Bava Goes Fashion

2020 ◽  
pp. 9-14
Author(s):  
Roberto Curti ◽  
Roberto Curti
Keyword(s):  
Film Industry ◽  
Foreign Markets ◽  
Feature Film ◽  
The World ◽  
Italian Film

This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.

Media Portrayals of the Woman Suffrage Movement

2021 ◽  
pp. 168-184
Author(s):  
Tina Olsin Lent
Keyword(s):  
Film Industry ◽  
Woman Suffrage ◽  
Feature Film ◽  
Media Portrayals ◽  
American Experience ◽  
Elizabeth Cady Stanton ◽  
Suffrage Movement ◽  
The World ◽  
Cultural Shifts ◽  
Woman Suffrage Movement

Contributor Tina Olsin Lent investigates representations of the women in four recent filmic representations of this movement: Ruth Pollak’s 1995 episode of PBS’s American Experience, One Woman, One Vote, Ken Burns’s 1999 documentary, Not for Ourselves Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony, Katja von Garnier’s 2004 HBO feature, Iron Jawed Angels, and Sarah Gavron’s 2015 feature film, Suffragette. Lent relates the new pattern of films to a number of cultural shifts that arise by the mid-1990s. Women assume more prominent positions within the film industry. Stories centered on women begin to find their way into films circulated in wide-release. Women also become more active in politics. And, notable anniversaries of various woman’s suffrage movements around the world begin to occur. Lent pays particular attention to the ways in which the histories found in the above four films bend to fit the narrative and political priorities surrounding each production.

Dubbing in the early 1930s: An improbable policy

2019 ◽  
pp. 177-190
Author(s):  
Charles O’brien
Keyword(s):  
Foreign Language ◽  
Motion Picture ◽  
Film Industry ◽  
Foreign Markets ◽  
German Film ◽  
American Films ◽  
The World ◽  
Translation Techniques ◽  
Film Market ◽  
The Impact

This chapter uses the case of dubbing practices in the early 1930s to consider the possibility that the impact of screen translation techniques on film aesthetics is more significant than has been recognised. The focus is on Hollywood’s unexpected adoption in 1931 of voice dubbing as its principal means of preparing films for the main foreign markets. Hollywood’s reliance on dubbing is contrasted with practices in the German film industry, its main rival for the world film market, where films for export were prepared in foreign-language versions rather than dubbed. Dubbing involved more than voice replacement to affect motion picture style in various ways. Trade press documentation is used to suggest that the dubbed American films of 1931 typically featured less speech; fewer close-ups of speaking actors; more reaction shots in dialogue scenes; more cuts overall; framings and props that concealed rather than displayed the actors’ moving lips; and other stylistic quirks.

Word and Image

2020 ◽  
pp. 143-164
Author(s):  
Maria Wyke
Keyword(s):  
Film Industry ◽  
Film History ◽  
Ancient World ◽  
Adaptation Studies ◽  
Mass Market ◽  
Word And Image ◽  
The World ◽  
Italian Film ◽  
Quo Vadis ◽  
The Relationship

The pioneering Italian film Quo vadis? (1913, dir. Enrico Guazzoni) is widely recognized as a turning point in both film history and the popular reception of the ancient world. Its feature-length adaptation of the Polish novel sought to nationalize the Italian public through the presentation of a common cultural heritage in the Roman past, to raise the commercial prestige of the Italian film industry in global markets, and to increase the artistic status of cinema and legitimate it as a respectable form of entertainment. Its use of nineteenth-century historical fiction also provided a radically new way of experiencing Neronian Rome, related to but distinct from the reconstruction of the Roman past in other high cultural forms. The film achieved substantial success, reaching spectators of all classes throughout Italy and across the world. Yet when it was first released, some critics deplored it as cheap, facile ‘wordless images’—a harbinger of a ‘cinema age’ that would threaten the survival of theatre, the book, and even literacy itself. This chapter draws on recent work in adaptation studies to reconceptualize the relationship between the Italian film and the Polish novel as more complex than image to word. And, through its analysis of the afterlife of Sienkiewicz’s novel on screen, this chapter explores cinema more broadly as a mode of expression that is not inferior to the book but more varied, and in possession of extensive ideological and aesthetic, as well as mass-market, reach.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

From Conan the Barbarian to Gunan il guerriero: Re-contextualizing spaghetti sword and sorcery

2021 ◽  
Vol 9 (2) ◽  
pp. 225-243 ◽  
Author(s):  
Alfio Leotta
Keyword(s):  
Crucial Role ◽  
Film Industry ◽  
Violent Conflict ◽  
Critical Examination ◽  
Box Office ◽  
Production And Distribution ◽  
Sword And Sorcery ◽  
Italian Film ◽  
The Aesthetic

The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed results at the box office. Although recently an increasing number of international film scholars have focused on the critical examination of Italian genre cinema, to date, little attention has been devoted to the study of Italian sword and sorcery. By examining the aesthetic features of four Italian sword and sorcery films (Gunan il guerriero [1982], Ator l’invincibile [1982], Hercules [1983] and The Barbarians [1987]), as well as their modes of production and distribution, this article proposes the first comprehensive critical examination of this filone.

Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s

2018 ◽  
Vol 45 (1) ◽  
pp. 81-95
Author(s):  
Maria Pia Pagani
Keyword(s):  
Nobel Prize ◽  
Film Industry ◽  
Silent Film ◽  
White Hair ◽  
Point Of View ◽  
Artistic Creation ◽  
Box Office ◽  
Original Case ◽  
Italian Film

From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere ( Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.

The Most-Favored-Nation Policy in Relation to Trade Agreements

1939 ◽  
Vol 33 (3) ◽  
pp. 411-423
Author(s):  
Francis B. Sayre
Keyword(s):  
Trade Agreements ◽  
The United States ◽  
The Other ◽  
Trade Barriers ◽  
Most Favored Nation ◽  
Economic Stability ◽  
Foreign Markets ◽  
The World ◽  
Political Advantage ◽  
The One

The virulent disease which has been attacking and crippling international trade, particularly since 1929, has manifested itself in two different forms. The one is mounting trade barriers, which tend to fence off nation from nation and thus effectively to check the flow of world trade. The other is the practice of discrimination, which nations are using in increasing degree to force markets out of the hands of their competitors or to gain political advantage of one kind or another. If economic stability is to be won and the peace of the world to be made secure, it is just as necessary to overcome the one as the other.The Trade Agreements Act was passed by Congress for the purpose “of expanding foreign markets for the products of the United States.” It is clear that the accomplishment of this purpose necessitates a program with a two-fold objective. The program must seek, first, the reduction or elimination of excessive trade barriers; and second, the elimination of trade discriminations.

Labor Acquisition and Social Conflict on the Colombian Frontier, 1850–1936

1984 ◽  
Vol 16 (1) ◽  
pp. 27-49 ◽  
Author(s):  
Catherine LeGrand
Keyword(s):  
Nineteenth Century ◽  
Latin America ◽  
Agricultural Production ◽  
World Economy ◽  
Raw Materials ◽  
Mineral Resources ◽  
Significant Shift ◽  
Foreign Markets ◽  
Latin Americans ◽  
The World

Exporters of raw materials under Iberian rule, the nations of Latin America continued to perform a similar role in the world economy after Independence. In the nineteenth century, however, a significant shift occurred in the kind of materials exported. Whereas in colonial times the great wealth of Latin America lay in her mineral resources, particularly silver and gold, aster 1850 agricultural production for foreign markets took on larger importance. The export of foodstuffs was not a new phenomenon, but in the nineteenth century the growth in consumer demand in the industrializing nations and the developing revolution in. transport much enhanced the incentives for Latin Americans who would produce coffee, wheat, cattle, or bananas for overseas markets.

scholarly journals UKRAINEON THE WORLD MARKET OF LEATHER MATERIALS

2021 ◽  
Vol 38 (2) ◽  
pp. 16-32
Author(s):  
BONDARIEVA Anna ◽  
ZHALDAK Maryna ◽  
MOKROUSOVA Olena
Keyword(s):  
Foreign Trade ◽  
World Market ◽  
The State ◽  
Leather Industry ◽  
Light Industry ◽  
Foreign Markets ◽  
International Environment ◽  
The World ◽  
Foreign Trade Activity ◽  
Grain Surface

Background. The problem of stable activity of domestic producers, in particular in the production of leather and footwear, is exacerbated by increasing global competition along with the loss of significant share of domestic and foreign markets. The regulating of the development of industrial production, domestic and foreign markets for light industry products is one of the most important tasks of the state today. Therefore, the assessment of the state of Ukraine’s foreign trade in the leather and leathermaterials market is important component for forecasting andshaping the development of domestic leather manufacturing. The aim of the work is to analyze the dynamics of Ukraine’s foreign trade on the leather materials market and to establish key directions for thedevelopment of Ukraine’s leather industry to increase the competitiveness of domestic products in an international environment. Materials and methods. Methods of analysis and synthesis, comparison and gene­ra­lization are used for work. Statistical data of the State Statistics Service of Ukraine, customs statistics of the State Fiscal Service of Ukraine, as well as data from the Inter­national Trade Center are used to study the leather market of various finishing methods in the world. Results. The analysis of foreign trade activities of the leather materials market showed that leather, additionally processed after tanning, significantly exceeds exports in imports, while tanned leather without processing in exports is ten times higher than im­ports. The analysis of world trade indicators determined that leather with a natural full grain surface is characterized by the greatest competitiveness against polished leather withan artificial grain surface. According to the indicators of foreign trade activity, Ukraine ranks third among the countries – leaders in world imports of leather with a natural full grain surface configuration in the form of halves. According to this commodity position, Ukraine ranks 13th in world exports. Conclusion. The analysis of Ukraine’s foreign trade on the leather materials mar­ket revealed the need of forming commodity and technological specializations of the domestic leather industry in accordance with the production of leather with a natural full grain surface from cowhides as the most competitive product in the international environment.

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