Film historiography

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.

Tras el centenario del cine conviene detenerse en algunas cuestiones relativas a la teoría y método de la histori(ografí)a cinematográfica. Su devenir actual se mueve, contradictoria pero más lógicamente de lo que parece, entre el agotamiento del objeto (por la creciente falta de especificidad de lo fílmico y cinematográfico en el fin de siglo) y el fortalecimiento de la disciplina (por exceso de especialidad de la mirada sobre dicho objeto tras cien años de historia). Doble movimiento hecho visible ante la progresiva atención prestada, desde los márgenes o límites de la historiografía,  tanto al campo de los pre-cines y cines primitivos del novecientos como al de las nuevas tecnologías aurovisuales del año 2.000. Aquí queremos situar dichos problemas desde la mirada inaugurada por la arqueología del cine y la genética fílmica sobre un universo indefinido, perdido… desaparecido. A partir de estos planteamientos volveremos a la invención del cine en una redescripción y redefinición que sitúe el alcance de la Captura Lumière en un doble eje de centrado tecnológico y desplazamiento ideológico, para mostrar hasta que punto las definiciones del cine (como movimiento, fotografía y proyección, como relato, comunicación y espectáculo) son conceptos antes históricos que teóricos, y que por tanto, exigen en cada momento historiográfico una redescripción que ayude a comprender el inmediato pasado y futuro del cine.

Türkiye Film Araştırmaları Dergisi Ocak 2021 yılında yayın hayatına başlamıştır. Sadece sinema çalışmaların yayınlanacağı dergimiz yılda iki kez Mayıs ve Kasım aylarında yayınlanacaktır. Türkçe ve İngilizce dillerinde yayın yapacak dergiye gÖnderilen makaleler çift taraflı kor hakemlik ilkesi çerçevesinde değerlendirilecektir. Türkiye Film Araştırmaları Dergisi hakemli uluslararası akademik bir dergi olup, sinema alanına bilimsel katkı sunmayı hedeflemektedir. Bu amaç doğrultusunda araştırma makaleleri başta olmak üzere; film eleştirisi, mülakat, kitap tahlili, inceleme, düşünce vb. akademik araştırmalar yayınlayarak yeni tartışma alanları oluşturmayı amaçlamaktadır. Derginin kapsamı, yayım ilkeleri, yazım kuralları, bolüm editÖrleri ile editÖrler kuruluna ilişkin daha geniş bilgi için lütfen http:/ / turkishfilmstudies.com/ adresini ziyaret edebilirsiniz.
Dergimizin ilk sayısı için makale kabullerimiz başlamıştır. Makale gönderimi için herhangi bir ücret talep etmeyen dergimizde yayınlanmasını istediğiniz çalışmalarınızı 15 Nisan 2021 tarihine kadar http:/ / turkishfilmstudies.com/ sitesinde bulunan Makale Gonder butonu aracılığıyla gonderebilirsiniz. Saygılarımızla Editor Kurulu
Önemli Tarihler İlk sayı için makale gonderiminin son günü 15 Nisan 2021'dir http:/ / turkishfilmstudies.com/ http://turkishfilmstudies.com/hakkinda-2/

A study of amateur film archiving and the impulse of the 'collector' as a means to approach cinema as more than the projected image. Offers the concept of ‘kinetomania’ to theorize the work of amateur film archivists as evidenced through scrapbooks.

Unlike the majority of ethnographic research projects conducted in the fields of film and media studies, which tend to focus on contemporary texts and audiences, Annette Kuhn's recently published study of cinema and cultural memory looks back to the practices and experiences of cinemagoers in 1930s Britain. Using data collected throughout the 1990s, Kuhn moves beyond the text-context dualism that characterises film studies, drawing from history, contemporary records, ethnographic interviews with surviving cinemagoers and old film reviews. She thus applies a cultural-studies style ethnographic approach to the study of media consumption, describing her methodology as historical ethnography or 'ethno-history'. Kuhn's approach is inductive, in that it is not shaped by hypotheses or a priori assumptions, and the focus is both political and personal: she looks at the role of filmgoing in people's everyday lives but also at the way in which cinema culture was -and is -historically and socially situated.

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Challenging the prevailing notion among cinephiles that the auteur is an isolated genius interested primarily in individualism, Colin Burnett positions Robert Bresson as one whose life's work confronts the cultural forces that helped shape it. Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.

It seems that scholars have adopted an abridged, yet undoubtedly convenient, history of film history – to such an extent that it is now a commonplace to view the 34th Congress of the International Federation of Film Archives, entitled “Cinema: 1900-1906” and held in Brighton, England in 1978, as an event that fundamentally and almost overnight changed film historiography. Indeed from a random reading of texts claiming the status “new film history” it would seem that the point of rupture between their authors and so-called “traditional” film history took place around the time of the Brighton Congress. This superficial history has served as a foundation for the film historians’ discourse and been passed down from book to book. The Brighton Congress has thus rapidly become one of the founding myths of the new film history and film historiography remained frozen in a very precise temporality: first there was traditional film history, and then it was eclipsed by new film history. In this paper, I will suggest a new historiographical division that better takes into account the context in which the various historical discourses in question emerged. This division is not based on the concept “generation” (traditional film history vs new film history), which tends to yoke the scholar to a teleological approach, but rather on the concept “paradigm,” which makes it possible to free oneself from the imperatives of periodization and from certain temporal constraints. According to the hypothesis I will formulate, “amateur film history”, whose historical discourses are aimed for the most part at the general public, constituted the dominant paradigm during the period stretching from the turn of the twentieth century to the 1970s, while “academic film history”, whose historical discourses are aimed in the vast majority of cases at university-trained film historians, has been the dominant paradigm in film historiography for the past thirty years. What I will advocate here is thus a new approach to film historiography. It is in my sense reductive to think of film historiography as initially consisting of a seemingly imperfect traditional film history that was replaced by a better structured new film history and based in particular on archival research. I believe it would be better to abandon truly teleological notions such as these in order to study film historiography in the context in which it was written and based on the boundaries imposed by the context in question.

Social constructionism is the idea that all knowledge, including science and history, is deeply imbued with the biases and preconceptions of the person who holds the knowledge and the society in which that person lives, so that knowledge can be said to be created rather than discovered. This dissertation examines the influence of social constructionism in film and media studies with reference to the humanities more generally, and argues that social constructivist arguments have, in general, been accepted too readily. Careful attention to the substance of social constructivist arguments and to the practice of knowledge gathering in the humanities reveals the significant flaws in social constructionism as an epistemology.

This work traces the history of social constructionism from the philosophy of science and from theorists such as Jacques Derrida and Michel Foucault. It considers the ways in which the social movements of the 1960s and 1970s influenced the rise of social constructionism in the academic humanities. The particular uses of social constructionism in 1970s film theory are then described and considered.

The argument for epistemological realism herein is based on three broad principles, laid out in chapters three through five. In chapter three I consider the work of theorists whose work has been influential in the rise of social constructionism – Bruno Latour, Donna Haraway, and Richard Rorty – arguing that despite the varying benefits of the projects these theorists undertake, they either fail to fully consider the implications of their position or are unable to account for its weaknesses.

In chapter four I consider the implications of the social construction of history and argue that social constructionism is not necessarily a politically progressive epistemology, drawing on Oliver Stone’s JFK and D.W. Griffith’s The Birth of a Nation to demonstrate my point. In this section I also analyze the work of Hayden White and Vivian Sobchack

In chapter five I argue that the theory of social constructionism is not reflected in the practice of knowledge gathering in the humanities and is useless for that practice. The limits of postmodern concepts of knowledge are best revealed in their inappropriateness for fundamental academic research.

ULUSLARARASI PROF.DR.HALİL İNALCIK TARİH VE TARİHÇİLİK SEMPOZYUMU
Bildiriler ( I.Cilt )
Hazırlayanlar: Ayşe BEDİR – Birkan SOYKAN – Uğur Cenk Deniz İMAMOĞLU
Yayın Tarihi: 2021

Yayınlıyan: Türk Tarih Kurumu
E-Kitap Yayın Tarihi:
DOI: 10.37879/9789751749987.2021
eISBN:                                978-975-17-4998-7 (1.c)
                                            978-975-17-4997-0 (Tk)
Sayfa: 707
Konular: Halil İnalcık, Türk Tarihi

ORCİD: 0000-0003-2546-4517
DOI: 10.37879/9789751749987.2022.10
Sayfalar: 207-242

自二零一八年的紀錄片雙年展之後，牟敦芾的《不敢跟你講》（1969）和《跑道終點》（1970）便開始在世界巡迴放映並獲得熱烈迴響。英國國王學院的范可樂（Victor Fan）和法國電影資料館的潔曼尼（Wafa Ghermani）稱影片呈現了某種「擺脫國民黨再現束縛」的主角身體 ，而鮑德威爾（David Bordwell）則說《跑道終點》是「膽敢反對主流電影的形式與主題，並在新電影導演之前做得如此之好…黑白攝影更給（炫目的技法）某種清醒節制感」 。諸多盛讚都更凸顯了牟敦芾未廣為上映的兩部作品可能改寫台灣電影史的可能性──是否這兩部作品能為福爾摩沙早二十年打開獨立製片的可能性？是否在健康寫實與台語片之間，形式美學能夠有不同的突破？台灣是否曾經有過新電影之前的另一種「新電影」？本文將從文本形式和電檢歷史兩大面向重返這兩部作品，並思考影片的特色以及牟敦芾作為叛逆導演形象如何與這段歷史息息相關。

In this dissertation, I argue that twenty-first-century urban archival montage films eschew the dominant historiographical strategies of documentary film and encourage the development of a historically conscious spectatorship. The thesis examines three North American city-symphonies-in-reverse, Los Angeles Plays Itself (Thom Andersen, 2003), the Lost Landscapes film programs (Rick Prelinger, 2006-2017), and My Winnipeg (Guy Maddin, 2007). Each film takes as its explicit subject a North American city significant to its author—Detroit, Winnipeg, San Francisco, and Los Angeles—as seen through specific types of archival material. These particular cities have had geographically unique film cultures, and the archival material related to those film cultures shows the importance of investing in and recognizing local film cultures and histories. These films demonstrate that we have been alienated from our local histories in North America, and they provide key strategies to create historical consciousnesses. Each film in this corpus aims to persuade audiences to deal with local pasts themselves without the aid of an infallible historian to create a narrative that assembles and motivates moving image fragments to cohere with other documents into a coherent, plausible, and complete narrative. City-symphonies-in-reverse use the baroque critical methodologies of essay, anamorphosis, and reflective nostalgia to combat the effects of the abstraction of time and space. Such abstractions began to disrupt social structures and subjectivity in Western cultures some 500 years ago with central perspective and the standardization of time. I argue that these critical methodologies help to us to reconsider relationships to time and space within dominant historiographical discourse in documentary by emphasizing subjective embodied experiences of the archive. The films under analysis in this dissertation articulate valuable ways of addressing current crises in historiography, the urban imaginary, and the moving image archive, precisely through their strategic engagement with archival materials.

Sinema çok yüzlü ve çok biçimli bir fenomen olarak XX. yüzyılın kültürel ve sanatsal tarihine damga vurmuştur.
Modern bir sanat olarak kendini kabul ettirmesi de estetik meşruiyetini kazanmaya başladığı 1920’li yıllarda sanayileşmiş Batı ülkelerinde gerçekleşmiştir.
Sessiz sinemanın altın çağını yakından takip eden eleştirel söylem tarafından sinemaya Yedinci Sanat lakabı işte tam da bu tarihsel dönemeçte verilmiştir.
Sinema Tarihine Giriş: Büyük Estetik Ekoller, Tarzlar, Akımlar, Hareketler isimli kitabın amacı film sanatının biçimsel (formel) gelişimini sinema tarihinin en parlak dönemleri, hareketleri, akımları, tarzları ve eğilimleri etrafında inceleyebilmektir.
Bu pedagojik yapıtın kapsamı sinemanın estetik tarihiyle sınırlıdır. Amacı, sinema sanatına damga vurmuş büyük estetik okulları kendi tarihsel bağlamları içinde ele almaktır.
ISBN: 9786257451666
Basım Yılı: 2021
Sayfa Sayısı: 182 sayfa Kağıt: 70 gr. Enzo 13,5 x 21
https://books.akademisyen.net/index.php/akya/catalog/view/439/444/79053

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This article looks at one decade (1965–1975) in the history of Films Division of India (FD), the first state film production and distribution unit in the country. It tracks the changing political environment and several administrative, infrastructural, and policy changes of the time, along with the emerging " experimental " film and interview format films. Under the dynamic supervision of Jean Bhownagary, a constellation of film makers and artists like Pramod Pati, S.N.S. Sastry, S. Sukhdev, among others came to the fore, experiment with film form was encouraged, and dissonant voices rose against the state itself. I suggest that it is possible to study certain experiments and formal practices emerging at a particular time and space not as mere aberrations, but as something that emerges from complex shifts in institutional practice. I locate these as part of a layered body of film uses, a palimpsest, in which the filmmaker's creative engagement needs to be situated in a bureaucratic order that could be arbitrary and inflexible but also provide for a regime of the permissible.

This article explores several versions of Sergei Eisenstein's unfinished film ¡Qué viva México! (1932) assembled by different filmmakers in the 1930s, 1970s and 1990s. While each one of the versions claimed to ‘get as close to Eisenstein's vision as possible’ soon after its release it was judged to represent yet another example of inaccurate reading and reconstruction of the unattainable, but allegedly perfect, vision of Eisenstein. By the same token, none of the versions has ever been considered and acknowledged in its own right: in terms of what it reveals, rather than lacks. Reversing this historical trend I approach the multiple versions of ¡Qué viva México! as a unique methodological opportunity offering material testimony of how values and readings shift and mutate through time, how judgements of taste and beauty are intertwined with changing ideologies and politics, and how the ‘death of the author’ ushers in not the unlimited freedom to read and interpret texts but historically specific and constrained ways of engaging with authorial vision. As such, this discussion of ¡Qué viva México! bears on another important issue – material plurality of film as a condition of film study – and becomes instrumental in forging a productive alliance between film theory, film history, and curatorial and archival practice.

This article examines the history and curatorial strategies of the George Eastman Museum of Photography and Film in Rochester, NY. It reads the museum’s exhibition of rare nitrate films in the post-industrial context of Rochester, through Walter Benjamin’s and Gadamer’s concept of allegory.

Targeting an international readership beyond academia and addressing questions around film theory and the politics of film curatorship, this piece was Screen's most-read 2019 article, recently defined “Article with Impact.” The British Association of Film, Television and Screen Studies awarded it an Honourable Mention.

Through the examination of a specific film production and exhibition system, Hale's Tours, this essay examines the importance granted by film historians to traditional projection space as an institutional site. It demonstrates that, for these historians, any film projected outside this space was not "cinema" and thus had little or no connection to film history. The essay suggests reasons for the relative absence of Hale's Tours from synoptic film histories and enquires into the special relationship between viewer, image and space in this kind of entertainment.

The destruction by fire in 1982 of the Cineteca nacional, Mexico's largest repository of art film, marked the lowest point of an era characterized by censorship, lack of funding, and the virtual dismantling of the state cinema apparatus. More than 6,500 films went up in flames along with a still unspecified number of human bodies. Based on newspapers and official reports of the time, this essay analyzes the complicated process of explaining and mourning the loss of an archive. It focuses in particular on the analysis of the production, circulation, and consumption of competing narratives to explain the tragic demise of the archive.

Le cinéaste M. Humberto Duarte Mauro (1897-1983) a été nommé au rang de «Père» du language cinématographique brésilien par ceux qui ont idéalisé le Cinema Novo. Il était originaire du mouvement connu comme «Ciclo de Cataguases» des années 1920. Les «cinemanovistas» l’arranchent et l’interprétent comme un fondateur qui inspire une conception du cinéma. Notre but de recherche est la conception nationaliste qui structure la pensée cinématographique à travers de l’image de Mauro travaillé dans la fondamentation du discours «cinemanovista» visant à comprendre ce processus et aussi les fondaments théoriques que la soutiennent. Nous ferons une analyse conceptuelle de trois points mis en rapport (idéologie-esthétique-economie) visant à caracteriser un genre de cinéma selon son fondément idéologique, sa proposition esthétique et sa manière de production.

O cineasta Humberto Duarte Mauro (1897-1983) foi alçado à categoria de “pai” da linguagem cinematográfica brasileira pelos idealizadores do Cinema Novo. Oriundo do chamado “Ciclo de Cataguases” nos anos 1920, os cinemanovistas o resgatam e o interpretam como um fundador que inspira uma concepção de cinema. O nosso objeto de pesquisa é a concepção nacionalista que estrutura o pensamento cinematográfico, através da figura de Mauro trabalhada na fundamentação do discurso cinemanovista, visando compreender esse processo e as bases teóricas que o alicerçam. Faremos uma análise conceitual de três pontos em articulação (ideologia/estética/economia), visando caracterizar um tipo de “Cinema”, segundo sua fundamentação ideológica, sua proposta estética e seu modo de produção.

In this dissertation, I argue that twenty-first century urban archival montage films eschew the dominant historiographical strategies of documentary film and encourage the development of a historically conscious spectatorship. The thesis examines three North American city-symphonies-in-reverse, Los Angeles Plays Itself (Thom Andersen, 2003), the Lost Landscapes film programs (Rick Prelinger, 2006-2017), and My Winnipeg (Guy Maddin, 2007). Each film takes as its explicit subject a North American city significant to its author—Detroit, Winnipeg, San Francisco, and Los Angeles—as seen through specific types of archival material. These particular cities have had geographically unique film cultures, and the archival material related to those film cultures shows the importance of investing in and recognizing local film cultures and histories. These films demonstrate that we have been alienated from our local histories in North America, and they provide key strategies to create historical ...

Transcript pf round-table discussion at the FIAF Lisbon Conference (1989) with David Francis, Aldo Bernardini, Tom Gunning, Harold Brown, Jan-Christopher Horak, Paul Spehr, Paolo Cherchi Usai,, Ib Monty,  Susan Dalton, Andre Gaudreault, Maria Rita Galvao, Jean-Paul Gorce, Alain Lacasse

In the recent decades, academic research on early cinema has grown remarkably. At the intersection of early cinema studies and feminist history, significant new research has revealed the hitherto overlooked presence of women, and the rich diversity of positions they held, in the first decades of film production. It is possible to see "Pink-Slipped: What Happened to Women in the Silent Film Industries?" and "Specters of Slapstick and Silent Film Comediennes" as products of a visionary investigative potential that currently characterises feminist film historiography of early cinema.

At the most general level, this article wants to answer the question of what it requires to write an aesthetic history of Czech cinema. As such, it tries to sketch possibilities of a research project on a poetics of Czech cinema illustrated through an example of Czech cinema to the period around the opening of Barrandov studios in 1933. The poetics of cinema explores construction principles of film works regarding (a) their relationship to individual works and groups of works, and (b) their relationship to particular empirical conditions of the creation of these works in synchronic and diachronic perspectives.

The article argues in accordance with these starting points that an internal cohesiveness of a research corpus is key for such a research project. However, Czech cinema represents a very diverse group of films. What is more, it is hard to decide what categories all the films fall into, let alone get a convincing corpus based on them. Yet, as is discussed in the first part of the text, if we define the research corpus based on a dominant language, dominant place of production and preferred distribution type, we can arrive at a logically consistent corpus of so-called regional cinema. In other words, it is possible to create a group of films that aim at functionally comparable goals.

In the second part, the article begins from the long-term perspective, by a polemics with such explanations of poetic approaches to regional cinemas in comparison to Hollywood cinema on the one hand, or international stylistic tendencies on the other. The first argument is that in the case of Czech cinema, in the 1930s studio requirements for systematic work and standard procedures were confronted with practices, preferences, and systems of norms from periods when filmmakers adopted them in an unsystematic way and with no externally prescribed standards. The second argument is that there were several parallel dominant systems of feature film norms in the 1920s that did not tend towards unification. They follow a different creative logic than in the case of international norms.

The third part of the article comes back to the question of the relationship between creative and studio continuities from a more short-term perspective in the analysis of the first film made in the Barrandov studios, Murder on Ostrovní Street from 1933. The article asks the following question: To what measure and in what ways is Murder on Ostrovní Street a project representing a stylistic continuity or, discontinuity, in its relation to films made in previous years? The text demonstrates that although the film was supposed to perform a variety of self-conscious film techniques, it did so in continuity with conventionalized practices of Czech films and filmmakers from previous years.

The fourth part of the article, the epilogue, reflects from previous findings to more general reflections on how research into so-called Czech regional poetics can contribute to the overall knowledge of an aesthetic history of Czech cinema.

https://haber.sakarya.edu.tr/filmfestte-sinema-tarih-yazimi-uzerine-konusuldu-h105360.html

Sakarya Üniversitesi’nde gerçekleşen 8. Sakarya Uluslararası Kısa Film Festivali’nde Düzce Üniversitesi öğretim üyesi Doç. Dr. Tunç Yıldırım ve Sinema Tarihçisi-Yazar Burçak Evren ile “Sinema Tarih Yazımı” üzerine konuşuldu. SAÜ Kültür ve Kongre Merkezi Prof. Dr. Fuat Sezgin salonunda yapılan etkinlik Dr. Barış Saydam moderatörlüğünde gerçekleştirildi.

Considers cinema as a dispersed field of practices in the south asian context, with different temporalities and durations, and shifting geographical contours. Draws on research on the persistence of the bioscope, archaic technologies of film projection, as well as more contempotary ways digital forms offer small scale, or micro-cinematic, forms of articulation. Also looks at the longer history of cinematic assemblage in the south asian context.

This essay investigates the emergence of 16mm projectors and screens during the 1920s. By examining changes to the entertainment industry, the American home, and advertising discourses, it demonstrates that portable fi lm technologies have long been implicated in a complex relationship with a range of automated consumer technologies and idealized private spaces.

This essay concentrates on the provenance of films such as George Nichols’s The Cry of the Children (1912), Helen Gardner and Charles Gaskill’s Cleopatra (1912), and Scott Sidney’s The Gangsters and the Girl (1914). These titles are currently preserved at the George Eastman Museum and well represent the diversity of 1910s films in its collections. Placing the provenance of films like The Cry of the Children, Cleopatra, and The Gangsters and the Girl within the continuing history of their preservation and changing historical value leads us to reconsider their significance within present historiographical debates around early cinema. It encourages us to explore the decade between 1907 and 1917, delimited on one end by the better-defined “cinema of attractions” and on the other by classical Hollywood cinema. Through this history, this essay questions the tautological definition of “transitional cinema”—which Ben Brewster defines as an oxymoron—foregrounding instead the historical specificity and stylistic diversity of 1910s cinema.