DOCSLIB.ORG

The Oxford History of World Cinema EDITED by GEOFFREY NOWELL-SMITH

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Oxford History of World Cinema EDITED by GEOFFREY NOWELL-SMITH The Oxford History of World Cinema EDITED BY GEOFFREY NOWELL-SMITH OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries Published in the United States by Oxford University Press Inc., New York © Oxford University Press 1996 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 1996 First published in paperback 1997 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0-19-811257-2 ISBN 0-19-874242-8 (Pbk.) 7 9 10 8 6 Printed in Great Britain on acid-free paper by Butler & Tanner Ltd Frome and London I should like to dedicate this book to the memory of my father, who did not live to see it finished, and to my children, for their enjoyment. Acknowledgements This book has been a long time in preparation and in the course of it I have received help from many quarters. I am grateful first of all to my contributors, and in particular to those who, as well as diligently writing their own contributions to the book, also acted as informal advisers on the project -- notably Thomas Elsaesser, Charles Musser, Ashish Rajadhyaksha, and A. L. Rees. I also received specialist advice from Stephen Bottomore, Pam Cook, Rosalind Delmar, Hugh Denman, Joel Finler, June Givanni, David Parkinson, Jasia Reichert, and, most valuably of all, from Markku Salmi. I had administrative help in the early stages from my niece Rebecca Nowell-Smith, and editorial assistance -- all too briefly-from Sam Cook. For the last two years my Assistant Editor has been Kate Beetham, to whom my debt is indescribable. Lael Lowinstein helped with the bibliography. Picture research was conducted by Liz Heasman, whose knowledge and judgement are unrivalled in this tricky field. The tiresome work of tracing picture permissions devolved on Vicki Reeve and Diana Morris. For this normally thankless task they deserve particular thanks. And thanks, too, to my editors at the Oxford University Press, Andrew Lockett and Frances Whistler, especially for their patience. Translations are by Robert Gordon ( Italy: Spectacle and Melodrama, The Scandinavian Style, Italy from Fascism to Neo-Realism, Italy: Auteurs and After); Gerald Brooke ( The Soviet Union and the Russian Émigrés); Timothy Seaton ( Cinema in the Soviet Republics); and Nina Taylor ( Yiddish Cinema in Europe, East Central Europe before the Second World War, Changing States in East Central Europe). G.N.-S. Contributors Richard Abel ( USA) Rick Altman ( USA) Roy Armes (UK) John Belton ( USA) Janet Bergstrom ( USA) Chris Berry ( Australia) Hans-Michael Bock ( Germany) David Bordwell ( USA) Royal Brown ( USA) Edward Buscombe (UK) Michael Chanan (UK) Paolo Cherchi Usai ( USA) Donald Crafton ( USA) Stephen Crofts ( Australia) Chris Darke (UK) Rosalind Delmar (UK) Karel Dibbets ( Netherlands) Michael Donnelly ( USA) Phillip Drummond (UK) Michael Eaton (UK) Thomas Elsaesser ( Netherlands) Cathy Fowler (UK) Freda Freiberg ( Australia) David Gardner ( USA) Douglas Gomery ( USA) Peter Graham ( France) David Hanan ( Australia) Phil Hardy (UK) John Hawkridge (UK) Susan Hayward (UK) Marek and Malgorzata Hendrykowski ( Poland) Michèle Hilmes ( USA) Vida Johnson ( USA) Anton Kaes ( USA) Yusuf Kaplan (UK) Philip Kemp (UK) Peter Kenez ( USA) Vance Kepley ( USA) Marsha Kinder ( USA) Hiroshi Komatsu ( Japan) Antonia Lant ( USA) Li Cheuk-to ( Hong Kong) Jill McGreal. (UK) Joe McElhaney ( USA) P. Vincent Magombe (UK) Richard Maltby (UK) Martin Marks ( USA) Morando Morandini ( Italy) William Moritz ( USA) Charles Musser ( USA) Hamid Naficy ( USA) James Naremore ( USA) Kim Newman (UK) Natalia Nussinova ( Russia) Ed O'Neill ( USA) Roberta Pearson (UK) Duncan Petrie (UK) Graham Petrie ( Canada) Jim Pines (UK) Jean Radvanyi ( France) Ashish Rajadhyaksha ( India) A. L. Rees (UK) Mark A. Reid ( USA) Eric Rentschler ( USA) David Robinson (UK) Bill Routt ( Australia) Daniela Sannwald ( Germany) Joseph Sartelle ( USA) Thomas Schatz ( USA) Ben Singer ( USA) Vivian Sobchack ( USA) Gaylyn Studlar ( USA) Yuri Tsivian ( Latvia) William Uricchio ( Netherlands) Ruth Vasey ( Australia) Ginette Vincendeau (UK) Linda Williams ( USA) Brian Winston (UK) Esther Yau ( USA) June Yip ( USA) Contents SPECIAL FEATURES XV LIST OF COLOUR ILLUSTRATIONS XVII GENERAL INTRODUCTION XIX REFERENCES XXII INTRODUCTION 3 Origins and Survival PAOLO CHERCHI USAI 6 Early Cinema ROBERTA PEARSON 13 Transitional Cinema ROBERTA PEARSON 23 The Hollywood Studio System DOUGLAS GOMERY 43 The World-Wide Spread of Cinema RUTH VASEY 53 The First World War and the Crisis in Europe WILLIAM URICCHIO 62 Tricks and Animation DONALD CRAFTON 71 Comedy DAVID ROBINSON 78 Documentary CHARLES MUSSER 86 Cinema and the Avant-Garde A. L. REES 95 Serials BEN SINGER 105 French Silent Cinema RICHARD ABEL 112 Italy: Spectacle and Melodrama PAOLO CHERCHI USAI 123 British Cinema from Hepworth to Hitchcock JOHN HAWKRIDGE 130 Germany: The Weimar Years THOMAS ELSAESSER 136 The Scandinavian Style PAOLO CHERCHI USAI 151 Pre-Revolutionary Russia YURI TSIVIAN 159 The Soviet Union and the Russian Émigrés NATALIA NUSSINOVA 162 Yiddish Cinema in Europe MAREK & MALGORZATA HENDRYKOWSKI 174 Japan: Before the Great Kanto Earthquake HIROSHI KOMATSU 177 Music and the Silent Film MARTIN MARKS 183 The Heyday of the Silents GEOFFREY NOWELL-SMITH 192 INTRODUCTION 207 The Introduction of Sound KAREL DIBBETS 211 Hollywood: The Triumph of the Studio System THOMAS SCHATZ 220 Censorship and Self-Regulation RICHARD MALTBY 235 The Sound of Music MARTIN MARKS 248 Technology and Innovation JOHN BELTON 259 Animation WILLIAM MORITZ 267 Cinema and Genre RICK ALTMAN 276 The Western EDWARD BUSCOMBE 286 TheMusical RICK ALTMAN 294 Crime Movies PHIL HARDY 304 The Fantastic VIVIAN SOBCHACK 312 Documentary CHARLES MUSSER 322 Socialism, Fascism, and Democracy GEOFFREY NOWELL-SMITH 333 The Popular Art of French Cinema GINETTE VINCENDEAU 344 Italy from Fascism to Neo-Realism MORANDO MORANDINI 353 Britain at the End of Empire ANTONIA LANT 361 Germany: Nazism and After ERIC RENTSCHLER 374 East Central Europe Before the Second World War MALGORZATA ENDRYKOWSKA 383 Soviet Film Under Stalin PETER KENEZ 389 Indian Cinema: Origins to Independence ASHISH RAJADHYAKSHA China Before 1949 CHRIS BERRY 409 The Classical Cinema in Japan HIROSHI KOMATSU 413 The Emergence of Australian Film BILL ROUTT 422 Cinema in Latin America MICHAEL CHANAN 427 After the War GEOFFREY NOWELL-SMITH 436 Transformation of the Hollywood System DOUGLAS GOMERY 443 Independents and Mavericks GEOFFREY NOWELL-SMITH 451 INTRODUCTION 463 Television and the Film Industry MICHÉLE HILMES 466 The New Hollywood DOUGLAS GOMERY 475 New Technologies JOHN BELTON 483 Sex and Sensation LINDA WILLIAMS 490 The Black Presence in American Cinema JIM PINES 497 Exploitation and the Mainstream KIM NEWMAN 509 Dreams and Nightmares in the Hollywood Blockbuster JOSEPH SARTELLE 516 Cinema Verité and the New Documentary CHARLES MUSSER 527 Avant-Garde Film: The Second Wave A. L. REES 537 Animation in the Post-Industrial Era WILLIAM MORITZ 551 Modern Film Music ROYAL BROWN 558 Art Cinema GEOFFREY NOWELL-SMITH 567 New Directions in French Cinema PETER GRAHAM 576 Italy:Auteurs and After MORANDO MORANDINI 586 Spain After Franco MARSHA KINDER 596 British Cinema: The Search for Identity DUNCAN PETRIE 604 The New German Cinema ANTON KAES 614 East Germany: The DEFA Story HANS-MICHAEL BOCK 627 Changing States in East Central Europe MAREK HENDRYKOWSKI 632 Russia After the Thaw VIDA JOHNSON 640 Cinema in the Soviet Republics JEAN RADVANYI 651 Turkish Cinema YUSUF KAPLAN 656 The Arab World ROY ARMES 661 The Cinemas of Sub-Saharan Africa P. VINCENT MAGOMBE 667 Iranian Cinema HAMID NAFICY 672 India: Filming the Nation ASHISH RAJADHYAKSHA 678 Indonesian Cinema DAVID HANAN 690 China After the Revolution ESTHER YAU 693 Popular Cinema in Hong Kong LI CHEUK-TO 704 Taiwanese New Cinema JUNE YIP 711 The Modernization of Japanese Film HIROSHI KOMATSU 714 New Australian Cinema STEPHEN CROFTS 722 New Zealand Cinema BILL ROUTT 731 Canadian Cinema / Cinéma Canadien JILL MCGREAL 731 New Cinemas in Latin America MICHAEL CHANAN 740 New Concepts of Cinema GEOFFREY NOWELL-SMITH 750 The Resurgence of Cinema GEOFFREY NOWELL-SMITH 759 BIBLIOGRAPHY 767 INDEX 785 PICTURE SOURCES 823 Special Features Chantal Akerman 755 Tomás Gutiérrez Alea 744 Robert Altman
Load more

Recommended publications
  • Close-Up on the Robot of Metropolis, Fritz Lang, 1926
    Close-up on the robot of Metropolis, Fritz Lang, 1926 The robot of Metropolis The Cinémathèque's robot - Description This sculpture, exhibited in the museum of the Cinémathèque française, is a copy of the famous robot from Fritz Lang's film Metropolis, which has since disappeared. It was commissioned from Walter Schulze-Mittendorff, the sculptor of the original robot, in 1970. Presented in walking position on a wooden pedestal, the robot measures 181 x 58 x 50 cm. The artist used a mannequin as the basic support 1, sculpting the shape by sawing and reworking certain parts with wood putty. He next covered it with 'plates of a relatively flexible material (certainly cardboard) attached by nails or glue. Then, small wooden cubes, balls and strips were applied, as well as metal elements: a plate cut out for the ribcage and small springs.’2 To finish, he covered the whole with silver paint. - The automaton: costume or sculpture? The robot in the film was not an automaton but actress Brigitte Helm, wearing a costume made up of rigid pieces that she put on like parts of a suit of armour. For the reproduction, Walter Schulze-Mittendorff preferred making a rigid sculpture that would be more resistant to the risks of damage. He worked solely from memory and with photos from the film as he had made no sketches or drawings of the robot during its creation in 1926. 3 Not having to take into account the morphology or space necessary for the actress's movements, the sculptor gave the new robot a more slender figure: the head, pelvis, hips and arms are thinner than those of the original.
    [Show full text]
  • Herbert Ponting and the First Documentary 1
    Herbert Ponting And The First Documentary 1 Herbert Ponting And The First Documentary One evening in mid-winter of 1911, in the coldest, most isolated place on earth, some two dozen men of the British Expedition to the South Pole gathered for a slide show. They were hunkered down in a wooden building perched on the edge of Antarctica. For them winter ran from late April to late August. In these four months the sun disappeared entirely leaving them in increasing darkness, at the mercy of gales and blizzards. If you stepped outside in a blizzard, you could become disoriented within a few yards of the hut and no one would know you were lost or where to look for you. On this evening, they were enjoying themselves in the warmth of their well insulated hut. One of their number, who called himself a “camera artist,” was showing them some of the 500 slides he had brought with him to help occupy the long winter hours. The camera artist was Herbert Ponting, a well known professional photographer. In the language of his time he was classified as a “record photographer” rather than a “pictorialist.”i One who was interested in the actual world, and not in an invented one. The son of a successful English banker, Ponting had forsworn his father’s business at the age of eighteen to try his fortune in California. When fruit farming and gold mining failed him, he took up photography, turning in superb pictures of exotic people and places, which were displayed in the leading international magazines of the time.
    [Show full text]
  • Kino in Coburg
    - 1 - Inhaltsverzeichnis Vorwort ................................... 3 Kinematografische Treffpunkte in Coburg ... 4 Premieren im Union-Theater ............... 10 Margarethe Birnbaum ...................... 12 Luther - Der Film (2002) ................. 14 Weitere in Coburg gedrehte Filme ......... 16 Karrierestart Coburg ..................... 18 Der Flieger (1986) ...................... 21 Rubinrot / Saphirblau .................... 22 Interview Michael Böhm ................... 25 Gästebuch Goldene Traube ................. 27 Das kleine Hofkonzert .................... 29 Jürgen A. Brückner ....................... 30 Michael Ballhaus ......................... 32 Michael Verhoeven ........................ 33 Premiere „Der blaue Strohhut“ ............ 34 Annette Hopfenmüller ...................... 36 Filmkontor Graf .......................... 37 Himmel ohne Sterne ....................... 38 Der letzte Vorhang ....................... 40 Der Abriss / Der Neubau .................. 42 Drehort Coburg · Filmkulisse Coburg ...... 44 Beruf im Wandel: Filmvorführer ........... 46 Danksagung / Impressum ................... 47 Liebe Leserinnen, liebe Leser, mit meinem Jahrgang 1968 gehöre So sahen wir den ganzen „Krieg der ich zu der Generation, die mit Sterne“-Film, von dem ein Teil mei- einem Schwarz-Weiß-Fernseher mit ner Freunde begeistert erzählt hatte. vier Programmen und ohne Fern- Mich hat dieser Film nicht beson- bedienung aufgewachsen ist. Der ders beeindruckt und ich konnte die Besuch eines Kinos war dagegen Begeisterung meiner Freunde nicht
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • Animagazin 1. Sz. (2021. Január 20.)
    Téli szezon 2021 Összeállította: Hirotaka Anime szezon 019 2.43: Seiin Koukou Danshi Volley-bu Back Arrow Ex-Arm regény alapján original manga alapján Stúdió: Stúdió: Stúdió: David Production Studio VOLN Visual Flight Műfaj: Műfaj: Műfaj: iskola, sport akció, fantasy, mecha akció, sci-fi, seinen Seiyuuk: Seiyuuk: Seiyuuk: Umehara Yuuichirou, Ono Kenshou, Ozawa Ari, Kitou Akari, Komatsu Mikako Ono Kenshou, Aou Shouta Kaji Yuki Leírás Ajánló Leírás Ajánló Leírás Ajánló Haijima Kimichika röp- Röplabdás anime, Ringarindo területét Egy új mecha sorozat, Natsume Akira egy Már kétszer elhalasz- labdajátékos, visszaköltözik ami nem a Haikyuu. De fal veszi körül, védi és óvja rég láttunk ilyet, a műfaj középsulis diák, akinek csak tott címről van szó, talán Fukuiba, ahol a gyerekkorát hát ki mondta, hogy nem az ott élőket. A fal az isten, rajongói mostanában kicsit az agyát sikerült megmen- most elindul. Nekem hir- töltötte. Itt újra találkozik üthet más a labdába az is- és Ringarindo alapja. el vannak hanyagolva, szó- teni egy tragikus közleke- telen Robotzsaru érzetem egykori barátjával, Kuroba mert cím mellett. Egy re- Egy nap, egy rejtélyes val ez most jól jön. A Studio dési baleset után. Most az lett tőle. Főleg akcióköz- Yunival, akivel egy régi ve- gényadaptációról van szó, férfi, aki Back Arrownak ne- VOLN (Ushio to Tora, Kara- EX-ARM különleges rendőri pontú animének néz ki, sok szekedés miatt romlott meg ami 2015 óta fut. A David vezi magát megjelenik Essha kuri Circus (AniMagazin 50.)) egységgel működik együtt, harccal. Egy 2015-2019 kö- a viszonya. Elkezdik a Seiin Productionról csak annyit faluban. Arrow elvesztette a fogja készíteni, akik eddigi hogy visszaszerezze elve- zött készült mangát adap- középiskolát és csatlakoz- mondok, hogy JoJo és Ha- memóriáját, csak egy dolog- szerény felhozataluk elle- szett emlékeit és testét.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • Mickey Mayhew Phd Final2018.Pdf
    ‘Skewed intimacies and subcultural identities: Anne Boleyn and the expression of fealty in a social media forum’ Mickey Mayhew A Thesis submitted in fulfilment of the requirements for the degree of Doctor of Sociology at London South Bank University Supervisors: Doctor Shaminder Takhar (Director of Studies) and Doctor Jenny Owen Faculty of Arts and Human Sciences, Department of Social Sciences & Department of Media and Cultural Studies, London South Bank University 1 Abstract The aim of this research project was the investigation of a subculture surrounding the famous Tudor queen Anne Boleyn; what that possible subculture means for those involved, and if it constituted part of a new phenomenon of female orientated online subcultures; cybersubcultures. Through the analysis of film, TV, historical literature and fiction, the research illustrates how subcultures are perpetuated through generations cyclically. The research then documents the transition from the traditional or ‘classic’ subcultural model of the 60s to the 21st century cybersubculture and fandom, suggesting a new way of thinking about subcultures in a post-subcultural age. The research suggests that the positioning of Anne Boleyn as a feminist icon/role model, based mainly on a media-mediated image, has formed a subculture which thrives on disjointed imagery and discourse in order to form a subculture of peculiarly subtle resistance. This new cybersubculture reflects the ways in which women are now able to use social media to form communities and to communicate, sharing concerns over men and marriage, all whilst percolating around the media-mediated image of Anne Boleyn as their starting point. These interactions – and the similarities they shared with the ‘classic’ subcultural style - form the data for this research project.
    [Show full text]
  • KPMG FICCI 2013, 2014 and 2015 – TV 16
    #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways.
    [Show full text]
  • Digital Collections at the University of the Arts
    The UniversiT y of The ArTs Non Profit Org 320 South Broad Street US Postage Philadelphia, PA 19102 PAID www.UArts.edu Philadelphia, PA Permit No. 1103 THE MAGAZINE OF The UniversiT y of The ArTs edg e THE edge MAGAZINE OF T he U niver si T y of T he A r T s WINTER WINTER 2013 2013 NO . 9 Edge9_Cover_FINAL.crw4.indd 1 1/22/13 12:50 PM THE from PRESIDENT A decade has passed since the publication In this issue of Edge, we examine the book’s of Richard Florida’s international bestseller theses and arguments a decade on, and The Rise of the Creative Class. This 10-year speak with a range of experts both on and of anniversary provides an opportunity to ex- the creative class, including Richard Florida amine the impact of that seminal work and himself. I think you will find their insights the accuracy of its predictions, some of them and perspectives quite interesting. bold. The book’s subtitle—“...And How It’s Transforming Work, Leisure, Community, Following on the theme of the power of and Everyday Life”—speaks to the profes- creatives, we also look at the creative econ- sor and urban-studies specialist’s vision of omy of the Philadelphia region and the far- the impact this creative sector can exert on reaching impact that University of the Arts virtually all aspects of our lives. alumni and faculty have on it. You will also find features on UArts students, alumni and Since its 2002 release, many of the ap- faculty who are forging innovative entrepre- proaches to urban regeneration proposed neurial paths of their own.
    [Show full text]
  • BFI Southbank Will Mark the Centenary of the Weimar Republic with a Major Two-Month Season Running Friday 3 May – Sunday 30 June
    Thursday 28 March 2019, London. BFI Southbank will mark the centenary of the Weimar Republic with a major two-month season running Friday 3 May – Sunday 30 June. BEYOND YOUR WILDEST DREAMS: WEIMAR CINEMA 1919-1933 will celebrate one of the most innovative and ground-breaking chapters in the history of cinema. The first major survey of Weimar cinema in London for many years, the season will reveal that the influential body of cinematic work which emerged from this remarkably turbulent era is even richer and more diverse than generally thought. Thanks to brilliant aesthetic and technical innovations, Germany’s film industry was soon second only to Hollywood, catering to a new mass audience through a dazzling range of styles and genres – not only the ‘haunted screen’ horror for which it is still chiefly renowned, but exotic adventure films, historical epics, urban tales, romantic melodramas, social realism and avant-garde experiments. Most surprising perhaps is the wealth of comedies, with gender-bending farces and sparkling musicals such as I Don't Want to Be a Man (Ernst Lubitsch, 1918) and A Blonde Dream (Paul Martin, 1932). But Weimar cinema wasn’t just dazzling entertainment: throughout this period of polarised politics, which was increasingly overshadowed by the rise of Nazism, it also posed vital questions. From an early plea for gay rights – Different from the Others (Richard Oswald, 1919) – to stirring critiques of the capitalist system such as The Threepenny Opera (GW Pabst, 1931) and Kuhle Wampe (Slatan Dudow, 1932) the films still speak urgently to contemporary concerns about a range of social issues.
    [Show full text]
  • IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
    XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian
    [Show full text]