British Cinema (Film Studies) (Film Studies)

Almost two decades ago, along with the increasing frequency of migrant films, 'migrant cinema' as a generic domain entered into the discussions. The optimism brought by extending and deepening union of Europe, growing acceptance of multiculturalism as a merit and new concerns on the idea of nation-state helped migrant cinema to be embraced as a category. In the wake of the disruption of the thick shades of national cinemas, transnational, migrant, diasporic films and pluralist practices became visible. While European identity is smitten by the rise of far-right, Euro-skeptics, economic depression which hit Greece and tend to spread, destabilized neighboring regions, and the influx of asylum seekers, the optimistic cosmopolitan ground for the idea of a united Europe is losing power. Today changing priorities of 1990's welfare Europe and emphasized European identity transform migrant films, as well. As the focus slides from migrant communities to asylum seekers, this work aims to question the validity of the term 'migrant cinema'.

O presente artigo demonstra como nos escritos cinematograficos de Siegfried Kracauer as criticas aos filmes A Rua (1923) e O ultimo homem (1924), publicadas no Frankfurter Zeitung, apresentam conceitos fundamentais para a consolidacao de um metodo critico e historico, social e estetico imanente com o qual Kracauer ira embasar seu estudo sobre a ascensao do nazi-fascismo em De Caligari a Hitler (1947): o tedio, a distracao e a falsa consciencia que tomou de assalto uma sociedade alema em crise.

This file contains the table of contents and introduction of my new book Kafkaesque Cinema, which has just been published by Edinburgh University Press.

About the Book:
For all its familiarity as a widely used term, “Kafkaesque cinema” remains an often-baffling concept that is poorly understood by film scholars. Taking a cue from Jorge Luis Borges’ point that Kafka has modified our conception of past and future artists, and André Bazin’s suggestion that literary concepts and styles can exceed authors and “novels from which they emanate”, this monograph proposes a comprehensive examination of Kafkaesque Cinema in order to understand it as part of a transnational cinematic tradition rooted in Kafka’s critique of modernity, which, however, extends beyond the Bohemian author’s work and his historical experiences.

More info  here: https://edinburghuniversitypress.com/book-kafkaesque...

There is also a launch discount code (at checkout use NEW30) that to my knowledge even university libraries can use.

In this booklet, the author discusses the ways in which film may be used to extend and enrich the study of literature and explores the rhetoric of film-how it uses visual symbols, similes, and other metaphors to give depth to its content, and how it can broaden characterization and emphasize the symbolic and aesthetic highlights of setting in sequences that last.only seconds. Topics of chapters are film and literature, films to extend or compare with works of literature, films as illustrations of literary techniques, and films instead of novels. A list of references, an annotated filmography, and a bibliography are included. (JM) *

For decades, critics have viewed Luchino Visconti's The Damned (1969), the first instalment in his famous German trilogy, simply as a (melo)dramatic depiction of Nazism's rise, conceived in the director's characteristic anthropomorphic vein. With Nazism cast as a lethal and sexually perverse phenomenon rooted in the previous generation's foibles and weaknesses, the film's hitherto ignored debt to Fyodor Dostoevsky's novel Demons (1872), however, directs viewers to a more comprehensive insight embedded in the film, namely that history repeats itself, and not obligatorily according to Marx's famous formulation of the iteration as farce. Indeed, the murderous violence of Russia's nihilism captured by Dostoevsky expands in Visconti's film to a national apocalypse that belongs to one of history's most tragic narratives. Cinematic taxonomy, however, has no category to accommodate Visconti's original engagement with Dostoevsky's text, for it falls neither within the established conventions of adaptation nor of intertexts.

The genre of screenwriting began right from the days of cinematographic history and so is over a hundred years old. Yet many people scoff at the idea of defending the screenplay as a form of literature and serious critics maintain that it is not an end-product, that it is just a stop-gap measure. A brief survey of this art-form shows that in the first few decades of this century, instead of according literary recognition to the screenplays of that day, critics were concerned in discussing not the individual merits of the writer but instead their literary motivations. Did they write for the screen in order to express themselves in a way impossible in any order medium, yet with the same dedication and meticulousness as writers in the more traditional literary arts? Or did they consider their screen writing endeavours as mere "hack" assignments, undertaken only to give them the financial support necessary to embark on a real "labor of love," such as writing a good n...

In this booklet, the author discusses the ways in which film may be used to extend and enrich the study of literature and explores the rhetoric of film-how it uses visual symbols, similes, and other metaphors to give depth to its content, and how it can broaden characterization and emphasize the symbolic and aesthetic highlights of setting in sequences that last.only seconds. Topics of chapters are film and literature, films to extend or compare with works of literature, films as illustrations of literary techniques, and films instead of novels. A list of references, an annotated filmography, and a bibliography are included. (JM) *

In the backstage murder-mystery musical Curtains (2007), set in 1959, the company and creative team behind the show-within-a-show Robbin' Hood not only have to fi nish their new musical and prepare it for Broadway, but must also recast a star role when the leading lady is murdered. Th ey are joined at the Colonial Th eatre in Boston (where many Broadway hits were fi rst performed) by local detective Frank Cioffi , who investigates the murder but also becomes a show doctor, helping the creative team improve a diffi cult number. Th e audience is also introduced to the show's producer, a fi nancial backer, the choreographer, composer, lyricist, director, and a theater critic for Th e Boston Globe-key fi gures in the development of new musicals. Th e murder mystery propels the plot of Curtains , but during the performance, audiences also witness the rehearsals, writing sessions, casting discussions, and contract negotiations that contribute to the development of any new musical playing "out of town" in preparation for a Broadway run. Curtains ' self-refl exivity showcases the traditional out-of-town tryout, a strategy adhered to for decades. In the past, it was common practice for Broadway musicals to be at least partially written, composed, and cast in New York City, and then dispatched (typically by train) to a tryout city like Boston, New Haven, Washington DC , Detroit, or Philadelphia. Th e theaters in these cities that hosted Broadway tryouts were otherwise fi lled with national tours of hit Broadway plays and musicals, and could thus be relied upon to attract audiences for new, untested musicals. As commercial theater Wollman, Elizabeth L..

Für unsere folgende Erörterung der Frage, worin die Bedeutung und die Rolle des Hadith für die Islamische Theologie als akademisches Fach liegen, ist die klassische Definition der Hadithwissenschaft ( ʿ ilm al-ḥadīṯ) von Šams ad-Dīn al- Kirmānī (gest. 1384) interessant: Der Gegenstand der Hadithwissenschaft ist die Person des Gesandten Gottes (ḏāt rasūl Allāh), insoweit er der Gesandte Gottes ist. Sie wird definiert als jene Wissenschaft, durch die seine Worte (aqwāl), Taten (af ʿ āl) und Zustände (aḥwāl) erfahren werden. Ihr Zweck liegt darin, die Verwirklichung der Glückseligkeit im Diesseits und im Jenseits zu ermöglichen. 1 Diese Definition wirft ein scharfes Licht auf das verzerrte Bild, das zuweilen von der Hadithwissenschaft und ihrer Sache gezeichnet wird. Denn sie zeigt auf anschauliche Weise, warum es reduktiv ist, den Hadith auf seine Funktion als zweite ‚Rechtsquelle' des Islams zu beschränken und ihn nur als historisches Dokument zu verstehen. Nun stellen Geschichte und Normativität mit Blick auf den Hadith ohne Zweifel wichtige Kategorien dar, doch stehen beide in dieser Definition nicht

Angesichts der jüngsten Welle (netz)feministischen Aufbegehrens und der vehement geführten Debatten gegen den sogenannten Genderismus lohnt sich eine neuerliche Sichtung, was Gender Studies aus kultur- und literaturwissenschaftlicher Perspektive zu leisten vermögen. Während das Konzept und der Begriff Gender einerseits ihren Weg in die Institutionen gefunden haben, mangelt es andererseits offensichtlich an einer gelungenen Kommunikation in außeruniversitären Bereichen darüber. Manchen erscheint es obsolet, sich immer noch oder schon wieder ernsthaft mit Geschlechterasymmetrien auseinanderzusetzen. Eine Gleichstellung der Geschlechter sei doch längst erreicht. Diese Haltung setzt voraus, dass emanzipatorische Bestrebungen gewissermaßen endgültig abgeschlossen werden könnten. Darüber hinaus stellt sich die Frage, von wie vielen Geschlechtern die Rede ist.

Das Bild der antiken Stadt Rom ist tiefer in das gemeinschaftliche Gedächtnis der westlichen Welt eingeschrieben als das jeder ande-ren Metropole des Altertums. Die Wirkmächtigkeit dieses Stadt-Bil-des fußt einmal auf der historischen Bedeutung der römischen Zivi-lisation, zum anderen auf einem medienvermittelten Inventar von Vorstellungen. Eine wichtige Grundlage für dieses, vor allem über Kinofilme vermittelte Bild von Rom ist die faschistische Antikenre-zeption und-aufbereitung im Italien der 1930er Jahre. Hollywoods monumentale Antikenfilme der Nachkriegszeit zitieren ein grandi-oses, aber in vielerlei Hinsicht unrichtiges Bild von der Hauptstadt des römischen Reiches, das auf mehrfache Weise durch diesen vor-angehenden Zeitabschnitt beeinflusst worden ist. Auf diese Weise werden über den Film vermittelte, mit zeitgeschichtlichen Bezügen aufgeladene Bilder der antiken Stadt zur Referenzquelle, nicht die Befunde der Archäologie. Filme wie Quo Vadis oder Ben Hur projizieren die th...

and M.. tropolis, respectis e 4 Composers of the film music for Ku/ile J3ampt. Grtat Eptctazz ns 1Q46), The Life and Death of Colontl Blimp, The African Quten (1Q51), Porth Sa, The Pi cfofBagdad and Sandtrc of the Riier, respectively. Spoliansky and Gray vere in the first generat on of film ct mpo'.ers, from cabaret and revue, and wrote incidental music, Rorsa vas n the second, composing large symphonic scores to carry the theme of the film. Others, like the Russ an tx)rn composer, Nicholas Brodsiky, who was brought over by Cochran to work for his mue home and Beauty established themselves with songs plus incidental music. A third generation, of hom Karl Rathaus was one, included sound as a component.of their scores The second and third generations took advantage of improving sound techniques and usually ent to Hollyood. Brodszky was offered a contract by Hollywood before the ar, but wanted to stay in England, see Daily rtpress, 10 Jan. 1937 and wrote music for French Hit/iou: Ttars, Freedom Radio, Tomorrow We Lire and The Dew i-Paradise. 5 Editor of films by Robert Siodmak and E. A. Dupont in Germany. Brenner came to England in 1935 and worked, mostly, on second rate films. In KW, 5 March, 1936, he descnbes the differences between British and German styles of editing. 6 Editor of Madchen in Uniform. 7 Two of the most important UFA producers. 8 Directors of Der Geiger i'on Florenz, Sandtrs of die River, and the model for Bergmann in Isherwood's Prater Violet. 1925. They were trying very hard to express their ideas in purely visual terms'o.

In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women Amateur Filmmakers discloses how women from varied backgrounds negotiated changing lifestyles, attitudes and opportunities as they created first personal visual narratives about themselves and the world around them. Using non-fictional films and animations, the authors invite readers to view films through different interpretative lens and provide detailed contexts for their case-studies and survey of over f...

This article investigates the filmic construction of two disparate but intertwining cultural practices: those engaging in the life-affirming rituals of romantic love and those performing the potentially self-destructive rituals of hard drug consumption. Discussing a number of key feature films from the (mini) genre "junkie love", it aims to show what happens when elements of mainstream romantic drama merge with the horror conventions of the heroin addiction film. Drawing amongst others on Murray Smith's theory of "levels of [spectator] engagement" and Greg Smith's concept of the "emotion system", the article concludes that junkie love films, using tropes of the romantic tragedy in the tradition of Romeo and Juliet, present a more complex and nuanced approach to drug addicts than the predominantly condemnatory media coverage-one that arguably invites the spectator's understanding and compassion.

The growing scholarly interest in the history of film studies has arisen from and in response to the discourse on the subject's perceived disintegration. In their collection Inventing Film Studies, Lee Grieveson and Haidee Wasson write of the 'widespread sense of uncertainty and, in part, insecurity about the future of film study' which has accompanied the 'proliferation of moving image forms and cultures'; 1 but set out to demonstrate that 'the ideal of consolidation and clear identity often implied by conventional histories of film studies' is belied by 'the fragmented nature of the field' in the past. 2 Meanwhile Duncan Petrie and Rod Stoneman, in their book Educating Film-Makers, lament the professionalization of the academy and the commercialization of the film schools, and reconstruct a past in which 'theory and practice were frequently interdependent and mutually reinforcing facets of the educational process' as a 'crucial reminder' for the impoverished present. 3 Though the field has not been comprehensively mapped, it is nonetheless striking that in both books, and in the major monograph on the discipline's history in Britain, Terry Bolas's Screen Education, there is scarcely a mention of the country's first university film department; striking not simply because it was the first, but because its history is so germane to these concerns. Established in 1960, the Slade Film Department-housed in the Slade School of Fine Art, a department of University College London-does not warrant an index entry in Bolas's book, and is mentioned just once in Grieveson and Wasson's, only to be dismissed. The relevant chapter takes the form of a dialogue between Laura Mulvey and Peter Wollen intended to record the contribution of Paddy Whannel, head of the British Film Institute's education department in the 1960s, 'to the establishment of film studies as a recognized discipline'. 4 When Mulvey brings up the Slade, Wollen replies that: Paddy came from a very different intellectual background. His world was the world of people like Raymond Williams; it was not a nuts and bolts world, it was a structured intellectual world. Most important of all, he was interested in popular, commercial cinema. This was a complete break with tradition. 5

Patricia Highsmith’s stated reason for writing The Talented Mr. Ripley (1955) was to see if she could elicit empathetic engagement for her immoral protagonist Tom Ripley. Amongst other factors, she achieves her goal by allowing readers to align affectively with the protagonist’s road to self-discovery. Her experiment culminates with Tom’s fruition into an aggressive consumer, thus resolving his and the readers’ apprehensions. On the other hand, Anthony Minghella’s Ripley leaves more room for interpretation. In his interviews, the filmmaker states that he does not aim for his protagonist to remain the sociopath from Highsmith’s novel. Instead, his story explores the absence of a father figure and how it affects his main characters. Consequently, he frames Tom as an underprivileged youth whose emotional instability brings about his demise. To this end, he employs victimization scenes, as well as moral disengagement cues. I argue that, amongst other factors, such an application of an i...

Wanted Cultured Ladies Only! maps out the early culture of cinema stardom in India from its emergence in the silent era to the decade after Indian independence in the mid-twentieth century. Neepa Majumdar combines read- ings of specific films and stars with an analysis of the historical and cultural con- figurations that gave rise to distinctly Indian notions of celebrity.

In tracking Hollywood’s influence on India’s conventions of stardom, Majumdar argues that discussions of early cinematic stardom in India must be placed in the context of the general legitimizing discourse of colonial “improvement” that marked other civic and cultural spheres as well, and that “vernacular mod- ernist” anxieties over the New Woman had limited resonance here. Rather, it was through emphatically nationalist discourses that Indian cinema found its model for modern female identities.

Beginning with a history of the idea of stardom in India, Majumdar considers questions of spectatorship, gossip, and popularity as they pertain to two popular stars, Sulochana and Fearless Nadia, who occupied the highbrow and lowbrow ends of the spectrum of stardom in the 1930s and evoked very differ- ent fan responses. With the breakdown of the studio system in the mid-1940s, new configurations of stardom arose from the establishment of a star-based production system. To examine this “stardom racket,” Majumdar analyzes the impact of star monopoly on textual and performance conventions through the half-century-long vocal dominance of playback singer Lata Mangeshkar as well as the 1950s actress Nargis.

"Film and the Historian: The British Experience." complements the author's "The British Working Class in Postwar Film" (MUP, 2003) and "Forgotten British Film: Value and the Ephemeral in Postwar Cinema" (CSP, 2017). A range of British films released since 1944 are explored, many of which have been difficult to access until recently.  The viewpoint is that of the historian, the objective being to examine the value of feature film as a primary source. The work is organised thematically, covering topics including housing, psychiatry, children, Ireland, gambling and the law, as well as assessing how such films were received. This will provide a basis for cross-cultural comparisons as well as shedding light on some neglected areas of recent British history.

This is Farsi version of the brilliant and invaluable book has been edited by Paul Cronin.

From Amazon page: "An invaluable analysis of the director's art and craft, from one of the most revered of all film school directors. Alexander 'Sandy' Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles.

Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick's teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker."

From Lessons from a master, Zoë GreenSat 20 Nov 2004:

"Perhaps the book's richness stems from the fact that Mackendrick did not intend it as his definitive comment on directing. Over the 25 years he spent at Cal Arts he amassed and refined a wealth of handouts and diagrams designed to help his fledgling directors acquire a strong sense of story structure. With this foundation laid, they studied cinematic devices and learnt how to take an idea, process it, and redeliver it to an audience as an effective narrative.

Mackendrick was tough on his students, and they (eventually) appreciated it. "Student films come in three sizes, too long, much too long, and very much too long," he told them on day one. His tactics were clever. Many of his students initially railed against absorbing traditional theories of montage, coverage and three-act structure, saying that "plots are old fashioned". Mackendrick simply asked them to follow his formula as a "temporary exercise" which they would be "perfectly entitled to discard later". Immersed in his boot camp, they found that they were putting words to ideas that they held subconsciously. Mackendrick was ready for them. "As an instructor the only things I can teach are what you already know."

This may be true, but it's overly modest; Mackendrick had developed his ideas over decades of professional directing, so he'd made his mistakes the hard way. His writing style is a wonderful mixture of co-conspiratorial musing and succinct commands. In one paragraph he'll dismiss his magnificent Sweet Smell of Success - "Looking back I cannot say I am surprised at its poor reception" - and then move forward to a string of pithy observations: "Exposition is BORING unless it's in the context of some present dramatic tension or crisis." "PASSIVITY is a capital crime in drama." His students must have loved it; a directing teacher who didn't put them down, yet rapped out opinions like gunfire.

To the meat of the matter: this is an eminently readable volume, but it is something of a challenge too, which is exhilarating. It requires focus. It's like the textbook you wish you'd had earlier; but as Mackendrick says, "Work is the only real training". Whether you use this book to help you reflect on your working practice or see it as an enjoyable insight into the development and execution of a film idea, there's a great deal packed into these pages. Part one covers dramatic construction, with an enjoyable section entitled "Slogans for the Screenwriter's Wall". I am especially fond of "BEWARE OF FLASHBACKS, DREAM SEQUENCES AND VISIONS".

You can then opt to undertake the exercises Mackendrick set his students, or proceed to the comparison of two drafts of a scene from Success. After this, there's a fantastic chapter on working with actors, taking the wise and often ignored stance that the director "must have respect for his actors". If this is a given with you, consider the concept of the actor as "meat-puppet" currently at large in some California classrooms.

Part two is more taxing, and covers film grammar. You can expect to emerge from this section with a solid understanding of the development of editing, point of view, axes, eyelines and camera set-ups. It's all beautifully illustrated by Mackendrick. As a bonus there's a chapter called "Drawing Lesson". If you can write legibly, Mackendrick argues that there's no excuse for you to be "wholly inept" in your attempts to sketch the human form. You need to be able to draw your idea of a medium long shot, and he shows you how.

Having limbered up your mind, the proponent of "making a disciplined effort in the development of fertile invention" equably signs out, leaving you raring to get back to work, six figure deal or otherwise. Which, I think, is what he would have wanted. "

Abstract
Directed by Stephen Frears, Dirty Pretty Things (2002) focuses on the lives of asylum seekers and immigrants (from different backgrounds) working at a London hotel and reveals the challenges and the discrimination (ethnic/racial/class and gender) they are exposed to in a mainly White-Anglo-Saxon-Protestant (WASP) society. This study aims to explore how the values of WASP culture is reflected through the (derogatary and discriminative) language (against the asylum seekers and migrants) used in Dirty Pretty Things. And it will also explore the ways of abolishing racist discourses and replacement of it with an immigrantfriendly language and culture as in line with the idealized image of multicultural London.
Key words:
Language, Culture, Asylum seekers and Migrants, Stephen Frears, Dirty Pretty Things.

Kirli Sevimli Şeyler Filminde Kültürün Dil Aracılığıyla Yansıtılması
Özet
Stephen Frears’ın yönetmenliğini yaptığı, Kirli Sevimli Şeyler (2002) filmi Londra’da bir otelde çalışan (farklı kesimlerden) sığınmacıların ve göçmenlerin hayatlarına ışık tutmaktadır. Beyaz-AngloSakson-Protestan (BASP) toplumunda sığınmacıların ve göçmenlerin maruz kaldıkları zorlukları ve ayrımcılığı (etnik/ırk/sosyal sınıf/ toplumsal sosyal cinsel kimlik bazlı) da gözler önüne sermektedir. Bu çalışmada, Kirli Sevimli Şeyler (2002) filminde kullanılan (sığınmacılara ve göçmenlere karşı ayrımcı ve aşağılayıcı) dil aracılığıyla Beyaz-Anglo Sakson-Protestan (BASP) toplumunun kültürel değerlerinin nasıl yansıtıldığı incelenecektir. Ayrıca, ırkçı söylemlerin terkedilerek, göçmen dostu söylemlerle değiştirilebilmesi ve ideal çokkültürlü Londra imgesinine uygun olarak göçmen dostu bir kültür oluşturulabilmesi için ne gibi yollar izlenilmesi gerektiği sorusuna yanıtlar aranacaktır.

Anahtar Kelimeler:
Dil, Kültür, Sığınmacılar ve Göçmenler, Stephen Frears, Kirli Sevimli
Şeyler.

Die durchaus berechtigte Frage „Was wären die USA ohne Mitteleuropa?“ suggeriert einen beachtlichen Wissenschafts- und Kulturtransfer von der Alten in die Neue Welt. Vielfach wird für diese vor allem in den 1930er Jahren erfolgte „Völkerwanderung der Intelligenz“ einzig und allein der Rassenwahn der Nationalsozialisten verantwortlich gemacht. Dies mag auf unterschiedliche Bereiche der Wissenschaft durchaus zutreffen, im Falle der Filmindustrie greift diese Behauptung in jedem Fall zu kurz. Die sich daraus ergebenden Fragen sind: Inwieweit gelang es den aus Mitteleuropa emigrierenden Künstlern, ihr Kulturverständnis und ihre spezifische Sichtweise in der neuen Heimat einzubringen und inwieweit gelang es ihnen dadurch, einen Beitrag zum
Widerstand gegen den Nationalsozialismus zu leisten?

Esta dissertação propõe-se a interpretar e comparar as narrativas construídas em uma amostra de filmes de ficção alemães e britânicos feitos entre 1919 e 1933 que tratam direta ou indiretamente do trauma da Primeira Guerra Mundial. Por meio de uma Análise Crítica de Discurso, caracterizada por um movimento constante entre o texto e o contexto social no qual ele foi produzido e que ele produz, esta pesquisa tem por foco os tipos de personagens masculinos que são projetados como ideais nestes filmes, buscando identificar como o trauma da guerra afetou a construção da “masculinidade hegemônica” no cinema dos dois países. Este conceito, proposto inicialmente por Connell (1995), é modificado pelas contribuições de Elias e Bourdieu na tentativa de emprestar a ele maior plasticidade, tornando-a adaptável às especificidades nacionais (Elias) e aos campos onde emergem diversas masculinidades dominantes (Bourdieu). A hipótese inicial, de que britânicos teriam uma masculinidade hegemônica mais pacifista projetada em seu cinema, enquanto filmes alemães apresentariam múltiplos ideais de masculinidade, foi superada. Do lado alemão, chegou-se à conclusão que a repressão do duplo trauma da guerra e da derrota, somada à profunda polarização política e social que caracterizou a República de Weimar, impediu a construção de um habitus masculino hegemônico. Enquanto filmes mais conservadores projetam um mesmo ideal – uma masculinidade bélica, que enobrece o sacrifício e a morte em nome da honra e de sua comunidade de homens –, os filmes mais críticos, que buscam subverter o ideal militar, acabam por não projetar qualquer ideal de masculinidade, deixando um vácuo no lugar do herói. Em contraste, a relativa estabilidade social e política da sociedade britânica permitiu o estabelecimento de um habitus masculino hegemônico, porém tão associado ao habitus da elite (e, portanto, ao status quo) que está longe de ser pacifista. Nos filmes britânicos, o gentleman – um homem elegante e educado, membro da classe dominante e consciente de sua responsabilidade social, que inclui ir para a guerra pela nação sem demonstrar suas emoções ou reclamar – é o tipo hegemônico.

Depot – Raum für Kunst und Diskussion (Wien 7, Breite Gasse 3)
Samstag, 21. April 2018, 15.30
Eintitt frei – – – –

Veranstaltungskonzept von Drehli Robnik für
für "PolitikProjektionen–>Viel*im*Film"
und das Wiener Wiesenthal Institut für Holocaust-Studien (VWI)
– – – –
Die internationale Tagung gilt Spielfilmen, die heute in Massen- und Mainstreamkontexten auf den Zweiten Weltkrieg zurückblicken – in Soziotopen, die politisch wie medial verschieden sind (ohne gleich national cinemas auszuformen). Mehr als um Kriegsfilm im engen Sinn geht es um Wahrnehmungen/Bildprägungen zu totalitärer Macht und demokratischer Artikulation, historischer Agency und Genderbeziehungen, Holocaust und Rassismus, Kolonialgewalt und Flucht. In ihren ideologischen und formalen Setzungen "meinen", inszenieren, die Filme ihre Gegenwart mit: ein Heute, geprägt von nationalautoritärem Regieren (kurz vor 100. Jahrestagen erster "Ereignisse" der historischen Faschismen).
– – – –
15.30 Beginn
– – – –
16.00 Andrey Arnold, Filmkritiker für "Die Presse", Wien / Martin Thomson, Filmkritiker/Filmkurator/Filmwissenschaftler, Wien: Männerbünde mit Mission und heilige Frauen im totalen Krieg. Symptom-Lektüren rezenter Zweiter Weltkriegs-Filme aus den USA und Russland
– – – –
17.30 Amália Kerekes, Germanistin, ELTE Budapest: Ohne uns. Ein Monochrom der Entfernungen in den Kriegsfilmen aus dem neuesten Ungarn
– – – –
18.30 Drehli Robnik, Theoretiker zu Film & Politik, Wien-Erdberg: National/Democratic: Zeit-Rechnungen, Volks(ver)zählungen und "NGO-Wahnsinn" im britischen Kriegsfilm (zwischen Dunkirk und Churchill)
– – – –
19.30 Ivo Ritzer, Film- und Medienwissenschaftler, Universität Bayreuth: Vom obszönen Zeit-Bild zur digitalen Medien-Heterotopie: Transnationales Kino und Zweiter Weltkrieg in Afrika
– – – –
Moderationen:
Béla Rasky, Wiener Wiesenthal Institut für Holocaust-Studien
Joachim Schätz, Filmwissenschaftler, Ludwig Boltzmann Institut für Geschichte und Gesellschaft, Wien
Sara Vorwalder, Medien- und Kulturwissenschaftlerin, Wien

Gartenbaukino, Wien 14. Oktober 2017  –
Vortrag im Rahmen der 70mm-Analog-Screenings von "Dunkirk" (und am Vorabend der österreichischen Parlamentswahlen) –
              ABSTRACT: Dunkirk ist ein – manchmal prätentiöser – Film über Humanität in ihrer Zeit. Auch in ihren sozialen und topografischen Räumen. In Christopher Nolans früheren Filmen, etwa der Batman-Trilogie, waren Versuche, moralisch zu handeln, von vornherein dirty, verstrickt in eine düstere, groteske Materie aus Stadt, Schmerz und Bosheit. In Dunkirk hingegen sind Häuser, Strände, Himmel hell und sauber: keine Spur von Gotham, auch nicht vom Trümmerchaos, wie es zum Fixbestand älterer Dokus und Spielfilme über die Kämpfe in Dunkerque/Dünkirchen zählt. Die geglückte britische Evakuierung unter dem Feuer der deutschen Luftwaffe im Sommer 1940 war ein erstes end of the beginning, ein zarter Anfang des Endes nationalsozialistischer Herrschaft, ihrer Blitzkampagne des Bewegungskriegs.
In einer Zeit, in der Politik national rast und Datenfluss sich zum berechneten Hass verdünnt, versucht das Nolan´sche Film-Bild zu verdichten: Zeit soll ganz Materie werden – etwa ein analoger Filmstreifen, zumal ein breiter. Und die Gegenwart umfasst verschiedene intensive Zeitlichkeiten, Erfahrungen, Räume: Branagh an Land, Rylance zu Wasser, Hardy (immer noch mit Bane-Maske) in der Luft. Steife Brise und upper lip. Für starke Sager reicht´s. Es geht um Hoffnung, Flucht, Exodus, aber nicht um Brexit: Nolan hat schon 2014 S-T-A-Y gemorst. Fast alle Brit-Boys, die auf der Flucht aus dem Krieg am Strand warten, haben auffallend schwarze Haare. Als Beach Movie ist Dunkirk mit ein Bild jener Humanität, die heute "NGO-Wahnsinn" genannt wird. Time is tight, time is tide. The tide is high: Die Leichen kommen wieder.
Mein Vortrag fragt nach der Zeit der Demokratie in Dunkirk im Vergleich mit anderen Dünkirchen-Filmen und aktuellem Kino über den Zweiten Weltkrieg.

Kirchenräume – sind sie von Bedeutung für einen Ort, für Menschen? Auf-schlussreich für die Erstbegegnung mit dieser Frage ist die spontane ¾ußerung eines protestantischen Professors für Ökonomie, der von kommunaler Raum-ordnung einiges versteht. Raum, das heißt für ihn zunächst einmal Raumpla-nung, und so urteilte er in einem Gespräch, dass Kirchen raumplanerisch ein geringwertiger Teil der Infrastruktur seien. Das ist nun für einen theologisch ambitioniert denkenden Menschen keine frohe Kunde. Wie passt diese raum-planerische Prosa mit der emphatischen ¾ußerung etwa der hannoverschen Landesbischçfin Käßmann zusammen, Kirchen seien »Orte spirituellen Reich-tums, die Zeugnis geben von geistlichem Leben«. Sie seien »Orte, an denen wir heute Vergewisserung, Erneuerung der Spiritualität finden kçnnen.« Sie seien »durchbetete Räume«. 1 Diese Emphase kollidiert mit dem Umstand, dass Raumplanungskonzepte unserer Tage Kirchen nicht mehr vorsehen. Man geht davon aus, dass sich die entsprechenden Konfessionen selbst melden werden. Meistens fehlt den Kirchen ohnehin das Geld für Kirchenneubauten. Geistliche Innovation wird sicher nicht über Kirchenneubauten zu erwarten sein. Hçchstens um den Umbau, um die Substituierung einer mit Heizspiralen versehenen, in dunkler Eiche gebeizten Kirchenbank, durch gefällige, leicht umgestaltbare himmelblau lasierte Stuhl-halbkreise wird einiger Aufwand betrieben. Kritisch zu fragen ist deshalb: Muss man sich nicht erheblich Sorgen machen, wenn wir voraussetzen, dass Raum-konzepte die Einstellung zur Lebensgestaltung einer Gesellschaft in einer be-stimmten Zeit spiegeln? Es gab çkonomisch kargere Zeiten, wie vor über 100 Jahren, als Landgemeinden, die oftmals nicht mehr als 300 Holzfällerseelen zählten, trotzdem eine Sandsteinkirche in der Ortsmitte errichtet haben. Heute werden Bestände bewahrt und das Bestehende versorgt. Neubauten

Artist, filmmaker and founder-member of Exploding Cinema, Jennet Thomas, in conversation with Kyran Joughin, London, January 2016. A discussion of Thomas' method, back catalogue and Grundy Gallery Commission, The Unspeakable Freedom Device(2015): Video and BookWorks publication.

1. INTRODUCCIÓN Las derivadas en economía son una herramienta muy útil puesto que por su misma naturaleza permiten realizar cálculos marginales, es decir hallar la razón de cambio cuando se agrega una unidad adicional al total, sea cual la cantidad económica que se esté considerando: costo, ingreso, beneficio o producción. En otras palabras la idea es medir el cambio instantáneo en la variable dependiente por acción de un pequeño cambio (infinitesimal) en la segunda cantidad o variable. Tal línea de pensamiento fue posible desde la economía neoclásica, primero con Carnot, y luego con León Walras, Stanley Jevons y Alfred Marshall; por ello se conoce a esta innovación analítica como la revolución marginalista. De hecho las funciones de costo, ingreso, beneficio o producción marginal son las derivadas de las funciones de costo, ingreso, beneficio, producción total. En ese orden de ideas, el procedimiento se reitera en el contexto de las funciones multivariadas. Mediante las derivadas parciales, es decir estimar las razones de cambio de una variable independiente de una f(x,y) son las derivadas parciales respecto a x o y, manteniendo la(s) otra(s) fija(s). En consecuencia se pueden aplicar las técnicas especiales como derivadas direccionales, gradientes, diferenciales, etc. NO hay que olvidar que se requiere con frecuencia estimar los niveles donde una función cualesquiera se maximiza (minimiza) ­sea cual sea el número involucrado de variables independientes­. De nuevo el cálculo difrencial es de gran ayuda en estas situaciones. También para la búsqueda de la optimización sujeta a restricciones se trata con derivación de las funciones mediante los métodos de los multiplicadores de Lagrange o las condiciones de Kühn­Tucker (esta última para la eventualidad en que la función objetivo que se desea optimizar esté restringida con desigualdades).

The British ‘B’ movie had its heyday from the post-war period up until the early 1960s. ‘B’ movies were cheap feature films of around one-hour long which were shown along with ‘first’ features as part of cinema double-bill programmes. But by 1963, British film companies had ceased production of second features for a number of reasons: they were no longer commercially viable due to rising production costs,
their quality was much maligned at a time when American companies were producing higher budget, glossier fare, and by the early 1960s television was producing the kinds of low-budget crime dramas favoured by ‘B’ movie producers. However, the passing of the ‘B’ movie was mourned by some, who had seen it as a potential
training ground for talent in an indigenous industry which offered few routes in for film-makers. Some cinema exhibitors also worried about how the decline of the ‘B’s would affect the staple cinema double bill. This article will examine the events which led to the decline of the British ‘B’ movie in the early 1960s, arguing that the demise of this production mode can shed light on the structure of the British film industry in the 1960s, as well as highlighting some of the challenges which
faced film producers throughout the decade.