Pub Date : 2023-06-01DOI: 10.1353/flm.2023.a903044
Janet McCracken
n his acceptance speech for the Oscar for Best Foreign Language film of 1992, Fernando Trueba stated, "I would like to believe in God in order to thank him. But I just believe in Billy Wilder...so thank you, Mr. Wilder.” To directors, Billy Wilder, who would die in 2002, was alive and well in every sense. When French filmmaker Michel Hazanavicius accepted his Oscar for Best Picture for The Artist (2011), he thanked "Billy Wilder...Billy Wilder, and...Billy Wilder.” Director Stephen Frears, no slouch himself, is currently in post-production of a film about the Hollywood icon, starring Christoph Waltz. Directors get books written about them, and the volumes written about Wilder are too numerous to review, but not often do directors get movies made about them. Wilder, however, was a rare sort: a director’s director, the kind of artist who, long after death, keeps teaching the other directors, and the scholars keep talking. In this company, then, it’s prudent for me to keep my claim modest, demonstrable, and useful. My claim bears some resemblance to what Andrew Sarris once wrote: that the “apparent cynicism” in Billy Wilder “was the only way he could make his raging romanticism palatable’” (McBride, 273). Conversely, Neil Sinyard and Adrian Turner “drew attention to Wilder’s gentler, more romantic side...[challenging] the accusations of cynicism and bad taste” (Armstrong, 2). But that’s the point: Wilder would never sacrifice comedic or romantic force in his films, but neither would he sacrifice tragic or agonistic elements that drove the otherwise happy endings toward existential choice.
{"title":"Ruination and Redemption in Billy Wilder's Romantic Comedies","authors":"Janet McCracken","doi":"10.1353/flm.2023.a903044","DOIUrl":"https://doi.org/10.1353/flm.2023.a903044","url":null,"abstract":"n his acceptance speech for the Oscar for Best Foreign Language film of 1992, Fernando Trueba stated, \"I would like to believe in God in order to thank him. But I just believe in Billy Wilder...so thank you, Mr. Wilder.” To directors, Billy Wilder, who would die in 2002, was alive and well in every sense. When French filmmaker Michel Hazanavicius accepted his Oscar for Best Picture for The Artist (2011), he thanked \"Billy Wilder...Billy Wilder, and...Billy Wilder.” Director Stephen Frears, no slouch himself, is currently in post-production of a film about the Hollywood icon, starring Christoph Waltz. Directors get books written about them, and the volumes written about Wilder are too numerous to review, but not often do directors get movies made about them. Wilder, however, was a rare sort: a director’s director, the kind of artist who, long after death, keeps teaching the other directors, and the scholars keep talking. In this company, then, it’s prudent for me to keep my claim modest, demonstrable, and useful. My claim bears some resemblance to what Andrew Sarris once wrote: that the “apparent cynicism” in Billy Wilder “was the only way he could make his raging romanticism palatable’” (McBride, 273). Conversely, Neil Sinyard and Adrian Turner “drew attention to Wilder’s gentler, more romantic side...[challenging] the accusations of cynicism and bad taste” (Armstrong, 2). But that’s the point: Wilder would never sacrifice comedic or romantic force in his films, but neither would he sacrifice tragic or agonistic elements that drove the otherwise happy endings toward existential choice.","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"53 1","pages":"18 - 4"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46067332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/flm.2023.a903047
Michael Zendejas
{"title":"Rescued from Amnesia: Political Afterlives of the 1980s Chicano Wave","authors":"Michael Zendejas","doi":"10.1353/flm.2023.a903047","DOIUrl":"https://doi.org/10.1353/flm.2023.a903047","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"53 1","pages":"45 - 60"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45425638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/flm.2023.a903045
Bert Ulrich
“That face, that face, what was it about that face? You could have read into it all the secrets of a woman’s soul. You could read Eve, Cleopatra, Mata Hari. She became all women on the screen. Not on the sound stage. The miracle happened in that film emulsion. Who knows why? Marilyn Monroe had this same gift. That same trick of flesh impact – that is to say, their flesh registered for the camera and came across the screen as real flesh that you could touch, an image beyond photography.” – Billy Wilder
{"title":"Greta Garbo: Siren of the Close-up","authors":"Bert Ulrich","doi":"10.1353/flm.2023.a903045","DOIUrl":"https://doi.org/10.1353/flm.2023.a903045","url":null,"abstract":"“That face, that face, what was it about that face? You could have read into it all the secrets of a woman’s soul. You could read Eve, Cleopatra, Mata Hari. She became all women on the screen. Not on the sound stage. The miracle happened in that film emulsion. Who knows why? Marilyn Monroe had this same gift. That same trick of flesh impact – that is to say, their flesh registered for the camera and came across the screen as real flesh that you could touch, an image beyond photography.” – Billy Wilder","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"53 1","pages":"19 - 30"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47185708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/flm.2023.a903655
Scott Weiss
{"title":"The Private Secretary dir. by Wilhelm Thiele (review)","authors":"Scott Weiss","doi":"10.1353/flm.2023.a903655","DOIUrl":"https://doi.org/10.1353/flm.2023.a903655","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"53 1","pages":"79 - 81"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44755227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/flm.2023.a903046
Brent Yergensen
n Christmas Eve of 2020, British Prime Minister Boris Johnson praised Britain’s exit from the European Union (“Brexit”) in a speech to his country: “We have taken back control of laws and our destiny. We have taken control of every jot and tittle of our regulation in a way that is complete and unfettered” (Hughes, 2020). Yet not every United Kingdom citizen shared his enthusiasm. Over 300 public figures “wrote open letters ahead of the 2016 referendum urging a Remain vote” (Hughes). Even the two remaining Beatles were split, with Paul McCartney resistant to Brexit and Ringo Starr in support of it (Fox & Radosavljevic, 2020). Further, public responses to the controversial but successful decision to secede was also evenly split according to results from the Brexit Referendum committee, with similar results from national polls in England. Northern Ireland and Scotland had higher votes of resistance from their populations, which deepened the controversy (BBC News, n.d.).
{"title":"Sovereignty, Brexit, and Dunkirk: Winston Churchill's \"Fight Them on the Beaches\" Speech as Nationalist Memory","authors":"Brent Yergensen","doi":"10.1353/flm.2023.a903046","DOIUrl":"https://doi.org/10.1353/flm.2023.a903046","url":null,"abstract":"n Christmas Eve of 2020, British Prime Minister Boris Johnson praised Britain’s exit from the European Union (“Brexit”) in a speech to his country: “We have taken back control of laws and our destiny. We have taken control of every jot and tittle of our regulation in a way that is complete and unfettered” (Hughes, 2020). Yet not every United Kingdom citizen shared his enthusiasm. Over 300 public figures “wrote open letters ahead of the 2016 referendum urging a Remain vote” (Hughes). Even the two remaining Beatles were split, with Paul McCartney resistant to Brexit and Ringo Starr in support of it (Fox & Radosavljevic, 2020). Further, public responses to the controversial but successful decision to secede was also evenly split according to results from the Brexit Referendum committee, with similar results from national polls in England. Northern Ireland and Scotland had higher votes of resistance from their populations, which deepened the controversy (BBC News, n.d.).","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"53 1","pages":"31 - 44"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66359145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/flm.2023.a903048
Thomas Caulton
n November 24, 1913, the Independent Moving Picture Company released Traffic in Souls (Traffic) to three full-house audiences at the Joe Weber Theatre on Broadway. One week later, the Moral Feature Film Company released The Inside of the White Slave Traffic (Inside) at the Park Theatre on Columbus Circle, where its popularity saw several hundred people – mostly young women – turned away at the doors. A month later, both films were still selling-out in greater New York, each grossing close to $5,000 at the weekly box office. Traffic and Inside represented the two most important films of a new genre of sensationalist cinema: the ‘white slavery’ film, which was emerging in the early twentieth century against a background of media-propagated ‘sex hysteria.’ Labelled the ‘twin’ of antebellum African American slavery by Jane Addams, ‘white slavery’ films exploited a growing fear in American society that an extensive and elaborate system of forced prostitution existed within cities like New York, involving the widespread abduction of young and impressionable white native-born women.
1913年11月24日，独立电影公司在百老汇的乔·韦伯剧院向三位满座观众发行了《灵魂的交通》（Traffic in Souls）。一周后，道德故事片公司在哥伦布圆环的公园剧院上映了《白奴贩卖内幕》（Inside of the White Slave Traffic，简称《内幕》），在那里，数百人——大多数是年轻女性——在门口被拒之门外。一个月后，这两部电影在大纽约仍然销售一空，每部每周票房接近5000美元。《交通》和《内幕》代表了一种新的耸人听闻的电影类型中最重要的两部电影：“白人奴隶”电影，这部电影出现在20世纪初，当时媒体宣传的是“性歇斯底里”被简·亚当斯称为南北战争前非裔美国人奴隶制的“双胞胎”，“白人奴隶制”电影利用了美国社会日益增长的恐惧，即纽约等城市存在着一个广泛而复杂的强迫卖淫系统，涉及广泛绑架年轻易受影响的白人本土出生妇女。
{"title":"Motion Pictures and Moral Panic: The Reception of 'White Slavery' Films in New York in 1913","authors":"Thomas Caulton","doi":"10.1353/flm.2023.a903048","DOIUrl":"https://doi.org/10.1353/flm.2023.a903048","url":null,"abstract":"n November 24, 1913, the Independent Moving Picture Company released Traffic in Souls (Traffic) to three full-house audiences at the Joe Weber Theatre on Broadway. One week later, the Moral Feature Film Company released The Inside of the White Slave Traffic (Inside) at the Park Theatre on Columbus Circle, where its popularity saw several hundred people – mostly young women – turned away at the doors. A month later, both films were still selling-out in greater New York, each grossing close to $5,000 at the weekly box office. Traffic and Inside represented the two most important films of a new genre of sensationalist cinema: the ‘white slavery’ film, which was emerging in the early twentieth century against a background of media-propagated ‘sex hysteria.’ Labelled the ‘twin’ of antebellum African American slavery by Jane Addams, ‘white slavery’ films exploited a growing fear in American society that an extensive and elaborate system of forced prostitution existed within cities like New York, involving the widespread abduction of young and impressionable white native-born women.","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"53 1","pages":"61 - 78"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45828664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Detecting the South in Fiction, Film & Television by Deborah E. Barker and Theresa Starkey (review)","authors":"Nicholas K. Johnson, Paul Cohen","doi":"10.1353/flm.2022.0019","DOIUrl":"https://doi.org/10.1353/flm.2022.0019","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"52 1","pages":"64 - 66"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45172359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Liberating Hollywood: Women Directors & the Feminist Reform of 1970 as American Cinema by Maya Montañez Smuckler (review)","authors":"A. Kozma","doi":"10.1353/flm.2022.0020","DOIUrl":"https://doi.org/10.1353/flm.2022.0020","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"52 1","pages":"67 - 68"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47696745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gender and [Re-]Casting in Steve McQueen's Hunger: Selectively Culling Bobby Sands's Writings from Prison","authors":"Lisa LeBlond","doi":"10.1353/flm.2022.0017","DOIUrl":"https://doi.org/10.1353/flm.2022.0017","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"52 1","pages":"35 - 47"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43639550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Resetting the Scene: Classic Hollywood Revisited ed. by Philippa Gates and Katherine Spring (review)","authors":"Michelle Risacher","doi":"10.1353/flm.2022.0021","DOIUrl":"https://doi.org/10.1353/flm.2022.0021","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"52 1","pages":"69 - 71"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41991509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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