Creating Big-Screen Audiences Through Small-Screen Appeals

2021 ◽  
pp. 302-321
Author(s):  
James Deaville
Keyword(s):  
Distribution Models ◽  
Marketing Campaign ◽  
Short Forms ◽  
Leading Role ◽  
Film Studios ◽  
Music Specialists ◽  
The 1960S ◽  
Small Screen

Film trailers have begun to garner scholarly interest among film and music specialists, whereas spots or trailers produced for cinematic campaigns on television remain unexamined. This chapter attempts to redress the gap by studying the history, functions, and aesthetics of film advertising on television, primarily from the perspective of their soundtracks. The study documents how film studios only gradually accepted the medium of television for promoting their products, initially experimenting with a variety of formats and distribution models into the 1960s. Analysis of recent television trailer texts and practices reveals their reliance upon music as a narrative and gestural force, which increases as the release day draws closer and the short forms become shorter: music’s concision dictates its leading role in creating the urgency of last-minute appeals. Closer examination of one television marketing campaign in particular, for The Dark Knight Rises (2012), illustrates how music functions within typical small-screen advertising promotion.

Гocкaпитaлизм, Coциaльныe Клaccы, Культуpный Лaндшaфт Coвeтcкoй Дepeвни Cтaлинcкoгo и Пocлecтaлинcкoгo Bpeмeни

2016 ◽  
Vol 43 (3) ◽  
pp. 301-337 ◽  
Keyword(s):  
Soviet Union ◽  
The State ◽  
Specific System ◽  
State Capitalism ◽  
Agrarian Society ◽  
Cultural Transformations ◽  
Leading Role ◽  
Economic Exploitation ◽  
The Soviet Union ◽  
The 1960S

This article analyzes socio-economic and cultural transformations in the Soviet village from the end of the 1920s until the 1980s. The authors identify the agrarian system of that time as state capitalism and reveal that during the 1950s and 1960s, capital that played a leading role in Soviet agriculture. The authors argue that the emergence of state capitalism was due to the interaction of the state, collective farms, and peasant holdings. The preservation of traditional peasant holdings allowed the state to build a specific system of non-economic exploitation, the core of which existed until the beginning of the 1960s. The authors connect the formation of agrarian capitalism with the creation of new rural classes. The authors conclude that from the 1920s to the 1980s, a combination of economic, political and socio-cultural factors led to the transformation of the agrarian society in the Soviet Union into the state capitalism.

The Cinema Centaur

2021 ◽  
pp. 129-160
Author(s):  
Catriona Kelly
Keyword(s):  
Work Culture ◽  
Corporate Values ◽  
Direct Relevance ◽  
Film Editing ◽  
Soviet Film ◽  
Western Films ◽  
Film Studios ◽  
The World ◽  
Generous Support ◽  
The 1960S

The 1960s witnessed the transformation of “film factories” from metaphor to lived reality. Lenfilm’s output rose once more to the levels its predecessor studios had reached in the 1920s, but the conditions of production were now far more complex and demanding, with staffs more than ten times the size. And while the 1960s was an era of optimistic emphasis on the Soviet film industry’s capacity to equal and surpass the world in technological terms, during the 1970s, the conviction took hold that the technological superiority of Western films was of direct relevance to audience share. Increasingly, ambitious filmmakers petitioned Goskino for permission to shoot on Kodak and to use Arriflex cameras; criticism of inferior Soviet film stock and GDR-produced film editing tables mounted, both across the USSR and at Lenfilm itself. Yet investment in studio infrastructure and technology remained at best haphazard, particularly at Lenfilm, which enjoyed less generous support from the center than Mosfilm, but also more limited resourcing than film studios in the capitals of Soviet republics. At the same time, Lenfilm had an unusually diverse, energetic, inventive, and loyal workforce, with corporate values that inspired manual workers and porters as well as “creative” personnel. Hierarchical at some levels, the work culture was egalitarian at others, and the frenetic process of scrambling to finish films in trying circumstances created strong bonds. The chapter explores the various conflicts and contradictions, but also rewards, that this situation generated.

Historical and Future Changes of Snowfall Events in China under a Warming Background

2018 ◽  
Vol 31 (15) ◽  
pp. 5873-5889 ◽  
Author(s):  
Botao Zhou ◽  
Zunya Wang ◽  
Ying Shi ◽  
Ying Xu ◽  
Zhenyu Han
Keyword(s):  
Climate Model ◽  
Regional Climate ◽  
Northeastern China ◽  
First Century ◽  
Eastern Tibetan Plateau ◽  
Southeastern China ◽  
Mean Intensity ◽  
Leading Role ◽  
The Mean ◽  
The 1960S

Using station data and Regional Climate Model version 4 (RegCM4) simulations under the representative concentration pathway 4.5 (RCP4.5) scenario, this article addresses historical and future changes of the wintertime snowfall over China. The observational results generally show a decrease in the frequency and an increase in the mean intensity of snowfalls in northwestern China (NWC), northeastern China (NEC), the eastern Tibetan Plateau (ETP), and southeastern China (SEC) since the 1960s. The total amount of wintertime snowfall, however, has increased in NWC, NEC, and ETP but decreased in SEC. The decrease in snow days is primarily due to the reduction of light snowfall events. The increase in the total amount is primarily explained by increases in heavy snowfalls, and the corresponding decrease is the result of decreases in light-to-heavy snowfalls. The RegCM4 ensemble, which can well simulate the observed snowfall climatology, projects that the snow days will be further reduced by the end of the twenty-first century relative to 1986–2005, primarily owing to the decline of light snowfall events. The total amount is projected to increase in NWC but decrease in the other three subregions. The increase in the total amount in NWC is attributed to increases in heavy and large snowfalls. Decreases in light snowfalls play a leading role in the decrease of the total amount in NEC. In ETP and SEC, the decrease in the total amount is the result of overall decreases in light-to-heavy snowfalls. The mechanism for such changes is an interesting topic to study in the future.

scholarly journals A hundred introductions to semiotics, for a million students: Survey of semiotics textbooks and primers in the world

2015 ◽  
Vol 43 (2/3) ◽  
pp. 281-346 ◽  
Author(s):  
Kalevi Kull ◽  
Olga Bogdanova ◽  
Remo Gramigna ◽  
Ott Heinapuu ◽  
Eva Lepik ◽  
...  
Keyword(s):  
Current Situation ◽  
Teaching Materials ◽  
Additional Material ◽  
Leading Role ◽  
The World ◽  
The 1960S ◽  
General Frames ◽  
Extensive Bibliography

In order to estimate the current situation of teaching materials available in the field of semiotics, we are providing a comparative overview and a worldwide bibliography of introductions and textbooks on general semiotics published within last 50 years, i.e. since the beginning of institutionalization of semiotics. In this category, we have found over 130 original books in 22 languages. Together with the translations of more than 20 of these titles, our bibliography includes publications in 32 languages. Comparing the authors, their theoretical backgrounds and the general frames of the discipline of semiotics in different decades since the 1960s makes it possible to describe a number of predominant tendencies. In the extensive bibliography thus compiled we also include separate lists for existing lexicons and readers of semiotics as additional material not covered in the main discussion. The publication frequency of new titles is growing, with a certain depression having occurred in the 1980s. A leading role of French, Russian and Italian works is demonstrated.

Introduction

Undelivered ◽  
2020 ◽  
pp. 1-10
Author(s):  
Philip F. Rubio
Keyword(s):  
New York ◽  
Women Veterans ◽  
Postal Service ◽  
Leading Role ◽  
Union Leadership ◽  
Postal Workers ◽  
Policy Measures ◽  
The 1960S ◽  
The U.S

This introductory chapter argues that this strike was a ground-breaking, successful rebellion against the federal government and postal union leadership. Both organized and spontaneous, it was a strike that also helps reveal rank-and-file militancy during that time as something rising, not falling--especially in the growing public sector. Postal labor was vital to the movement of mail, and postal workers were well positioned to wildcat by virtue of being so thoroughly unionized yet forbidden by law to strike. The stage had already been set for upsurge with the 1960s spike in the hiring of African Americans, women, veterans, and young people, and with a leading role played by New York City postal workers. This chapter draws connections between the strike and the resulting Postal Reorganization Act, which subsequently left the U.S. Postal Service vulnerable to subsequent laws and policy measures that harmed the agency’s financial viability.

Big Rewards for the Small Screen

Cold War II ◽  
2020 ◽  
pp. 49-69
Author(s):  
Helena Goscilo
Keyword(s):  
General Assembly ◽  
The Political ◽  
The Moon ◽  
The Us ◽  
Un General Assembly ◽  
The 1960S ◽  
The U.S ◽  
Small Screen ◽  
Key Questions

President John Kennedy’s suggestion to the UN General Assembly that the U.S. and the USSR embark on a joint expedition to the moon adumbrated the appearance of a highly successful American TV series: NBC’s Man from U.N.C.L.E (1964-68). What, one may ask, prompted the successful British director Guy Ritchie in 2015, when relations between Russia and the US were (and remain) at a nadir, to reprise/revamp the 1960s series in a film with the same title? To what extent does Ritchie’s film revise the earlier situation and the symbiosis between the two spies from the 1960s, even as he recreates that period? Does the film reflect the political tensions of the 1960s or of the 2010s–or both? These constitute some of the key questions that the chapter addresses in a comparative, politically contextualized analysis of The Man from U.N.C.L.E on the small and big screens.

scholarly journals “Provincial” Cinema on Global Orbits

2016 ◽  
Vol 8 (4) ◽  
pp. 84-96
Author(s):  
Natalia B Kirillova
Keyword(s):  
Golden Age ◽  
Clinical Death ◽  
Avant Garde ◽  
Soviet Film ◽  
Soviet Cinema ◽  
Film Studios ◽  
Contemporary Cinema ◽  
The 1960S

The author explores important aspects in the development of Russian post-Soviet film art, basing on the Ural school of cinema, which sprang into being in 1943 with the start of Sverdlovsk Film Studios. The "golden age" of Ural cinema unfolded in the 1960s-1980s - the span when the Ural cinema traditions were shaped; when this flourishing manifested itself in all cinema genres and trends: fiction, documentary and educational cinema, as well as in animation. Both film professionals and viewers were very much familiar with the names of such directors as: Ya. Lapshin, O. Nikolayevsky, V. Khotinenko; documentary directors A. Litvinov, B. Galanter, L. Rymarenko and V. Volyanskaya, A. Baluyev, S. Miroshnichenko, I. Persidsky and others. Ural school of animation achieved global relevance with the works of such artists as A. Karayev, V. Petkevich, A. Petrov, O. Cherkasova, etc. After facing economic and creative crisis on the cusp of the 20th and 21st centuries, and even passing a stage of "clinical death", Ural cinema had not only survived, but achieved a new avant-garde position within the cinema world and expanded internationally. During this period Sverdlovsk Film Studios lost its monopoly within Ural cinema production with the new studios appearing on the regional cinema map: A-Film, Ural-Film, February 29, Snega, Kinokhronika OOO, Ethnographicheskoye Byuro and others. Post-Soviet cinema arena of Ural ushered in the new names of film professionals, who were the part and parcel of contemporary cinema avant-garde: Alexey Fedorchenko (director and producer), Vasily Sigarev (playwright, film director and producer), animators Sergey Aynutdinov, Nina Bisyarina, Oksana Cherkasova and others.

scholarly journals IN PURSUIT OF JUSTICE: ALBERT GEYSER’S STORY AS TOLD BY THE MEDIA

2016 ◽  
Vol 41 (3) ◽  
pp. 184-197 ◽  
Author(s):  
Wim Dreyer
Keyword(s):  
South African ◽  
Public Memory ◽  
Church History ◽  
Specific Reference ◽  
African Society ◽  
Public Figure ◽  
South African Society ◽  
Leading Role ◽  
The Media ◽  
The 1960S

This contribution was delivered as a paper at the 2015 Conference of the South African Society for Church History. It reflects on the life and contribution of Prof. Dr A.S. (Albert) Geyser, with specific reference to his leading role in the struggle against apartheid. Geyser was very active in the 1960s, but soon forgotten and erased from public memory. In this contribution Geyser is described as a well-known public figure and theologian, a view based on a large number of newspapers articles from this period. The reader is also presented with some reasons why Geyser’s legacy is either ignored (being a controversial figure) or forgotten. It could be regarded as a ‘contested’ or ‘forgotten’ memory.

scholarly journals Ideology of Expressiveness in the Post-War Ukrainian Sculpture

2020 ◽  
Author(s):  
Oleksii Rohotchenko
Keyword(s):  
Large Scale ◽  
Socialist Realism ◽  
Fine Art ◽  
Main Role ◽  
Young Generation ◽  
Leading Role ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Real Picture

Aim. The study reveals the new facts about intervention of the ideology of socialist society into the creative process of Ukrainian sculptors during the post-war era. During this period, the style, later became known in the art history as the socialist realism, came to dominate in the main areas of art—sculpture, fine art, and graphics. One the objectives of the research was illustrating the forcible intervention of ideology in the creativity of Ukrainian artists of the period. Methodology of the study employs historical-logical, comparative methods, and interviewing. The sources in the previously classified archives allowed to discover little-known facts and to analyze the modes of behavior of the artists in non-free society. Scientific novelty of the research is providing a better understanding of the processes taking place in the circle of Ukrainian plastic artists during the 1940s to the 1960s. The article presents the real picture of artistic and social aspects of life of the sculptors in the Ukrainian SSR. Conclusions. The style labeled as socialist realism, which the sculptors ought to follow, was in fact almost photographic naturalism with the tendency for literary descriptiveness and theatricality. The teachers at the departments of sculpture expected students to create large-scale works, thus directing the young generation towards monumental sculpture. Such large, sometimes enormously large works later on would be commissioned for big and small cities. Ideological control played the main role in creating sculptural images. There were many multi-figured sculptural compositions produced, however, their number still did not match the number of multi-figured paintings. The party line prevailed over the artistic quality. The main and only figure for sculptors to depict was a Soviet hero. And since such hero was also depicted in the other fields and genres of art (fine art, literature, music, cinema and theatre), it could be safely said that Ukrainian sculpture of the period pursued the Soviet ideological path. The myth about the leading role of the party policy, forcibly introduced by the party ideologists, did not leave sculptors space and opportunities to create some other images. Socialist realism was considered to be the one and only style, supported by the society.

scholarly journals B. Tishchenko’s music to the ballet “Yaroslavna” in the context of the revival of Russian symphonic style in the 1960s–1970s

2021 ◽  
pp. 29-38
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Russian Text ◽  
Music Culture ◽  
Old Russian ◽  
Russian Music ◽  
Leading Role ◽  
Ballet Music ◽  
The 1960S ◽  
Modern Era ◽  
Outstanding Work

This article analyzes the music to the ballet “Yaroslavna” by the prominent Russian composer of the late XX century B. Tishchenko (1939–2010). The written and staged in 1974 ballet has become one of the most remarkable musical achievements of that time. Emphasis is palced on the fact that Tishchenko composed “Yaroslavna” using all available modern orchestral means of expression on the basis of the Old Russian text “The Tale of Igor's Campaign”. Tishchenko did not seek stylization of his work, but brought the word of the nameless chronicler closer to modern era. He introduces choir to the ballet music to augment its power. The author features Tishchenko's outstanding work with orchestral texture and various instrumental timbres and colors. The novelty of this research lies in studying the music to the ballet “Yaroslavna” in the context of general vector of the revival of Russian symphonic style in the 1960s–1970s. The author notes the leading role of Boris Tishchenko in this remarkable process. The conclusion is made that the composition turned out to be multigenre, consisting of multiple parts; and that Tishchenko has broadened musical lexicon of the Russian music culture to the maximum. The music to the ballet was saturated with truly symphonic content, opened new artistic paths, and enriched modern orchestral palette.

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