Results 11 to 20 of about 179,602 (288)
Mariana Ivanova: Cinema of Collaborations and Stefano Pisu: La cortina di celluloide
Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, 2021 Review of Mariana Ivanova's Cinema of Collaborations. DEFA Co-productions and International Exchange in Cold War Europe (2019) and Stefano Pisu’s La cortina di celluloide. Il cinema italo-sovietico nella Guerra fredda (2019)
Karol Jozwiak
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Cinema as a Propaganda Means: Ataturk Cycle
Yakın Dönem Türkiye Araştırmaları, 2020 Cinema which entered Turkey in the last period of the Ottoman Empire experienced some of its preliminaries until the Republic of Turkey was declared. The propaganda power of cinema had been noticed from the First World War.
Meltem Tekerek
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Socialist film co-productions. The case of the Polish-Czechoslovak film co-production What Will My Wife Say to This? (1958) by Jaroslav Mach [PDF]
, 2015 This article offers an analysis of the Polish-Czechoslovak co-production What Will My Wife Say to This? (Co řekne žena, 1958, directed by Jaroslav Mach) as seen from the perspective of production-related and cultural factors.
Ciszewska, Ewa
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(Dark) Pure War: Virilio, the Cinematic, and the Racial
Media Theory, 2019 Paul Virilio’s work has largely been utilized in theories of media and war, specifically his discussion of ‘pure war’, or the continuance of war beyond its physicality.
Armond R. Towns
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Reading the geographies of post-war British film culture through the reception of French film [PDF]
, 2013 This paper examines the ways in which British specialist film culture anticipated and received the resumed supply of French films at the end of the Second World War.
Acland Charles +16 more
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The Representation of the Great War on Lithuanian Cinema Screens, 1918–1940
Acta Historica Universitatis Klaipedensis, 2017 During the Great War, the main conflicting powers established the first public institutions to create and spread propaganda. Governments treated cinema as a powerful medium which might influence men’s minds.
Audrius Dambrauskas
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Il cinema come campo di battaglia. Cineaste iraniane, la guerra con l’Iraq e la crisi in Afghanistan
Storia delle Donne, 2015 Globally speaking, War Cinema is predominantly a male construction. Though Iranian cinema makes no exception, in this rich cinematic production some women directors have been trying to build a gender constructed narrative of war. The article explores how
Anna Vanzan
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Jacques Demy’s Les Parapluies de Cherbourg: A National Allegory of the French-Algerian War [PDF]
, 2013 If the French-Algerian War remained for decades a \u27war without a name\u27, as Bertrand Tavernier and Patrick Rotman suggested in their so-titled 1992 documentary, for many years it was also considered to be a war without a cinema, both in France and ...
Virtue, Nancy E.
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Alphaville: Journal of Film and Screen Media, 2023 ‘Sacred Defence cinema’ is the official title given to Iranian pro-establishment war films concerning mainly the Iran-Iraq War [1980-1988]. The most prominent figure of this filmmaking movement who both made films and wrote about them was the documentary
Kaveh Abbasian
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Trauma, Cinema and the Algerian War [PDF]
New Readings, 2009 This article analyses the depiction of the Algerian War in French and Algerian cinema, making use of trauma theory. In particular, Cathy Caruth’s assertions that trauma involves an “inherent latency” and that the most powerful filmic representations of trauma display “a seeing and a listening from the site of trauma” will be used to explore the ways in ...
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