Professor Tom O'Regan played an important role in the establishment and formalisation of media and cultural studies, especially in Australia and New Zealand. He had a long association with 'Media ...International Australia', serving on the journal's Editorial Board for many years and helping to guide 'MIA' successfully through several key periods of significant change. In this special issue 'MIA', on behalf of its community of scholars, takes this opportunity to honour Tom, and to remember and celebrate his insightful and innovative work.
Cem Yılmaz has become nearly synonymous with Turkish comedy through comedies like
Arif V 216 (2018)
. Taking this film as its focus, this article situates Yılmaz among his competitors while tracing ...his roots in Turkish entertainment by discussing his relationship to mid-twentieth-century Yeşilçam and to the meddah storytelling tradition.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
This article examines the Czech screenwriting practice vis-à-vis state-subsidised cinema. It focuses on the silent national epic drama St. Wenceslas (Svatý Václav, 1930) and sheds light on the forms ...of bureaucratic interventions throughout the formalised writing process. Drawing on Ian W. Macdonald's concepts of screen idea and screen idea work group, the paper seeks to explain a collective dynamic and deals with the official historiography issue. I argue that academics had frequently altered the screen idea to suit their historical interpretation. Since this was enabled by their prominence in the collective, the article examines the hierarchy of power in the decision-making process and the forms of collaboration, competition and negotiation. In so doing, it helps us to rethink the screenwriting practice by explaining the functions of the screenwriting contest jury and the impact of supervisory voices delineating textual boundaries. The outlined screenwriters' solutions then illustrate both the creativity in telling the well-known story within the limits and the pragmatic decrease in artistic ambitions.
Just before World War II, French cinema reached a high point
that has been dubbed the style of "poetic realism." Working with
unforgettable actors like Jean Gabin and Arletty, directors such as
...Renoir, Carné, Gremillon, Duvivier, and Chenal routinely captured
the prizes for best film at every festival and in every country,
and their accomplishments led to general agreement that the French
were the first to give maturity to the sound cinema. Here the
distinguished film scholar Dudley Andrew examines the motivations
and consequences of these remarkable films by looking at the
cultural web in which they were made. Beyond giving a rich view of
the life and worth of cinema in France, Andrew contributes
substantially to our knowledge of how films are dealt with in
history. Where earlier studies have treated the masterpieces of
this era either in themselves or as part of the vision of their
creators, and where certain recent scholars have reacted to this by
dissolving the masterpieces back into the system of entertainment
that made them possible, Andrew stresses the dialogue of culture
and cinema. In his view, the films open questions that take us into
the culture, while our understanding of the culture gives energy,
direction, and consequence to our reading of the films. The book
demonstrates the value of this hermeneutic approach for one set of
texts and one period, but it should very much interest film
theorists and film historians of all sorts.
This special issue on 'Film Policy in a Globalised Cultural Economy' is devoted to the changing economic and technological context in which filmmaking occurs, the policy responses that these changes ...have generated and their consequences for the pursuit of cultural objectives. The issue offers discussions of the general economic, technological and political shifts shaping the global film industry as well as case-studies examining the specific policies adopted by different states. While these indicate how governments have been obliged to respond to the economic and technological changes wrought by globalisation they also highlight the variations in approach to film policy and the continuation of tensions between economic and cultural, and public and private, objectives.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Since its creation in 2008, the Film and Audiovisual Institute of Uruguay (ICAU) has developed strategies to support, fund and exhibit Uruguayan film productions. These policies have paid particular ...attention to private and public partners and co-production agreements with both Latin
American and European countries. To a huge extent, the contemporary Uruguayan film industry is viable thanks to globalization and the larger markets of Argentina and Brazil. Using data from the annual reports of the ICAU, interviews and media clippings, in this article I trace the development
of three co-produced films: Norberto apenas tarde (Norberto's Deadline) (Hendler, 2010), Solo (Rocamora, 2013) and Mr. Kaplan (Brechner, 2014) to show the process and impact of these co-productions and their consumption in Uruguay and the other countries that participated in their financing.
This article explores two Latin American-US co-productions, Rio, Eu Te Amo (Rio, I Love You) (2014) and Los 33 (The 33) (2015). I examine the extent to which these films, otherwise disparate in form ...and content, provide a space for addressing issues of national identity and history
within a context of international filmmaking practices. Simultaneously, the films present universalized and homogenized facets that subsume rather than promote their cultural specificity in the interests of wider accessibility and marketability. This attribute is refracted in, and arguably
a product of, the multinational financing, casts and crews, and local distribution through major US companies. I also look at the films' reception, global and local, with regard to their being perceived as distinctly, and distinctively 'Brazilian' or 'Chilean'.
This article contributes to the discussion of sports films in Eastern European cinema. It argues that the sports film is a genre that is often used for national unification, and therefore can offer ...insights into the national psyche. Filmmakers have employed the 'Hollywood-like genre entertainment' of the fictional sports film throughout the twentieth and twenty-first centuries to represent, or establish, foundational myths of a nation. In this article, the film Sapņu komanda: 1935/Dream Team: 1935 (Aigars Grauba 2012) is examined as part of this trend. Dream Team: 1935 is argued to provide a moral fable for the Latvian nation, which struggles to negotiate its national identity after regaining independence from the Soviet Union in 1991.
The article examines Israeli cinema as a critical participant in the local drama of national ideology and national identity. Israeli filmmakers have engaged in enunciating the national culture, in ...the context of the medium’s history, political ideologies, and the tension between high art and popular culture. The historical review of Israeli films shows dramatic changes over the years from nationalistic propaganda to radical critique and post-Zionism. Israeli cinema appears now to seek a constructive and fruitful dialogue with the viewers. In the recent wave of popular films, the national ideology is more conscious of its past mistakes and inherent deficiencies; its presentation of national identity is less narrow and more open to alternative types, thereby suggesting new vistas of national culture.
This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical ...realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.
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