Pub Date : 2023-09-20DOI: 10.1080/01439685.2023.2256636
D-M Withers
Deben Bhattacharya (1921–2001) had a prolific career as a field recordist that spanned the second half of the twentieth century. Yet his impressive contributions in radio, tv and film have to date been overlooked. Bhattacharya arrived in London from India in November 1949; by the end of the year, he had made his first broadcast on the BBC Eastern Service. Drawing on material held in the BBC Written Archives, this article focuses on Bhattacharya’s work with the BBC from the late 1940s-1970s. It discusses Bhattacharya’s work across different BBC departments: the Eastern Service, the General Overseas Service, the Third Programme, and the BBC Sound Archive. Overall, it highlights Bhattacharya’s contribution to the curation of traditional folklore in the post-war period. I analyse how he interpreted cultural traditions via radio broadcasts and, through field recordings, made substantial contributions to the BBC Sound Archive’s international folklore collections. Bhattacharya’s relationship with the BBC reveals how he developed his career as a cultural entrepreneur, building speculative partnerships with large institutions that supported his activity in the field. The BBC offered Bhattacharya minimal upfront support for his work, however, which meant his field work was often conducted in deeply precarious circumstances. This article discusses how Bhattacharya negotiated institutional prejudices and embraced new opportunities to record and publish field recordings in the post-war creative and cultural industries.
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Pub Date : 2023-09-20DOI: 10.1080/01439685.2023.2256092
Andrew Shail, Marie-Claire Rackham-Mann
This article examines the ‘The Pictures Girl’ star search competition, run by the film fan magazine Pictures and Picturegoer from late 1918 to early 1919. It charts the stages of the competition, demonstrates the gap between the promised prize and the actual outcome for the winner, one Alice ‘Lavender’ Lee, and shows what motives underpinned talent competitions and continue to underpin them now. It also cuts through a body of myth that emerged around Alice Lee in her later life, and shows how and why this body of myth emerged.
这篇文章考察了“the Pictures Girl”明星搜索比赛，该比赛由电影爱好者杂志《Pictures and Picturegoer》从1918年底到1919年初举办。它描绘了比赛的各个阶段，展示了获胜者爱丽丝·拉文德·李(Alice ' Lavender ' Lee)的承诺奖金与实际结果之间的差距，并展示了支撑才艺比赛的动机，并继续支撑着它们。书中还剖析了爱丽丝·李晚年生活中出现的一系列神话，并展示了这些神话是如何以及为什么出现的。
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Pub Date : 2023-09-19DOI: 10.1080/01439685.2023.2256128
Anandita Bajpai
This article explores radio’s material legacies by exclusively focussing on the trajectories of radio-objects, which travelled between foreign broadcasting stations and their Indian listeners during the Cold War years. The presence of such objects in listeners’ homesteads/private collections even today and their affective relationship(s) to them can enable us to examine how radio materially permeated the larger social fabric of listeners’ everyday lives, not just through sound but also a plethora of things. Zooming in on gifts, souvenirs, letters, photographs and memorabilia, the article shows how radio-objects enabled Indian listeners to perform difference and distinction locally, to imagine and experience foreign countries through landscape-objects, to establish networks of South-South epistolary exchange, and to ‘see’ both co-listeners and radio hosts through travelling photographs.
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Pub Date : 2023-09-15DOI: 10.1080/01439685.2023.2256637
James Fenwick
Between 1975 and 1977, filmmaker Stanley Kubrick secretly campaigned to overturn the new tax provisions of the Labour government’s 1974 Finance Act. His aim was to develop a crisis narrative in which the legislation that affected the amount of earnings foreign residents would pay tax on in the UK was deemed directly responsible for the imminent and absolute collapse of the British film industry. Drawing on archival sources from the Stanley Kubrick Archive, the Harold Wilson papers, and The National Archives, the article reconstructs Kubrick’s actions during this period to reveal how he planted stories in the press, lobbied MPs, ministers, the Chancellor of the Exchequer, and the prime minister, manipulated trade union officials, and secretly wrote press releases and campaign letters under the name of the general secretary of the ACTT, Alan Sapper. The archival case study widens understanding of the narrative of crisis pertaining to the British film industry in the 1970s and how this was exacerbated and exploited by powerful and wealthy individuals like Kubrick for personal gain. The article also contributes to the broader topics of access, power, and privilege in British society and how the rich subvert and undermine democracy, thereby aggravating structural inequalities, inequalities that have only deepened since Kubrick’s political interventions and machinations.
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Pub Date : 2023-09-14DOI: 10.1080/01439685.2023.2256126
Serkan Şavk
AbstractThis article focuses on the death of Suphi Kaner by suicide in 1963, an incident that overlaps with the rapid growth of the domestic film industry in Turkey. Kaner’s tragic death is discussed in popular literature solely in relation to his alcohol addiction, his possible depression, and his inability to cope with sudden stardom, leaving almost unmentioned the key role of the boycott call of the Producers Association against him. In 1963, the power struggle between the producers and the star actors was very visible. Within the framework of this power struggle, producers made a boycott statement about Kaner, for allegedly interrupting the shooting of a film. I approach the chain of events that concluded with Kaner’s suicide as an early example of labour disputes in Turkish cinema. This case demonstrates that the scope of labour disputes in film industries encompasses even star actors who are often considered as a privileged class. I argue that Kaner’s suicide could have been avoided by fairer employment conditions, and if the Producers Association had not called for the boycott. To examine the case, I make use of a variety of historical texts including memoirs, auto-biographies, news pieces, interviews, and commentaries. AcknowledgementsI would like to thank Hakan Erkılıç, Mine Kasapoğlu Turhan, Ebru Özyurt, Bahar Emgin Şavk, Gürçim Yılmaz and Alican Sekmeç for their contributions during the writing of this article. I am also grateful to Gökçen Karanfil for working meticulously on the manuscript and making valuable suggestions; to Necip Sarıcı, a versatile artist and collector and a friend of Kaner, for sharing his memories; and to Simon Mumford for proofreading this article with diligent care as he always does.Disclosure statementThe author reports there are no competing interests to declare.Notes1 The word ‘artist’ was specifically used to designate cinema actors by then. For all the numeric data about films, I refer to the Center for Turkish Cinema Studies (Türk Sinema Araştırmaları, TSA) database, https://www.tsa.org.tr/en/, accessed 22 September 2022.2 Resources mention the name of this association with variations such as Producers Association (Prodüktörler Cemiyeti), Producers Guild of Turkey (Türkiye Prodüktörler Birliği) and Producers Guild (Prodüktörler Birliği). For the sake of consistency, I refer to it as the Producers Association thereafter.3 Michael C. Nielsen, ‘Labour Power and Organization in the Early U.S. Motion Picture Industry’, Film History 2, no. 2 (1988): 121.4 Ronny Regev, Working in Hollywood: How the Studio System Turned Creativity into Labour (Chapel Hill: University of North Carolina Press, 2018).5 Regev, 19.6 For introductive knowledge about Yeşilçam and its production mode see Dilek Kaya, ‘Yeşilçam Döneminde Film Sansürü: Bir Müzakere ve Mücadele Alanı Olarak Film Sesi’, Kültür ve İletişim 20, no. 39 (2017): 12–34; Remake, Remix, Rip-Off: About Copy Culture & Turkish Pop Cinema, Belgesel, 2014; Savaş Arslan, Ci
摘要本文关注的是1963年Suphi Kaner的自杀事件，这一事件与土耳其国内电影产业的快速发展相重叠。在通俗文学中，Kaner的悲剧性死亡只与他的酗酒，他可能的抑郁症，以及他对突然成名的无能有关，几乎没有提到制作人协会对他的抵制呼吁的关键作用。1963年，制片人和明星演员之间的权力斗争非常明显。在这种权力斗争的框架内，制片人对卡纳发表了一份抵制声明，据称他打断了一部电影的拍摄。我把以卡纳自杀结束的一系列事件作为土耳其电影劳资纠纷的早期例子。这个案例表明，电影行业劳资纠纷的范围甚至包括那些通常被认为是特权阶层的明星演员。我认为，如果更公平的就业条件，如果生产者协会没有呼吁抵制，卡纳的自杀本来是可以避免的。为了研究这个案例，我使用了各种各样的历史文本，包括回忆录、自传、新闻报道、采访和评论。我要感谢Hakan Erkılıç， Mine Kasapoğlu Turhan, Ebru Özyurt, Bahar Emgin Şavk, g<s:1> rim Yılmaz和Alican Sekmeç在撰写本文期间所做的贡献。同时也感谢Gökçen Karanfil对稿件的精心制作和提出的宝贵建议;Necip Sarıcı，一位多才多艺的艺术家和收藏家，也是Kaner的朋友，分享了他的回忆;还要感谢西蒙·芒福德一如既往地孜孜不倦地校对这篇文章。披露声明作者报告无竞争利益需要申报。注1那时，“艺术家”一词专门用来指电影演员。关于电影的所有数字数据，我参考了土耳其电影研究中心(TSA)数据库https://www.tsa.org.tr/en/，该数据库于2022.2年9月22日访问。资源提到了这个协会的名称，如制片人协会(Prodüktörler Cemiyeti)，土耳其制片人协会(t<s:1> rkiye Prodüktörler Birliği)和制片人协会(Prodüktörler Birliği)。为了保持一致，我将其简称为生产者协会Michael C. Nielsen，《早期美国电影工业的劳动力和组织》，《电影史》第2期，第2期。2 (1988): 121.4 Ronny Regev，在好莱坞工作:工作室系统如何将创造力转化为劳动(教堂山:北卡罗来纳大学出版社，2018)Regev, 19.6关于ye<s:1> il<s:2> am及其制作模式的介绍性知识，见Dilek Kaya， ' ye<e:1> il<s:2> am Döneminde Film Sansürü: Bir mzakere ve m<e:1> cadele alanyi Olarak Film Sesi '， k<s:1> ltr <e:1> ve İletişim 20, no. 6。39 (2017): 12-34;翻拍、混音、剽窃:关于复制文化与土耳其流行电影，比利时，2014;萨瓦伊·阿尔斯兰:《土耳其电影:新的批判史》，第一版(牛津，纽约:牛津大学出版社，2011);艾哈迈德·格拉塔，“翻译现代性:土耳其电影的翻拍”，在亚洲电影院:一个Redar和指南，编辑迪米特里斯·埃莱夫特里奥蒂斯和加里·尼德姆(爱丁堡:爱丁堡大学出版社，2006年)，242-54;Nezih Erdoğan和Deniz Göktürk，“土耳其电影”，中东和北非电影百科全书，奥利弗·利曼编辑(伦敦:劳特利奇，2001);7 . Erman Şener, ye<s:1> ilam ve t<e:1> rk sinemasyi (İstanbul: camera Yayınları， 1970)有关区域管理系统的概述，请参阅İlke Şanlıer y<s:1> ksel和Aydın Çam， ' Çukurova ' da 1960-1980 Dönemi电影院Pratiklerinin Özel Bir Örneği: Yörük Filmleri '， Sinecine:电影院Araştırmaları Dergisi 10号。2 (2019): 291-320, https://doi.org/10.32001/sinecine.639715;哈坎Erkılıç和雷杰普Ünal， ' t<s:1> rkiye Sinemasına Özgü Bir Üretim tarzyi Olarak Bölge İşletmeciliği: Adana Bölgesi İşletmeciliği Örnek Olay İncelemesi '， Erciyes İletişim Dergisi 5, no。3 (2018): 54-74;8 . nilg<e:1> n Abisel， ' t<e:1> rk Sinemasında Film Yapımı Üzerine Notlar '， in t<e:1> rk sinemaski Üzerine Yazılar，作者nilg<e:1> n Abisel(安卡拉:凤凰城Yayınevi, 2005)Serkan Şavk和Burak Doğu，“绘制ye<s:1> ilam:土耳其电影工业的关系方法”，CINEJ电影杂志9,no。[2] (2021): 199, https://cinej.pitt.edu/ojs/index.php/cinej/article/view/425/662.9 Şener, ye<s:1> <s:1> <s:1>空间测量<e:1>， [j]， 133-34。关于汇率，我指的是1969年的年平均值为1美元= 9土耳其里拉。10 Alim Şerif Onaran， ' trkiye ' de Sinemanın Örgütlenmesi Sorunu '， SBF Dergisi 29, no。3 (1974): 65-66.11 Altan ba<e:1> aran和M. Meryem kurtulmuek， ' t<s:1> rk Film endend<e:1> strisinde Çalışma İlişkileri ve sendikala<e:1> ma '， Çalışma ve Toplum, no. 65-66.11。1 (2016): 207;Derya Çetin， ' t<e:1> rk sinemasyi Çalışanlarının Örgütlenme sorunlaryi '(博士论文，安卡拉，安卡拉Üniversitesi Sosyal Bilimler Enstitüsü， 2010)， 85.12 Çetin， ' t<e:1> rk sinemasyi Çalışanlarının Örgütlenme sorunlaryi '， 85。 1963年7月7日，这意味着合同是晚些时候签署的
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Pub Date : 2023-09-14DOI: 10.1080/01439685.2023.2256081
Trevor Griffiths
The popularity of cinema from its earliest days in small-town settings emphasises the importance of local circumstances in explaining the medium’s success. This article employs surviving business records relating to the Picture House in the Scottish burgh of Campbeltown to explore aspects of cinema-going peculiar to that corner of rural Argyllshire, including a propensity, hitherto unidentified among Scottish audiences, to support the productions of the British film industry. Beyond this, the Picture House has a broader significance. As a monopoly provider of commercial entertainment to an enclosed market, it offers telling insights into a key point of transition for cinema, that from silent to sound film. Placed in the context of national trends, documented by data relating to the taxation of entertainments, Campbeltown provides compelling evidence that the advent of the talkies marked a fundamental discontinuity in the history of the medium at all levels, from the local to the national.
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Pub Date : 2023-09-14DOI: 10.1080/01439685.2023.2256123
Augustine Danso
AbstractThe British colonialists employed cinema from two key viewpoints; the first was the use of cinema in consolidating and promoting the economic and political agendas of the imperial project. Secondly, cinema became a critical medium through which the moral and social welfare of the natives in the British colonies were promoted. The considerably scattering of scholarly works on African cinema have explored colonial film censorship in some parts of Africa, however, the specific case of the Gold Coast (Ghana) has been an under-studied subject. The article engages a critical dialogue on how early film censorship was practised and further seeks to interrogate the nexus between the imperial project and the British colonial film censorship activities in the Gold Coast. While this paper does not claim an exhaustive treatment of the field of film censorship practices in Ghana, it endeavors to lay out an initial inroad, generate interests and critical debates in this neglected field. AcknowledgementsThank you very much, Prof. Fatimah Tuggar of the University of Florida (U.S.A) for funding this project and for offering insightful contributions to this study. I also thank Prof. Mark Jancovich of University of East Anglia, UK, for his critical contributions.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 This article consciously slips between the use of ‘Gold Coast’ and ‘Ghana’ for the purpose of the wider audience, who may not be conversant with African and Ghanaian history. Specifically, Gold Coast is a former British colony, known today as Ghana.2 Samson Kaunga Ndanyi, ‘Film Censorship and Identity in Kenya’, Ufahamu: A Journal of African Studies 42, no. 2 (2021).3 Paul Ushang Ugor, ‘Censorship and the Content of Nigerian Home Video Films’, Postcolonial Text 3, no. 2 (2007).4 Rosaleen Smyth, ‘The Development of British Colonial Film Policy, 1927–1939, with special reference to East and Central Africa’, The Journal of African History 20, no. 3 (1979).5 Gairoonisa Palker, ‘The State, Citizens and Control: Film and African Audiences in South Africa, 1910–1948’, Journal of Southern African Studies 40, no. 2 (2014).6 Augustine Danso, ‘Reconstructing Cinematic Activities in the Early Twentieth Century: Gold Coast (Ghana)’, Journal of African Cinemas, 13:2 (2021): 148.7 John C. McCall, ‘West African Cinema’, Oxford Research Encyclopedia of African History, (2018): 1.8 Ibid.9 Ibid.10 Rosaleen, Smyth, ‘The Development of British Colonial Film Policy, 1927–1939, with Special Reference to East and Central Africa’, The Journal of African History 20, no. 3 (1979): 438.11 Ibid.12 Ibid.13 Rosaleen Smyth, ‘The British Colonial Film Unit and sub-Saharan Africa, 1935–1945’, Historical Journal of Film, Radio and Television, no. 8, no. 3 (1988): 286.14 Ibid.15 John Collins, ‘The Ghanaian Concert Party: African Popular Entertainment at the Crossroads’ (PhD dissertation, Buffalo: State University of New York, 1994), 322.16 Ibid.1
【摘要】英国殖民者对电影的利用主要有两个方面;首先是利用电影来巩固和促进帝国计划的经济和政治议程。其次，电影成为促进英属殖民地土著人道德和社会福利的重要媒介。关于非洲电影的学术著作相当分散，探讨了非洲某些地区的殖民电影审查制度，然而，黄金海岸(加纳)的具体案例一直是一个研究不足的主题。本文对早期电影审查制度的实践进行了批判性的对话，并进一步探讨了帝国计划与英国在黄金海岸的殖民电影审查活动之间的联系。虽然本文并没有声称对加纳的电影审查实践领域进行详尽的处理，但它努力在这个被忽视的领域提出初步的进展，产生兴趣和批判性的辩论。非常感谢佛罗里达大学(美国)的Fatimah Tuggar教授资助本项目，并为本研究提供了有见地的贡献。我还要感谢英国东安格利亚大学的Mark Jancovich教授所作的重要贡献。披露声明作者未报告潜在的利益冲突。注1这篇文章有意识地在“黄金海岸”和“加纳”的使用之间游走，以方便不熟悉非洲和加纳历史的广大读者。2 Samson Kaunga Ndanyi，“肯尼亚的电影审查和身份认同”，Ufahamu: a Journal of African Studies, 42, no. 2。2(2021)。3Paul Ushang Ugor，“审查制度与奈及利亚家庭录像电影的内容”，《后殖民文本》第3期。2(2007)。4Rosaleen Smyth，“英国殖民电影政策的发展，1927-1939，特别涉及东非和中非”，《非洲历史杂志》第20期。3(1979)。5Gairoonisa Palker，《国家、公民和控制:1910-1948年南非的电影和非洲观众》，《南部非洲研究杂志》，第40期。2(2014)。6奥古斯丁丹索，“重建电影活动在二十世纪初:黄金海岸(加纳)”，非洲电影院杂志，13:2(2021):148.7约翰C.麦考尔，“西非电影”，非洲历史的牛津研究百科全书，(2018):1.8同上。9同上。10罗莎琳，史密斯，“英国殖民电影政策的发展，1927-1939年，特别参考东非和中非”，非洲历史杂志20,no。3(1979): 438.11同上，12同上，13 Rosaleen Smyth，“英国殖民电影单位和撒哈拉以南非洲，1935-1945”，电影，广播和电视的历史杂志，no. 13。8,不。3(1988): 286.14同上，15 John Collins，“加纳音乐会派对:十字路口的非洲流行娱乐”(博士论文，布法罗:纽约州立大学，1994)，322.16同上，17同上，18同上，19殖民执行委员会，总委员会会议纪要，黄金海岸，1939年2月8日，第37/30号，公共记录和档案管理部(PRAAD)阿克拉-加纳1937年8月14日，黄金海岸，第37/30号，公共记录和档案管理部门(PRAAD)，加纳首都阿克拉Rosaleen Smyth，“英国殖民电影政策的发展，1927-1939，特别涉及东非和中非”，《非洲历史杂志》第20期。3(1979): 438-439.22同上，23同上，24信，AG。1937年10月26日，维多利亚堡，加纳阿克拉，公共记录和档案管理部门(PRAAD)，电影审查第37/30号同上26科伦坡市议会主席兼市长纽纳姆先生给光荣的殖民地秘书的一封信，1926年11月11日，加纳阿克拉公共记录和档案管理部(PRAAD)电影审查第37/30号1937年8月14日，黄金海岸，37/30号，公共记录和档案管理部门(PRAAD)，加纳阿克拉同上29保罗·乌戈尔:“审查制度与尼日利亚录像电影的内容”，《后殖民文本》第3期，第1期(2007): 3.30同上。31 Edward W. Said，“东方主义:西方对东方的概念”。Harmondsworth, Eng。:企鹅115(1995):396.32同上33科伦坡市议会主席兼市长纽纳姆先生给光荣的殖民部长的信，1926年11月11日，加纳阿克拉公共记录和档案管理部(PRAAD)电影审查第37/30号殖民地执行委员会，总理事会会议纪要，黄金海岸，1939年2月8日，第37/30号，公共记录和档案管理部(PRAAD)阿克拉-加纳詹姆斯·伯恩斯，“英国殖民时期非洲的电影文化”，《非洲与历史》2006年第1期，第67页。
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Pub Date : 2023-07-17DOI: 10.1080/01439685.2023.2232157
Shanshan Diao
{"title":"The Sentimental in Chinese Cinema","authors":"Shanshan Diao","doi":"10.1080/01439685.2023.2232157","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232157","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59096460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-14DOI: 10.1080/01439685.2023.2232150
J. Deutsch
{"title":"100 American Horror Films. BARRY KEITH GRANT, 2022, London, UK, Bloomsbury for British Film Institute, pp. vi + 217, illus., index, list of illustrations, £19.99 (paper)","authors":"J. Deutsch","doi":"10.1080/01439685.2023.2232150","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232150","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"225 7","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41308298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-10DOI: 10.1080/01439685.2023.2232156
S. Wan
{"title":"Race and Radio: Pioneering Black Broadcasters in New Orleans","authors":"S. Wan","doi":"10.1080/01439685.2023.2232156","DOIUrl":"https://doi.org/10.1080/01439685.2023.2232156","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47592782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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