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.

Polish-Soviet War in Film and Cinema: A New Perspective Based on the Films For You, O Poland (1920) and Miracle on the Vistula (1921)

The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subject of legend and myth. Irrespective of its fundamental political significance, the defeat of the Red Army was glorified as salvation for both Poland and Europe in military, ideological and metaphysical terms. Conducted beyond academia, the narrative was forged mainly by veterans, the Catholic Church and various forms of literature and art. Due to government subsidies, documentary and feature films also conveyed a normative notion of these dramatic events and their participants. This article focuses on cinematic works like Dla Ciebie, Polsko [For You, o Poland, PL 1920], and Cud nad Wisłą [The Miracle on the Vistula, PL 1921] produced in order to commemorate the war between the Poles and the Bolsheviks. Taking the iconic turn, this article scrutinises the cinematic self-portrait of the Polish nation that had already been ‘imagined’ as a bulwark of European culture in the East by earlier literary works. Spotlighting protagonists who were given a place in the pantheon of national heroes, it also asks about those who were denigrated or marginalised like women and Jews. Finally, using quantitative methods and Geographical Information System (QGIS) as a tool, the article juxtaposes the maledominated, ethnically and confessional homogeneous ‘imagined nation’ with the film entrepreneurs and actual cinema audiences characterised by their diversity.

Reading Between the Scenes

Departing from the assumption that cinema has always had the capacity to represent social structures and movements and provide valuable sources of information about societal phenomena, this chapter employs representation as a research approach to offer contributions to understanding realities “outside the film” regarding literary tourists' motivations, experiences, and literary places. The authors analyse cinematic representations of literary tourism in feature films and take the perspective of literary tourism studies, reviewing the literature on cultural tourism, special interest tourism, niche tourism, literary tourism, and literary sites and landscape. The analysis and interpretation of the cinematic sequences reveal two opposed ideas of what literary tourism experiences might be: a shallow, disappointing, and inauthentic experience or a meaningful and authentic event.

Andrey Zvyagintsev’s Loveless as the remediation of Mikhail Bulgakov’s The heart of a dog. Towards the question of cultural memory

The article aims to examine the relationship between two texts: Loveless (Нелюбовь, 2017), the latest of Andrey Zvyagintsev’s feature films, and The Heart of a Dog (Собачье сердце, 1925), one of Mikhail Bulgakov’s most popular short stories. The studies are focused on finding the parallels showing the work of cultural memory, which is understood – following Aleida Assmann’s and Astrid Erll’s findings – as the process of continuous remediation, retranscription and negotiation of essential ideas in the space of culture. Consequently, the author is not interested in treating Zvyagintsev’s text as the illustration of Bulgakov’s plot, but rather in discussing certain topics which are deposited in Russian literature and constantly reused and reinterpreted, creating the framework for communication across ‘the abyss of time’. The analogies between the selected texts are sought in the area of their structure, some thematic overlapping, the authors’ approach to the issue of the authoritarian ideology and the role of technology as well as in exploring the function of space as one of the narrative mechanisms, in particular in the context of the category of home and anti-home.

“It came from me” – Māori representation in Ramai Te Miha Hayward’s authorship

<p>Addressing the critical question of authorship in historical film, this thesis considers Ramai Te Miha Hayward’s works dealing with Māori and Pākehā intercultural representations. During a time when Māori in film were severely underrepresented, Te Miha Hayward prioritised Māori perspectives in The Arts of Maori Children (1962) and Eel History was a Mystery (1968), subversively critiquing the continuation of assimilationist integration policy. These contributions, and Te Miha Hayward’s extensive interviews and unpublished manuscripts, shed light on the change in intercultural representations between Rewi’s Last Stand (1940) and To Love a Maori (1972), feature films that entail romance narratives. Te Miha Hayward’s positionality is key to each chapter’s methodology, locating her voice in extensive primary and secondary materials. This work challenges the debate around film’s value as a source of history, engaging at an intersection of disciplines. The analysis of Rewi’s Last Stand interprets its narrative text and Te Miha Hayward’s paratextual discussion through mana wāhine and kaupapa Māori theories. Such interpretation looks beyond the finished text, to Te Miha Hayward’s affirmation of its historical relevance. Connecting her work with the social realism genre, To Love a Maori’s dual narrative speaks to Māori and Pākehā audiences in different ways, further criticizing assimilation and Pākehā discrimination towards Māori. Navigating the issues of authorial ambiguity is central to locating Te Miha Hayward’s voice, thereby illuminating her authorship. Hence, I argue her contribution to Māori representation in film demonstrates her self-determination as a filmmaker.</p>

“It came from me” – Māori representation in Ramai Te Miha Hayward’s authorship

<p>Addressing the critical question of authorship in historical film, this thesis considers Ramai Te Miha Hayward’s works dealing with Māori and Pākehā intercultural representations. During a time when Māori in film were severely underrepresented, Te Miha Hayward prioritised Māori perspectives in The Arts of Maori Children (1962) and Eel History was a Mystery (1968), subversively critiquing the continuation of assimilationist integration policy. These contributions, and Te Miha Hayward’s extensive interviews and unpublished manuscripts, shed light on the change in intercultural representations between Rewi’s Last Stand (1940) and To Love a Maori (1972), feature films that entail romance narratives. Te Miha Hayward’s positionality is key to each chapter’s methodology, locating her voice in extensive primary and secondary materials. This work challenges the debate around film’s value as a source of history, engaging at an intersection of disciplines. The analysis of Rewi’s Last Stand interprets its narrative text and Te Miha Hayward’s paratextual discussion through mana wāhine and kaupapa Māori theories. Such interpretation looks beyond the finished text, to Te Miha Hayward’s affirmation of its historical relevance. Connecting her work with the social realism genre, To Love a Maori’s dual narrative speaks to Māori and Pākehā audiences in different ways, further criticizing assimilation and Pākehā discrimination towards Māori. Navigating the issues of authorial ambiguity is central to locating Te Miha Hayward’s voice, thereby illuminating her authorship. Hence, I argue her contribution to Māori representation in film demonstrates her self-determination as a filmmaker.</p>

Preferential Attachment and Fitness in the Evolution of the Brazilian Film Network

This study analyzes the network evolution, specifically that of the Brazilian film network. It examines two generative mechanisms that lie behind the network evolution: preferential attachment and fitness. The starting point is that preferential attachment and fitness may compete to shape the network evolution. We built a novel dataset with 974 Brazilian feature films released between 1995 and 2017 and used PAFit, a brand-new statistical method, to estimate the joint effects of preferential attachment and fitness on the evolution of the Brazilian film network. This study concludes that the network evolution is shaped by both preferential attachment and fitness. However, in the presence of fitness, the effects of preferential attachment on the network evolution become weaker. This means that the node ability to form ties in the Brazilian film network is mainly explained by its fitness. Besides, the preferential attachment assumes a sub-linear form. Costs, communication and managerial capabilities, and node age explain why nodes are unable to accumulate ties at rates proportional to their degree. Finally, preferential attachment and fitness manifest themselves heterogeneously, depending on either the type or the duration of the network. Preferential attachment drives the cast network evolution, whereas fitness is the main generative mechanism of the crew network. Actors and actresses rely on their status, privilege, and power to obtain future contracts (preferential attachment), whereas technical members are selected on the basis of their talent, skills, and knowledge (fitness). Due to node age or exit, preferential attachment becomes stronger in shorter networks.

Ligação Preferencial e Aptidão na Evolução da Rede de Filmes Brasileiros

This study analyzes the network evolution, specifically that of the Brazilian film network. It examines two generative mechanisms that lie behind the network evolution: preferential attachment and fitness. The starting point is that preferential attachment and fitness may compete to shape the network evolution. We built a novel dataset with 974 Brazilian feature films released between 1995 and 2017 and used PAFit, a brand-new statistical method, to estimate the joint effects of preferential attachment and fitness on the evolution of the Brazilian film network. This study concludes that the network evolution is shaped by both preferential attachment and fitness. However, in the presence of fitness, the effects of preferential attachment on the network evolution become weaker. This means that the node ability to form ties in the Brazilian film network is mainly explained by its fitness. Besides, the preferential attachment assumes a sub-linear form. Costs, communication and managerial capabilities, and node age explain why nodes are unable to accumulate ties at rates proportional to their degree. Finally, preferential attachment and fitness manifest themselves heterogeneously, depending on either the type or the duration of the network. Preferential attachment drives the cast network evolution, whereas fitness is the main generative mechanism of the crew network. Actors and actresses rely on their status, privilege, and power to obtain future contracts (preferential attachment), whereas technical members are selected on the basis of their talent, skills, and knowledge (fitness). Due to node age or exit, preferential attachment becomes stronger in shorter networks.

Inês de Castro on Youtube

Since the fourteenth century, when Inês de Castro was laid to rest in her magnificent tomb in the Monastery of Alcobaça, artists have told the tragic story of the Galician noblewoman who was assassinated for political reasons and became Queen of Portugal after her death. Inês embodies beauty, love, innocence, and saudade, and figures prominently in the lusophone cultural imaginary. Plays, novels, poetry and feature films offer representations of the Dead Queen that range from tragic and defiant to sentimental and trite. In new media, the moving im- ages that currently vie with iconic figurations of the legendary colo de garça are YouTube videos about the love of Inês and Pedro. Responding to homework assignments in Portuguese history or literature courses, primary and secondary school students engage with the love story and create new narratives – plays, animation, and videos – that attract thousands of viewers. In this paper, I consider a selection of YouTube videos made by Portuguese and Brazilian students that tell the familiar love story in a unique way, taking varying degrees of poetic license with their sources, the medieval period and the medieval woman. Some are original and irreverent while others simply glorify dead poets. Through a feminist lens, I analyze the mediated embodiment of Inês de Castro and interrogate the inflexible and hierarchical binary dualisms of man/woman, masculine/feminine, and public/private to posit a fluid conception of historical adaptation and the gendered representation of iconic figures. Image Credit: Still of Encenação D. Pedro e D. Inês