History of Cinema

Tijelo kao film | Body as Film | Body and Sexuality in Short Feature Film; Retrospective at Croatian Film Days 2015 curated by Željko Luketić. Featuring works from Ante Babaja, Miroslav Mikuljan, Mišo Budisavljević, Neven Korda, Tomislav Gotovac, Dasen Štambuk, etc.

Soutenu par le Labex ICCA, ce séminaire entend contribuer à fédérer, dans une perspective pluridisciplinaire, un ensemble de travaux se proposant d’étudier les films ou les cinémas dits « de genre », tout en réfléchissant aux différents sens de ce qualificatif polysémique et à la variété de ses usages créatifs, professionnels et cinéphiliques.
Il déroulera une fois par mois le vendredi (15h-17h) à la Maison de la Recherche de la Sorbonne Nouvelle. Les propositions sont à envoyer avant le 15/09.

O artigo procura problematizar, na sua origem, os fundamentos da predominância dos pressupostos técnicos e tecnológicos do cinema, questões que estão, frequentemente, na base da distinção do género, nomeadamente a tendência para uma dissociação recorrente do designado "cinema fantastico" e/ou de "ficção científica" dos géneros ditos realistas, e a marcação de fronteiras entre cinema documental e cinema dito de ficção.

Inabata Katsutarô, qui a étudié à Lyon avec les frères Lumière, importe au Japon, en 1897, le Cinéma-tographe, un appareil qui permet à la fois l'enregis-trement et la projection. Il est accompagné de Constant Girel, bientôt rejoint par Gabriel Veyre, tous deux opérateurs Lumière. Ils enregistrent principalement des danses japonaises, la vie quotidienne et des scènes de rue du Japon. Ces vues destinées au public occidental relèvent davantage de la construction d'une image pitto-resque du pays que de l'enregistrement de sa transformation. Le développement du cinéma au Japon est pourtant directement lié à la modernisation du pays : il devient l'un des symboles des changements de la société et il est l'un des moyens de voir le monde au-delà de l'archipel. Le public japonais reste longtemps attaché aux productions et sujets étrangers, comme l'exécution de Mary Stuart ou la vie de Jeanne d'Arc. La production japonaise naissante, d'abord dédiée aux films mettant en scène des danses de geishas ou des scènes de rue, s'oriente rapidement vers les actualités filmées ou reconstituées. Ce sont les documentaires reconstitués et les mises en scène de la guerre russo-japonaise de 1904-1905 qui assureront une diffusion massive du cinéma. Dès lors, l'histoire du cinéma sera aussi liée à l'histoire militaire et officielle du Japon : Itô Hirobumi, alors Premier ministre, n'hésite pas à inviter les opérateurs à filmer les colonies japonaises, Taiwan et la Corée. Le développement du cinéma durant l'ère Meiji est fondamentalement lié aussi à l'évolution du spectacle

Si spengono le luci e le immagini prendono vita sullo schermo. Era il 17 febbraio 1908 quando, a Torino, davanti a una comunità di scienziati veniva proiettata la Nevropatologia, una raccolta di ventiquattro quadri neuropsichiatrici, per la durata complessiva di due ore circa, voluta dal neurologo Camillo Negro. Realizzatore ne era Roberto Omegna, all'epoca cineasta di belle speranze, il quale, tra gli anni Venti e Trenta, sarebbe diventato, presso l'Istituto Luce, il rappresentante istituzionalmente più attivo e accreditato del cinema scientifico italiano 1 .

Der Aufsatz untersucht am Beispiel Hamburgs, wie vor dem Ersten Weltkrieg das Kino zu einem Ort von Kinderöffentlichkeit wurde. Zwischen pädgogischen Strategien, den Filmgenuss Heranwachsender zu regulieren, und Strategien symbolischer Herausforderung der Erwachsenen durch Kinder und Jugendliche entwickelte sich die Praxis, das Kino temporär zu einem von Halbwüchsigen eigensinnig genutzten Raum zu machen.

Resumo: O presente artigo busca entender como o cinema se desenvolveu no litoral catarinense nas duas primeiras duas décadas do século XX, em especial, na cidade de São José. Para isso, analisaremos fontes de jornais, atas de reuniões e as atividades da associação católica denominada Liga Josephense que esteve presente entre os anos de 1910 a 1923. Outro ponto de destaque, é compreender como a Liga através de sua rede de contatos nas mais variadas esferas da sociedade, utilizou do cinema para obter lucro e grande prestígio social, entendendo que a mesma estava inserida em uma conjuntura maior que o ambiente local. Palavras-chave: Cinema; São José-SC; Liga Josephense.

The dawn of cinema on the coast of Santa Catarina: the case of the Josephense League (1910-1923)

Abstract: This article seeks to understand how cinema was developed in the Santa Catarina coast in the first two decades of the twentieth century, especially in the city of São José. For this, we will analyze newspaper sources, meeting minutes and the activities of the Catholic association denominated Liga Josephense that was present between the years of 1910 to 1923. Another important point is to understand how the League through its network of contacts in varied layers of society, used cinema to obtain profit and great social prestige, understanding that it was inserted in a bigger conjuncture than the local environment.

The fi lm «Bread» (1929) by M. Shpikovskyi is analyzed in this article. We are took some facts of biography
M. Shpikovskyi, learnt his other fi lms and their stylistic characteristics, tried to research the own art method
by this director on this way. We are also looked for some possible borrowing, tendencies and infl uences from
other fi lms and directors in the fi lm «Bread» by M. Shpikovskyi.
Keywords: M. Shpikovskyi, «Bread», fi lm, director, art method.

У статті проаналізовано фільм Миколи Шпиковського «Хліб» виробництва 1929 року. До уваги взято факти біографії режисера, стилістичні особливості деяких його інших фільмів, зроблено спробу дослідження творчого методу режисера. Розглянуто також можливі запозичення, тенденції і впливи, що відбилися на творчості М. Шпиковського, зокрема у фільмі «Хліб».
Ключові слова: М. Шпиковський, «Хліб», фільм, режисер, творчий метод.

В статье проанализирован фильм Николая Шпиковского «Хлеб» производства 1929 года. В процессе изучения приняты во внимание факты биографии режиссера, стилистические особенности не-которых других его фильмов, сделана попытка изучения творческого метода режиссера. В статье также рассмотрены некоторые возможные заимствования, тенденции и влияния, которые отобра-зились на творчестве Н. Шпиковского, в частности в фильме «Хлеб».
Ключевые слова: Н. Шпиковский, «Хлеб», фильм, режиссер, творческий метод.

These drawings from 1928 are a practical plan for a radical new kind of camera, one especially rich in history and mystery and tied to the creation of the Neo-realist movement in Cinema. This design for what was perhaps the very first hands-free camera, created by the legendary Alessandro Blasetti and Ernesto Cauda, was mysteriously never executed and the camera never built. Why not, considering its revolutionary design? After all, at the time this camera was designed a director had only two basic choices for working with a camera: put it on a tripod - either standing alone or itself on a moveable dolly - or take it off the tripod and use it handheld. Blasetti's and Cauda's design, however, represents a new, entirely different approach, offering three great advances. First, it distributes weight to the neck and chest, making it far easier than a handheld camera to operate for long periods. Second, it offers a new mobility of movement, allowing the entire body to become a flexible moving tripod, giving a certain steadiness that handheld does not offer. Third, it leaves the hands free to crank the film and adjust focus. Why would such an important set of advances be abandoned? Why was the design, which won its patent, then abandoned? To answer this question, we set out to finally build this camera, some 84 years after it was designed and forgotten. We will offer it to the public to try it on and experience a piece of cinema history, and to come to understand something new about the remarkable historical currents and utopian dreams in the 1920s.

In the early cinema era, there were a lot of authors who inquired into the nature of this new medium, taking into account both its artistic value and its specificity. Among the various approaches, the theories of Bela Balázs stands out, who maintains in his work Visible Man, or the Culture of Film (Der sichtbare Mensch oder die Kultur des Films, 1924) that the film has the potential to redeem the curse of Babel since it uses a universal language. Thus, it goes so far as to affirm that it is the first time that a language of this type exists, since it is articulated from facial expressions and physical gestures. And that is the reason why it is so important: it is perfectly opposed to the hegemony of the written text, that diminishes the immediate expression and reduces the possibility of expression of the mother tongue of humanity, that is, of the primordial language.
Similar positions are those defended by Louis Delluc, Ricciotto Canudo or Vachel Lindsay, arguing the latter that the cinema offers a universal language through image-writing. That is what led him to assimilate it to hieroglyphic images, stating that it can lead the viewer towards a new vision-gaze. This universality of language was not only valued by the early film theory: it was also analyzed by the semiotic theory, standing out the figure of Christian Metz, who studied whether we should refer to the cinema as a language or language system. Therefore, the purpose of this communication is to assess how it has been speculated about the potential of cinema as a suppressor of language barriers, as a new communication system and as a universal language.

Realizzazione editoriale: Fregi e Majuscole, Torino Finito di stampare nell'ottobre 2015 da Eurolit, Roma isbn 978-88-430-7829-5 Riproduzione vietata ai sensi di legge (art. 171 della legge 22 aprile 1941, n. 633) Senza regolare autorizzazione, è vietato riprodurre questo volume anche parzialmente e con qualsiasi mezzo, compresa la fotocopia, anche per uso interno o didattico. CarluccioMalavasiVilla_stampa_CS5.indd 6 15/09/15 11:50

Abstract: The Cinema has undergone a transformation in recent years, and the societal thirst for horror begs an important question: why do so many of us enjoy being horrified, disturbed, or afraid? The virtual world of cinema's concept of utopia and dystopia has evolved. The horror genre has developed its aesthetics as a result of increased scholarship and attention over the last four to five decades. The search for the 'missing horizon' has spawned a slew of new cinematic theories. The majority of these horror film ideas are Freudian in nature, with a focus on the concepts of ‘repression’ and ‘release’. However, Noel Carroll's new concept of 'The Philosophy of Horror' examines the pleasure of horror films. He claims that the source of this pleasure is a special curiosity that produces a sense of ‘hope’. ‘Horror’ can be analysed form the dichotomy of Utopia and Dystopia- Heart and Hopes. This paper examines the most iconic and cult film, Robert Wiene's 'The Cabinet of Dr. Caligary'. The film has a powerful storyline of hope and despair, transporting spectators to 'La Shangrila land,' and then resolving the paradox to the simple joy of gore. It provides ‘spectacle horror' with fine camerawork, pacing, and an artistic splitter that add to the pure Hope in the pure Performance.

Money, Copy, Quotation, Motive, Genre.
The treatise is a reflection on the phenomenon of the remake, which plays a very exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film directors and producers when a remake makes sense and when it does not.

El presente artículo analiza de manera documentada los primeros años de la exhibición cinematográfica en Zacatecas. Los datos ofrecidos suponen una actualización de la bibliografía existente ya que se han consultado las fuentes documentales de los archivos locales. El artículo relata una parte importante del hecho cinematográfico de los orígenes, al tiempo que aporta nuevos datos para la historiografía del cine mexicano.

HUFFINGTON POST BEST FILM BOOK OF 2016, FINALIST FOR RICHARD WALL MEMORIAL AWARD, LONGLISTED FOR KRASZNA-KRAUSA BEST MOVING IMAGE BOOK OF 2016. Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men.

Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity.

- Chosen by Huffington Post as one of the Best Film Books of 2016
- 2016 Choice Outstanding Academic Title
- Longlisted for the Kraszna-Krausz Best Moving Image Book of 2016
- Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Association
- Reviewed by: Times Higher Education, Times Literary Supplement, Gay & Lesbian Review Worldwide, Women’s Studies, Journal of American History, Feminist Media Studies, The Women’s Review of Books, Publishers Weekly, Library Journal (Starred review)

This essay shows Mexican independent cinema’s innovative approach towards the representation of children’s universe in the 1960s. The films En el balcón vacío, En el parque hondo and Tarde de agosto explore the child protagonists’ perspective on violence and exile, that contrast stereotypical and hegemonic representations of childhood constructed by the Mexican film industry in previous decades.

Personaje clave en el desarrollo del cine mexicano como industria e instrumento narrativo, el director michoacano Miguel Contreras Torres recibió un homenaje por parte de la Filmoteca de la UNAM. El reconocimiento a su trayectoria se dio a través de una exposición y un ciclo de películas que se proyectaron en el Salón Cinematográfico Fósforo.
"Miguel Contreras Torres (1889-1981). Una historia recuperada" es el título del montaje museográfico que incluye fotografías, guiones, libros, pinturas, carteles, fotomontajes y vestuario, así como copias de las películas otorgadas por Video Universal y restauradas por la institución, que pretende lograr un acercamiento a la historia de esa época en México, así como a la vida y obra de este director y productor mexicano.

Throughout the history of the cinema a great variety of visual effects have been used (VFX) with the aim of astonishing, creating or diminishing the costs of representation of some artistic scenes. This work aims to investigate the technological transformations that have taken place in the computerized environment. In the same way, to understand the primitive cinematographic phase in its artistic and experimental side, in relation to the production and the animation as creative tool. Trying to show that the current visual effects have not left aside the traditional effects, but that has adapted them with new tools and new optimizations. The method used to expose this idea is based on the comparison of traditional effects-creation instruments and their current version.

In an article with the challenging title ‘Against Realism’, Alan O'Leary and Catherine O'Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘realism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neorealism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. While the position taken by O'Leary and O'Rawe was certainly provocative, it has served to stimulate thinking about the areas of postwar Italian cinema that had remained in the shadows and unexplored. Starting to focus on an ‘other’ cinema has not had to mean ‘forgetting’ neorealism, but has brought changes to the way that it is studied. Almost ten years later, the challenge seems to be to rethink neorealism as a transnational phenomenon that straddles different periods, genres and contexts; while it has its roots in postwar European culture, it continues to be influential on a global level.

The article is about the theory by L. Skrypnyk in his book «Essays about theory of cinema art» (1928). In
this theory he studies the rhythm as component of cadre composition. He determines some types of the rhythm
and analyzes situation in composition of cadre with them.
Keywords: L. Skrypnyk, rhythm, composition of cadre, cinema, time, space.

У статті йдеться про ритм як складовий компонент композиції кадру. Цей аспект, зокрема, розглянутий у дослідженні Л. Скрипника «Нариси з теорії мистецтва кіно» 1928 року. Автор визначає різновиди ритму і аналізує особливості їх застосування при композиції кадру.
Ключові слова: Л. Скрипник, ритм, композиція кадру, кінематограф, час, простір.

В статье идет речь о ритме как составляющем компоненте композиции кадра. Этот аспект был изучен Л. Скрипником в его книге «Очерки теории искусства кино» 1928 года. Автор определяет раз-новидности ритма и анализирует особенности их использования при композиции кадра.
Ключевые слова: Л. Скрипник, ритм, композиция кадра, кинематограф, время, пространство.

Il volume si fonda sulla consapevolezza che non esiste una storia del cinema bensì una pluralità di storie, del cinema o di ciò in cui il cinema si è trasformato dopo le rivoluzioni (tecnologiche, culturali, politiche, economiche) avvenute tra la fine del vecchio e l’inizio del nuovo millennio. Da qui l’idea di un racconto – in cui la prospettiva storica si intrecci con quella teorica – affidato a una serie di studiosi di generazioni diverse e di primissimo piano sia a livello nazionale che internazionale. Partendo dall’oggi per un percorso à rebours, il manuale è scandito da undici capitoli ciascuno dei quali, a propria volta, è anticipato e seguito da “contesti” e “controstorie”: apparati nei quali si forniscono al lettore le coordinate storiche, politiche, sociali in cui si collocano i fenomeni cinematografici affrontati nei capitoli, così come brevi ma dense riflessioni mirate a problematizzare alcune questioni cruciali riguardanti la settima arte. Sfruttando questo impianto originale, l’obiettivo del libro è dare vita alla trama omogenea di una storia globale, costruita sul fitto intreccio delle tante narrazioni che la compongono.

Despite being strangers to the photographic field, DuPont entered the motion picture film stock market in the 1920s through a need to create peacetime markets for its wartime facilities. As DuPont transformed into a chemical company, nitrocellulose film stock was one of the products that could be made from their guncotton factories. In order to penetrate Hollywood, the chief market for their film, DuPont needed to create a product that could match that of Eastman Kodak, the undisputed industry leader. The threat to their dominance contributed to Kodak’s interest in selling panchromatic film, a factor often ignored in light of the conversion to sound. The competition between these companies contributed significantly to the rapid increase in the quality of film stock, as well as to the changing relationship between technological manufacturers and their customers in Hollywood. DuPont and Kodak also serve as contrasting examples of the incursion of corporate research into the motion picture industry, enlightening our understanding of an expanded system that positions the studios as consumers of technology, as well as sellers of entertainment.

Pojava i popularizacija kinematografa krajem 19. te početkom 20. stoljeća svojevrsni je indikator industrijsko-modernizacijske preobrazbe građanskog društva izloženog novim sredstvima zabave, informiranja i političkog oblikovanja. Balansirajući između prolaznog senzacionalizma te originalnog vida umjetničke ekspresije, film je u relativno kratkom razdoblju privukao široku i heterogenu publiku, što je bio slučaj i s djelatnošću kina „Urania“ u osječkom Gornjem gradu. Kao najveći stalni kinematograf, „Urania“ se, uz hvaljene secesijske odlike same zgrade, koja se kao prepoznatljiv motiv upisala u urbanu vizuru Osijeku, nametnula i kao važna kulturna institucija. Ipak, o konkretnim sadržajima koji su ondje prikazivani u najranijim godinama djelovanja ovog kinematografskog poduzeća do sada smo vrlo malo znali. U radu se, s obzirom na dostupnu arhivsku i muzejsku građu, rekonstruiraju okolnosti osnivanja gornjogradske „Uranije“ pri čemu je predstavljena i analiza pojedinih aspekata samog kino-programa u kontekstu širenja i formiranja filmske kulture u Osijeku. Navedeni fenomeni sagledani su u okvirima razvoja kinematografa u ostatku Europe i SAD-u, povlačeći paralele s komplementarnim procesima u drugim urbanim središtima.

Le débat dépasse la question de la simple pratique, puisque dans les faits, les cinéastes du Mashup et les cinéastes du Found Footage ont la même démarche et le même but. Cependant, la question de la matérialité est une donnée non négligeable, quand on sait l’importance du travail sur la pellicule (presque une tradition romantique de l’artiste dans son laboratoire en plein développement) dans l’art des avant-gardes

When I wrote this book eight years ago, I had to pay $75, plus shipping, for a videotape of an Ethiopian lm called Harvest 3000 Years to be sent to me from America. It took two weeks to arrive, and my anticipation built. When I nally watched it, I could see that it was a masterwork, and part of The Story of Film. A moment ago I looked on YouTube, and there it is in all its glory. Also on YouTube, is a lm I wrote about in this book but hadn't managed to see, Teinosuke Kingugasa's manic, amazing A Page of Madness. Just eight years ago, lm history was elusive, a detective story and pricey. Now it's a click away. This means that we don't need to long for great movies as we used to. They're just there. Hooray to that, but let's not get blasé. Now that cinema is at our ngertips, cultural signposts, things that point me in the direction of magni cent lms like Harvest 3000 Years, are more needed than ever. I hope this book is such a thing. Although the form of lm watching is changing, the content, the story, remains compelling. When I walked away from my keyboard in 2004, the digitisation of the lm process was ongoing, non-Hollywood aesthetics were re-emerging in movies from Thailand, Russia, Denmark and Austria and, because 9/11 had out-Hollywooded Hollywood, there was what you could call "the return of the real" in movies. Steven Spielberg's War of the Worlds, Christopher Nolan's The Dark Knight and others were casting new shadows over mainstream cinema, and lm style was getting grittier. Since then, James Cameron's Avatar recreated 3D and made cinema more tactile, South American movies continued to excel, Terrence Malick made another numinous lm The New World, Laurent Cantet's Entre les Murs/The Class seemed even bigger than cinema, and Steve McQueen's Hunger, Phyllida Lloyd's Mamma Mia! and Mike Leigh's Another Year showed what an exciting bag of ferrets British lm is at the moment. And if one country somehow pulled all this together, marrying innovation with realism, quietude with millennial unease, it was … Romania. And as a footnote to all this, here's a surprise: In the last few years I've been travelling around the world, my camera on my back, making a lm version of this book, which is called The Story of Film: An Odyssey. I've visited the Bengali village where Pather Panchali was shot, and the New York locations of Taxi Driver; I've interviewed Stanley Donen who co-directed Singin' in the Rain, and Kyoko Kagawa who was in some of the best Japanese lms ever made, including Yasujiro Ozu's Tokyo Story. The process of adapting the book for the screen has been much bigger than writing itmore crew, more technology, more costsbut also more intimate, in that as we edit, say, a sequence on Harvest 3000 Years or The Dark Knight, the lms feel really close. They're right in front of me. I can see every pan, every cut. Maybe you'll see The Story of Film: An Odyssey in a cinema somewhere, or on TV. Maybe you'll 3 THE WORLD EXPANSION OF STYLE (1918-28) Movie factories and personal vision Mainstream lmmaking and its dissidents in Germany, France, America and the Soviet Union SOUND 4 JAPANESE CLASSICISM AND HOLLYWOOD ROMANCE (1928-45) Cinema enters a golden age Movie genres, Japanese masters and depth staging. 5 THE DEVASTATION OF WAR AND A NEW MOVIE LANGUAGE (1945-52) The spread of realism in world cinema Italy leads the way, world cinema follows and Hollywood's vision darkens. 6 THE SWOLLEN STORY (1952-58) Rage and symbolism in 1950s lmmaking Widescreen, international melodrama and new, early-modernist directors. 7 THE EXPLODED STORY (1958-69) The breakdown of romantic cinema and the coming of modernism A series of new waves transform innovative lmmaking on every continent. 8 FREEDOM AND WANT SEE (1969-79) Political cinema around the globe and the rise of the blockbuster in America Revivals in German and Australian cinema and the emergence of Middle Eastern and African cinema; Jaws and Star Wars. 9 MEGA-ENTERTAINMENTS AND PHILOSOPHY (1979-90) The extremes of world cinema The in uence of video and MTV; challenging lms made in non-Western countries. DIGITAL 10 CAN SEE (1990-PRESENT) Computerization takes cinema beyond photography A global art form discovers new possibilities. CONCLUSION THE LANGUAGE OF FILM BIBLIOGRAPHY INDEX 1 Above: Steven Spielberg (far right) directing the Omaha Beach D-day sequence in Saving Private Ryan. USA, 1998. comparing art neither to a language which evolves through one artist in uencing another nor to a moral system, but to genetics. Just as biological units are genes, so the units of art and culture are "memes", wrote Dawkins. Just as genes replicate and evolve, so do memes. Carol Reed's close-up of bubbles in a drink is a meme which replicated and evolved through Godard and Scorsese. Occasionally memes take o , as when everyone is suddenly singing a catchy pop song, or when many of the lms made in the mid 1990s in the West seemed to be versions of American director Quentin Tarantino's Reservoir Dogs (1991) or Pulp Fiction (1993). It is helpful to imagine cinema evolving as a language or replicating like genes because doing so illustrates that lm has a grammar and that in some ways it grows and mutates. However, there are problems in applying the ideas of Hegel, Wo in, Ruskin, Dawkins and others to the study of lm. The rst is that they seem to imply that artand therefore cinemais always advancing, getting more complex, building on the past. Good lm historians know that this isn't true, and one of the arguments in this book will be that the frontal "technical thrill" of pre-industrial cinema, described in Chapter One, resurfaced in later years. It did not die out in favour of more complex lmic mutations. The Story of Film is not about businessmen or audiences, but about directors such as Malian Souleymane Cissé (above), the Japanese Director Yasujiro Ozu (top) and the French impressionist Germaine Dulac (middle). Through their achievements, the history of the medium will be told. Some circumstances are not covered by the Gombrich model, however. This book is about the lms which were in uential, but will also describe lms which should have been in uential. Famous works like Citizen Kane (1941) from America, The Seven Samurai (1954) from Japan, Mother India (1957) from India and Battleship Potemkin (1925) from the former Soviet Union fall into the former category. They were schema which other lmmakers varied. This can be proved. What, though, of the great, original lms which seem not to have had an impact on successive lmmakers, because they were made in Africa, or poorly distributed, or opped at the box o ce, or were directed by a woman, or were misunderstood or banned? Djibril Diop Mambéty's Senegalese lm Touki Bouki (1973) was the most innovative African movie of its time, but not widely distributed, even within its own continent. Dorota Kedzierzawska's Polish lm Wrony/Crows (1995) is one of the most beautiful lms about childhood, but was hardly seen. Kira Muratova made Dolgie provody/Long Goodbye (USSR), about a divorcée and her son, in 1971, but her brilliant and original work was not released in the Soviet Union until 1986. Are these lms to be ignored because they failed to have impact? No. All good stories have ironies and these lms add bitterness to our tale. 4 This is the story of how directors have in uenced each other. For example, Mehboob's Mother India was seen far beyond the borders of the country in which it was made. 1957. One should be cautious, too, about applying an individualistic notion of artistic creativity to places where it does not pertain. A Hindu director doesn't have the same conception of her or himself as an individual as Scorsese does. There isn't the same drive to articulate a distinctive point of view, so the factors which applied to Spielberg, might not do so in South Asia. Also, Indian storytelling is more free-form than that in Western countries, and isn't so con ned by space and time. Likewise, in African storytelling, the idea that an artist is an originator or a varier, is not strong. To vary is to wreck. A great storyteller builds and transmits. Nor was artistic originality an important motive in Japan, at least during the rst half of the twentieth century. As in much of Africa, a great Japanese artist was one who subtly reworked tradition, recasting it in a new light. Despite these quali cations, the intention has been to write an accessible, low-jargon movie history for general readers and those who are beginning to study lm, the sort of book that I wanted to read when I was sixteen. As the title suggests, it is a narrative account, not a dictionary or encyclopaedia. Film theorists are suspicious of such attempts to see the history of the movies in story terms, as if doing so is trying to shoehorn it into a formula. This is to underestimate narrative, which can be as uid, multi-layered and responsive to subject as a writer wants it to be. So The Story of Film intends to open a door to the world of cinema and describe a reliable path through it. If successful, the reader will advance to more detailed or learned volumes, such as Thompson and Bordwell's or Robert Sklar's.

Film costume is essential as it fully takes part in cinematographic aesthetic, yet it remains quite unstudied in French academic research. After the Second World War, French cinema entered a new golden age with films shot in the studio by famous directors such as Max Ophuls, Jean Cocteau, Henri-Georges Clouzot, Claude Autant-Lara and Jacques Becker. Those films were popular domestically and abroad. The post-war period marks a climax in costume design. Therefore a question arises : « How were film costumes made in the French cinema between 1945 and 1959 ? » By way of production history, I aim at relating the numerous steps of costume creation, from inspiration to dressing, including accessories, hairstyles and skin ornaments. By being aware of both history of fashion and clothing and cinematographic issues, one can analyse manuscript and printed archives (such as professional directories, contracts, correspondences, notes, daily call sheets, estimates or production accounts), as well as the graphic styles and personal methods of the designers, the working conditions of technicians revealed by production stills, and the sewing techniques identifiable on preserved pieces. By answering practical questions about temporality, process or even cost, to reconstruct the technical history of costume allows us to have a better understanding of its aesthetic development. It is interesting to look into the relationships of various costume professionals with each other, with the other members of the crew and with the cast, in order to distinguish the cogs of the collaborative art that cinema is.

Статья посвящена проблеме влияния кино на развитие
литературы в эволюционной теории русского формализма. На основе ключевых работ формалистов прослежены изменения литературной поэтики, обусловленные выразительными возможностями кино.

The article is devoted to the problem of influence of cinema to the
development of literature in the evolutional theory of Russian formalism. The changes of literary poetics, caused by expressive possibilities of cinema, are traced on the base of key works by formalists.

Cantando bajo la lluvia, al tiempo que rinde homenaje al cine musical anterior, consigue sentar las bases de un nuevo estilo de musical, mucho más cinematográfico y menos teatral, más espectacular, si cabe, y más cercano al espectador.
Jamás una película ha cautivado tanto al gran público, lo que la ha llevado en ocasiones a ser clasificada bajo la etiqueta de cine de evasión, sin complejidades ni pretensiones. Pero ninguna como ella demuestra hasta qué punto esa distinción entre cine de entretenimiento (o evasión) y cine "para cinéfilos" es una distinción artificial. Porque, tras su aparente inmediatez y simplicidad, el análisis de la película muestra un complejo y depurado trabajo con las historias, los personajes, los sonidos y las imágenes que sugiere dimensiones significantes de hondo calado.
Cantando bajo la lluvia es, sobre todo, una película sobre el cine, y no sólo porque cuenta la historia del paso del mudo al sonoro, sino también porque constantemente pone en escena la artificiosidad misma del cine, su naturaleza más íntima, en un juego donde la verdad y la mentira, lo real y lo
artificial pasan vertiginosamente de las historias a la puesta en escena y viceversa.
Cantando bajo la lluvia ofrece, además, un rico panorama, siempre irónico, del Hollywood de la época dorada, de los géneros, de las estrellas, de los grandes estudios, ese Hollywood del que la propia película es una de las cimas más logradas.
En la autoría del libro participaron (por orden alfabético): José Luis Barrera Calahorro, Adolfo Bellido López, Javier Marzal Felici; José María Monzó García; Salvador Rubio Marco).

La nueva versión de WSS hace un excelente trabajo situando la historia en una más justa perspectiva. No se limita a la mera rivalidad entre pandillas sin causas, sino que elabora sus contornos económicos, culturales, raciales y de género. La nueva versión confronta la rigidez estructural centrada en la música de Bernstein y la letra de Sondheim. Aun así, Spielberg alteró los fundamentos de esta estructura insertando la versión revolucionaria de la Borinqueña, posiblemente el cambio más atrevido de la producción. A no ser porque la letra del himno borinqueño la compuso una mujer (Lola Rodríguez de Tió), el público puertorriqueño se habría inclinado justamente a ver esta cara de esa historia como una versión en la que los hombres invocan su nacionalidad para imponer respeto, dignidad y hombría a la vez que urge la dignidad entre las mujeres, aunque inclinadas a adaptarse a la sociedad norteamericana. Sin embargo, de principio a fin, la secuencia anímica de la historia comienza con la afirmación nacional, seguido de conformismo y sujeción a las normas culturales, luego la decepción ante el rechazo, concluyendo con un sentido de reafirmación. Es la otra cara de esa historia.

Sobre Gillone, Daniela (org.). Limite, o filme de Mário Peixoto. São Paulo: Três Artes, 2015, 98 pp., ISBN 978-85-5670-002-5. "Pois o que é um livro em si mesmo? Um livro é um objeto físico em um mundo de objetos físicos. É um conjunto de símbolos mortos." A definição é de Jorge Luis Borges e foi expressa em uma palestra apresentada na Universidade de Harvard no final da década de 60.

Abstract:
The Cinema has undergone a transformation in recent years, and the societal thirst for horror begs an important question: why do so many of us enjoy being horrified, disturbed, or afraid? The virtual world of cinema's concept of utopia and dystopia has evolved. The horror genre has developed its aesthetics as a result of increased scholarship and attention over the last four to five decades. The search for the 'missing horizon' has spawned a slew of new cinematic theories. The majority of these horror film ideas are Freudian in nature, with a focus on the concepts of ‘repression’ and ‘release’. However, Noel Carroll's new concept of 'The Philosophy of Horror' examines the pleasure of horror films. He claims that the source of this pleasure is a special curiosity that produces a sense of ‘hope’. ‘Horror’ can be analysed form  the dichotomy of Utopia and Dystopia- Heart and Hopes. This paper examines the most iconic and cult film, Robert Wiene's 'The Cabinet of Dr. Caligary'. The film has a powerful storyline of hope and despair, transporting spectators to 'La Shangrila land,' and then resolving the paradox to the simple joy of gore. It provides ‘spectacle horror' with fine camerawork, pacing, and an artistic splitter that add to the pure Hope in the pure Performance.

Mexican film was aligned with the state since its origins, but this union only generated continuous cinematographic production beginning in the 1930s, when the government of President Lázaro Cárdenas del Río (1934-40) signed a contract with the production company that would go to become one of the most important producers of Mexican cinema of the Golden Age: la Cinematográfica Latinoamericana S.A. (CLASA). This article analyses the changes of discourse and narrative style used in these newsreels during three consecutive presidential terms and outlines the working dynamics and the cinematic discourse of each government , as well as how newsreel formats reflected the agenda of each head of state. RESUMEN Desde sus orígenes el cine mexicano estableció una alianza con el Estado, pero fue hasta la década de los años 30 que dicha unión comenzó a generar una producción cinematográfica continua. Durante el periodo presidencial de Lázaro Cárdenas del Río (1934-40) se estableció un contrato con la productora que se PALABRAS CLAVE/ KEYWORDS noticiarios cine-matográficos/ newsreels productoras fílmicas/ film production companies relación cine-estado/ film-state relations propaganda presidencialismo/ presidentialism imagen pública/public image TANIA CELINA RUIZ OJEDA Universidad Nacional Autónoma de México C o p y r i g h t I n t e l l e c t L t d 2 0 2 0 N o t f o r d i s t r i b u t i o n .

Quali origini ha avuto la media education? Che cos'era prima dell’avvento del digitale? Chi faceva educazione ai linguaggi audiovisivi, in che modo, e ispirandosi a quali orientamenti o teorie?
Senza la pretesa di costruire una storia esaustiva dei rapporti tra educazione e cinema, il volume cerca di rispondere a queste domande attraverso una serie di studi e testimonianze su come l’educazione al linguaggio filmico si sia sviluppata in diversi contesti e forme, dal cineforum ai giocattoli, dalle guide per gli insegnanti al film making scolastico.
L’«educare al cinema» che dà titolo al libro, allora, non è da intendersi come l’espressione di un complemento di luogo, bensì di scopo, poiché si parla di educare alla lettura, scrittura e senso critico di testi e linguaggi audiovisivi, secondo pedagogie e didattiche progenitrici di quelle che riscontriamo tuttora per la digital & media literacy. L’ipotesi, infatti, è che sul cinema la pedagogia abbia messo a punto le categorie concettuali e i modelli d’azione che ancor oggi utilizziamo per tutti gli altri media.

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