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Towards a Comparative Economic History of Cinema, 1930–1970
This book examines the economic circumstances in which films were produced, distributed, exhibited, and consumed during the spoken era of film production until 1970. The periodisation covers the years between the onset of sound and the demise of the phased distribution of films. Films are generally appreciated for their aesthetic qualities. But they are also commodities. This work of economic history presents a new approach, considering consumption behaviour as significant as supply-side decision-making. Audiences’ tastes are considered central, with box-office an indicator of what they liked. The POPSTAT Index of Film Popularity is used as a proxy where box office knowledge is missing. Co...
Film Professionals in Nazi-Occupied Europe
This book analyses the film industries and cinema cultures of Nazi-occupied countries (1939-1945) from the point of view of individuals: local captains of industry, cinema managers, those working for film studios and officials authorized to navigate film policy. The book considers these people from a historical perspective, taking into account their career before the occupation and, where relevant, pays attention to their post-war lives. The perspectives of these historical agents” contributes to an understanding of how top-down orders and haphazard signals from the occupying administration were moulded, adjusted and distorted in the process of their translation and implementation. This edited collection offers a more dynamic and less deterministic approach to research on the international expansion of Third-Reich cinema in World War Two; an approach that strives to balance the role of individual agency with the structural determinants. The case studies presented in this book cover the territories of Belgium, Czechoslovakia, France, the Netherlands, Norway, Poland and the Soviet Union.
Meanings of Audiences
In today’s thoroughly mediated societies people spend many hours in the role of audiences, while powerful organizations, including governments, corporations and schools, reach people via the media. Consequently, how people think about, and organizations treat, audiences has considerable significance. This ground-breaking collection offers original, empirical studies of discourses about audiences by bringing together a genuinely international range of work. With essays on audiences in ancient Greece, early modern Germany, Soviet and post-Soviet Russia, Zimbabwe, contemporary Egypt, Bengali India, China, Taiwan, and immigrant diaspora in Belgium, each chapter examines the ways in which audiences are embedded in discourses of power, representation, and regulation in different yet overlapping ways according to specific socio-historical contexts. Suitable for both undergraduate and postgraduate students, this book is a valuable and original contribution to media and communication studies. It will be particularly useful to those studying audiences and international media.
Silencing Cinema
Oppression by censorship affects the film industry far more frequently than any other mass media. Including essays by leading film historians, the book offers groundbreaking historical research on film censorship in major film production countries and explore such innovative themes as film censorship and authorship, religion, and colonialism.
Researching Newsreels
This volume addresses the underscrutinised topic of cinema newsreels. These short, multi-themed newsfilms, usually accompanied by explanatory intertitles or voiceovers, were a central part of the filmgoing experience around the world from 1910 through the late 1960s, and in many cases even later. As the only source of moving image news available before the widespread advent of television, newsreels are important social documents, recording what the general public was told and shown about the events and personalities of the day. Often disregarded as quirky or trivial, they were heavily utilised as propaganda vehicles, offering insights into the socio-political norms reflected in cinema during the first half of the twentieth century. The book presents a range of current research being undertaken in newsreel studies internationally and makes a case for a reconsideration of the importance of newsreels in the wider landscape of film history.
Cinema and the Swastika
This is the first publication to bring together comparative research on the international expansion of Third Reich cinema. This volume investigates various attempts to infiltrate - economically, politically and culturally - the film industries of 20 countries and regions either occupied by, friendly with or neutral towards Nazi Germany.
Script Development
This book offers the first international look at how script development is theorised and practiced. Drawing on interviews, case studies, discourse analysis, creative practices and industry experiences, it brings together scholars and practitioners from around the world to offer critical insights into this core, but often hidden, aspect of screenwriting and screen production. Chapters speculate and reflect upon how creative, commercial and social practices – in which ideas, emotions, people and personalities combine, cohere and clash – are shaped by the practicalities, policies and rapid movements of the screen industry. Comprising two parts, the book first looks ‘into’ script development from a theoretical perspective, and second looks ‘out from’ the practice to form practitioner-led perspectives of script development. With a rising interest in screenwriting and production studies, and an increased appetite for practice-based research, the book offers a timely mapping of the terrain of script development, providing rich foundations for both study and practice.
The Interwar World
The Interwar World collects an international group of over 50 contributors to discuss, analyze, and interpret this crucial period in twentieth-century history. A comprehensive understanding of the interwar era has been limited by Euro-American approaches and strict adherence to the temporal limits of the world wars. The volume’s contributors challenge the era’s accepted temporal and geographic framings by privileging global processes and interactions. Each contribution takes a global, thematic approach, integrating world regions into a shared narrative. Three central questions frame the chapters. First, when was the interwar? Viewed globally, the years 1918 and 1939 are arbitrary limits,...
