“Sun in the Belly”: Film Practice at Films Division of India 1965–1975

2017 ◽  
Vol 8 (1) ◽  
pp. 103-123 ◽  
Author(s):  
Ritika Kaushik
Keyword(s):  
Political Environment ◽  
Experimental Film ◽  
Film Production ◽  
Policy Changes ◽  
Institutional Practice ◽  
Production And Distribution ◽  
Interview Format ◽  
History Of ◽  
Film Form ◽  
Layered Body

This article looks at one decade (1965–1975) in the history of Films Division of India (FD), the first state film production and distribution unit in the country. It tracks the changing political environment and several administrative, infrastructural, and policy changes of the time, along with the emerging “experimental” film and interview format films. Under the dynamic supervision of Jean Bhownagary, a constellation of film makers and artists like Pramod Pati, S.N.S. Sastry, S. Sukhdev, among others came to the fore, experiment with film form was encouraged, and dissonant voices rose against the state itself. I suggest that it is possible to study certain experiments and formal practices emerging at a particular time and space not as mere aberrations, but as something that emerges from complex shifts in institutional practice. I locate these as part of a layered body of film uses, a palimpsest, in which the filmmaker’s creative engagement needs to be situated in a bureaucratic order that could be arbitrary and inflexible but also provide for a regime of the permissible.

scholarly journals Art communication as culture component of production activity

2021 ◽  
Author(s):  
Sergey Lavreniuk
Keyword(s):  
Scientific Basis ◽  
Empirical Method ◽  
Film Production ◽  
Economic Activities ◽  
Historical Method ◽  
Production Activity ◽  
Film Producer ◽  
Production And Distribution ◽  
History Of ◽  
History Of Culture

The purpose of the article is to identify the specifics of art communication in the culture of production both in the process of filmmaking and in the distribution (distribution) of film products. Methodology. The method of theoretical analysis of the culture of production activity as a phenomenon of the postmodern and postmodern epoch was used in the elaboration of the topic; the comparative-historical method was used in the analysis of the evolution of the producer's activity in cinema; empirical method made it possible to address the practical component of film production and distribution as structures of socio-cultural and economic activities aimed at the needs of society; analytical method and methods of scientific analysis, generalizations have come in handy in the process of establishing the specifics of art communication in the context of creative and production aspects of the film producer. The scientific novelty of the study is that the problem of art communication of the producer in the context of his creative and production activities is the subject of a special comprehensive study; the meaning of the concept of "art-communication" as certain specific integrity and unity of interconnected elements is argued and clarified. Conclusions. Acquaintance with the materials of this study enriches the knowledge about the specifics of art communication as a component of the producer's activity in the culture of film production in the process of its evolution and is the scientific basis for their use in courses on theory and history of culture, including cinema, film production, film directing. Keywords: culture, art communication, cinema, film producer, film director, film.

scholarly journals Рroduction and distribution of author's cinema in Ukraine as a state problem. Part 1. Film рroduction and problems of state administration of film industry

2021 ◽  
Author(s):  
Galina Pogrebniak
Keyword(s):  
Comprehensive Analysis ◽  
Film Production ◽  
State Support ◽  
System Method ◽  
State Administration ◽  
Scientific Analysis ◽  
Production And Distribution ◽  
History Of ◽  
Distribution State ◽  
Film Making

The purpose of the article is to identify the problems of film production and distribution in Ukraine and to identify scientific guidelines that contribute to a comprehensive analysis of the phenomenon of Ukrainian authors’ cinema in the intercultural space. Research methodology. Methods of scientific analysis, comparison, generalization were used in the development of the topic. In addition, analytical and systematic methods were used in their unity, which is necessary to study the art aspect of the problem. The scientific novelty of the study is that the problem of author's film production and distribution in Ukraine in the context of the functioning of state support programs first appeared as the subject of a special study; the content of the concept of "film production" as certain specific integrity and unity of interconnected elements is argued; the works of Ukrainian film directors-authors, whose films were created with state support, are singled out and characterized; the expediency of using the system method in studying the peculiarities of the film-making process in Ukraine is proved; a comprehensive analysis was carried out and the features of author's film production in Ukraine and abroad were identified. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge about the specifics of the author's film production and distribution in Ukraine and makes their use in training courses on the theory and history of cinema and directing. Keywords: Ukrainian cinema, film production, distribution, state support, director-authors.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

The Scientific Value Of Research On Mirmukhsin Fikriy

2020 ◽  
Vol 2 (08) ◽  
pp. 583-589
Author(s):  
Umriniso Rahmatovna Turaeva
Keyword(s):  
Political Environment ◽  
Continuous Development ◽  
The Past ◽  
Works Of Art ◽  
Literary Heritage ◽  
History Of ◽  
The Creation ◽  
Scientific Value

The history of the Turkestan Jadid movement and the study of Jadid literature show that it has not been easy to study this subject. The socio-political environment of the time led to the blind reduction of the history of continuous development of Uzbek literature, artificial reduction of the literary heritage of the past on the basis of dogmatic thinking, neglect of the study of works of art and literary figures. As a result, the creation of literary figures of a certain period, no matter how important, remained unexplored.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Nashville Cats

2020 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
Music History ◽  
Country Music ◽  
Primary Sources ◽  
Recording Industry ◽  
Global View ◽  
Production And Distribution ◽  
History Of ◽  
The 1950S ◽  
Hall Of Fame ◽  
The City

Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.

Capitalisms

2020 ◽  
Keyword(s):  
Tenth Century ◽  
History Of Capitalism ◽  
Commodity Production ◽  
Production And Distribution ◽  
History Of ◽  
National Boundaries ◽  
Small Producers ◽  
Circulation Of Knowledge ◽  
Industrial Revolutions

Conventional accounts often conceive the genesis of capitalism in Europe within the conjunctures of agricultural, commercial, and industrial revolutions. Challenging this widely believed cliché, this volume traces the history of capitalism across civilizations, tenth century onwards, and argues that capitalism was neither a monolithic entity nor exclusively an economic phenomenon confined to the West. Looking at regions as diverse as England, South America, Russia, North Africa, and East, South, West, and Southeast Asia, the book explores the plurality of developments across time and space. The chapters analyse aspects such as historical conjunctures, commodity production and distribution, circulation of knowledge and personnel, and the role of mercantile capital, small producers, and force—all the while stressing the necessity to think beyond present-day national boundaries. The book argues that the multiple histories of capitalism can be better understood from a trans-regional, intercontinental, and interconnected perspective.

Standardized Education With Free Textbooks

2020 ◽  
Author(s):  
Eugenia Roldán Vera ◽  
Susana Quintanilla
Keyword(s):  
Historical Context ◽  
Previous History ◽  
State Intervention ◽  
Teaching Quality ◽  
The State ◽  
Educational Reforms ◽  
Social Equality ◽  
Production And Distribution ◽  
History Of

The Mexican policy of state provision of standardized textbooks for all was instituted in 1959 and still ongoing. This is an overview of the previous history of state intervention in the production and distribution of school textbooks, an examination of the particular circumstances in which the 1959 policy was figured and implemented, and a description of the characteristics of the different generations of textbooks that have since been published, corresponding with several educational reforms. The arguments for and against standardized textbooks mobilized by different sectors of society throughout sixty years are discussed in their historical context. Far from this being a debate about the authoritarian intervention of the state in education, issues of social equality and teaching quality have been central.

Curious Readers: The Bodleian’s Book of Curiosities as a Fatimid View of the World Through Ottoman Eyes

2021 ◽  
Vol 64 (4) ◽  
pp. 404-424
Author(s):  
Boris Liebrenz
Keyword(s):  
Political Environment ◽  
Bodleian Library ◽  
Ottoman History ◽  
The World ◽  
History Of ◽  
Scholarly Attention ◽  
Geographical Context

Abstract An illustrated cosmographical and geographical manuscript at Oxford’s Bodleian Library, known as the Book of Curiosities, has recently seen a rare confluence of public and scholarly attention. It is widely regarded as one of the outstanding Arabic works of geography, with stylistically idiosyncratic maps and a text that can be traced back to Egypt in the Fatimid period. However, few concrete facts are known about the history of this unique artefact. This article will identify and analyse the traces left by some of its previous owners and thus unlock the Ottoman history of this Fatimid work. By placing it in a concrete temporal and geographical context, we are better able to envisage the intellectual, social, and political environment in which this book could make sense to its owners and readers.

scholarly journals Vlaanderen te weer? Het verzwegen parcours van Flandria Film in de Tweede Wereldoorlog

2008 ◽  
Vol 67 (3) ◽  
pp. 210-235
Author(s):  
Roel Vande Winkel
Keyword(s):  
Film Production ◽  
Business Manager ◽  
Empty Shell ◽  
Track Record ◽  
Onderzoek Naar ◽  
The Status ◽  
German Model ◽  
History Of ◽  
One Step ◽  
Second World

In aanvulling op de boekpublicatie Filmen voor Vlaanderen: Vlaamse beweging, propaganda en film reconstrueert dit artikel de complexe oorlogsgeschiedenis van Flandria Film. Zaakvoerder Clemens De Landtsheers hoopte zijn filmactiviteiten na mei 1940 te hervatten. Hij botste op de realiteit van een op Duitse leest hervormd filmlandschap. Als filmverdeler was Flandria Film ongewenst. Op basis van zijn in het interbellum gerealiseerde producties, kon men De Landtsheer echter de status van producent niet ontzeggen. De uitdaging om zelf korte ‘cultuurfilms’ te produceren, bleek te moeilijk. Flandria Film werd zo een lege doos, een vlag waar andere Vlaamsgezinden met filmambities graag onder kwamen schuilen. De Landtsheer experimenteerde hiermee door Lode De Kempeneer Zingend Vlaanderen (1942) te laten maken, waarbij hij als nominaal producent nog een zekere vorm van controle behield. Door die controle uit handen te geven, ging hij een stap verder. Dat Flandria Film onder leiding van Frans Develter films als De Brigade waakt (1944) en Vlaanderen te weer (1944) draaide, zette De Landtsheer ertoe aan deze episode na de oorlog te verzwijgen.Als venster op de microkosmos van filmproductie in bezet België belicht dit artikel, aansluitend bij recent onderzoek naar Henri Storck, de activiteiten van ‘zwarte’ filmmakers, die na de Bevrijding uit de filmsector verdwenen, evenals van sommige ‘witte’ collega’s, die blijkbaar ‘grijzer’ waren dan tot dusver werd aangenomen.________Flanders resist? The concealed track record of Flandria Film during the Second World WarIn addition to the publication of the book Filmen voor Vlaanderen. Vlaamse beweging, propaganda en film (Filming for Flanders: Flemish Movement, Propaganda and Film) this article reconstructs the complex war history of Flandria Film. The business manager Clemens De Landtsheers hoped to resume his filming activities after May 1940. However, he was confronted with a film landscape that had been reformed according to a German model. As film distributor Flandria Film was unwanted. But on the basis of the productions he had realised during the Interbellum period it was impossible to deny De Landtsheer the status of producer. The challenge of producing short ‘cultural films’ himself proved to be too difficult. Thus Flandria Film became an empty shell, a flag that other supporters of the Flemish Movement with film ambitions liked to use for shelter. De Landtsheer experimented with this by allowing Lode De Kempeneer to make the film Zingend Vlaanderen (Singing Flanders) (1942), which still afforded him as the nominal producer a certain kind of control. He went one step further by releasing that control all together. The fact that Flandria Film produced films such as De Brigade waakt (The Brigade keeps vigil) (1944) and Vlaanderen te weer (Flanders in opposition) (1944), directed by Frans Develter caused De Landtsheer to keep silent about this episode after the war. This article casting a light on the microcosm of film production in occupied Belgium, following on from recent research about Henri Storck exposes the activities of ‘black filmmakers’ who disappeared from the film sector after the Liberation, as well as those of some ‘white’ colleagues, who apparently were ‘a darker shade of grey’ than had been assumed until now.

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