‘For the Love of the Art’: The life and work of Percy Nash, film producer and director of the silent era

Film History ◽  
2007 ◽  
Vol 19 (3) ◽  
pp. 292-301
Author(s):  
Bernard Ince
Keyword(s):  
Film Producer ◽  
Silent Era

Producing Outside the Box: Creative Strategies in the Work of Betty E. Box, 1957–64

2020 ◽  
Vol 17 (3) ◽  
pp. 355-374
Author(s):  
John D. Ayres
Keyword(s):  
Second World War ◽  
Film Production ◽  
World War ◽  
E Box ◽  
Film Producer ◽  
British Cinema ◽  
Working Practices ◽  
Location Shooting ◽  
Second World

This article considers the working practices of British cinema's only major female film producer during the early-to-mid post-Second World War era, Betty E. Box (1915–99). Via reference to her extensive archive at the British Film Institute and the films Campbell's Kingdom (1957), The Wind Cannot Read (1958) and Hot Enough for June (1964), the article charts how Box initially envisaged multi-generational casting for roles that were eventually taken by long-term collaborator Dirk Bogarde. It considers the manner in which she approached the diplomatic complexities of location shooting, with particular focus on Ralph Thomas's military romance The Wind Cannot Read, the first British film to be shot in India for twenty years at the time of its production. The reasoning for Box's ongoing absence, as a female creative figure, from scholarship addressing British cinema, and film production more generally, will also be addressed.

Introduction

2018 ◽  
Author(s):  
Steven Cohan
Keyword(s):  
Los Angeles ◽  
Motion Picture ◽  
Motion Picture Industry ◽  
Theoretical Argument ◽  
Historical Overview ◽  
Silent Era

The introduction provides the theoretical argument of the book. It explains why the backstudio picture is not a cycle but a genre in its own right, and how the genre depicts Hollywood as a geographic place in Los Angeles, as an industry, and as a symbol. It goes on to show how the backstudio picture has historically served to brand the motion picture industry as “Hollywood,” working in much the same way as consumer brands do today. Additionally, the introduction provides a historical overview of the genre, focusing on its four major cycles of production, from the silent era to the present day. Finally, it briefly describes the content of the seven chapters.

Performance Practices and Music In Early Cinema outside Hollywood

2013 ◽  
pp. 610-619
Author(s):  
Kathryn Kalinak
Keyword(s):  
Film Music ◽  
Silent Film ◽  
Early Cinema ◽  
Performance Practices ◽  
Moving Images ◽  
Cultural Interface ◽  
Silent Era

This chapterexamines the diversity of international practices in film music outside Hollywood during the silent film era. It describes performance practices around the globe and offers a broader context in which to consider American practices during this period. It suggests that music functioned as a cultural interface throughout the silent era in a way quite different from the sound era and that music in the silent era had an impressive power to interact with moving images in ways not controlled by films or their producers.

scholarly journals Researching Janet Dean

2021 ◽  
pp. 205-212
Author(s):  
Christina Lane
Keyword(s):  
Social Issues ◽  
Historical Narratives ◽  
Television Series ◽  
Television Production ◽  
Star Power ◽  
American Television ◽  
Hollywood Films ◽  
Growing Medium ◽  
Film Producer ◽  
Production Practices

The 1954 American television series Janet Dean, Registered Nurse (1954–1955) capitalised on the star power of its lead Ella Raines, business heft of CBS executive William Dozier, and cache of film producer Joan Harrison. Though a brainchild of Raines’, the series relied heavily on Harrison’s decades of nuts-and-bolts experience producing Hollywood films. It became a vehicle for both women to pool their creative talents, advance a growing medium, and comment on contemporary social issues. This contribution to the dossier considers the methodological challenges posed by analysing this instance of female collaboration in 1950s television production. It represents an effort to excavate undocumented production practices and women’s creativity, while decentring prevailing historical narratives surrounding the “great genius” male executive.

scholarly journals Prospects for Professional Training of Producers in the Context of the Development of Film Business in Russia

2018 ◽  
Vol 10 (2) ◽  
pp. 122-140
Author(s):  
Vitaly I Sidorenko
Keyword(s):  
Professional Training ◽  
Social Protection ◽  
Optimal Number ◽  
Educational Process ◽  
Film And Television ◽  
Teaching Aids ◽  
Current State ◽  
Film Producer ◽  
Future Work ◽  
Industrial Context

The author explains the conditions and reasons for the introduction in 2003 a new major, that is Film and Television Producer into the list of Media Majors for which the students are trained in higher educational institutions for the domestic industry. The article points out the goals and tasks for developers of normative and methodological materials required for the introduction of such a major, the functional responsibilities and skills of the producer in audiovisual industry and the main features of his/her activities as compared to the classical entrepreneurship skill set. The author presents the list of learning outcomes and the tasks a graduate who has mastered the curriculum of the Producer program should solve. A highlight of the article is given to the legal basis for ensuring the activities of the producer. Besides, the professional standard of "Film Producer", approved by the Ministry of Labor and Social Protection of the Russian Federation, is critically evaluated. Basing on the analysis of the current state of the national film business the author reflects on the problems and challenges the system of professional training of producers, faces and outlines the prospects for the future work. These problems demand further diversification of Film Majors including the introduction of a new one called Producer of distribution. Moreover, its necessary to determine the optimal number of students, to write the teaching aids and textbooks aimed at solving practical problems existing in film business and multimedia and mastering the current students skills. The author states that one of the most crucial problems in the system of producer training is the unresolved issue of financial support of the diploma project (a film shot by a graduate). The author offers his own system of the development of a diploma film, which will allow us to give a more realistic and deeper assessment of the abilities, skills and knowledge of a future film-maker. The second half of the article gives a brief overview of the current state of cinema, television and multimedia in Europe and determines, in this respect, the main directions for improving the system of professional training of producers in European film schools, taking into consideration the new industrial context. The fact that the changing industrial context makes producers seek for new ways to reduce uncertainty and risks, attracting external investors and co-producers, is particularly stressed. The author also reflects on the problem of the so-called TV-ization of a film, which has set absolutely new tasks in front of the producers and creators of audiovisual product. In conclusion, the author presents a summary of the main principles, methods and approaches to structuring the educational process while teaching students the Major "Film and Television Producer" at the Film University Babelsberg named after Konrad Wolf. The author appreciates the experience of German colleagues, which can be implemented into domestic practice.

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.

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