DOCSLIB.ORG

{PDF} Holocaust and the Moving Image Representations in Film And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} Holocaust and the Moving Image Representations in Film And HOLOCAUST AND THE MOVING IMAGE REPRESENTATIONS IN FILM AND TELEVISION SINCE 1933 1ST EDITION PDF, EPUB, EBOOK Haggith and Newman Haggith and Newman | 9781904764519 | | | | | Holocaust and the Moving Image Representations in Film and Television since 1933 1st edition PDF Book Urbana and Chicago: University of Illinois Press, , pp. Especially Disney's work proved to be very popular and most influential around the world. Christian Dimitriu P. In practice, computer animation with a relatively two-dimensional appearance, stark outlines and less shading, will generally be considered "traditional animation". From Paris the song was brought by another Dachau inmate to the UK, where it circulated among the Austrian exile community. Indeed, as Peter's words above suggest, a film such as The Boy in the Striped Pyjamas can have a powerful impact and one not necessarily supported by historical evidence, nor desired by educators. Thomas McKAY demonstrates in his oral history study of intergenerational memory of the Second World War and the Holocaust in England, that explanations of perpetrator motivation with fear, coercion and propaganda are widespread and thus not merely linked to films. Faber that were photographically printed on the disc and then coloured by hand, but these were probably never used in the lectures. Namespaces Article Talk. What Is Cinema? Marvin Perry, Frederick M. Although Hippler advertised the film as being a factual documentary consisting of pictures of real Jews with nothing faked or simulated, his claims were complete falsehoods. Escuela Sobre Ruedas. Kramer turns finally to the ways nakedness has been deployed in fiction films about the Holocaust or Nazism. Main article: Zoopraxiscope. Berlin: Alexander Fest Verlag. National identity and history form an important "interpretative community" for the reception of films, in which particular "inherited stories and memory practices socially agreed by their family and community" are internalised as a way of "making sense of themselves in relation to the wider world" READING, , p. During the interview, Barbara also talked about her own daughter, which could indicate that being a mother herself, she linked her own experience to the mother in the film. We are photographing 'motorized movement' and—the biggest trick of all—combining it with live action…. Richard Taylor describes the basic tenet of the film as arguing that "the Jew is an oriental barbarian who has insinuated himself cleverly into European society, and now exploits it parasitically. At the end of the film McCay would walk behind the projection screen, seamlessly being replaced with a prerecorded image of himself entering the screen, getting on the cartoon dinosaur's back and riding out of frame. In the first commercial coin-operated video game was marketed. A planned 3D version of The Little Mermaid was cancelled when Beauty and the Beast and two 3D-converted Pixar titles were not successful enough at the box office. Images of Auschwitz exported Nazi crimes to a modern "death factory" located far away in Poland and hence to a location in the collective imagination that was far removed from Germany itself. Jewish photographers were assigned to take pictures of workers in factories and workshops and of the products they made in an attempt to convince the Germans that Jewish labor was vital to the German war effort. It featured animal characters that looked more realistic than anthropomorphic, against watercolor backgrounds. Steve Jobs 1st paperback ed. S65 "Watching the evening news offers constant evidence of atrocity--a daily commonplace in our 'society of spectacle. Lewis Coser. Later on a similar technique became the basis of the multiplane camera. They found, among other things, that viewers' responses to the same film can be highly varied, and that the reception is affected by preconceptions, styles of narration, and personalities. Help Learn to edit Community portal Recent changes Upload file. He ordered each film studio to make an antisemitic film. This detail is not what I expect to find. They perform a type of visual violence which deserves more attention than it has received from historians of Nazi Germany. Film as Evidence in International War Crimes. Japan was notably prolific and successful with their own style of animation, which became known in the English language initially as Japanimation and eventually as anime. London: Picador. Affiliates: Berlin: Moving Spaces. The celebrated performer talks about a struggling classical music industry, and makes a plea to politicians to better support musicians during the ongoing pandemic. We don't need to see any more. Holocaust and the Moving Image Representations in Film and Television since 1933 1st edition Writer We know that the Nazis, especially Robert Ley, head of the German Labor Front, and even Joseph Goebbels thought it was important to exert considerable influence on the organization and staging of Karneval. Thomas McKAY demonstrates in his oral history study of intergenerational memory of the Second World War and the Holocaust in England, that explanations of perpetrator motivation with fear, coercion and propaganda are widespread and thus not merely linked to films. Gillis, ed. Struk does, however, find ironic justice in the fact that SS photographs were used after the war in trials as evidence of Nazi atrocities and have subsequently been exhibited in museums and published in history books to condemn Nazi crimes. As cutouts often have been hand-drawn and some productions combine several animation techniques, cutout animation can sometimes look very similar to hand-drawn traditional animation. In an interview shown in the ZDF documentary series Holocaust , the year-old Hippler described the film as "the most disgraceful example of antisemitism. His The Enchanted Drawing can be regarded as the first theatrical film recorded on standard picture film that included animated elements, although this concerns just a few frames of changes in drawings. What these pictures do not show is what eventually happened to these now "ownerless objects. It is a drama about post-war justice and Germany's coming to terms with the National Socialist past, especially among the second generation. How British television inserted the Holocaust into Britain's war memory in The majority of these devices didn't project their images, and could only be viewed by a one or a few persons at a time. This could take the form of re-interviewing participants after a period of time, or by way of a questionnaire. Article Contents. Bruno and the mother were their focal points, with Bruno, in particular, being regarded as a victim by most. The violent post-apocalyptic cyberpunk anime Akira garnered increased popularity of anime outside Japan and is now widely regarded as a classic. The Supreme Court ruling of the Hollywood Anti-trust Case of prohibited "block bookings" in which hit feature films were exclusively offered to theatre owners in packages together with newsreels and cartoons or live-action short films. The Nazis banned or drove out of the country all the professional photographers whose pictures might have challenged the way the regime wanted to depict itself visually. Noel porter, 58 , who was one of three interviewees with some prior knowledge about Jewish resistance, summarised the film at the beginning of the interview as being about a rebellion. As someone personally affected by prejudice and discrimination, and with a personal connection to a survivor, she was, perhaps, less inclined to empathise with a character like Bruno and more likely to reject The Boy in the Striped Pyjamas 's portrayal of German victimhood. Six years after he last worked, Edi is still bitter about losing his job, and blames the machinery he once used and controlled but which later replaced him. Special Issue. The minute film featured a live-action girl Virginia Davis interacting with numerous cartoon characters, including the Felix-inspired Julius the Cat who had already appeared in the Laugh-O- Gram fairy tales, without a name. Chomsky tells the story of a Jewish family that gets caught in the cogs of the Nazis' genocidal policies. More than a quarter of them, for example, remembered the film mainly for the emotional impact it had had on them. The films based on fiction, but also Defiance with its highly dramatized and emotionalised representation, were assessed by viewers not primarily, or solely, for their fidelity to the historical record or facts. The earliest American animated series specifically produced for TV came about in , with Adventures of Pow Wow 43 five-minute episodes broadcast on Sunday mornings from January to November and Jim and Judy in Teleland 52 episodes, later also sold to Venuzuela and Japan. COM in 30 languages. Stuart Blackton was a British-American filmmaker, co-founder of the Vitagraph Studios and one of the first to use animation in his films. HSozKult Call for Papers page. This points to the myth of Jewish passivity and the privileging of armed resistance, which was also seen in interviews about Defiance , which features the group's internal strife over whether armed struggle is more important than saving lives. Qualitative approaches can illuminate some of the mechanisms of this in practice e. The video was directed by Steve Barron , who would also direct the groundbreaking computer-animated Dire Straits " Money for Nothing " in the same year. This new comparative approach reveals that the distant past has had a lasting influence on commemorative practice in modern times. Similarly, Disney's Alice in Wonderland became popular with TV screenings in this period and with its theatrical re-release. S65 "Watching the evening news offers constant evidence of atrocity--a daily commonplace in our 'society of spectacle. Holocaust and the Moving Image Representations in Film and Television since 1933 1st edition Reviews It can be submitted by e-mail. How can the world become more socially just? Photography could depict only the surfaces of historical phenomena.
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Shakespeare on Screen a Century of Film and Television
    A History of Shakespeare on Screen a century of film and television Kenneth S. Rothwell published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Kenneth S. Rothwell 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Reprinted 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in Palatino A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Rothwell, Kenneth S. (Kenneth Sprague) A history of Shakespeare on screen: a century of film and television / Kenneth S. Rothwell. p. cm Includes bibliograhical references and index. isbn 0 521 59404 9 (hardback) 1. Shakespeare, William, 1564–1616 – Film and video adaptations. 2. English drama – Film and video adaptations. 3. Motion picture plays – Technique. I. Title. pr3093.r67 1999 791.43 6–dc21 98–50547 cip ISBN 0521 59404 9 hardback – contents – List of illustrations ix Preface xi Acknowledgments xiii List of abbreviations xiv 1 Shakespeare in silence: from stage to screen 1 2 Hollywood’s four seasons
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Camera (1920-1922)
    7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America.
    [Show full text]
  • Iraq War Documentaries in the Online Public Sphere
    Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ...................................................................................................................
    [Show full text]
  • Final Arguments to Save Hollywood Bowl Submitted by Robert W
    The publication of Hollywood Heritage, a non-profit organization dedicated to the pres- ervation of Hollywood through its architecture and the history of the Summer 2002 www.hollywoodheritage.org Volume 21, Number 2 motion picture industry. Lawsuit Update Final Arguments to Save Hollywood Bowl Submitted By Robert W. Nudelman historic 1929 orchestra shell (the lic ownership (as well as devastat- On June 3, Hollywood attorney newsletter is also available on the ing many safeguards for parks, Lawrence Teeter filed our response web site). Our latest response tar- open spaces, impacts from large to strongly refute the arguments of geted several areas. This has been developments and other quality of the Los Angeles Philharmonic As- done to both protect the shell as life issues protected under CEQA). sociation (LAPA) and Los Angeles well as to stop the County from Highlights of our response in- County (defendants) in the State of gutting the protective status his- clude a detailed breakdown and California Court of Appeals. The toric structures have in California rebuttal of the County and LAPA’s document is available on our web under the California Environmental arguments that only a “new shell” site. Quality Act (CEQA). will make good music possible at Hollywood Heritage’s last news- Such legal precedent as attempted the Bowl. This was used as the letter outlined several of the Coun- here to circumvent CEQA would “Statement of Overriding Consid- ty’s and the LAPA’s arguments to endanger thousands of historic erations” (SOC), which is the sole proceed with the demolition of the structures in both private and pub- legal reason the defendants adopted continued on page 87 years later ABC Television Center Studio Lot is Reborn By Marc Wanamaker original 1915 buildings that still ex- he old ABC Television Center ist and are considered historic studio Tlot at Prospect and Talmadge structures.
    [Show full text]
  • Bbwcesro! Kr/ C*
    'Vttijl <<^ BBwCESro! k R/ c* 8REHB •* '1 i' 1 ft^'r Hi _ Sft" 63* Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION CONGRESS at The LIBRARY of u»i Packard Campus Conservation for Audio Visual www.loc.gov/avconservation Reading Room Motion Picture and Television www.loc.gov/rr/mopic Center Recorded Sound Reference www.loc.gov/rr/record Vol. XX. (JkaS? leMOtf ttffitXT* No. 1 / I?|?Ci jbf3 c "HERE THEY ARE! I'VE ROOKED 'EM!" t"| HATS the way to talk to your people as soon as you sign your contracts for the new 3 " {Pictures (Nationally Advertised) Let everybody in your town know what's coming to your theater next season. Advertise the stars, adver- of tise the plays. Tie up with the immense campaign neitional advertising. Use the trade marks. Your whole community is asking: "Where can we " see Paramount and Artcraft pictures ? Stand up and shout the glad news— fit HERE THEY ARE!" PLATERS-LASKY CORPORATION h&MOUS .JESSEl.lASKYMh.P^.CECILB.DEMILLEa>Kftr?Me™i J ADOLPllZtU<ORi'rM rNIW YORKy jadLdUJULcfggg ZEESS <w CHICAGO July 6, 19 18 — L. icturcs Another story of dramat- ic and emotional intensity which will win new thousands of admirers for the ablest young emotional star of the screen Sflorious Jldveniure By Edith Barnard Delano Directed by Hobart Henley This production is announced as "the story of every girl's dream and one girl's triumph. A drama of love's conflict with man's selfishness." The kind of story that Mae Marsh's own tremendous public selects for her to play in.
    [Show full text]
  • Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism
    Queering the Shakespeare Film ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism Anthony Guy Patricia Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Imprint previously known as Arden Shakespeare 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY, THE ARDEN SHAKESPEARE and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Anthony Guy Patricia, 2017 Anthony Guy Patricia has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4742-3703-1 ePDF: 978-1-4742-3705-5 ePub: 978-1-4742-3704-8 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Cover image: Imogen Stubbs as Viola and Toby Stephens as Orsino,
    [Show full text]
  • Der Prozess Als Performance
    Nicola Glaubitz Der Prozess als Performance Zur Geschichte des Schnellzeichnens Abstract: Das schnelle Zeichnen vor Publikum ist eine marginale, aber kulturhis- torisch durchaus aufschlussreiche Praxis – von Joseph Mallord William Turners öffentlichen Malperformances im frühen 19. Jahrhundert über das Schnellzeich- nen als Jahrmarktsattraktion und Vorläufer der filmischen Animation um 1900 und Hans Namuths Aufzeichnung von Jackson Pollocks action painting in action bis hin zum Schnellzeichnen als Visualisierungstechnik in der Gegenwart. Der Beitrag wirft anhand dieser Beispiele die Fragen auf, welche Semantiken und Dis- kurse, welche Inszenierungsdispositive und Ästhetiken sich um das schnelle Zeichnen vor Publikum konfigurieren und wie die Zurschaustellung des Machens bewertet wird. Im Bereich der Kunst geraten Vorstellungen von Kunst, Künst- ler_in, Virtuosität und Spektakel in Konflikt, im Bereich der Populärkultur etab- liert sich mit dem frühen Animationsfilm eine Ästhetik des Machens, die auch die technische Gemachtheit mit einschließt. Einleitung Schnellzeichnen – was ist das eigentlich? Man begegnet Schnellzeichnenden meist in Fußgängerzonen und vor Touristenattraktionen: Maler_innen und Zeichner_innen, die sich bei der Arbeit über die Schulter schauen lassen oder rasch ein Porträt oder eine Karikatur anfertigen. Dass es sich beim Schnellzeich- nen keineswegs um eine marginale Tätigkeit oder nur um eine Gelegenheits- beschäftigung handelt, wird klar, wenn man die Webseite der Bundesagentur für Arbeit aufsucht. Hier findet sich eine ziemlich detaillierte Berufsbeschreibung: Schnellzeichner/innen bzw. Porträtzeichner/innen fertigen Zeichnungen für unterschiedli- che Zwecke an, z.B. zur Unterhaltung oder in Situationen, in denen nicht gefilmt oder PD Dr. Nicola Glaubitz, Kulturwissenschaftliches Institut Essen (KWI), Goethestraße 31, 45128 Essen, E-Mail: [email protected] Open Access. © 2018 Nicola Glaubitz, publiziert von De Gruyter.
    [Show full text]
  • Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980
    LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources December 2019 SurveyLA Citywide Historic Context Statement Entertainment Industry/Industrial Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS PREFACE 1 CONTRIBUTORS 1 INTRODUCTION 1 HISTORIC CONTEXT INDUSTRIAL PROPERTIES ASSOCIATED WITH THE ENTERTAINMENT INDUSTRY, 1908-1980 3 Origins of the Entertainment Industry in Southern California 3 Entertainment Industry Development in the 1920s and 1930s 13 Entertainment Industry Development During World War II 59 Entertainment Industry Development in the Postwar Era 63 SUB-THEME: ORIGINS OF THE MOTION PICTURE INDUSTRY, 1908-1919 72 Development of Industrial Districts and “Motion Picture Zones” 72 Development of Early Motion Picture Production Facilities 73 SUB-THEME: MOTION PICTURE INDUSTRY: MAJOR STUDIO ERA – “THE BIG EIGHT,” 1919-1949 76 Development of Major Motion Picture Production Facilities 76 SUB-THEME: MOTION PICTURE INDUSTRY: INDEPENDENT STUDIOS AND RENTAL PLANTS, 1919-1980 80 Development of Independent Motion Picture Production Facilities 80 SUB-THEME: RADIO BROADCASTING INDUSTRY, 1922-1945 84 Development of Radio Broadcasting Facilities 84 SUB-THEME: TELEVISION BROADCASTING INDUSTRY, 1931-1980 88 Development of Television Broadcasting Facilities 88 SUB-THEME: RECORDING INDUSTRY, 1925-1980
    [Show full text]
  • Women in Silent Cinema
    ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate FRAMING FILM EYE FILMMUSEUM WOMEN IN THE SILENT CINEMA FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate AMSTERDAM UNIVERSITY PRESS Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Top: Nell Shipman in baree, son of kazan (fragment, see page 329) Middle: Musidora, publicity portrait (fragment, see page 136) Bottom: Adriënne Solser in an unidentified film (fragment, see page 98) Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press.
    [Show full text]
  • The Recut Trailer As Networked Object Anticipation and Nostalgia in the Youtube Era
    The recut trailer as networked object Anticipation and nostalgia in the YouTube era Kathleen Williams A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences March 2014 ! ! PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Williams First name: Kathleen Other name/s: Amy Abbreviation for degree as given in the University calendar: PhD School: School of the Arts and Media Faculty: Faculty of Arts and Social Sciences Title: The recut trailer as networked object: Anticipation and nostalgia in the YouTube era Abstract 350 words maximum: (PLEASE TYPE) Recut trailers have been uploaded to YouTube since its launch in 2005 and remain one of the site's most popular forms of video. Recut trailers can involve a number of practices: some trailer creators shoot original footage for a film that will never exist, others splice together existing footage to bypass the typical path of feature film promotion, while some seek to change the genre of an existing film. The recut trailer adopts the form of an advertisement and yet does not advertise an end product. This study analyses recut trailers uploaded to YouTube in the period of 2005-2012. This dissertation contributes to the limited literature available on the film trailer by arguing that the recut trailer should be considered as a networked object. I map the traces and residues left by the recut trailer on YouTube, as well as the spatial, temporal and textual connections that they make to feature films, cinematic space, and online cultures and practices.
    [Show full text]