Introduction

2016 ◽  
Author(s):  
Lisa Stead
Keyword(s):  
Print Culture ◽  
Film Industry ◽  
Film Culture

The introduction established the scope and aims of the volume, and its focus upon the intersection of women and modernity, women and cinema and women and British interwar print culture. It sets up the questions guiding the volume as a whole: What roles did literature play in producing a female film culture from outside the film industry proper? What attention did this literature give to women’s uses of and responses to film fictions, cinema-going practices and cinema spaces? What do literary inflections of a gendered movie culture suggest about the roles that cinema played in informing and structuring notions of selfhood and self-fashioning for British women at this time?

scholarly journals Scene, Aesthetics and Industry Chain: Postmodern Cultural Thinking of Films in 5G Era

2021 ◽  
Vol 3 (4) ◽  
pp. 19-24
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
Post Modernism ◽  
The Way ◽  
Film Aesthetics

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

“Quota Quickies Threaten Audience Intelligence Levels!”: The Power of the Screen in Virginia Woolf’s “The Cinema” and “Middlebrow” and Betty Miller’s Farewell Leicester Square

2016 ◽  
Author(s):  
Sarah Cornish
Keyword(s):  
Interwar Period ◽  
Virginia Woolf ◽  
Film Industry ◽  
Film Culture ◽  
The Uk ◽  
Made In

In 1926, Virginia Woolf wrote “The Cinema,” in which she expresses both her fascination for and her worry about the movies’ powerful influence over its spectators. Later, in “Middlebrow” (1932), she facetiously suggests that this power of the movies is useful for managing and preserving distinctions of both class and taste. This chapter uses Woolf’s suggestions about film culture to explore Betty Miller’s direct engagement with the film industry in her novel Farewell Leicester Square (1941) in light of the 1927 Cinematographic Film Act. The Act required cinema houses in the UK to show a certain percentage of films made in Britain and by British directors and resulted in the phenomenon of the “Quota Quickie,” films made on a two-week shooting schedule and a slim budget. The Quota Quickie phenomenon reached a peak in 1935 and 1936, the years in which the UK produced its most narrative films. Miller’s Farewell Leicester Square, written at the height of the industry boom in 1935, the chapter argues, is a “meta-filmic” novel about the British film industry and culture during the interwar period.

Film Culture: The Future of the British Film Industry

Screen ◽  
1976 ◽  
Vol 17 (1) ◽  
pp. 84-114 ◽  
Author(s):  
C. MacCabe ◽  
J. Ellis ◽  
K. Tribe ◽  
T. Counihan
Keyword(s):  
Film Industry ◽  
Film Culture ◽  
The Future

scholarly journals From the event to the everyday: distributor-driven film festivals

2020 ◽  
pp. 1329878X2093847
Author(s):  
Stuart Richards ◽  
Lauren Carroll Harris
Keyword(s):  
Film Industry ◽  
Interesting Case ◽  
Film Festival ◽  
Film Festivals ◽  
Film Culture ◽  
European North ◽  
The Everyday ◽  
Important Field ◽  
Primary Focus

Film festival research is an important field within screen and cultural studies, with festivals mainly theorised as a cinephile phenomenon occurring in European/North American contexts. Though cinephilia is indeed a major aspect of film festivals, adopting cinephilia as a primary focus for festival research obscures, and cannot explain, other motivations for running festivals, as well as how festivals fit into other trends in the film industry and film culture today. As researchers and film critics working in Australia, we have observed trends in festival culture that do not fit the dominant cinephilic framework. Principal among these trends is the emergence of Palace Cinemas, an arthouse cinema chain, and Palace Films, its distribution arm, as the curator and presenter of its own chain of film festivals. This essay presents an interesting case study that considers Palace Cinemas in relation to dominant understandings of the film festival. These film festivals do not exclusively fit either of Mark Peranson’s ideal models of festivals – audiences festivals or business festivals – but rather between these two positions. These distributor-driven film festivals, such as those run by Palace, greatly diminish any association with festival time, defined by Janet Harbord as a key feature of festivals.

scholarly journals The Causes and Enlightenment of Post-Modern Film Culture in the 5G Era

2021 ◽  
Vol 5 (5) ◽  
pp. 25-30
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
The Way ◽  
Film Aesthetics

With the increasing influence of 5G technology on film art, the postmodern culture contained therein is also gradually becoming obvious. Understanding the context of the 5G era and clarifying the origin of postmodern film culture can help us analyze the cause of the rise of postmodern film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodern film culture. In addition, we should also consider the film culture under the postmodernism of 5G era, and explore the way to stick to the benign development of film creation and film industry in order to enhance our cognition and appreciation of postmodern film culture, to maximize the positive factors of postmodern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

scholarly journals The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s

2011 ◽  
Vol 12 (2) ◽  
pp. 13-30 ◽  
Author(s):  
Anugyan Nag ◽  
Spandan Bhattacharya
Keyword(s):  
Film Industry ◽  
The Other ◽  
Film Culture ◽  
Diverse Range ◽  
Popular Cinema ◽  
Social Perspectives ◽  
The World ◽  
Film Making ◽  
Jawaharlal Nehru ◽  
Academic Discourses

Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema present only the ‘crisis-ridden’ scenarios of the Bengali film industry―suffering from multiple problems. Interestingly, this marginalized and unacknowledged cinema of the 1980–90s almost became synonymous to the concept of the ‘B-grade’ cinema, although it is not similar in formation, circulation and reception like the other established B-circuit or B-grade cinemas across the world. This paper aims to criticize this simpler ‘crisis narrative’ scenario by looking at the categories of class and audience and questioning the relevance of issues related to the popularity of these films. In brief, our article aims to problematize the notion of what is ‘B-grade’ cinema in the context of the Bengali cinema of the 1980–90s and by referring to this film culture, it tries to open up some other possibilities to which this notion can refer.

Australian Film and the Cultural Cold War

2004 ◽  
Vol 111 (1) ◽  
pp. 118-130 ◽  
Author(s):  
David McKnight
Keyword(s):  
Cold War ◽  
Film Industry ◽  
Early Years ◽  
Film Festivals ◽  
Film Culture ◽  
Slow Development ◽  
Cultural Cold War ◽  
The 1950S

This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television.

Black hands and white hearts: Italian immigrants as ‘urban racial types’ in early American film culture

Urban History ◽  
2004 ◽  
Vol 31 (3) ◽  
pp. 375-399 ◽  
Author(s):  
GIORGIO BERTELLINI
Keyword(s):  
New York ◽  
Film Industry ◽  
Film Culture ◽  
Early American ◽  
The People ◽  
The Everyday ◽  
Jacob Riis ◽  
Italian Immigrants ◽  
Gangster Films ◽  
White Ethnics

Through the concept of ‘character’ or ‘urban racial type’, traversing literature, science and metropolitan life, Bertellini reconsiders early American cinema's colour-based biracialism epitomized by D.W. Griffith's The Birth of a Nation (1915). In the New York-based film industry race also emerged from the city's dense intermingling of ‘white ethnics’ and broader shifts in epistemological emphasis – from inheritance to the environment. If Italian immigrants were racialized as innately violent in early gangster films, after 1915 heartbreaking melodramas of destitution and misfortunes adopted instead a combination of still othering and universal characterizations.Half the people in ‘the Bend’ are christened Pasquale…When the police do not know the name of an escaped murderer, they guess at Pasquale and send the name out on alarm; in nine cases out of ten it fits. Jacob Riis, 1890I like to play the Italian because his costume, his mannerisms, his gestures, and his unlikeness to the everyday people of the street make him stand out as a romantic and picturesque person. Actor and director George Beban, 1921

Film Policy in the UK: 1920s–1979

2015 ◽  
Author(s):  
Gillian Doyle
Keyword(s):  
Government Intervention ◽  
Film Industry ◽  
Policy Intervention ◽  
Film Culture ◽  
Hollywood Film ◽  
Conservative Government ◽  
The Uk ◽  
Film Market ◽  
Cultural Role ◽  
Film Policy

This chapter traces the key moments that have shaped UK film policy from the 1920s through to the end of the 1970s. It outlines the culture and commerce dichotomy that has informed government intervention in to the film market in the UK. It also documents the economic and cultural role that the Hollywood film industry has had in shaping the development of industrial film culture in the UK. The chapter analyses the sporadic and uneven policy intervention of successive UK governments up until the election of the Thatcher Conservative government in 1979.

The Nigerian Film Plot

Matatu ◽  
2016 ◽  
Vol 48 (2) ◽  
pp. 435-449
Author(s):  
Elo Ibagere ◽  
Osakue Stevenson Omoera
Keyword(s):  
Film Industry ◽  
Film Culture ◽  
Natural Tendency ◽  
The World ◽  
Nigerian Film

The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.

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