scholarly journals Jill Craigie, Post-war British Film Culture and the British Film Academy

2021 ◽  
Vol 18 (4) ◽  
pp. 404-422 ◽  
Author(s):  
Yvonne Tasker
Keyword(s):  
Print Media ◽  
Film History ◽  
Film Culture ◽  
Film And Television ◽  
Film Maker ◽  
The Status ◽  
Feminist Film ◽  
The 1950S ◽  
Post War ◽  
Management Council

This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.

The Ennui of the Scroll

2021 ◽  
Vol 75 (2) ◽  
pp. 84-88
Author(s):  
Caetlin Benson-Allott
Keyword(s):  
Risk Taking ◽  
Late Stage ◽  
Print Media ◽  
Film Culture ◽  
The Subject ◽  
The 1950S ◽  
Contemporary Film ◽  
Genre Film

Inspired by her difficulty selecting a film as the subject for her column, Film Quarterly regular Caetlin Benson-Allott explores the concept of the “paradox of choice” in relation to contemporary film culture. A common feature of late-stage capitalism with its characteristic consumer abundance, the paradox of choice afflicts people with too many options, decreasing their happiness and increasing anxiety. In her column, Benson-Allott explores the paradox of choice as a condition of the current streaming era, while also historicizing television culture’s ideology of plenty. She traces this notion of superabundance, which undergirds digital cable and streaming culture today, back to the 1950s when print media such as TV Guide pioneered a print-heavy layout that stupefied the eye into an impression of excess. Arguing that browsing print program guides and its more recent corollary, channel surfing, are numbing experiences that discourage risk-taking, Benson-Allott ultimately finds relief from the ennui of the scroll in the pleasures—both expected and unexpected—of the genre film.

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.

Re-centering the Cinema Experience in a Multi-Platform, Digital Age

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
E. W. Nikdel
Keyword(s):  
Physical Environment ◽  
Cultural Memory ◽  
Emotional Response ◽  
Physical Space ◽  
Film History ◽  
Cultural Activity ◽  
Film Culture ◽  
The Past ◽  
Imminent Death ◽  
Multiple Media

With the advent of online distribution and the rise of multiple media devices, claims of the cinema’s imminent death have surfaced with greater intensity than ever before. Of course, with an ever-widening array of platforms these accounts have placed a newfound emphasis on the cinema as a distinctive physical space, one that plays host to a very particular and much cherished cultural activity. This article considers the substance of these claims by tracing a very particular historical route. Firstly, be revisiting Baudry’s notion of the dispositif, this article detects the importance of the physical environment in the process of film consumption. Secondly, I relate this emphasis on the physical to the traditional notion of the cinephile, a practice that ritualises the cinema experience. Many accounts across the spectrum of film history will attest to the profound ways in which the physical experience of the cinema summons a rich emotional response. Lastly, I consider how the cinema and the collective nature of film consumption provides an authentic trace to the past and a very certain time and place in history. In turn, despite competition from cheaper and more convenient platforms, this article will endeavour to show how the cinema retains its place at the centre of contemporary film culture. KEYWORDS Cinema, dispositif, cinephilia, cultural memory.

Cinema and the Haptic in Modern Japan

Screen Bodies ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 23-36
Author(s):  
Daisuke Miyao
Keyword(s):  
The Body ◽  
Film Culture ◽  
Visual Medium ◽  
German Cinema ◽  
The Status ◽  
The Senses ◽  
Modern Japan

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Conclusion

2017 ◽  
Author(s):  
Talbot C. Imlay
Keyword(s):  
International Politics ◽  
Socialist Party ◽  
Short Supply ◽  
Historical Scholarship ◽  
International Dimension ◽  
International Policies ◽  
The 1950S ◽  
Post War

In examining the practice of socialist internationalism, this book has sought to combine three fields of historical scholarship (socialism, internationalism, and international politics) in the aim of contributing to each one. The contribution to the first area, socialism, is perhaps the most obvious. Contrary to numerous claims, socialist internationalism did not die in August 1914 but survived the outbreak of war and afterwards even flourished at times. Indeed, during the two post-war periods, European socialists worked closely together on a variety of pressing issues, endowing the policymaking of the British, French, and German parties with an important international dimension. This international dimension was never all-important: it rarely, if ever, trumped the domestic political and intra-party dimensions of policymaking. But its existence means that the international policies of any one socialist party cannot be fully understood in isolation from the policies of other parties. The practice of socialist internationalism was rarely easy: contention was present and sometimes rife. Equally pertinent, idealism could be in short supply. Often enough, European socialists instrumentalized internationalism for their own ends, whether it was Ramsay MacDonald with the Geneva Protocol during the 1920s or Guy Mollet, who hoped to discredit internal party critics of his Algerian policy during the 1950s. Nevertheless, the attempts to instrumentalize socialist internationalism underscore the latter’s significance. After all, such attempts would be inconceivable unless socialist internationalism meant something to European socialists....

scholarly journals Gender and Migrant Roles in Italian Neorealist and New Migrant Films: Cinema as an Apparatus of Reconfiguration of National Identity and ‘Otherness’

Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 71
Author(s):  
Marianna Charitonidou
Keyword(s):  
National Identity ◽  
Urban Studies ◽  
Italian Cinema ◽  
Main Argument ◽  
Narrative Strategies ◽  
National Narratives ◽  
The Status ◽  
And Gender ◽  
Post War ◽  
The Relationship

The article examines an ensemble of gender and migrant roles in post-war Neorealist and New Migrant Italian films. Its main objective is to analyze gender and placemaking practices in an ensemble of films, addressing these practices on a symbolic level. The main argument of the article is that the way gender and migrant roles were conceived in the Italian Neorealist and New Migrant Cinema was based on the intention to challenge certain stereotypes characterizing the understanding of national identity and ‘otherness’. The article presents how the roles of borgatari and women function as devices of reconceptualization of Italy’s identity, providing a fertile terrain for problematizing the relationship between migration studies, urban studies and gender studies. Special attention is paid to how migrants are related to the reconceptualization of Italy’s national narrations. The Neorealist model is understood here as a precursor of the narrative strategies that one encounters in numerous films belonging to the New Migrant cinema in Italy. The article also explores how certain aspects of more contemporary studies of migrant cinema in Italy could illuminate our understanding of Neorealist cinema and its relation to national narratives. To connect gender representation and migrant roles in Italian cinema, the article focuses on the analysis of the status of certain roles of women, paying particular attention to Anna Magnagi’s roles.

Bauen nach dem Bauhaus

Architectura ◽  
2018 ◽  
Vol 48 (1-2) ◽  
pp. 154-183
Author(s):  
Andreas Schwarting
Keyword(s):  
Second World War ◽  
West Germany ◽  
Individual Level ◽  
Industrial Architecture ◽  
Construction Tasks ◽  
The 1950S ◽  
Post War ◽  
Mies Van Der Rohe ◽  
Contemporary Architecture ◽  
Second World

Abstract Hermann Blomeier is one of around 80 graduates from the Bau- und Ausbauabteilung, a comparatively small group among the more than 1200 students at the Bauhaus who have only recently come under the spotlight of research. The biographies of several graduates are known, such as Franz Ehrlich, Erich Consemüller, Howard Dearstyne, Selman Selmanagić, Herbert Hirche or Arieh Sharon; many more are lost, however. Although the Bauhaus was not a ›school‹ in the sense of a unified design approach and a binding canon of forms, it is instructive on an individual level to study the work of Blomeier, one of the Bauhaus graduates and students of Ludwig Mies van der Rohe who has so far received little attention. On the basis of three projects from the 1950s, the viability of the design approaches conveyed at the Bauhaus for the construction tasks of the post-war period are examined. First, the ferry ports connecting Konstanz and Meersburg will be considered as the first major project by Blomeier after the Second World War. The buildings for the Bodensee-Wasserversorgung – at times the largest construction site in West Germany of the 1950s – represent an outstanding example of industrial architecture and technical infrastructure in their fusion of art, technology and landscape. The smallest of the three projects, the building for the rowing club Neptun, located directly opposite the old town of Konstanz on the Seerhein, points with its innovative modular primary structure well beyond contemporary architecture and anticipates developments of the late 1960s, such as the Japanese Metabolists or the Plug-In-City of Archigram.

From the Golden to the Dark Decade, From Reforms to Isms and Ologies

1980 ◽  
Vol 15 (3-4) ◽  
pp. 457-470
Author(s):  
John Pinder
Keyword(s):  
Social Security ◽  
Social Science ◽  
Full Employment ◽  
Demand Management ◽  
Safety Net ◽  
Human Condition ◽  
The 1950S ◽  
Applied Social Science ◽  
Post War ◽  
The Welfare State

THE 1950s WERE A WONDERFUL DECADE FOR APPLIED SOCIAL science: for the belief that reason addressed to economic and social problems can improve the human condition. Compare the 1950s with the 1930s and ask how much of the improvement was due to Keynes and Beveridge. It is inevitable that a generation of debunkers should follow whose answer would be ‘not much’. But that would have seemed a strange conclusion in the 1950s; and the view of the 1950s was surely right. We had full employment in place of 10 per cent unemployment in the 1920s and nearly 15 per cent in the 1930s; and after the first years of post-war reconstruction, it was reasonable to attribute this to Keynesian demand management. We had a safety net through which relatively few fell into poverty; and this was Beveridge's social security and the welfare state.

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