Pub Date : 2023-06-12DOI: 10.1080/01439685.2023.2193044
Sandeep Ray
This article discusses Het Groote Mekka-Feest (The Great Mecca Festival), a non-fiction film produced by a Dutch-Indo filmmaker G.E.A. Krugers about Indonesian pilgrims making the hajj journey in 1928. In addressing this unique primary source, the article scrutinises how the film complements and corroborates accounts of the hajj from the early twentieth century and elaborates on how it provides the viewer with an experiential sense of travel as encountered by the pilgrims. Acknowledging the access of digital source material now offered by many archives, this rich visual document is both discussed within the existing literature, and set apart from it, in an attempt to exhume it from early non-fiction film archives of colonial Indonesia relegated to the slow lane of historical research.
{"title":"What Did the Haji Jawa See in Mecca? A film from 1928 as Primary Source","authors":"Sandeep Ray","doi":"10.1080/01439685.2023.2193044","DOIUrl":"https://doi.org/10.1080/01439685.2023.2193044","url":null,"abstract":"This article discusses Het Groote Mekka-Feest (The Great Mecca Festival), a non-fiction film produced by a Dutch-Indo filmmaker G.E.A. Krugers about Indonesian pilgrims making the hajj journey in 1928. In addressing this unique primary source, the article scrutinises how the film complements and corroborates accounts of the hajj from the early twentieth century and elaborates on how it provides the viewer with an experiential sense of travel as encountered by the pilgrims. Acknowledging the access of digital source material now offered by many archives, this rich visual document is both discussed within the existing literature, and set apart from it, in an attempt to exhume it from early non-fiction film archives of colonial Indonesia relegated to the slow lane of historical research.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41427586","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 : 2023-06-12DOI: 10.1080/01439685.2023.2218180
Urszula Doliwa, Judith Purkarthofer, Gergely Gosztonyi
In this article, we discuss the role that pirate radio played in a debate regarding the community-oriented sector of broadcasting and in incorporating the sector into the legal system. We concentrate on the period of the transformation from state monopolies to media pluralism in Poland, Austria and Hungary, which took place in the late 1980s and the 1990s. A qualitative content analysis is performed on legal texts and media coverage to identify discourses present in the debate. We complete this data with interviews and focus groups with policymakers and radio pirates and an analysis of legal regulations drawing on comparative law research. We show that the pirate radio movement in Hungary and Austria during the transformation processes seems to have had clearly defined goals and organisation.
{"title":"PIRATE RADIO and ITS ROLE IN THE ESTABLISHMENT OF COMMUNITY RADIO. POLAND, AUSTRIA AND HUNGARY – A COMPARISON","authors":"Urszula Doliwa, Judith Purkarthofer, Gergely Gosztonyi","doi":"10.1080/01439685.2023.2218180","DOIUrl":"https://doi.org/10.1080/01439685.2023.2218180","url":null,"abstract":"In this article, we discuss the role that pirate radio played in a debate regarding the community-oriented sector of broadcasting and in incorporating the sector into the legal system. We concentrate on the period of the transformation from state monopolies to media pluralism in Poland, Austria and Hungary, which took place in the late 1980s and the 1990s. A qualitative content analysis is performed on legal texts and media coverage to identify discourses present in the debate. We complete this data with interviews and focus groups with policymakers and radio pirates and an analysis of legal regulations drawing on comparative law research. We show that the pirate radio movement in Hungary and Austria during the transformation processes seems to have had clearly defined goals and organisation.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"53 3","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41298309","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 : 2023-06-05DOI: 10.1080/01439685.2023.2218181
Chaoya Zhu
In the mid to late 1920s, the Chinese film industry experienced a severe setback. Driven by the Ming Xing Film Company and the ‘Merchant Movement’, the Shanghai Film Guild was established in September 1927. It was the first filmmaking industry guild in the history of China. It was relatively outgoing in safeguarding the interests of the industry. It played an important role in maintaining the image of the industry, forcing the film censorship authority to revise its policies, and resisting those foreign films that insulted China. However, it did not form effective industry regulations to address industry autonomy. It did not change the vicious competition in the industry significantly, either. The establishment and operation of the guild was obviously affected by the wave of nationalism at the time, which caused it to perform more intensely in some situations.
{"title":"The Politics of Industry and the Wave of Nationalism: Exploring the Shanghai Film Guild, 1927–1930","authors":"Chaoya Zhu","doi":"10.1080/01439685.2023.2218181","DOIUrl":"https://doi.org/10.1080/01439685.2023.2218181","url":null,"abstract":"In the mid to late 1920s, the Chinese film industry experienced a severe setback. Driven by the Ming Xing Film Company and the ‘Merchant Movement’, the Shanghai Film Guild was established in September 1927. It was the first filmmaking industry guild in the history of China. It was relatively outgoing in safeguarding the interests of the industry. It played an important role in maintaining the image of the industry, forcing the film censorship authority to revise its policies, and resisting those foreign films that insulted China. However, it did not form effective industry regulations to address industry autonomy. It did not change the vicious competition in the industry significantly, either. The establishment and operation of the guild was obviously affected by the wave of nationalism at the time, which caused it to perform more intensely in some situations.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43001394","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 : 2023-06-05DOI: 10.1080/01439685.2023.2218179
Harry Parker
Scholarship on the ‘industrial film’ has tended to focus on the kinds of films produced within and for industrial organisations, from the 1910s onwards, and their many uses in education, advertising, and government. This article looks to the commercial antecedents of this tradition in Britain, namely the Edwardian industrial film ‘genre’, produced in vast quantities as theatrical entertainments for the popular market. It assesses both the aesthetics of these films and the discourses surrounding them, and explores how early filmmakers understood the uses and purposes of industrial films. The article argues that, although Edwardian industrial films were marketed as educational products, they lacked the temporal and thematic coherence required to meet filmmakers’ educational aspirations. Here the argument departs from several analyses that have foregrounded the way these films utilised ‘processual representation’. The article then sketches out the trajectories of industrial filmmaking during and after the First World War, when industrial films transitioned into new forms. The article concludes by considering the significance of that shift for the changing meaning of spectatorship across the early twentieth century.
{"title":"‘View’ and ‘Process’: Early British Industrial Films and Visual Culture","authors":"Harry Parker","doi":"10.1080/01439685.2023.2218179","DOIUrl":"https://doi.org/10.1080/01439685.2023.2218179","url":null,"abstract":"Scholarship on the ‘industrial film’ has tended to focus on the kinds of films produced within and for industrial organisations, from the 1910s onwards, and their many uses in education, advertising, and government. This article looks to the commercial antecedents of this tradition in Britain, namely the Edwardian industrial film ‘genre’, produced in vast quantities as theatrical entertainments for the popular market. It assesses both the aesthetics of these films and the discourses surrounding them, and explores how early filmmakers understood the uses and purposes of industrial films. The article argues that, although Edwardian industrial films were marketed as educational products, they lacked the temporal and thematic coherence required to meet filmmakers’ educational aspirations. Here the argument departs from several analyses that have foregrounded the way these films utilised ‘processual representation’. The article then sketches out the trajectories of industrial filmmaking during and after the First World War, when industrial films transitioned into new forms. The article concludes by considering the significance of that shift for the changing meaning of spectatorship across the early twentieth century.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43323761","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 : 2023-05-30DOI: 10.1080/01439685.2023.2218184
Jiale Ruan
As a socialist country with a large population, China has a tight censorship system in various visual fields, including film, television and online communities. To censor films, China’s central and local film authorities have successively established their own censorship systems. This article analyses the contemporary formation of local film censorship committees by combing through the history of film censorship in China. By discussing the relationship between intellectuals and the power behind film censorship, this study seeks to penetrate why and how intellectuals are co-opted by power and define the location of intellectuals in Chinese politics. Authorities reviewing films in a screening room symbolizes their ‘powerful’ gaze in the darkness, this visual mechanism of intellectual complicity with power, which requires Chinese filmmakers to learn how to survive under the combined influence of ‘self-censorship’ and intellectual vision. Furthermore, when exploring film censorship in contemporary China, the political logic of socialist China needs to be touched upon, where film censorship experts are in fact only the eyes of the power, not the power itself.
{"title":"The Eyes of Power: Intellectual Vision in Contemporary Chinese Local Film Censorship","authors":"Jiale Ruan","doi":"10.1080/01439685.2023.2218184","DOIUrl":"https://doi.org/10.1080/01439685.2023.2218184","url":null,"abstract":"As a socialist country with a large population, China has a tight censorship system in various visual fields, including film, television and online communities. To censor films, China’s central and local film authorities have successively established their own censorship systems. This article analyses the contemporary formation of local film censorship committees by combing through the history of film censorship in China. By discussing the relationship between intellectuals and the power behind film censorship, this study seeks to penetrate why and how intellectuals are co-opted by power and define the location of intellectuals in Chinese politics. Authorities reviewing films in a screening room symbolizes their ‘powerful’ gaze in the darkness, this visual mechanism of intellectual complicity with power, which requires Chinese filmmakers to learn how to survive under the combined influence of ‘self-censorship’ and intellectual vision. Furthermore, when exploring film censorship in contemporary China, the political logic of socialist China needs to be touched upon, where film censorship experts are in fact only the eyes of the power, not the power itself.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44493320","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 : 2023-05-08DOI: 10.1080/01439685.2023.2210333
Marija Weste
{"title":"Fedor Bondarchuk: Stalingrad","authors":"Marija Weste","doi":"10.1080/01439685.2023.2210333","DOIUrl":"https://doi.org/10.1080/01439685.2023.2210333","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45149827","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 : 2023-04-03DOI: 10.1080/01439685.2022.2116859
J. M. Baxter
This article reexamines Sylvester ‘Pat’ Weaver’s plans for cultural uplift via NBC television in the 1950s. His ambitions have been the subject of much scholarly research, which often notes his ‘Operation Frontal Lobes’ as influential, citing academic articles published in the 1990s as authoritative. However, contemporary documents show that the ‘Frontal Lobes’ project never succeeded and the effort became an embarrassment to the network. Taking advantage of searchable, digitized newspapers, magazines, and trade publications and reviewing materials in the NBC archives in Wisconsin, this article attempts a more nuanced understanding of Weaver’s influence on NBC programming.
{"title":"Revisiting the Weaver Years at NBC","authors":"J. M. Baxter","doi":"10.1080/01439685.2022.2116859","DOIUrl":"https://doi.org/10.1080/01439685.2022.2116859","url":null,"abstract":"This article reexamines Sylvester ‘Pat’ Weaver’s plans for cultural uplift via NBC television in the 1950s. His ambitions have been the subject of much scholarly research, which often notes his ‘Operation Frontal Lobes’ as influential, citing academic articles published in the 1990s as authoritative. However, contemporary documents show that the ‘Frontal Lobes’ project never succeeded and the effort became an embarrassment to the network. Taking advantage of searchable, digitized newspapers, magazines, and trade publications and reviewing materials in the NBC archives in Wisconsin, this article attempts a more nuanced understanding of Weaver’s influence on NBC programming.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"43 1","pages":"480 - 496"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41829559","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 : 2023-04-03DOI: 10.1080/01439685.2023.2189666
D. Macleod
{"title":"Monstrous Youth: Transgressing the Boundaries of Childhood in the United States","authors":"D. Macleod","doi":"10.1080/01439685.2023.2189666","DOIUrl":"https://doi.org/10.1080/01439685.2023.2189666","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44728282","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 : 2023-04-03DOI: 10.1080/01439685.2023.2196881
{"title":"The Iamhist-Routledge Best Article Prizes for 2022","authors":"","doi":"10.1080/01439685.2023.2196881","DOIUrl":"https://doi.org/10.1080/01439685.2023.2196881","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"43 1","pages":"540 - 540"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47529692","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 : 2023-03-29DOI: 10.1080/01439685.2023.2193042
Elmy Grisel Lemus Soriano
This article aims to explore the particularities of American movies about Devil’s Island during the 1930’s but also to analyse how this specific interworld war context had a deep impact in the depiction of this penal colony. We refer to the methodological tools of cultural history to look at the United States and France internally and externally, using the movies as axes of interpretation regarding penal colonies, penal systems and old empires, but also to understand how a social imagery of Devil’s Island was slowly created through photos, documentaries, articles, features and memoirs.
{"title":"From Prison to Censorship: Devil’s Island Films (1926–1940)","authors":"Elmy Grisel Lemus Soriano","doi":"10.1080/01439685.2023.2193042","DOIUrl":"https://doi.org/10.1080/01439685.2023.2193042","url":null,"abstract":"This article aims to explore the particularities of American movies about Devil’s Island during the 1930’s but also to analyse how this specific interworld war context had a deep impact in the depiction of this penal colony. We refer to the methodological tools of cultural history to look at the United States and France internally and externally, using the movies as axes of interpretation regarding penal colonies, penal systems and old empires, but also to understand how a social imagery of Devil’s Island was slowly created through photos, documentaries, articles, features and memoirs.","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48343151","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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