Local Films for Local People: ‘HAVE YOU BEEN CINEMATOGRAPHED?’

2018 ◽  
Author(s):  
John Caughie ◽  
Janet McBain
Keyword(s):  
Local People ◽  
Film Production ◽  
Early Cinema ◽  
Early Form ◽  
History Of ◽  
Production Industry ◽  
Local Work ◽  
Amateur Film

While evidence of a national indigenous film production industry is weak, the archive is rich with evidence of local, ‘amateur’ film production largely intended for a local audience. These films provide a ‘life’ of the period, engaging with local festivals, local work, or simply local routines, and initiating an early form of the local documentary. This chapter by John Caughie and Janet McBain consider the significance of these local topicals for the history of early cinema.

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Reconfiguring the history of early cinema through the phonograph, 1877–1908

Film History ◽  
2009 ◽  
Vol 21 (4) ◽  
pp. 311-325 ◽  
Author(s):  
Patrick Feaster ◽  
Jacob Smith
Keyword(s):  
Early Cinema ◽  
History Of

Creative Tourism in Songkhla Lake Basin

2020 ◽  
Vol 11 (1) ◽  
pp. 126-126
Author(s):  
Dr.Prachyakorn Chaiyakot ◽  
Wachara Chaiyakhet ◽  
Dr.Woraluck Lalitsasivimol ◽  
Dr.Siriluck Thongpoon
Keyword(s):  
Local People ◽  
Lake Basin ◽  
Secondary Source ◽  
Tourist Attractions ◽  
The People ◽  
History Of ◽  
Tourism Resources ◽  
The Individual ◽  
Tourism Community ◽  
Songkhla Lake

Songkhla Lake Basin has a long history of at least 6,000 years and has a wide variety of tourism resources including nature, history, beliefs, culture and various traditions of the local people. It covers 3 provinces, the whole area of Phatthalung, 12 districts of Songkhla and 2 districts of Nakhon Si Thammarat Province. It has an area of approximately 8,727 square kilometers. There are many tourist attractions because the basin has a long history through different eras, natural, historic, ancient sites, and the culture of the local people. In 2018, both Thai and foreign tourists visited Songkhla and Phatthalung, which is the main area of Songkhla Lake Basin. The total number of tourists that came was 7,628,813 and 1,641,841 and an income of 68,252.64 and 3,470.96 million baht was generated from each province, respectively (Ministry of Tourism and Sports, 2020). Although Songkhla Lake Basin has various tourist attractions, the promotion of tourism with the involvement of government agencies in the past mainly focused on promoting tourism along with the tourist attractions rather than encouraging tourists to experience and learn the culture of the people living in the area; the culture that reflects the uniqueness of the people in the south. This study, therefore, aims to find creative tourism activities in SLB in order to increase the value of tourism resources, create tourism activities that are aligned with the resources available in the community and increase the number of tourists in the area. Data for this study were collected using a secondary source of data collection method. It was done through a literature review of related documents, texts, magazines, and research which focus on Songkhla Lake Basin as a guideline for designing tourism activities. The field survey was done through twelve community-based tourism sites in SLB to find creative tourism activities. Data on each activity were collected in detail by interviewing the tourism community leaders and the local people. Content analysis was used to describe the individual open-ended questions by focusing on the important issues and the information obtained was presented as a narrative. Keywords: Songkhla Lake Basin, Creative Tourism, Local Wisdom

scholarly journals Vlaanderen te weer? Het verzwegen parcours van Flandria Film in de Tweede Wereldoorlog

2008 ◽  
Vol 67 (3) ◽  
pp. 210-235
Author(s):  
Roel Vande Winkel
Keyword(s):  
Film Production ◽  
Business Manager ◽  
Empty Shell ◽  
Track Record ◽  
Onderzoek Naar ◽  
The Status ◽  
German Model ◽  
History Of ◽  
One Step ◽  
Second World

In aanvulling op de boekpublicatie Filmen voor Vlaanderen: Vlaamse beweging, propaganda en film reconstrueert dit artikel de complexe oorlogsgeschiedenis van Flandria Film. Zaakvoerder Clemens De Landtsheers hoopte zijn filmactiviteiten na mei 1940 te hervatten. Hij botste op de realiteit van een op Duitse leest hervormd filmlandschap. Als filmverdeler was Flandria Film ongewenst. Op basis van zijn in het interbellum gerealiseerde producties, kon men De Landtsheer echter de status van producent niet ontzeggen. De uitdaging om zelf korte ‘cultuurfilms’ te produceren, bleek te moeilijk. Flandria Film werd zo een lege doos, een vlag waar andere Vlaamsgezinden met filmambities graag onder kwamen schuilen. De Landtsheer experimenteerde hiermee door Lode De Kempeneer Zingend Vlaanderen (1942) te laten maken, waarbij hij als nominaal producent nog een zekere vorm van controle behield. Door die controle uit handen te geven, ging hij een stap verder. Dat Flandria Film onder leiding van Frans Develter films als De Brigade waakt (1944) en Vlaanderen te weer (1944) draaide, zette De Landtsheer ertoe aan deze episode na de oorlog te verzwijgen.Als venster op de microkosmos van filmproductie in bezet België belicht dit artikel, aansluitend bij recent onderzoek naar Henri Storck, de activiteiten van ‘zwarte’ filmmakers, die na de Bevrijding uit de filmsector verdwenen, evenals van sommige ‘witte’ collega’s, die blijkbaar ‘grijzer’ waren dan tot dusver werd aangenomen.________Flanders resist? The concealed track record of Flandria Film during the Second World WarIn addition to the publication of the book Filmen voor Vlaanderen. Vlaamse beweging, propaganda en film (Filming for Flanders: Flemish Movement, Propaganda and Film) this article reconstructs the complex war history of Flandria Film. The business manager Clemens De Landtsheers hoped to resume his filming activities after May 1940. However, he was confronted with a film landscape that had been reformed according to a German model. As film distributor Flandria Film was unwanted. But on the basis of the productions he had realised during the Interbellum period it was impossible to deny De Landtsheer the status of producer. The challenge of producing short ‘cultural films’ himself proved to be too difficult. Thus Flandria Film became an empty shell, a flag that other supporters of the Flemish Movement with film ambitions liked to use for shelter. De Landtsheer experimented with this by allowing Lode De Kempeneer to make the film Zingend Vlaanderen (Singing Flanders) (1942), which still afforded him as the nominal producer a certain kind of control. He went one step further by releasing that control all together. The fact that Flandria Film produced films such as De Brigade waakt (The Brigade keeps vigil) (1944) and Vlaanderen te weer (Flanders in opposition) (1944), directed by Frans Develter caused De Landtsheer to keep silent about this episode after the war. This article casting a light on the microcosm of film production in occupied Belgium, following on from recent research about Henri Storck exposes the activities of ‘black filmmakers’ who disappeared from the film sector after the Liberation, as well as those of some ‘white’ colleagues, who apparently were ‘a darker shade of grey’ than had been assumed until now.

From the history of private libraries of local people in Turkestan

Infolib ◽  
2021 ◽  
Vol 27 (3) ◽  
pp. 70-73
Author(s):  
Habibjon Olimjonov ◽  
Keyword(s):  
Local People ◽  
Historical Documents ◽  
Historical Information ◽  
History Of

The article presents historical information about the libraries opened in Turkestan (1870–1917) by Mahmudhoja Behbudi, Munnavar Kori Abdurashidkhonov and Abdullah Avloni. Based on historical documents, the article describes the «Library of Behbudiya», opened by Mahmudhoja Behbudi in 1907 in Samarkand.

Rob Roy: Britain’s First Feature Film

2018 ◽  
Author(s):  
Caroline Merz
Keyword(s):  
Language Production ◽  
English Language ◽  
Film Production ◽  
Feature Film ◽  
Study Approach ◽  
Feature Films ◽  
Production History ◽  
History Of ◽  
Film Making

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

scholarly journals Letters of Gold: Enabling Primitive Accumulation through Neoliberal Conservation

2009 ◽  
Vol 2 (3) ◽  
pp. 91-94 ◽  
Author(s):  
Bram Büscher
Keyword(s):  
Nature Conservation ◽  
Southern Africa ◽  
Local People ◽  
Primitive Accumulation ◽  
Enabling Environment ◽  
Neoliberal Capitalism ◽  
Accumulation By Dispossession ◽  
History Of ◽  
Short Essay ◽  
Means Of Production

In Capital I, Marx wrote that the history of the separation of the producers from the means of production “is written in the annals of mankind in letters of blood and fire” (Marx, 1976: 875). This ‘so-called primitive accumulation’, or ‘accumulation by dispossession’ in David Harvey's words, continues unabated. Yet, its framing has changed considerably. Increasingly, capitalists have tried to avoid writing primitive accumulation in ‘letters of blood and fire’. Instead, they focus on creating the ‘enabling environment’ for accumulation by positing neoliberal capitalism as the ‘only alternative’. This short essay focuses on nature conservation in Southern Africa to illustrate that this seemingly ‘civilized’ or ‘inevitable’ accumulation is none other than the induced self-marginalisation of local people under the ‘golden letters’ of win-win neoliberal conservation.

How to Write Adaptation History

2017 ◽  
Author(s):  
Peter Lev
Keyword(s):  
Production Process ◽  
Short Story ◽  
Film Production ◽  
American Film ◽  
Historical Approach ◽  
Hollywood Film ◽  
Auteur Theory ◽  
Production History ◽  
History Of ◽  
Made In

The scholarship on American film adaptations is surprisingly ahistorical, neglecting the institutional and production history of Hollywood film. Chapter 38 attempts a more historical approach. Concentrating on the 1930s, it discusses how stories were chosen, what kinds of stories were chosen, and how stories were shaped in the film production process, identifying the screenwriter and the supervising producer as key contributors to adaptation. Statistical tables provide information on the percentage of novel, play, and short story adaptations made in each year between 1931 and 1940. Critiquing both the auteur theory and Robert Stam’s intertextuality for their lack of interest in production history, the essay calls for more archival research and more attention to the production process.

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