Reviews: Los Angeles before Hollywood: Journalism and American Film Culture, 1905–1915, the Decline of Sentiment: American Film in the 1920s, American Cinema of the 1910s: Themes and Variations, Picturing American Modernity: Traffic, Technology, and the Silent Cinema, Acting Wilde: Victorian Sexuality, Theatre, and Oscar Wilde, Performing American Identity in Anti-Mormon Melodrama

2010 ◽  
Vol 37 (2) ◽  
pp. 86-101
Author(s):  
Amanda R. Keeler ◽  
Cynthia Felando ◽  
Anupama Kapse ◽  
Mark Garrett Cooper ◽  
Joseph Donohue ◽  
...  
Keyword(s):  
Los Angeles ◽  
Oscar Wilde ◽  
American Identity ◽  
American Film ◽  
Film Culture ◽  
Silent Cinema ◽  
American Cinema

The origins of screenwriting practice and discourse in Portugal

2020 ◽  
Vol 11 (1) ◽  
pp. 27-44 ◽  
Author(s):  
Rita Benis
Keyword(s):  
Historical Development ◽  
Early Stage ◽  
Silent Film ◽  
Film Culture ◽  
Silent Cinema ◽  
American Cinema ◽  
Oriented Film ◽  
Film Directors ◽  
Historical Culture ◽  
The Many

Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, focused on artistic processes, clearly present in its screenwriting culture. Such characteristics developed first under the influence of French and Italian silent cinema, through the contribution of foreign film directors who worked in Portugal and established schools there. Also important were the cinematographic experiences (film and writing) made by modernist poets during the silent film period. Finally, the powerful influence of the French Politique des Auteurs (1950s) also helped to configure Portuguese screenwriting culture. To contextualize the Portuguese experience specifically, I explore the origins of screenwriting practice and discourse in Portugal, addressing the many political, historical and financial aspects that impacted the Portuguese perception of screenwriting craft from an early stage.

scholarly journals "So oft to the movies they've been": British fan writing and female audiences in the silent cinema

2010 ◽  
Vol 6 ◽  
Author(s):  
Lisa Rose Stead
Keyword(s):  
Middle Class ◽  
Working Class ◽  
Film Culture ◽  
Female Representation ◽  
Archival Research ◽  
Silent Cinema ◽  
Lower Middle Class ◽  
Silent Era

This article aims to address the ways in which working-class and lower-middle-class British women used silent-era fan magazines as a space for articulating their role within the development of a female film culture. The article focuses on letter pages that formed a key site for female contribution to British fan magazines across the silent era. In contributing to these pages, women found a space to debate and discuss the appeal and significance of particular female representations within film culture. Using detailed archival research tracing the content of a specific magazine, Picturegoer, across a 15-year period (1913–28), the article will show the dominance of particular types of female representation in both fan and "official" magazine discourses, analyzing the ways in which British women used these images to work through national tensions regarding modern femininity and traditional ideas of female propriety and restraint.

Shifting conceptions of Alejandro González Iñárritu: Interpreting the auteur

2021 ◽  
Vol 18 (1) ◽  
pp. 3-8
Author(s):  
Dolores Tierney
Keyword(s):  
Virtual Reality ◽  
Latin American ◽  
American Identity ◽  
Special Issue ◽  
American Cinema ◽  
Feature Films ◽  
Latin American Cinema ◽  
Alejandro Gonzalez Inarritu

This introduction to a Special Issue of Studies in Spanish and Latin American Cinema charts the shift in Alejandro González Iñárritu's directorial persona from transnational auteur to mainstream figure over the course of his six feature films and virtual reality installation: Amores perros (2000), 21 Grams (2003), Babel (2006), Biutiful (2010), Birdman or (The Unexpected Virtue of Ignorance) (2014), The Revenant (2015) and the installation Carne y arena (Virtually Present, Physically invisible) (2017). It argues that this shift into a (predominantly Anglo) mainstream is reflected in the different ways in which his last names (apellidos) are used, abbreviated or even excised altogether, and in the differing approaches to him as auteur employed by the authors of the different articles, but that Iñárritu’s persona and creative collaborators continue to be primarily determined by his Mexican and Latin American identity.

Screening Europe in Australasia

2022 ◽  
Author(s):  
Julie K. Allen
Keyword(s):  
World War I ◽  
Silent Film ◽  
Early Cinema ◽  
Film Culture ◽  
World War ◽  
American Cinema ◽  
Sound Film ◽  
Hollywood Films ◽  
Feature Films ◽  
Dramatic Shift

This book challenges the historical myopia that treats Hollywood films as always having dominated global film culture through a detailed study of the circulation of European silent film in Australasia in the early twentieth century. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, and brings it vividly to life. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

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