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An exploration of how the introduction of recorded music affected the production, viewing experience, and global export of movies. In Movies, Songs, and Electric Sound, Charles O’Brien examines American and European musical films created circa 1930, when the world’s sound-equipped theaters screened movies featuring recorded songs and filmmakers in the United States and Europe struggled to meet the artistic and technical challenges of sound production and distribution. The presence of singers in films exerted special pressures on film technique, lending a distinct look and sound to the films’ musical sequences. Rather than advancing a film’s plot, songs in these films were staged, filmed, and cut to facilitate the singer’s engagement with her or his public. Through an examination of the export market for sound films in the early 1930s, when German and American companies used musical films as a vehicle for competing to control the world film trade, this book delineates a new transnational context for understanding the Hollywood musical. Combining archival research with the cinemetric analysis of hundreds of American, German, French, and British films made between 1927 and 1934, O’Brien provides the historical context necessary for making sense of the aesthetic impact of changes in film technology from the past to the present. “Movies, Songs, and Electric Sound is an insightful study in the beginning of cinema’s sound era.” —popcultureshelf.com
This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.
What does citizenship mean? What is the process of "naturalization" one goes through in becoming a citizen, and what is its connection to assimilation? How do the issues of identity raised by this process manifest themselves in culture? These questions, and the way they arise in contemporary France, are the focus of this diverse collection. The essays in this volume range in subject from fiction and essay to architecture and film. Among the topics discussed are the 1937 Exposition Universelle; films dealing with Vichy France; François Truffaut's Histoire d'Adèle H.; the war of Algerian independence; and nation building under François Mitterrand. -- Amazon.com.
For more than 80 years, images of the Third Reich have appeared in newsreels, documentaries, and fictional stories--from comedies and musicals to war, horror and science fiction films. Many of these representations say as much about the filmmakers as they do about Nazism itself. Hollywood often used the brutal Nazi as an all-purpose villain in escapist adventures set during and after the war, but just as often used him to attack the evil he symbolized. Drawing on studio files, correspondence of the Production Code office and the writings of noted historians and critics, this book describes the making of many such films produced in Hollywood, Nazi Germany, the Soviet Union and Eastern Bloc nations. Biographies of several military and political figures who served as the basis for Nazi characters compare the cinematic and real-life versions.
This innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.
"Commissioned for and sponsored by the National Film Preservation Board."