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Amateur film and amateur media practices have attracted increasing interest in recent decades in the context of the "visual turn". Questions of agency, participatory and political/militant film practices, and of representations of "self" and "other" are of interest as well as the institutions and networks of amateur productions. This special issue of "zeitgeschichte" contributes to this field of research by examining international and transnational developments of amateur films in the period after the Second World War. The collected contributions analyze national specifics and regional shapings of practices as well as cultural constructions in amateur film and video, they trace transnational entanglements of amateur media and tackle cross-border amateur filmmaking and internationally and globally shared discursive references and uses of metaphors in video activism. The authors elaborate parallels to organizational structures in amateur film practices in specific sociopolitical and cultural contexts and discuss aspects of memory and the appropriation of hegemonic visual cultures in individual film practices.
Questions of agency, participatory and political/militant film practices, and of representations of "self" and "other" are of interest as well as the institutions and networks of amateur productions. This special issue of zeitgeschichte contributes to this field of research by examining international and transnational developments of amateur films in the period after the Second World War. The collected contributions analyze national specifics and regional shapings of practices as well as cultural constructions in amateur film and video, they trace transnational entanglements of amateur media and tackle cross-border amateur filmmaking and internationally and globally shared discursive references and uses of metaphors in video activism. The authors elaborate parallels to organizational structures in amateur film practices in specific sociopolitical and cultural contexts and discuss aspects of memory and the appropriation of hegemonic visual cultures in individual film practices.
After WWII, cinema was everywhere: in movie theatres, public squares, factories, schools, trial courts, trains, museums, and political meetings. Seen today, documentaries and newsreels, as well as the amateur production, show the kaleidoscopic portrait of a changing Europe. How did these cinematic images contribute to shaping the new societies emerging from the ashes of war, both in the Western and in the Eastern bloc? Why were they so crucial in framing and regulating new places and practices, political systems, economic dynamics, educational frameworks, and memory communities? This edited volume explores the multiple ways nonfiction cinema reconfigured public spaces, collective participation, democratisation, and governmentality between 1944 and 1956. Looking back at it through a transnational perspective and the critical category of spatiality, nonfiction cinema appears in a new light: simultaneously as a specifically situated and as a highly mobile medium, it was a fundamental agent in reshaping Europe's shared identity and culture in a defining decade.
Film Quarterly has published substantial, peer-reviewed writing on cinema and media for nearly sixty years, earning a reputation as the most authoritative academic film journal in the United States, as well as an important English-language voice of cinema studies abroad.
This book examines Chinese films made and shown abroad roughly between the 1920s and the 2020s, from the beginning of the international exchange of the Chinese national film industry to the emergence of the concept of soft power. The periodisation of Chinese cinema(s) does not necessarily match the political periods: on the one hand, the technical development of the film industry and the organisation of translation in China, and on the other hand, official relations with China and translation policies abroad impose different constraints on the circulation of Chinese films. This volume deals with the distribution and translation of films from mainland China, Taiwan, Hong Kong, and the Chinese diaspora. To this end, the contributors address various issues related to the circulation and distribution of Chinese films, including co- productions, agents of exchange, and modes of translation. The approach is a mixture of socio- cultural and translational methods. The data collected provides, for the first time, a quantitative overview of the circulation of Chinese films in a dozen foreign countries. The book will greatly interest scholars and students of Chinese cinema, translation studies, and China studies.
SCMS Award Winner "Best Edited Collection" The standard analytical category of "national cinema" has increasingly been called into question by the category of the "transnational." This anthology examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation-states. The three sections of World Cinemas, Transnational Perspectives cover the geopolitical imaginary, transnational cinematic institutions, and the uneven flow of words and images.
The aim of this Special Issue lies in expanding contemporary discussions on Japanese Cinema and its transnational aspects by applying new critical methodologies and stances and in revealing the contradictions inherent in the way the old paradigm of 'National Cinema' has traditionally been articulated. In order to do so, this publication highlights the limitations of assessing Japanese film as a cinematic phenomenon confined to its national borders. Throughout this issue, the concept of transnationality is not confined to a single definition and is instead used as an analytical framework which allow authors to surpass narrow perspectives that neglect the complex nature of Japanese film in terms of its esthetics, narratives, and theoretical approaches as well as production, consumption, and distribution systems. This volume casts light on the extraordinary international flows of images, stories, iconographies, and theories between Japan and other countries, and assesses the dialectic relationship between two apparently contradictory aspects: external influences and Japanese uniqueness, revealing how 'uniquely Japanese' films may ironically contain foreign codes of representation. Thus, the articles presented here bring a more comprehensive understanding of how global cultural flows have shaped local creativity. Some authors adopt additional transnational perspectives, through which they analyse how Japan is represented as 'other' from outside and how the rest of the world is represented by Japan, or propose a renewal of film theories on Japanese cinema that have traditionally been dominated by Western writings. Overall, manuscripts included in this publication help the reader to understand different ways in which Japan expands beyond Japanese Cinema and Japanese Cinema expands beyond Japan.
This handbook is a comprehensive and up-to-date resource covering the booming field of Audiovisual Translation (AVT) and Media Accessibility (MA). Bringing together an international team of renowned scholars in the field of translation studies, the handbook surveys the state of the discipline, consolidates existing knowledge, explores avenues for future research and development, and also examines methodological and ethical concerns. This handbook will be a valuable resource for advanced undergraduate and postgraduate students, early-stage researchers but also experienced scholars working in translation studies, communication studies, media studies, linguistics, cultural studies and foreign language education.
A Times Literary Supplement Book of the Year, chosen by Tom Stoppard "A revelation."—Marc Weingarten, Washington Post Acclaimed film director Billy Wilder’s early writings—brilliantly translated into English for the first time Before Billy Wilder became the screenwriter and director of iconic films like Sunset Boulevard and Some Like It Hot, he worked as a freelance reporter, first in Vienna and then in Weimar Berlin. Billy Wilder on Assignment brings together more than fifty articles, translated into English for the first time, that Wilder (then known as "Billie") published in magazines and newspapers between September 1925 and November 1930. From a humorous account of Wilder's stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers fresh insights into the creative mind of one of Hollywood’s most revered writer-directors. Wilder’s early writings—a heady mix of cultural essays, interviews, and reviews—contain the same sparkling wit and intelligence as his later Hollywood screenplays, while also casting light into the dark corners of Vienna and Berlin between the wars. Wilder covered everything: big-city sensations, jazz performances, film and theater openings, dance, photography, and all manner of mass entertainment. And he wrote about the most colorful figures of the day, including Charlie Chaplin, Cornelius Vanderbilt, the Prince of Wales, actor Adolphe Menjou, director Erich von Stroheim, and the Tiller Girls dance troupe. Film historian Noah Isenberg's introduction and commentary place Wilder’s pieces—brilliantly translated by Shelley Frisch—in historical and biographical context, and rare photos capture Wilder and his circle during these formative years. Filled with rich reportage and personal musings, Billy Wilder on Assignment showcases the burgeoning voice of a young journalist who would go on to become a great auteur.
This first-ever study of Swedish experimental film represents the results of a Swedish Research Council initiative in 2006--2008. The essays address the institutions, filmmakers, and films important to the history of experimental film in Sweden, and place this history in larger artistic and socio-cultural contexts. The authors look at the work of the Independent Film Group, regional Fluxus groups, E.A.T., and figures such as Viking Eggeling, Rune Hagberg, Pontus Hultén, Öyvind Fahlström, Leo Reis, Bo Jonsson, and Åke Karlung.