The origins of screenwriting practice and discourse in Portugal

2020 ◽  
Vol 11 (1) ◽  
pp. 27-44 ◽  
Author(s):  
Rita Benis
Keyword(s):  
Historical Development ◽  
Early Stage ◽  
Silent Film ◽  
Film Culture ◽  
Silent Cinema ◽  
American Cinema ◽  
Oriented Film ◽  
Film Directors ◽  
Historical Culture ◽  
The Many

Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, focused on artistic processes, clearly present in its screenwriting culture. Such characteristics developed first under the influence of French and Italian silent cinema, through the contribution of foreign film directors who worked in Portugal and established schools there. Also important were the cinematographic experiences (film and writing) made by modernist poets during the silent film period. Finally, the powerful influence of the French Politique des Auteurs (1950s) also helped to configure Portuguese screenwriting culture. To contextualize the Portuguese experience specifically, I explore the origins of screenwriting practice and discourse in Portugal, addressing the many political, historical and financial aspects that impacted the Portuguese perception of screenwriting craft from an early stage.

Screening Europe in Australasia

2022 ◽  
Author(s):  
Julie K. Allen
Keyword(s):  
World War I ◽  
Silent Film ◽  
Early Cinema ◽  
Film Culture ◽  
World War ◽  
American Cinema ◽  
Sound Film ◽  
Hollywood Films ◽  
Feature Films ◽  
Dramatic Shift

This book challenges the historical myopia that treats Hollywood films as always having dominated global film culture through a detailed study of the circulation of European silent film in Australasia in the early twentieth century. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, and brings it vividly to life. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

Introduction: Special Effects and the Techno-Romantic Paradigm

2021 ◽  
Author(s):  
Katharina Loew
Keyword(s):  
Crucial Role ◽  
Film History ◽  
Physical Reality ◽  
Silent Film ◽  
Technological Innovations ◽  
Film Culture ◽  
Silent Cinema ◽  
Special Effects ◽  
Material Reality ◽  
Industrial Modernity

German silent cinema is famous for its unconventional aesthetics and film-technological innovations. These characteristics were the result of efforts to reconcile the new medium’s automatic reproductions of physical reality with idealist conceptions of art. Special effects played a crucial role in this endeavour. They afforded creative experiments with the cinematic apparatus and inspired filmmakers to convey ideas and emotions. Special effects embodied the “techno-romantic” project of construing technology as a means for transcending material reality. This common response to industrial modernity profoundly shaped German silent film culture. The techno-romantic paradigm formed the basis of one of the most creative periods in film history and proved instrumental in the evolution of cinematic expressivity and film art.

Nicht nur Slapstick: Stummfilme als unterschätzte Zeugen der Medizingeschichte

2020 ◽  
Vol 145 (25) ◽  
pp. 1818-1827
Author(s):  
Dennis Henkel ◽  
Eelco M. Wijdicks ◽  
Axel Karenberg
Keyword(s):  
Medical Profession ◽  
Silent Film ◽  
Turn Of The Century ◽  
Short Film ◽  
X Rays ◽  
Silent Cinema ◽  
Feature Films ◽  
Illegal Abortion ◽  
Art Form ◽  
Short Films

AbstractMedicine in silent film has a long history. Although the silent era in cinema was dominated by burlesques (using escaped “lunatics”) a number of themes emerged after systematic review. The cinematic representation of medicine coincided with the discovery of X-rays. During this “roentgenomania”, short films were produced showing groundbreaking X-ray images, which fitted perfectly into needs of dramatic cinema. But soon the “cinema of narration” evolved: Starting just after the turn of the century, the short film “The Country Doctor” was able to address complex interplay between duties and limitations of the medical profession. This was followed by numerous feature films on infectious diseases, which often used tuberculosis as a centerpiece of its story. Directors often took advantage of the well-known stereotype of the omnipotent physician. But in certain medical fields, such as psychiatry or surgery, a more ambivalent figure of the doctor was portrayed, f. e. in “Hands of Orlac” (1924). Silent cinema also offered interesting ideas on the healing powers of the medium itself: in “The Mystery of the Kador Cliffs” (1912) a film screening could cure the patient of fears after reenactment. Finally, a closer look at the early era of film echoes how social conflicts where dramatized, especially in the case of nationwide birth control. How illegal abortion kept the society on its edge, was most clearly shown in the adaption of the scandalous play “Cyankali” (1930).In addition to discussing various topics in the cinematic representation of medicine, this brief overview shows that silent movies were a new and true art form, representing an exceptional resource for historians of film and medicine.

scholarly journals Somatic diversification in the absence of antigen-driven responses is the hallmark of the IgM+IgD+CD27+ B cell repertoire in infants

2008 ◽  
Vol 205 (6) ◽  
pp. 1331-1342 ◽  
Author(s):  
Sandra Weller ◽  
Maria Mamani-Matsuda ◽  
Capucine Picard ◽  
Corinne Cordier ◽  
Damiana Lecoeuche ◽  
...  
Keyword(s):  
T Cell ◽  
B Cells ◽  
Immune Responses ◽  
Germinal Center ◽  
Early Stage ◽  
Cell Repertoire ◽  
Very Young Children ◽  
B Cell Repertoire ◽  
Somatic Diversification ◽  
The Many

T cell–dependent immune responses develop soon after birth, whereas it takes 2 yr for humans to develop T cell–independent responses. We used this dissociation to analyze the repertoire diversification of IgM+IgD+CD27+ B cells (also known as “IgM memory” B cells), comparing these cells with switched B cells in children <2 yr of age, with the aim of determining whether these two subsets are developmentally related. We show that the repertoire of IgM+IgD+CD27+ B cells in the spleen and blood displays no sign of antigen-driven activation and expansion on H-CDR3 spectratyping, despite the many antigenic challenges provided by childhood vaccinations. This repertoire differed markedly from those of switched B cells and splenic germinal center B cells, even at the early stage of differentiation associated with μ heavy chain expression. These data provide evidence for the developmental diversification of IgM+IgD+CD27+ B cells, at least in very young children, outside of T cell–dependent and –independent immune responses.

scholarly journals "So oft to the movies they've been": British fan writing and female audiences in the silent cinema

2010 ◽  
Vol 6 ◽  
Author(s):  
Lisa Rose Stead
Keyword(s):  
Middle Class ◽  
Working Class ◽  
Film Culture ◽  
Female Representation ◽  
Archival Research ◽  
Silent Cinema ◽  
Lower Middle Class ◽  
Silent Era

This article aims to address the ways in which working-class and lower-middle-class British women used silent-era fan magazines as a space for articulating their role within the development of a female film culture. The article focuses on letter pages that formed a key site for female contribution to British fan magazines across the silent era. In contributing to these pages, women found a space to debate and discuss the appeal and significance of particular female representations within film culture. Using detailed archival research tracing the content of a specific magazine, Picturegoer, across a 15-year period (1913–28), the article will show the dominance of particular types of female representation in both fan and "official" magazine discourses, analyzing the ways in which British women used these images to work through national tensions regarding modern femininity and traditional ideas of female propriety and restraint.

10. Industrial action

2019 ◽  
pp. 704-794
Author(s):  
Ian Smith ◽  
Aaron Baker ◽  
Owen Warnock
Keyword(s):  
Human Rights ◽  
Historical Development ◽  
Common Law ◽  
European Convention ◽  
Industrial Action ◽  
Unfair Dismissal ◽  
The Law ◽  
The Many ◽  
Contractual Rights ◽  
The Impact

This chapter considers the law relating to strikes and other industrial action including the important changes made by the Trade Union Act 2016. It deals with the historical development of common law and statute in this field to illuminate the current law. The relevance of the European Convention on Human Rights is considered. The tortious and criminal liabilities flowing from industrial action are considered and the crucial immunity for tortious liability provided by the ‘golden formula’ including the exceptions to this immunity and the preconditions of complying with rules on balloting and notice of industrial action. Picketing is considered in relation to the many legal liabilities and the statutory immunity for some peaceful picketing. The granting of injunctions to stop industrial action is examined. The impact of industrial action on individual employees is considered in relation to their contractual rights and liabilities and the law of unfair dismissal.

Classical and Christian Ideas of World Harmony: Prolegomena to an Interpretation of the Word “Stimmung” Part I

Traditio ◽  
1944 ◽  
Vol 2 ◽  
pp. 409-464 ◽  
Author(s):  
Leo Spitzer
Keyword(s):  
Historical Development ◽  
Medieval Art ◽  
Semantic Field ◽  
Face To Face ◽  
German Word ◽  
Historical Semantics ◽  
The Many

In the following study I propose to reconstruct the many-layered Occidental background for a German word: the concept of world harmony which underlies the word Stimmung. This task implies a survey of the whole semantic “field”, as it was developed in different epochs and literatures: the concept and the words expressing it had to be brought face to face, and in the words, in turn, the semantic kernel and the emotional connotations with their variations and fluctuations in time had to be considered. A “Stimmungsgeschichte” of the word Stimmung was necessary. I hope that this historical development will spontaneously, if gradually, emerge from the mosaic of texts to which I wished my running text to be subordinated: the consistency of the texture of verbal and conceptual associations and motifs through the centuries seems to me to be herewith established. “Avez-vous un texte?” was the insistent question which the famous positivist Fustel de Coulanges was wont to address to his pupils when they made a historical statement. The student in historical semantics must ask: “Have you many texts?”, for only with a great number of them is one enabled to visualize their ever-recurrent pattern. I realize that the medieval art of tapestry (which Péguy has revived in literature), with its possibility of showing a constant motif along with the labyrinth of interwoven ramifications, would be a more adequate medium of treatment than is the necessarily linear run of the words of language. And, in any case, I shall be obliged, in the notes, to anticipate or recapitulate the events which cannot be treated at their historical place.

Lewis Milestone

2019 ◽  
Author(s):  
Harlow Robinson
Keyword(s):  
World War I ◽  
American Film ◽  
World War ◽  
Silent Films ◽  
Academy Awards ◽  
Archival Material ◽  
Film Directors ◽  
Production History ◽  
Hollywood Blacklist ◽  
The Many

This book tells the remarkable personal and professional story of Lewis Milestone (1895-1980), one of the most prolific, creative and respected film directors of Hollywood’s Golden Age. Among his many films are the classics All Quiet on the Western Front, Of Mice and Men, A Walk in the Sun, Pork Chop Hill, the original Ocean’s Eleven and Mutiny on the Bounty, starring Marlon Brando. Born in Ukraine, he came to America as a teenager and learned about film in the U.S. Army in World War I. By the early 1920s he was editing silent films in Hollywood, and soon graduated to shooting his own features. His films were nominated for 28 different Academy Awards during a career that lasted 40 years. Among the many stars whom he directed were Barbara Stanwyck, Ingrid Bergman, Gregory Peck, Errol Flynn, Gary Cooper, Frank Sinatra, Joan Crawford and Kirk Douglas. Providing biographical information, production history and critical analysis, this first major scholarly study of Milestone places his films in a political, cultural and cinematic context. Also discussed in depth, using newly available archival material, is Milestone’s experience during the Hollywood Blacklist period, when he was one of the first prominent Hollywood figures to fall under suspicion for his alleged Communist sympathies. Drawing on his personal papers at the AMPAS library, my book gives Milestone the honored place herichly deserves in the American film canon.

Women and the Shift from Theatre to Cinema in Spain: The Case of Helena Cortesina (1903–84)

2018 ◽  
Vol 45 (1) ◽  
pp. 96-120
Author(s):  
Elena Cordero-Hoyo ◽  
Begoña Soto-Vázquez
Keyword(s):  
Film History ◽  
Silent Film ◽  
The Other ◽  
Silent Cinema ◽  
Spanish Film ◽  
Professional Career ◽  
Production Of Knowledge ◽  
Feminist Film ◽  
Marginal Status ◽  
The One

The purpose of this article is to identify the main causes behind women achieving, on the one hand, important positions as theatre managers in Spain but, on the other, being relegated a marginal status in the shift to cinema. We use the career of the artist Helena Cortesina to illustrate the only known example of a woman becoming a silent cinema entrepreneur in Spain. An actress, producer, and director of Flor de España o la leyenda de un torero ( Spanish flower or the bullfighter's story, 1921) Cortesina transitioned from the variety dances stage to silent film and became a theatrical manager. Her professional career exemplifies the inter-artistic relations between cinema and the scenic arts at the beginning of the twentieth century and the professional bridge between them. This article contributes to feminist film historiography. Following Monica Dall’Asta, it presents a ‘history that invites us to work using creative hypotheses and even imagination’. The article revisits Spanish Film History, reinterpreting the hegemonic production of knowledge that has been historically told from a (supposedly) un-gendered perspective. Our article seeks to disrupt this patriarchal narrative of firsts (including geniuses, technical discoveries, and masterpieces) that relegate women's experiences to the margins of History.

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