scholarly journals Realism or ‘grotesque clichés’? Jan Halldoff’s The Corridor and the Swedish debate on abortion in the 1960s

2019 ◽  
Vol 9 (1) ◽  
pp. 117-130 ◽  
Author(s):  
Elisabet Björklund
Keyword(s):  
Turning Point ◽  
Film Industry ◽  
Film History ◽  
Medical Professionals ◽  
The Past ◽  
Medical Institutions ◽  
Welfare Society ◽  
The 1960S ◽  
Historical Moment

Swedish filmmaker Jan Halldoff’s fiction film Korridoren (The Corridor) premiered in 1968 to a mainly positive Swedish reception. Shot at Karolinska Hospital and criticizing the Swedish healthcare system, the film became much debated and can furthermore be seen as a turning point in Swedish film history regarding the portrayal of medical institutions and professionals. In this article, the film and its reception are analysed in relation to the Swedish debate on abortion at the time. While the film is clearly critical of Swedish welfare society, the way it depicts abortion is more conservative. Highlighting this as well as the role of actual medical professionals in the film, the article demonstrates how the film relates to representations of abortion in the past and discusses connections between the film industry and medicine at this historical moment.

‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away

2021 ◽  
Vol 18 (2) ◽  
pp. 176-197
Author(s):  
Llewella Chapman
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Financial Resources ◽  
Film Production ◽  
New Wave ◽  
Tom Jones ◽  
The 1960S ◽  
Karel Reisz

From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Karel Reisz, two of the key British New Wave directors, lost their previous ability to direct films to budget and within schedule when they had the financial resources of American studios behind them. It will analyse how, due to a combination of ‘artistic’ intent and Hollywood money, Richardson and Reisz separately created two of the most notorious ‘runaways’ that ran away during the 1960s.

scholarly journals The China Girl on the Margins of Film

October ◽  
2015 ◽  
Vol 153 ◽  
pp. 96-116 ◽  
Author(s):  
Genevieve Yue
Keyword(s):  
Human Body ◽  
Film Industry ◽  
Film History ◽  
Role Of Women

The “China Girl” has appeared in more films than any actress, but she is almost never seen. Used in industrial film laboratories since the late 1920s, this image-nearly always a woman positioned next to color swatches and patches of white, gray, and black—is clipped to the leader of a film reel and used throughout the processing, developing, and printing of photochemical film to determine the desired exposure, density, and ideal appearance of the human body. This article addresses the China Girl's essential but often overlooked role in film history, specifically as it pertains to questions of race, gender, and visibility. It also surveys the work of various experimental filmmakers, including Owen Land, Morgan Fisher, Barbara Hammer, Sandra Gibson and Luis Recoder, Cécile Fontaine, and Mark Toscano, who have used the China Girl image to explore issues of celluloid materiality, the behind-the-scenes workings of the film industry, and the often marginal role of women both in front of and behind the camera.

scholarly journals A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry

2021 ◽  
Vol 18 (1) ◽  
pp. 34-49
Author(s):  
Laura Mayne
Keyword(s):  
Film Industry ◽  
New Wave ◽  
Scholarly Work ◽  
Box Office ◽  
The Press ◽  
British Cinema ◽  
1960S And 1970S ◽  
Business Acumen ◽  
The 1960S

Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

scholarly journals Changing the World Through Poetry: Confessions, Poems and Banners of Adam Borzič

Porównania ◽  
2020 ◽  
Vol 27 (2) ◽  
pp. 325-339
Author(s):  
Markéta Kittlová
Keyword(s):  
Turning Point ◽  
Social Role ◽  
First Century ◽  
Cultural Work ◽  
Avant Garde ◽  
The Past ◽  
Strong Current ◽  
The Social ◽  
The World

This study focuses on Adam Borzič, one of the most distinctive contemporary Czech poets. The study contextualises his work within current Czech poetry but also examines his other work that is not strictly classified as art as though it were cultural work with avant-garde features. It investigates four volumes of Borzič’s work in terms of the changes in the author’s creative gesture, which expands from his conviction that the world is at a turning point and the avant-garde longing to change the world by poetry. In the four volumes of Borzič’s poetry (written so far), this gesture is embodied through delicately intimate, acutely physical, or even gigantically all-embracing positions, where he employs motives of the heart, head, hand and mouth. The study attempts to evaluate the change in Borzič’s work in the lightof T. S. Eliot’s understanding of the social role of poetry and avant-garde longing to change reality through art. The Czech poet, Adam Borzič, is one of the most distinctive figures of the current Czech literary scene. His poetry is distinct because of its unique gesture andalso represents a strong current in the poetry production of the past decade with its emphasis on the social function of poetry7 and the poet’s role as somebody who should nurture the world through his/her work or even change it. This study attempts to portray Borzič’s work as focused on the mentioned topics and related issues of the end of the first decade of the twenty-first century and renew interest in them, contextualise his work within current Czech poetry but also investigate his other work, which is not strictly artistic but which possesses some avant-garde features.

Curriculum and Civil Society in Afghanistan

2009 ◽  
Vol 79 (1) ◽  
pp. 113-122 ◽  
Author(s):  
Adele Jones
Keyword(s):  
Civil Society ◽  
The State ◽  
Educational Practices ◽  
Soviet Regime ◽  
The Past ◽  
State Regime ◽  
The 1960S

Although research has traditionally discussed the ways in which societies in conflict develop educational practices, only recently have scholars begun to examine the role of education in creating or sustaining conflict. In Afghanistan, changing regimes have had an impact on state-sanctioned curricula over the past fifty years, drastically altering the purpose and ideology of education. In this article, Adele Jones traces the changing nature of Afghan curricula since the 1960s, highlighting the conflict surrounding curricula during the Soviet regime. She posits that resistance to statesanctioned curricula was seen as resistance to the state regime, often putting schools at the center of conflict. This continues today, as Taliban groups resist the Western-influenced curricula of modern Afghanistan. Jones argues that understanding this cycle of resistance is critical for Western agencies aiming to support educational efforts in the country.

Conclusion

2017 ◽  
Author(s):  
Woojeong Joo
Keyword(s):  
Film Industry ◽  
Social Reality ◽  
Postwar Period ◽  
Social Critique ◽  
Historical Experience ◽  
Japanese Film ◽  
The Past ◽  
The Social ◽  
The Everyday

Conclusion reemphasises the historicity of the everyday in Ozu’s films, which is not a void entity but characterized by various modern subjects – distinguished in class, gender and generation – with conflicting views, the interaction among which changes throughout history. Temporality (permeation of the past into the present) and spatiality (deviation) are also importantly discussed in relation to the working of Ozu’s everyday, especially in the postwar period when historical experience of wartime presents more complex layer of social critique. The role of the Japanese film industry (namely, Shochiku) is reiterated in terms of establishing Ozu’s everyday realism, which is constantly placed in negotiating relationship with the former’s commercial concerns. Lastly, a question is raised about whether Ozu should be regarded as conservative in representing the social reality, for which the particularity of his everyday realism is suggested as an answer.

The College Presidency

2021 ◽  
pp. 1-17
Author(s):  
Stephen J. Nelson
Keyword(s):  
Higher Education ◽  
Recent Trend ◽  
College Presidency ◽  
Critical Questions ◽  
Significant Time ◽  
American Higher Education ◽  
The Past ◽  
1960S And 1970S ◽  
The 1960S

This chapter explores the defining events and leaders in American higher education during the past 75 years. Special attention is directed at the defining events and leaders of the 1960s and 1970s that have shaped so much of the current landscape of higher education. The chapter begins by exploring the idea of a 'career president', a recent trend during the past four or five decades, and includes both influential leaders who have spent significant time at one institution, to those who move to different institutions throughout their career entirely in the role of president. The chapter concludes by offering critical questions about the future of the academy.

La responsabilità morale dello storico

2009 ◽  
pp. 116-126
Author(s):  
Bronislaw Baczko
Keyword(s):  
Historical Research ◽  
Social Awareness ◽  
Moral Code ◽  
Individual Action ◽  
Historical Knowledge ◽  
The Past ◽  
Principle Of Relativity ◽  
Historical Moment ◽  
Over Time

- Historical knowledge is tied in a thousand ways to the anxieties, conflicts, to antinomies and to the demands of our era. It is in the name of our present that interrogates the past. It possesses a degree of expressive character: voicing the present where one is born and lives. So, therefore the historian is not an impartial and static observer of the past and the ever-dominate present. He must remain in the perspective of the present-day and the historical moment in which he lives. But no «present» is ever really finished. One might think that no moral code is consistent with the principle of relativity of knowledge, that the researcher is inevitably partial and runs the risk of deformation and ideological sublimation. It may also be that history has taken a far too long function of magistra vitae in social awareness. It does not seem to arouse any distrust towards our time. In fact, the disproportion between the anonymous «fate» on one side - the decisions bearing on the existence of humanity and its future destiny - and, on the other hand, the possibility of individual action is today such that history seems pointless for the rationalization of the present. The attitude towards historical knowledge is also influenced by the fact that it is a subject far too easy to exploit and manipulate by power and propaganda, penalizing values often variable and contradictory. The historical-humanist has often been reduced to the role of technical - propagandist. In his research, he cannot make «partial» choices between true and false. The awareness of the relativity of values and of their variability over time, does not change anything in the absolute moral character of historical research. The total moral responsibility of the historian cannot be relieved by anyone. An historian, precisely, must explore the past to get to the truth; he is morally obligated and has no right to falsify.Key words: present, pass, historical knowledge, "to be a historian", responsibility, relativism, moral code.Parole chiave: presente, passato, conoscenza storica, "essere uno storico", responsabilità, relativismo, codice morale.

Genova, dalle Colombiane a Capitale Europea della Cultura. Grandi eventi e processi di rigenerazione urbana

TERRITORIO ◽  
2009 ◽  
pp. 103-109
Author(s):  
Francesco Gastaldi
Keyword(s):  
Crucial Role ◽  
Turning Point ◽  
Urban Transformation ◽  
City Centre ◽  
The Past ◽  
European Capital Of Culture ◽  
Urban Transformations ◽  
The City ◽  
Historical Centre

- Major events have played a crucial role in the urban transformations that have taken place in Genoa over the past 15 years, both for the huge investments they require and for the way they have redefined the city's image. Urban transformation, upgrading and maintenance, all of which have affected the historical centre and the waterfront, have contributed decisively to the reversing of the process of physical, economic and social degradation which had been devouring many parts of the city centre. 2004 was the year Genoa became European Capital of Culture and this was a turning point in the endeavour to relaunch and consolidate the role of the city in the tourist and cultural panorama of both Italy and Europe.

Colonizing islands

2020 ◽  
Vol 9 (1) ◽  
pp. 47-60 ◽  
Author(s):  
Chris L. Smith
Keyword(s):  
Second World War ◽  
Concentration Camps ◽  
Departure Point ◽  
Concrete Form ◽  
Imaginative Geography ◽  
1960S And 1970S ◽  
The 1960S ◽  
Historical Moment ◽  
Second World

When Edward Said spoke of an ‘imaginative geography’, it was both to question the geographic positions adopted as part of colonial accounts and to posit the role of imagination itself in the construction of geographies. For Said, the ‘dramatic boundaries’ of imaginative geography are at once abstract and mobile, and yet might constitute ‘a form of radical realism’. The discourse is thus at once about perspective, position and the empirical (and imperial) imposition of that which is speculative, literary and fluid. But it is also about the unmediated engagements of radical realism and a form of geography we can only imagine. This article turns to the imaginative geography of islands and takes three islands as its departure point. The first is the island of Gilles Deleuze’s article ‘Desert islands’ (2004), an island ‘toward which one drifts’. The second is the island of absent subjectivity that is explored in Jean Baudrillard’s extended essay Why Hasn’t Everything Already Disappeared? (2009). The third island upon which this article fixates is perhaps more archipelago than island. It is the spomeniki that are dotted over the landscape of the former Yugoslavia. These monuments were largely commissioned by Josip Broz Tito and built across the 1960s and 1970s and into the early 1980s to mark the places where the battles of the National Liberation War (Second World War) had occurred and where concentration camps had once stood. These monuments sit as odd and haunting gestures. Many sculptors and architects were involved. Some spomeniki are anchored and sit heavy on the landscape, as one might expect of memorials, and others appear to launch themselves towards elsewhere. Some are small and unimposing, and others at a scale well beyond the human body. Some are well tended, and others have faded into oblivion. This article turns specifically to the spomenik at the Valley of Heroes, Tjentište, designed by the sculptor Miodrag Živović and completed in 1971. Like all the spomeniki, this monument has endured further war since its erection. This magnificent fractal concrete form marks the Battle of Sutjeska, but rather than fixate upon a singular geo-historical moment, it appears more likely to take flight. I will argue that this magnificent sculpture is perhaps engaged in what Baudrillard calls ‘the art of disappearance’.

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