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An ecological approach to rural cinema-going
Kate Bowles

This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.

Film Studies
Technologies of Surveillance, Knowledge and Power in Paramount Budget Documents, 1927–58
William Thomas McClain

Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.

Film Studies
Derek Paget

8 Histories: fourth-phase hybridisation A ‘varied and robust ecology’ ‘Authenticating detail’ in television drama, as Robin Nelson has observed, can supply ‘a sense of conviction’ (1997: 109). Docudrama’s stock-in-trade – the pro-filmic reality that lies behind dramatic performance – is intended to ‘authenticate’, or to w ­ arrant, its dramatic representation-cum-speculation. And in general, the more detail the better. But there is an overarching problem of fi ­ delity to the reality dramatised. This problem has continued to focus discussion in a fourth phase of

in No other way to tell it
Abstract only
Lez Cooke

The introduction sets out the case for a study of regional television drama, at a time of significant change in the ecology of British broadcasting, and considers perspectives on regional broadcasting, in the light of the impact of global media culture on regional and local broadcasting. It defines regional TV drama, making a distinction between dramas set in the regions (but produced in London) and dramas produced in the regions. It outlines the aims of the thesis: to examine the representation of regional culture and regional identity, to examine the policies of regional broadcasters, to analyse the aesthetic strategies adopted by the makers of regional drama, to explore the relationship between regional theatre and regional TV drama, and to consider the current situation and future possibilities for regional TV drama.

in A sense of place
Abstract only
Brigitte Rollet

slightly away from post-May ‘68 agendas to more consensual 1980s’ topics and filmic genres. Twenty years after making a documentary which is still hailed as the feminist documentary par excellence, she came back with her latest film so far – La Belle Verte, released in France in September 1996 – to 1970s’ preoccupations such as ecology and the defence of the environment via a science fiction tale, with a typically 1990s’ flavour. Although she shares similarities with other French female filmmakers who started their career in the

in Coline Serreau
Abstract only
David Murphy and Patrick Williams

traditional culture, the traditional way of life, and the natural environment, since in the perspective embodied here all of these are indistinguishable or inseparable. Flora Gomes here suggests an ecology of liberation, or, indeed, ecology as liberation (liberation ecology, as opposed to liberation theology, perhaps), but the symbolic, and real, importance of the natural world has been present in all his films, as witnessed, for

in Postcolonial African cinema
Sarah Turner’s Perestroika
Kim Knowles

Green Lawns (1989), to her first feature, Ecology (2007), Turner has consistently explored languages of female subjectivity, seeking out alternatives to patriarchal modes of representation. Storytelling permeates these works, but like Light Reading , and other forms of feminine discourse (Turner has admitted to being highly influenced by the French novelist Marguerite Duras for example), traditional cause and effect linearity is eschewed in favour of elliptical structures that tap into thought processes and psychic states, where reality, memory, dream and the

in British art cinema
Nelly Kaplan, Jan Švankmajer, and the revolt of animals
Kristoffer Noheden

organisms to vegetation and stones to mammals and the human mind – at least if we understand ecology to designate the often sprawling interdependence and interconnectedness of organisms and their environments. 18 Such perspectives became more pronounced in surrealism from World War II onwards. In exile in the United States during the war, Breton sought new ways for transforming a world that appeared to be on the brink of destruction. In his 1942 ‘Prolegomena to a Third Surrealist Manifesto or Not’, published in the wartime journal VVV , he argues that a persistent

in Surrealism and film after 1945
Cultural politics and art films in post-war Britain
Katerina Loukopoulou

art cinemas, film societies, film festivals, museums and non-theatrical venues, where these films mainly circulated. In Britain, the history of films on art is predominantly related to public service institutions, among which the Arts Council featured prominently. But above all, their emergence was part of a wider paradigm shift of the media ecology and art hierarchies in 1940s Britain which effectively enabled subsequent manifestations of British art cinema. ‘The Art of the Film’ in context: art hierarchies reconsidered

in British art cinema
The documentary ‘boom’
Thomas Austin

estimated that 40 per cent of the films sent to Metrodome’s acquisitions department were documentaries. Of these, just two per year would actually be picked up by the company.28 02chap one.p65 16 6/28/2007, 10:38 AM 17 The documentary ‘boom’ Distribution and exhibition strategies are crucial in connecting filmmakers and audiences, and they have to be scrutinised in order to gain a clearer picture of the boom. As Faden has noted, in the US in particular, conditions for documentaries have been radically changed by shifts in the ecology of the so-called ‘independent

in Watching the world