In the early years of the cinema and into the 1910s and 1920s, it was less the film
than cinema-going itself that attracted urban publics. In this era, people were
enthusiastic about technology and the achievements of modernity; while at the same
time they felt anxious about the rapid and radical changes in their social and
economic life. In Germany, this contradictory experience was especially harsh and
perceptible in the urban metropolis of Berlin. The article demonstrates how within
city life, Berlin cinemas – offering the excitement of innovation as well as optimal
distraction and entertainment – provided an urban space where, by cinema-going,
appeal and uncertainty could be positively reconciled.
Baldwin, Racial Melancholy, and the Black Middle Ground
This article uses Baldwin’s 1949 essay “Everybody’s Protest Novel” to consider that literary mode’s corollary in the 1990s New Black Cinema. It argues that recent African American movies posit an alternative to the politics and aesthetics of films by a director such as Spike Lee, one that evinces a set of qualities Baldwin calls for in his essay about Black literature. Among these are what recent scholars such as Ann Anlin Cheng have called racial melancholy or what Kevin Quashie describes as Black “quiet,” as well as variations on Yogita Goyal’s diaspora romance. Films such as Barry Jenkins’s adaptation of If Beale Street Could Talk (2018) and Joe Talbot and Jimmy Fails’s The Last Black Man in San Francisco (2019) offer a cinematic version of racial narrative at odds with the protest tradition I associate with earlier Black directors, a newly resonant cinema that we might see as both a direct and an indirect legacy of Baldwin’s views on African American culture and politics.
This article sets out to reinvigorate national cinema studies in an Irish context
through a quantitative analysis of films financed by the Irish Film Board between
1993 and 2013. In constructing and coding a database of titles produced with the aid
of state finance during this period, the authors argue for a methodology that
broadens the inductive approaches of textual analysis that have dominated discussions
of Irish cinema to date. By establishing recurring genres, narrative patterns, themes
and character types present in IFB-funded films during this period, this article
demonstrates how the professional objectives of IFB personnel have shaped
institutional funding outcomes.
An Introductory Text and Translation (Halit Refiğ, 1971)
Halit Refiğ had impact on debates around Turkish national cinema both as a thinker
and as a practitioner. Instrumental in establishing the Turkish Film Institute under
MSU along with his director colleagues like Metin Erksan and Lutfi Akad, Refiğ
lectured for many years at the first cinema training department. This translation is
from his 1971 collection of articles titled Ulusal Sinema Kavgasi (Fight For National
Cinema). Here Refiğ elaborates on the concept of national cinema from cultural
perspectives framing Turkey as a continuation of Ottoman Empire and its culture
distinct and different from western ideas of capitalism, bourgeoisie art and Marxism.
For Refiğ, Turkish cinema should be reflected as an extension of traditional Turkish
arts. Refiğ explores the potential to form a national cinema through dialogue,and
dialectic within Turkish traditional arts and against western cinematic traditions of
The 2000s were a decade that saw many important Scottish films make big splashes in critical and commercial terms, the decade ending with Peter Mullan's acclaimed film Neds. The field of Scottish cinema studies was more or less born with Scotch Reels (1982), a collection of essays edited by Colin McArthur. The collection sought to unearth a history of cinematic representations of Scotland and to argue for the need for more indigenous production. Scottish cinema studies is now a field that is very much alive and vibrant, as evidenced by a recent wave of book-length publications such as the latest anthology on Scottish cinema, Scottish Cinema Now (2009). This book seeks to add to this growing tide of scholarship and in so doing assist with the project of subjecting the works of Scottish cinema to sustained close analysis and historicization. The central context of this book is the production landscape surrounding Scottish cinema over the last thirty years. After Local Hero and Trainspotting, Mrs Brown ranks as the most prominent indigenously produced contemporary Scottish film in terms of both popularity and critical prestige. The book explores Lynne Ramsay's career after Morvern Callar telling us about the optimistic narratives presented by Scottish cinema historians. The book also concerns with a figure who has been less successful in critical terms than his peers even if his films, particularly Young Adam and Hallam Foe, have resonated more with audiences than Red Road, Orphans or Neds.
This book is a collection of essays on the author's journeys taken during the past fifteen years. They are journeys in time and of memory about a country that no longer exists: the Italy of Roberto Rossellini's Paisà, torn by war and sometimes in conflict with the American 'liberators'. The essays concentrate on the structure and forms of the films they discuss; a confrontation of cultures, the Italy of Luchino Visconti, a territory more cultural than physical, subject to transfigurations wrought by a sophisticated intellectual who viewed the world through the lens of his sensibilities. The first three essays focus on discussions and films relating to neorealism. They seek problems and inconsistencies in points of view and prejudices that have become institutionalized in popular accounts of neorealism. The next two essays are dedicated to Visconti's commemorative and antiquarian vein, to the central importance of mise en scène (in the theatrical sense) in his films. The final essay is an attempt to recover an archetypical image in Pasolini's work. The characteristics shared by these essays include a sensitivity and knowledge of the cinema, genuine scholarship, and the ability to see aesthetic resonances to painting, literature, poetry, music. The contrast between darkness and light in Paisà and in Visconti's Vaghe stelle dell'Orsais most incisive and dramatic. They are all traversed by recurrent themes and obsessions: the contrast between darkness and light, night and day.
Arguing that limit transgression is a key feature for understanding the cinematic
performance of, and the controversy around, sexuality in the public sphere, this
contribution focuses on various aspects of limit transgression in relation to
sex cinemas. Following a new cinema history approach and concentrating on the
case of an emerging sex cinema in postwar Belgium (Cinema
Leopold in Ghent, 1945–54), this article looks at various
dimensions of limit transgression in terms of concrete physical and spatial
relations; programming strategies; audience experiences; and a range of
disciplining societal practices and institutional discourses.
Towards a Theory for African Cinema is an English translation of a talk given in
French by the Tunisian filmmaker and critic Férid Boughedir (1944–) at a conference
on international cinema, which took place in Montreal in 1974. In his presentation
Boughedir discusses the vocation of the African filmmaker, who must avoid succumbing
to the escapism and entertainment values of Western cinema and instead strive to
reflect the contradictions and tensions of the colonised African identity, while
promoting a revitalisation of African culture. Drawing on the example of the 1968
film Mandabi (The Money Order) by the Senegalese director Sembène Ousmane, Boughedir
conceptualises a form of cinema which resists the influences of both Hollywood and
auteur film and awakens viewers, instead of putting them to sleep. Boughedir‘s source
text is preceded by a translator‘s introduction, which situates his talk within
contemporary film studies.
company also made several documentaries, including Les 24 heures de Mans and Le Tour de France , and films such as Le Port de Strasbourg (1934), which documented industrial activities.
Documentary cinema was the continuation of Dulac's quest for a ‘pure cinema’, which could evoke an emotional response in the spectator that was analogous to what music could do, but one that was not beholden to the other arts, especially not to theatre or literature. The documentary also provided Dulac with a pedagogical and social tool to