Screening Europe in Australasia

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.

Early Cinema, Modernity and Visual Culture

The end of the nineteenth century saw the Balkans animated with cultural movements and socio-political turmoil. Alongside these developments, the proliferation of print media and the arrival of moving images was transforming urban life and played a significant role in the creation of national culture. Based on archival research and previously overlooked footage and early press materials, Imaginary of the Balkans: Visual Culture, Modernity and Early Cinema is the first study on early cinema in the region from a transnational and cross-cultural perspective. This work investigates how the unique geopolitical positioning of the Balkan space and the multi-cultural identity of its communities influenced and shaped visual culture and early cinema development. Moreover, it examines the relationship between the new medium and visual culture through the notion of the haptic, and explores the role early cinema and foreign productions played in the construction of Balkanist and semi-colonial discourses. Reframing hierarchical relations between ‘centres’ and ‘peripheries’, this book departs from approaches such as “new cinema history” and “vernacular modernity” to counter modernity discourses of “lacks and absences”, and instead, establishes new connections between moving image and print artefacts, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium.

FEATURES OF INDUSTRIAL PROSE IN UKRAINIAN SOVIET LITERATURE: THE SHORT STORY “BLAST FURNACES” BY DMYTRO BUZKO

The paper highlights the features of ‘industrial’ prose in the Ukrainian Soviet literature of the 1930s clarifying the main formal and semantic characteristics of “industrial” genres, their reception in criticism, and such characteristics of this genre as style, plot, figurative and thematic principles. Based on D. Buzko’s text “Blast Furnaces”, the paper shows the transitional period between the free avant-garde artistic movement in Ukraine of the 1920s and the implementation of socialist realism as the only official style in Soviet art in the 1930s. As a representative of the futurist movement, deeply engaged in the elaboration of early cinema theories, Dmytro Byzko wrote a novel “Holiandiia”, which deconstructed official narratives and topics of the late 1920s. The comparison of the “Blast furnaces” with this novel helps not only to see the mentioned transition but also to notice the divergence of the “Blast furnaces” and more canonical pieces of this genre. Dmytro Buzko’s “Blast furnaces” extremely accurately reflects the expectations from literature at that time: the heroes explain the main stages of work at the metallurgical plant, and by their example, in words and deeds, agitate readers to become conscious builders of socialism. Although a large number of similar techniques, ideas, and even views of the author can be found in “Holiandiia” and “Blast furnaces”, the first novel is a sharp critique of the contemporary reality, while “Blast furnaces” is a text complementary to reality. The analysis of “Blast furnaces” shows the process of the search for an ideal and canonical protagonist as well as an antagonist for the Soviet literature. The last one in this text is represented by the typical for the whole Ukrainian literature covetous farmer who, in a new political reality, plays a role of a small evil ready to harm ordinary workers and socialistic future.

Bigger Than Life

In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation. Doane traces the history of scalar transformations from early cinema to the contemporary use of digital technology. In the early years of cinema, audiences regarded the monumental close-up, particularly of the face, as grotesque and often horrifying, even as it sought to expose a character's interiority through its magnification of detail and expression. Today, large-scale technologies such as IMAX and surround sound strive to dissolve the cinematic frame and invade the spectator's space, “immersing” them in image and sound. The notion of immersion, Doane contends, is symptomatic of a crisis of location in technologically mediated space and a reconceptualization of position, scale, and distance. In this way, cinematic scale and its modes of spatialization and despatialization have shaped the modern subject, interpolating them into the incessant expansion of commodification.

Early Cinema, Process Films, and Screen Advertising

This chapter explores what early process films can tell us about advertising and the transformation of screen cultures. Starting with a detailed historical study of an exemplary process film, the chapter addresses a number of conceptual issues that resonate with takes on screen advertising suggested in the present book. A particular focus lies on screen advertising’s entanglement with entertainment culture, education, visual culture, and commodity culture. Questions of genre and aesthetics, in particular the colour aesthetics of process films in early cinema as well as their colonialist ideology, are also addressed. The chapter argues that screen advertising, despite its often-acknowledged ephemeral nature, is an utterly robust or persistent phenomenon – persistent in regard to the objects, screens, and practices of screen advertising.