The Woman's Picture in the Trade Press of Classical Hollywood

Film History ◽  
2021 ◽  
Vol 33 (2) ◽  
pp. 91
Author(s):  
Sharot
Keyword(s):  
Classical Hollywood ◽  
Trade Press

Film Analysis: Image and Movement

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Scientific Practice ◽  
Film Analysis ◽  
Hollywood Film ◽  
Poetic Expression ◽  
French Tradition ◽  
Classical Hollywood

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.

Vampires of Color: A Critique of Multicultural Whiteness

2018 ◽  
Author(s):  
Dale Hudson
Keyword(s):  
United States ◽  
Civil Rights ◽  
White Privilege ◽  
Political Representation ◽  
White Trash ◽  
National Values ◽  
Lost Boys ◽  
Classical Hollywood

This chapter explores whiteness’s purported expansion through multiculturalism after Civil Rights and the Immigration Act of 1965. By yoking the inclusivity of multiculturalism and exclusivity of whiteness, multicultural whiteness sustains white privilege without acknowledging it, granting conditional or provisional inclusion to select nonwhite groups. It becomes a performative category (“white-identified-ness”) questioned in films like Blacula (1972), Ganja and Hess (1973), Martin (1976), Fright Night (1985), The Lost Boys (1987), Near Dark (1987), Interview with the Vampire (1994), and The Addiction (1995). Classical Hollywood whiteness is transformed by greater emphasis on so-called national values—individualism, consumerism, patriotism, secularism, and willful amnesia—that sustain foundational myths of a nation of immigrants, land of opportunity, and beacon of democracy. Within the proliferation of representations of a multicultural United States, films question limitations on political representation for anyone not identifying—or being identified—with whiteness, including so-called white trash.

Bright New Dawns and Bastard Children

2018 ◽  
Vol 15 (2) ◽  
pp. 252-270
Author(s):  
Amy Sargeant
Keyword(s):  
Interest Groups ◽  
Print Media ◽  
Commercial Television ◽  
Mutual Advantage ◽  
Production Strategies ◽  
The 1950S ◽  
Programme Content ◽  
Recurrent Theme ◽  
Trade Press

The article addresses debates around the introduction of commercial television in Britain, conducted in Parliament, lobby groups, the advertising trade press and broader cultural commentary. It notes that the boundaries between these interest groups were porous. The article refers to sample advertisements produced by agencies in anticipation of the 1955 launch of ITV in London and other regions thereafter, setting advertisers' initial caution against the bullishness subsequently checked by the 1962 report of the Pilkington Committee. ‘Americanisation’ is identified as a recurrent theme of anxiety, and advertising as a symptom of it, prompting complaints on both sides of the Atlantic. Many of the production strategies anticipated experimentally in the 1950s are with us still, as are concerns regarding differentiation of advertisements from programme content, advertisements' target audiences and commodities advertised on television. For legislators and advertisers alike, print media provided a model for imitation more often than did cinema. Competition between old and new platforms for advertisements – then as now – is identified as an opportunity for mutual advantage rather than displacement.

Torn, Burned, and Yet Dancing

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Literary Text ◽  
Female Characters ◽  
Literary Field ◽  
In Series ◽  
Studio Era ◽  
Classical Hollywood ◽  
Mode Of Production

This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

scholarly journals Journalists on COVID-19 Journalism: Communication Ecology of Pandemic Reporting

2021 ◽  
pp. 000276422199281
Author(s):  
Mildred F. Perreault ◽  
Gregory P. Perreault
Keyword(s):  
Discourse Analysis ◽  
Environmental Conditions ◽  
Accurate Information ◽  
Discursive Construction ◽  
Disaster Communication ◽  
Communication Ecology ◽  
The U.S ◽  
Trade Press

In the midst of the COVID-19 pandemic, journalists have the challenging task of gathering and distributing accurate information. Journalists exist as a part of an ecology in which their work influences and is influenced by the environment that surrounds it. Using the framework of disaster communication ecology, this study explores the discursive construction of journalism during the COVID-19 crisis. To understand this process in the field of journalism, we unpacked discourses concerning the coronavirus pandemic collected from interviews with journalists during the pandemic and from the U.S. journalism trade press using the Discourses of Journalism Database. Through discourse analysis, we discovered that during COVID-19 journalists discursively placed themselves in a responsible but vulnerable position within the communication ecology—not solely as a result of the pandemic but also from environmental conditions that long preceded it. Journalists found their reporting difficult during the pandemic and sought to mitigate the forces challenging their work as they sought to reverse the flow of misinformation.

How and why Organisations Use Social Media: Five Use Types and their Relation to Absorptive Capacity

2017 ◽  
Vol 32 (2) ◽  
pp. 194-209 ◽  
Author(s):  
Daniel Schlagwein ◽  
Monica Hu
Keyword(s):  
Social Media ◽  
Knowledge Management ◽  
Absorptive Capacity ◽  
Media Use ◽  
Social Media Use ◽  
The Past ◽  
Key Informant ◽  
Use Of Social Media ◽  
Trade Press ◽  
Consulting Companies

In this paper, we examine the relation between social media use and the absorptive capacity of organisations. Over the past 10 years, many organisations have systematically adopted social media. Trade press and consulting companies often claim that the systematic use of social media increases the performance of organisations. However, such claims are typically neither empirically grounded nor theoretically examined. In this paper, based on key informant interviews at 20 organisations, we examine these claims empirically and theoretically. Firstly, we examine the ways in which social media are used by organisations. We identify five different social media use types that support different organisational purposes (broadcast, dialogue, collaboration, knowledge management and sociability). Secondly, we analyse how these five social media use types relate to organisations' absorptive capacity. We find that particular social media use types (e.g., dialogue) support organisations' absorptive capacity and, ultimately, their performance although others (e.g., sociability) do not.

Rewriting Ibsen for the big screen

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad
Keyword(s):  
Silent Film ◽  
Film Adaptations ◽  
Henrik Ibsen ◽  
Hollywood Cinema ◽  
Contemporary Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

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