of Egyptian cinema began with the production of sound films in Egypt, starring famous Egyptian theatre actors and singers. In the late fifties, the Egyptian cinema experienced a combination of literature and cinema. In the 1960s, cinema began to move away from music. With the advent of the 1970s, music became more modern and cinema became less used. In the 1970s, the 1967 defeat appeared as a predominant theme in films such as "al-Hawf" (1972), "Ughniya ̒ alâ al-Mamarr" (1972) and "al-̒ Usfûr" (1973). In this study, which we have tried to outline above, it is aimed to examine the adventurous journey of Egyptian cinema from 1927 to the 1970s, with its ups and downs.

Archival reenactments: decolonising a documentary convention

ABSTRACT This article is an attempt to invigorate decolonisation discourse in Film and Media Studies, particularly with regard to Documentary Studies. It does so by centring a screen installation work, by a filmmaker whose formal preoccupations have returned repeatedly to the fictions and limitations of archival documents. Peripeteia (John Akomfrah, dir. 2012. Peripeteia. UK: Smoking Dogs Films.) imagines an encounter between two people, 'lost to the winds of history'. In its use of objects including sketches, photographs and written quotations, the film constructs an elliptical narrative with archival fragments. Locating its actors in a placeless landscape, wrenched from their point of origin and dependent solely on superficial images for context, Peripeteia reanimates its barely known subjects to perform a critique of the coloniality of the reenactment form, which has been used deceptively throughout the history of films defined as 'non-fiction'. Coining archival reenactment as a mode which (1) utilises a self-critical rehearsal of historical gestures to interrogate documentary film's archival function, and (2) employs archival fragments to both build and trouble the depth of its own representation, this article centres Peripeteia as a template for the decolonial critique of an over-familiar convention in the documentary mode.

Pemanfaatan Media Pembelajaran dalam Pembelajaran SKI

History of Islamic Cultural lessons are lessons that are closely related to past events, so that in the learning process many teachers only teach SKI material by simply telling their students. Of course in teaching and learning activities, a student who is only given a story by his teacher over time experiences boredom in learning, therefore a teacher is required to be more creative, innovative and progressive in providing learning to students so as to create a learning that is fun and even impressive . Therefore, a teacher should or should be in a digital era like this, it's time to use the media in the learning process in class. learning media is very helpful for a teacher to deliver his material so that it is easier and more enjoyable for students to accept. As for the media that can be used in SKI learning, at least two of the learning media can be used, namely Visual media which is divided into visuals that are silent or not projected and motion or projected visual media. Whereas the second use of instructional media in learning SKI is audio visual media which can be in the form of historical films or documentaries on the History of Islamic Culture.

An image too many: the contemporary biopic, the historical body, and the documentary footage trope

Abstract This article explores the inclusion of historical footage at the end of biopics. The impact of such footage, commonly appended to recent films, varies depending on the specific film. By drawing on theories of viewership, historical film, ontology, and epistemology, this investigation attempts to shed light on why this footage is sometimes, but not inevitably, troubling. Its analysis of the use of such footage in Bohemian Rhapsody and I’m Not There delves into the viewer’s relationship with images and the complexities arising from the intersection of reality and fiction. By exploring the shifting modes of engagement that influence the viewer’s experience, the analysis suggests that this choice may imply a claim to historical authenticity or truth. In questioning the reasons for the increasing prevalence of this trope in contemporary biopics, this article considers the implications of blurring the boundaries between the real and the imaginary.

The Art of White Space in the Film Throne of Blood (1957): A Comprehensive Exploration

Abstract: As one of the outstanding directors in the history of world cinema, Akira Kurosawa's film works have profoundly influenced the development of global cinematic art. Among them, Throne of Blood (1957), as his adaptation of Shakespeare's classic tragedy Macbeth, not only demonstrates Kurosawa's precise grasp of the spirit of the original text, but also makes bold innovations in artistic creation, especially his unique use of the art of white space, which adds abundant artistic charm and depth to the film. As a core element of East Asian aesthetics and artistic expression, the use of white space in Throne of Blood brings unprecedented effects to the narrative, visual presentation and psychological portrayal of the film. Therefore, an in-depth study of the art of white space in Throne of Blood is of great significance in understanding Kurosawa's artistic style, the embodiment of East Asian aesthetics in the film, and the diversity of artistic expressions. The purpose of this study is to delve into the art of whitespace in Akira Kurosawa's film Throne of Blood, specifically examining its multiple roles in storytelling, visual expression and psychological depth, and how these roles work together to elevate the film to new heights of artistic achievement.

When did ‘the true king of hardcore’ start to cry? Investigating Rocco Siffredi’s stardom

ABSTRACT With a career in the adult industry spanning 40 years, Rocco Siffredi is undoubtedly one of the most important male porn stars to date. Despite his undoubted importance, however, he has not been the subject of extensive research in the fields of porn studies and adult film history. This article is intended to be the first step in a long-term research project dedicated to the Italian porn star. Combining reflections on the cultural positioning of pornography with the theoretical framework and methodology of star and celebrity studies, we will first analyze the construction of Rocco Siffredi as a pornographic star; secondly, we will examine Siffredi’s image in the public sphere (specifically in the Italian context). In both cases, we will draw on a variety of sources – such as hardcore productions, trade journals, mainstream media, public appearances, general press, social media, and so on – selected for their theoretical and historical relevance.

A critical overview of Zainichi Korean films since 1945

ABSTRACT This paper gives an overview of the history of Zainichi Korean films from 1945 to the present and explores the historical environment and popular demands that drove the production of major works. After World War II, the Zainichi Korean community took on the challenge of film production for the first time on the strength of GHQ’s favorable policies and cultural solidarity with the Japanese socialists. This challenge, which began with newsreels and documentary films, soon entered a long period of stagnation due to the political upheaval of the time, a conflict with GHQ, and deteriorating relations with the Japanese Communist Party. In the 1970s, Zainichi films gradually began to revive, centering on the documentary genre, thanks to Zainichi Korean directors who had learned production skills under progressive Japanese filmmakers. As the mini-theater boom in the 1980s created an environment in which small-scale, non-mainstream films could be distributed and consumed in Japan, Zainichi films gradually expanded their scope through the production of various drama films. At last, the Zainichi Korean film genre finally began to establish itself firmly in Japanese film history. In particular, after the 2000s when the Korean Wave (Hallyu) phenomenon became noticeable in Japan, female directors and South Korean directors emerged to capture minor and workaday issues from multifaceted perspectives, and the general public in Japan enthusiastically consumed their works. Zainichi Korean films continue to strive to embrace both social issues and mass appeal.

O contracinema feminista de Agnès Varda: imagens do desnudamento na reinvenção do amor

The text aims to characterize the feminist counter-cinema of Agnès Varda in three fiction films, Cleo from 5 to 7 (1962), One sings, the other doesn’t (1976) and Vagabond (1985), based on an interpretative analysis that outlines three categories of images of nudity: literal, existential-metaphorical and cinematographic. The cine-pamphlet Women reply: our body, our sex (1975) summarizes the common proposal of the films and sheds light on their goal: the reinvention of love. This is an exercise in film analysis and philosophical interpretation, in dialogue with studies in history, theory and criticism of cinema, which seeks to characterize a particular form of feminist counter-cinema.

Politics, Cinema and Music in Brazil and Spain from the 30s

This article sets out to make a comparative analysis of the cinema during the 1930s, in Brazil and Spain, taking into account the political factors that influenced directly or indirectly in the artistic and cultural context of these two countries. To achieve this goal, a bibliographical survey of the history of cinema in Brazil and Spain was made, as well as the comparison of the quantity and circumstances in which many films were produced, focusing also on their relationship with other artistic sectors. The results point to an important contribution of music to the formation of a national film genre, presenting itself as a responsible element for a more national and more structured cinematographic production in both countries.

Implementasi Penanaman Nilai-Nilai Moderasi Beragama di Madrasah Ibtidaiyah Tahasus Maarif Nu Pedan Tahun Ajaran 2024/2025

This research aims to analyze (1) the implementation of instilling religious moderation values ​​at MI Tahasus Maarif NU Pedan for the 2024/2025 academic year, (2) obstacles to implementing the instillation of religious moderation values, (3) solutions for overcoming obstacles. This research uses a descriptive qualitative approach. Data collection was carried out using interview, observation and documentation techniques. The subjects of this research were Madrasah Heads and Teachers, research informants were Madrasah Heads, Teachers and Students. Activities in data analysis include four processes, namely data collection, data reduction, data presentation and drawing conclusions. The results of the research show: (1) The implementation of instilling the values ​​of religious moderation at MI Tahasus Maarif NU Pedan is carried out by providing understanding to students in the form of materials that related to the values ​​of religious moderation and by holding programs or activities in the aspect of nationalism, for example routinely holding flag ceremonies every Monday, ceremonies commemorating major holidays, watching historical films, study tours. (2) the obstacles are: Students don't pay attention to the teacher during lessons, the learning atmosphere is less supportive, they talk to themselves when learning, students don't understand the material taught by the teacher, there are still students who don't take part in the activities carried out in the program or value instillation activities. -values ​​of religious moderation, There are still teachers who have difficulty collaborating with learning activities and activity programs in instilling the values ​​of religious moderation. (3) Solution: Collaborating themes of religious moderation in subjects, Holding programs or activities to instill the values ​​of religious moderation.

Romanticizing Caste in Gaadi and Alborada: An Analysis of Two Contemporary Sri Lankan Films

This paper critically assesses Prasanna Vithanage’s Gaadi (2019) and Asoka Handagama’s Alborada (2021) as sites of uncontested reproductions of caste hierarchy, which reestablish hierarchical caste and gender relations, unraveling the nexus between patriarchy and caste. It investigates how Vithanage and Handagama have employed myth and history in film, in a context where Sri Lankan film makers have used historical discourse to validate hegemonic Sinhala nationalist formations. It examines to what extent Vithanage and Handagama succumb to nationalist ideology and thereby legitimize caste, class, and gender inequality, or whether they unravel the violence and coercion inflicted upon women for the maintenance of caste and patriarchy. Drawing upon postcolonial feminism which examines the linkages between caste and gender, this paper contends that despite the films’ move to romanticize caste and reinforce and validate existing caste stereotypes, they nevertheless demonstrate the ways in which women resist, contest and negotiate patriarchal power, however minimal.

Precarity in Portuguese cinema

ABSTRACT Although perhaps not clear for someone unfamiliar with the history and the aesthetics of Portuguese cinema, the title of this paper is polysemic and thus refers to several layers of meaning. Indeed, this research will provide a historical overview and deal with precarity in two different ways that coexist and coincide in Portuguese cinema: the intra-cinematic, i.e. the representation of precarity on screen; and the extra-cinematic, i.e. the material circumstances that have characterised the Portuguese film production milieu. On the one hand, this paper will analyse the history of Portuguese films through the lens of precarity to uncover the different approaches its representation received, from the musical comedies of the 1940s to the peripheral-city dramas of the 1990s. On the other hand, we will provide an account of the evolution of the conditions in which Portuguese cinema subsisted. As this paper will argue these two situations are not entirely dissociated; the material circumstances that have determined the lifecycle of the Portuguese film production are, to a certain degree, related to the versions of precarity addressed. The point this paper proposes by bringing the topic of precarity to the fore intends to add to the literature on Portuguese cinema studies and help frame Portuguese cinema within the subarea of precarity studies.

A Modern Peep at the South Seas: Melville s Presence in some Hollywood Films from 1920s to the 1940s

This paper will argue that alongside Melville’s literary reputation, Hollywood, and its associated industries (advertising, trade and journalistic press), produced a pop-culture image of him. It will analyze two movies, Last of the Pagans (MGM, 1935) and Omoo-Omoo the Shark God (Esla Pictures, 1949), which were publicized as adaptations of Typee (1846) and Omoo (1847) respectively but have on the surface little or nothing to do, thematically or plotwise, with their purported source texts. They can be linked back to the novels through the use of a Melville meme that recreates pre-colonial life in the South Seas, situating viewers within a taxidermic viewing position. Overall, scholars have disregarded these movies as having little to offer Melville studies, but this article will consider them and their many forms of publicity to demonstrate that they can give scholars a glance at Melville’s popular reputation as adventurer and romancer, and it will suggest that, as a national figure, Melville was not the exclusive property of academia but a contested site for the construction of national ideals. The paper will adopt a combination of approaches from film history, fluid text theory, and adaptation studies to analyze Melville’s image across mass media outfits.

Ireland Bros.’ Pan-American Electric Carnival: Canadians’ border-crossing circuits of early cinema

ABSTRACT Early cinema exhibitors George H. and Egerton L. Ireland were better known in Jamaica and Trinidad than in their homeland of Canada. Named the Pan-American Electric Carnival, after a failed bid to show moving pictures at the 1901 Pan-American Exposition, between 1900 and 1908 they toured Canada, the United States, across the Caribbean and into South America. Almost absent from Canadian film history, los hermanos Ireland are mentioned in at least eight national and local film histories from across Latin America, and even in a US history. Yet, few of these recognize connections to each other, let alone the brothers’ roots in Canada. I take the Ireland brothers’ peripatetic travels throughout the Western hemisphere as a curious case that is uniquely Canadian. Although Ireland Bros.’ motivations are unknowable, their inter-colonial journeys can only partly be explained by wanderlust, seeking escape from rural Canadian roots. I propose their significance is the provision of modern entertainment that was not simply a conduit of British colonialism nor merely a channel for American imperialism. Instead, I conclude speculatively that the brothers’ circuits of cinema along Pan-American trade routes reflect an ethos of Pan-Americanism emergent at the turn of the twentieth century.

Yeni ‘Film’ veya ‘Sinema’ Tarihi: Sinema Tarihi Yazımında Yeni Gelişen İlkeler, Kuramlar ve Metodolojiler Üzerine Düşünceler

Film as an artefact has long been the subject of study by “film historians,” whether in terms of stylistic authenticity, genre specificity, or “high theory” analysis. Conversely, film history has been written as if films had no audiences (Biltereyst et al, 2012, p. 693). This kind of filmic-textual research tendency lies at the heart of the legacy of film studies discipline. In 1973, Jean Mitry proposed an ideal of film history as simultaneously, a history of its industry, its technologies, its systems of expression (or, more precisely, its systems of signification), and aesthetic structures, all bound together by the forces of the economic, psychosocial and cultural order (Maltby, 2006, p. 80). Humanities-based film studies were first re-conceptualized by the initiatives of International Federation of Film Archives (FIAF), during its 1974 and 1978 conferences. Drawing on the methodological stance of the French Annales school’s histoire totale, participants at the 1974 FIAF conference agreed on new historiographical methodologies for all rather than linear national cinema histories. In 1990, American historian Robert Sklar brought forward three types of “cinema historians” in which only second sub-type might be labeled as ‘film historian’ which has been emerged from one of the following disciplines: art history, philosophy, literary studies.

French Film History, 1895–1946 by Richard Neupert (review)

French Film History, 1895–1946 by Richard Neupert (review)

La materia de la propaganda política en el diseño de vestuario de Helena Roque Gameiro: “As Pupilas do Senhor Reitor” (1935), drama de costumbres fílmico

As Pupilas do Senhor Reitor (José Leitão de Barros, 1935) is part of a series of films that linked the rural world to political propaganda for the Portuguese nation idea Construction.Ruralism, as a tool for constructing people identity, has played an important role in the history of cinema, to the point of giving rise, for example, to western. The exaltation of rural life became a vein for expressing, in the form of propaganda, the pillars of blood and land in Nazism and Fascism. In Spain, even a genre, drama rural, arises, which is paralleled by the Portuguese drama de costumbres.In this sense, As Pupilas... is a paradigmatic example of the use of propaganda in the Portuguese Estado Novo, through cinema. This article analyses the propagandistic cinematographic use in this film, focusing on the triangular relationship of themes, style and tone. Emphasis is placed on the costume work carried out by Helena Roque Gameiro, an essential contribution to the mise-en-scène of cinematic ruralism. Therefore, this film would decant the strategic ideological repertoire of the Portuguese Estado Novo.

Patchwork Gothic in Polish Vampire Films

The article explores the emergence of Gothic elements in Polish cinema, specifically in the realm of vampire films. Despite the Polish literary market being saturated with horror, Polish cinema has conspicuously shied away from the genre for decades. However, the popularity of Hollywood Gothic cinema has influenced the once-hermetic Polish film industry, leading to the inclusion of classic Gothic themes, characters, and visuals in Polish vampire films. The article delves into the history of Polish horror cinema, and its relation to Hollywood Gothic cinema, whilst focusing on the vampire aspect of horror. In addition, it highlights the concept of “patchwork Gothic”, which involves blending elements of western and Slavic cultures, aesthetics and characters. By analysing two Polish vampire films, I Like Bats (1985) and The Lullaby (2010), in reference to the notion of patchwork Gothic, the author argues that the combination of disparate cultural influences creates a unique and dynamic interpretation of the Gothic genre in Polish cinema.