What Is Cinema History?
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Cine-Ethiopia: the History and Politics of Film in the Horn of Africa Published by Michigan University Press DOI: 10.14321/J.Ctv1fxmf1
This is the version of the chapter accepted for publication in Cine-Ethiopia: The History and Politics of Film in the Horn of Africa published by Michigan University Press DOI: 10.14321/j.ctv1fxmf1 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/32029 CINE-ETHIOPIA THE HISTORY AND POLITICS OF FILM IN THE HORN OF AFRICA Edited by Michael W. Thomas, Alessandro Jedlowski & Aboneh Ashagrie Table of contents INTRODUCTION Introducing the Context and Specificities of Film History in the Horn of Africa, Alessandro Jedlowski, Michael W. Thomas & Aboneh Ashagrie CHAPTER 1 From የሰይጣን ቤት (Yeseytan Bet – “Devil’s House”) to 7D: Mapping Cinema’s Multidimensional Manifestations in Ethiopia from its Inception to Contemporary Developments, Michael W. Thomas CHAPTER 2 Fascist Imperial Cinema: An Account of Imaginary Places, Giuseppe Fidotta CHAPTER 3 The Revolution has been Televised: Fact, Fiction and Spectacle in the 1970s and 80s, Kate Cowcher CHAPTER 4 “The dead speaking to the living”: Religio-cultural Symbolisms in the Amharic Films of Haile Gerima, Tekletsadik Belachew CHAPTER 5 Whether to Laugh or to Cry? Explorations of Genre in Amharic Fiction Feature Films, Michael W. Thomas 2 CHAPTER 6 Women’s Participation in Ethiopian Cinema, Eyerusalem Kassahun CHAPTER 7 The New Frontiers of Ethiopian Television Industry: TV Serials and Sitcoms, Bitania Taddesse CHAPTER 8 Migration in Ethiopian Films, at Home and Abroad, Alessandro Jedlowski CHAPTER 9 A Wide People with a Small Screen: Oromo Cinema at Home and in Diaspora, Teferi Nigussie Tafa and Steven W. Thomas CHAPTER 10 Eritrean Films between Forced Migration and Desire of Elsewhere, Osvaldo Costantini and Aurora Massa CHAPTER 11 Somali Cinema: A Brief History between Italian Colonization, Diaspora and the New Idea of Nation, Daniele Comberiati INTERVIEWS Debebe Eshetu (actor and director), interviewed by Aboneh Ashagrie Behailu Wassie (scriptwriter and director), interviewed by Michael W. -
New Constructions of House and Home in Contemporary Argentine and Chilean Cinema (2005-2015)
New Constructions of House and Home in Contemporary Argentine and Chilean Cinema (2005-2015) Paul Rumney Merchant St John’s College August 2017 This dissertation is submitted for the degree of Doctor of Philosophy. New Constructions of House and Home in Contemporary Argentine and Chilean Cinema (2005 – 2015) Paul Rumney Merchant This thesis explores the potential of domestic space to act as the ground for new forms of community and sociability in Argentine and Chilean films from the early twenty-first century. It thus tracks a shift in the political treatment of the home in Southern Cone cinema, away from allegorical affirmations of the family, and towards a reflection on film’s ability to both delineate and disrupt lived spaces. In the works examined, the displacement of attention from human subjects to the material environment defamiliarises the domestic sphere and complicates its relation to the nation. The house thus does not act as ‘a body of images that give mankind proofs or illusions of stability’ (Bachelard), but rather as a medium through which identities are challenged and reformed. This anxiety about domestic space demands, I argue, a renewal of the deconstructive frameworks often deployed in studies of Latin American culture (Moreiras, Williams). The thesis turns to new materialist theories, among others, as a supplement to deconstructive thinking, and argues that theorisations of cinema’s political agency must be informed by social, economic and urban histories. The prominence of suburban settings moreover encourages a nuancing of the ontological links often invoked between cinema, the house, and the city. The first section of the thesis rethinks two concepts closely linked to the home: memory and modernity. -
Global Film at Global Airlines Dina Iordanova, University of St Andrews A
Global Film at Global Airlines Dina Iordanova, University of St Andrews Abstract: In recent years, since the introduction of individually controlled multichannel entertainment systems on-board, it has become customary to see a growing range of international cinematic selections being made available to airline passengers. The film selection is no longer dominated by Hollywood fare; average long-haul flights now feature films sourced out of Bollywood, East Asia, and Europe, as well as from other cinematic traditions—and the selection grows in size and in variety, especially on flights that bridge together far-flung parts of the world. It is an unprecedented situation—to see global cinema “live”, as it were, on board of global airlines—that turns the airlines into territories of conviviality, as no similar levels of diversity are found in the actual geographical territories of the countries where the airlines are based. Some research questions that arise in this context include: is it possible to speculate that the programme that airlines make available to audiences on long-haul flights is reflective of a specific understanding of diversity and cosmopolitanism that underwrite their choices? What message does the multifaceted and multinational entertainment menu of global airlines convey in a political context that is defined by backlash against globalisation and cosmopolitanism? Can one claim that global airlines are now one of the few platforms where global cinema is recognised and represented in its largest assortment? A “Territory” in the Air “When it comes to film distribution, countries and airlines appear all the same—as ‘territories’.” (Cousins) The screening rights of Mark Cousins’s The Story of Film: An Odyssey (2011) had sold to Finland (a country), and soon thereafter to Air Canada (an airline). -
Introduction
IN FOCUS: Non- Western Historiography? A Polemic Introduction by AHMET GÜRATA AND LOUISE SPENCE istory, as we know it, is full of uncertainties, insuffi ciencies, un- satisfying or partially obstructed views of the world. Scholars stretch to recover blank spaces. We strain to fi ll the gaps, to ex- plain the connections. We leap into ruptures in hopes of fi nding new approaches, details, anecdotes, and patterns of recurrence that Hwill make our descriptions fuller, more vivid, less defi cient. And we form histories that describe the world based on the knowledge we have acquired. But, of course, our knowledge of the world is never merely descriptive. Description is never ideologically or cognitively neutral. When we describe, we classify, we generalize, we impose hierarchal values. As Aijaz Ahmad and others have pointed out, to “describe” is to specify, to contain, and to produce knowledge that is “bound by that act of descriptive construction.” When we describe, we “specify a locus of meaning.”1 Media history is no different. John Patrick Leary argues in a recent Social Text article that to un- derstand the history of Venezuela’s Catia TVe would necessitate a his- tory of Caracas’s neighborhoods (many of them unmarked on maps, many of them illegal squatters’ settlements on public or private land), and their transformations since the 1950s oil boom.2 Leary stretches. He increases the variables relevant for thinking about Venezuelan tele- vision, and in doing so he moves the locus of meaning from television itself and the domestic as its site, to the transgressions intrinsic to bar- rio expansion and to attempts to build and fortify communities. -
Cinema in Latin America
from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996; Section 2, Sound Cinema 1930-1960, pp.427-435 Cinema in Latin America Michael Chanan COLONIAL BEGINNINGS MOVING pictures first reached Latin America with representatives of the Lumière brothers, who sent out teams around the world on planned itineraries designed to sweep up on the fascination which the new invention created everywhere; two teams went to Latin America, one to Rio de Janeiro, Montevideo and Buenos Aires, the other to Mexico and Havana. The Lumière cinematograph served as both projector and camera and men like Gabriel Veyre, who arrived in Mexico in the middle of 1896 and Cuba the following January, were also briefed to bring back scenes from the countries they visited. Hard on their heels came the Biograph men from New York and other adventurers, both gringo and European. The North Americans tended not to penetrate very far south, where European immigration was at its height, and in Argentina and Brazil the pioneers were French and Belgian, Austrian and Italian. The earliest moving images of Latin America were thus mostly taken by European immigrants or residents, possessing both the minimum expertise needed to set up a film business and the contacts in the Old World to ensure a supply for films for exhibition. The varying dates of these first films 1896 in Mexico, 1897 in Cuba, Argentina and Venezuela, 1898 in Brazil and Uruguay, 1902 in Chile, 1905 in Colombia, 1906 in Bolivia, 1911 in Peru bespeak the progressive penetration of film across the continent, for they usually follow the dates of first exhibition fairly quickly. -
Brazil, Soft Power and Film Culture
This is a repository copy of Brazil, Soft Power and Film Culture. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/116252/ Version: Accepted Version Article: Dennison, S orcid.org/0000-0002-5699-8741 and Meleiro, A (2017) Brazil, Soft Power and Film Culture. New Cinemas, 14 (1). pp. 17-30. ISSN 1474-2756 https://doi.org/10.1386/ncin.14.1.17_1 © 2016 Intellect Ltd. This is an author produced version of a paper published in New Cinemas: Journal of Contemporary Film. Uploaded in accordance with the publisher's self- archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Brazil, Soft Power and Film Culture Stephanie Dennison and Alessandra Meleiro In late 2009 The Economist memorably announced Brazil’s arrival on the world stage with its now infamous cover depicting Rio de Janeiro’s iconic Christ Statue literally ‘taking off’.1 Its economy was buoyant and growing at a rate of 5%, and the expectation was that within the year it would have risen to the world’s 7th largest economy,2 while many developed nations were still grappling with recession. -
Third Cinema in the United States, 1960-67
Copyright by Michael William O’Brien 2019 The Dissertation Committee for Michael William O’Brien Certifies that this is the approved version of the following Dissertation: Third Cinema in the United States, 1960-67 Committee: Mary Beltrán, Supervisor Mia Carter Shanti Kumar Thomas Schatz Janet Staiger Third Cinema in the United States, 1960-67 by Michael William O’Brien Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2019 Acknowledgements I would like to thank the following people, without whom this dissertation would not have been possible: Mary Beltrán, Mia Carter, Janet Staiger, Tom Schatz, Shanti Kumar, Matthew Bernstein, Michele Schreiber, Daniel Contreras, Steve Fogleman, Marten Carlson, Martin Sluk, Hampton Howerton, Paul Monticone, Colleen Montgomery, Collins Swords, Asher Ford, Marnie Ritchie, Ben Philipe, Mike Rennett, Daniel Krasnicki, Charmarie Burke, Mona Syed, Miko, my students, and my family. iv Abstract Third Cinema in the United States, 1960-1967 Michael William O’Brien, Ph.D. The University of Texas at Austin, 2019 Supervisor: Mary Beltrán This dissertation explores how cinema was an important outlet that artists and activists in the 1960s turned to in order to engage in cultural battles against various forms of institutional oppression. It links the aims and struggles of Americans making socially conscious films about racial discrimination to a broader category of image warfare known as Third Cinema. Third Cinema is generally applied to the notable proliferation of politically engaged films and revolutionary filmmaking theories developed in economically depressed and/or colonially exploited countries. -
Global Film at Global Airlines
Global Film at Global Airlines Dina Iordanova Abstract: In recent years, since the introduction of individually controlled multichannel entertainment systems on-board, it has become customary to see a growing range of international cinematic selections being made available to airline passengers. The film selection is no longer dominated by Hollywood fare; average long-haul flights now feature films sourced out of Bollywood, East Asia, and Europe, as well as from other cinematic traditions—and the selection grows in size and in variety, especially on flights that bridge together far-flung parts of the world. It is an unprecedented situation—to see global cinema “live”, as it were, on board of global airlines—that turns the airlines into territories of conviviality, as no similar levels of diversity are found in the actual geographical territories of the countries where the airlines are based. Some research questions that arise in this context include: is it possible to speculate that the programme that airlines make available to audiences on long-haul flights is reflective of a specific understanding of diversity and cosmopolitanism that underwrite their choices? What message does the multifaceted and multinational entertainment menu of global airlines convey in a political context that is defined by backlash against globalisation and cosmopolitanism? Can one claim that global airlines are now one of the few platforms where global cinema is recognised and represented in its largest assortment? A “Territory” in the Air “When it comes to film distribution, countries and airlines appear all the same—as ‘territories’.” (Cousins) The screening rights of Mark Cousins’s The Story of Film: An Odyssey (2011) had sold to Finland (a country), and soon thereafter to Air Canada (an airline). -
INTRODUCTION “An Invention Without a Future”
INTRODUCTION “An Invention without a Future” The cinema is an invention without a future. —LOUIS LUMIÈRE, AUTHOR OF THE FIRST FILM MANIFESTO To forge oneself iron laws, if only in order to obey or disobey them with diffi culty . —ROBERT BRESSON, NOTES ON THE CINEMATOGRAPHER THE FOURTH COLUMN Manifestos are typically understood as ruptures, breaks, and challenges to the steady fl ow of politics, aesthetics, or history. This is equally true of fi lm and other moving image manifestos. Paradoxically, fi lm manifestos pervade the history of cinema yet exist at the margins of almost all accounts of fi lm history itself. An examination of this elision raises not simply the question of whether manifestos have changed the cinema (even if their existence has often been marginalized in fi lm history) but whether the act of calling into being a new form of cinema changed not only moving images but the world itself. For this proposition to make any sense at all, one cannot take moving images to be separate from the world or to be simply a mirror or refl ection of the real. Instead, one must see moving images as a constitutive part of the real: as images change, so does the rest of the world. By way of introduction to Film Manifestos and Global Cinema Cultures, I examine what exactly a manifesto is, consider the role played by manifestos in fi lm culture, offer an overview of some of the fi lm manifestos and manifesto movements covered in the book, and map out a critical model of what constitutes a fi lm manifesto and a manifesto- style of writing. -
The Altering Eye: Contemporary International Cinema 2009
Repositorium für die Medienwissenschaft Robert Phillip Kolker The Altering Eye: Contemporary International Cinema 2009 https://doi.org/10.25969/mediarep/4111 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Kolker, Robert Phillip: The Altering Eye: Contemporary International Cinema. Cambridge: Open Book Publishers 2009. DOI: https://doi.org/10.25969/mediarep/4111. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.11647/OBP.0002 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 2.0/ Attribution - Non Commercial - No Derivatives 2.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/2.0/ https://creativecommons.org/licenses/by-nc-nd/2.0/ Robert Phillip Kolker The Altering Eye Contemporary International Cinema THE ALTERING EYE Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. -
Radio and Cinema in the Making of a Divided Argentina, 1920–1946
Culture of Class CULTURE OF CLASS Radio and Cinema in the Making of a Divided Argentina, 1920–1946 MATTHEW B. KARUSH DUKE UNIVERSITY PRESS Durham & London 2012 ∫ 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper $ Designed by Jennifer Hill Typeset in Chaparral Pro by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. For Eli and Leah, with love CONTENTS ix Acknowledgments 1 Introduction 1 19 Class Formation in the Barrios 2 43 Competing in the Transnational Marketplace 3 85 Repackaging Popular Melodrama 4 133 Mass-Cultural Nation Building 5 177 Politicizing Populism 215 Epilogue The Rise of the Middle Class, 1955–1976 225 Notes 251 Bibliography 269 Index ACKNOWLEDGMENTS would like to express my gratitude to the vari- Ious institutions and individuals whose financial, intellectual, and moral support enabled me to com- plete this book. Both the National Endowment for the Humani- ties and George Mason University provided crucial research funding for the project, enabling me to make several trips to Argentina over the years. In Buenos Aires, the staffs of the Archivo General de la Nación, the Biblioteca Nacional, and the Museo del Cine Pablo Ducrós Hicken provided useful guidance to their collections. Fabián Sancho, the director of the library at the Museo del Cine, was particularly helpful in securing images for the book. Julia Choclin of Arte Video helped me assess the availability of Argentine films from the 1930s. Valerie Millholland, Gisela Fosado, and Fred Kameny at Duke University Press have been a perfect editorial team: encourag- ing, responsive, and constructive at every turn. -
Canada M3j 1P3
YORK UNIVERSITY YORK UNIVERSITY UNIVERSITY ASIAN NORTH AMERICAN FILM: IMAGES, REACTIONS AND CRITICISMS KEVIN LIM A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIRMENTS OF THE DEGREE OF MASTERS OF ARTS DEPARTMENT OF FILM 224 CENTRE FOR FILM AND THEATRE YORK UNIVERSITY TORONTO, ONTARIO, CANADA M3J 1P3 MAY 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-38801-3 Our file Notre reference ISBN: 978-0-494-38801-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.