{"title":"Bette Davis and the Cold War Career Women in Storm Center (1956)","authors":"Scott Balcerzak","doi":"10.1353/flm.2020.0001","DOIUrl":"https://doi.org/10.1353/flm.2020.0001","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"15 - 28"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41814795","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}
oward the end of World War I (WWI), with the Allied powers’ anti-German propaganda at its zenith, Generalquartiermeister Erich Friedrich Wilhelm Ludendorff considered the German propaganda efforts to be too fragmented to be effective and felt the need to create a film production company that would be controlled directly by the German armed forces. Thus, at the end of 1916, Bild-und Filmamt (Bufa) was created as an umbrella organization for all government and military film, as well as press agencies, to promote the German war effort. Bufa mainly produced short educational, propaganda, and entertainment films for both the front line and the reserve forces. Still, General Ludendorff, wanting to move beyond the mechanism of Bufa, wrote a letter to the Imperial Ministry of War on July 4, 1917, that would lay the foundation for the consolidation of the German film industry and the formation of a larger film conglomerate, Universum Film Aktiengesellschaft (Ufa):
第一次世界大战结束后，盟军的反德宣传达到了顶峰，四分之一陆军上将Erich Friedrich Wilhelm Ludendorff认为德国的宣传工作过于分散，无法发挥作用，并认为有必要创建一家由德国武装部队直接控制的电影制作公司。因此，1916年底，Bild und Filmamt（Bufa）成立，作为所有政府和军事电影以及新闻机构的伞式组织，以宣传德国的战争努力。布法主要为前线和预备役部队制作教育、宣传和娱乐短片。尽管如此，卢登多夫将军还是想超越布法的机制，于1917年7月4日给帝国战争部写了一封信，为巩固德国电影业和组建一个更大的电影集团Universum film Aktiengesellschaft（Ufa）奠定了基础：
{"title":"The Face of Germany, 1918–1945: Ufa Personnel, Censorship, and Propaganda","authors":"H. O. Petrocelli","doi":"10.1353/flm.2020.0004","DOIUrl":"https://doi.org/10.1353/flm.2020.0004","url":null,"abstract":"oward the end of World War I (WWI), with the Allied powers’ anti-German propaganda at its zenith, Generalquartiermeister Erich Friedrich Wilhelm Ludendorff considered the German propaganda efforts to be too fragmented to be effective and felt the need to create a film production company that would be controlled directly by the German armed forces. Thus, at the end of 1916, Bild-und Filmamt (Bufa) was created as an umbrella organization for all government and military film, as well as press agencies, to promote the German war effort. Bufa mainly produced short educational, propaganda, and entertainment films for both the front line and the reserve forces. Still, General Ludendorff, wanting to move beyond the mechanism of Bufa, wrote a letter to the Imperial Ministry of War on July 4, 1917, that would lay the foundation for the consolidation of the German film industry and the formation of a larger film conglomerate, Universum Film Aktiengesellschaft (Ufa):","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"54 - 66"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48986098","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":"Animation ed. by Scott Curtis (review)","authors":"R. Weeks","doi":"10.1353/flm.2020.0014","DOIUrl":"https://doi.org/10.1353/flm.2020.0014","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"100 - 99"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49455453","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":"Runaway Hollywood: Internationalizing Postwar Production and Location Shooting by Daniel Steinhart (review)","authors":"Kallan Benjamin","doi":"10.1353/flm.2020.0007","DOIUrl":"https://doi.org/10.1353/flm.2020.0007","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"84 - 85"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46139907","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":"The Evolution of Nuclear Fear in Post-Occupation Japanese Film","authors":"K. Burton","doi":"10.1353/flm.2020.0003","DOIUrl":"https://doi.org/10.1353/flm.2020.0003","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"41 - 53"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47990045","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}
The cover of Pavle Levi’s Jolted Images (Unbound Analytic) displays a panel from the comic “Survival” (Spunk no. 1, 1979). A man, his chest exposed to reveal an electrical socket imbedded in his left breast, lifts a cord that is dangling in front of him. He plugs the cord into his chest socket, and his eyes illuminate. His sense of sight becomes both a receiver and a projector of light. For Levi, the panel is a representation of the “syntotics of the future” (16)—syntotics being a therapeutic procedure utilizing colored lights to alleviate a variety of mental and physical ailments (13). Levi’s personal experience with syntotics as a child was, in a sense, his initiation into the space of cinematic exhibition. The “syntotics of the future,” he says, is an “adjust[ing] of the physiological basis of sight ... that will enable the gaze to directly, immediately, affect its environment” (16). In this way, the cover image encapsulates the “jolted image” to which Levi refers. “Jolted image” is a term coined by Serbian filmmaker Dušan Makavejev. To jolt an image is to make the spectator an active participant in a world not of their creation; they become lucid dreamers in the space of the art they are spectating (23). Jolted Images provides exposure to a variety of these jolted images, and in doing so casts a wide net over different artists, media, scholastic approaches, and national identities. This wide net divides the book into a series of disparate essays—Levi refers to them as “brisk and lively criticaltheoretical reflections” (20)—which grapple with the effects of “jolting” art while also attempting to create jolted images of their own. Levi moves elusively through the works of several artists. He begins with Roman Polanski, of whom Levi once dreamed. In his dream state, Levi is convinced he has learned the “secret” to Polanski’s art, a secret that takes Levi much longer to discover in his waking life. This oneiric battle between wakefulness and dream states as it relates to artistic interpretation is to be Levi’s driving motif. He goes on to observe the encapsulation of Ingmar Bergman’s oneiric sequences as collaged by Makavejev; Miodrag Milošević’s reframing of Bernardo Bertolucci Last Tango in Paris; and the “objective chance” intersections in the works of poet Vujica Rešin Tucić, artist Michael Snow, and filmmaker Slobodan Šijan. Levi’s chapters take on an oneiric form of their own, and this form manifests itself in one of two ways. In the first, the chapter will, as dreams often do, end abruptly without the usual conclusionary statement. “In lieu of a conclusion” at the end of the chapter on Milošević’s Last Tango in Paris, Levi presents a series of images that attempts to reconstruct Last Tango in Paris using both Bertolucci’s original and Milošević’s grainy alterations— Levi calls it a “cardiogram” (53). The conclusion of a later chapter states, against an otherwise blank page, “[s]o, can we orgasm” (71), indicating a relationship between the
{"title":"Jolted Images (Unbound Analytic) by Pavle Levi (review)","authors":"A. Brannan","doi":"10.1353/flm.2020.0010","DOIUrl":"https://doi.org/10.1353/flm.2020.0010","url":null,"abstract":"The cover of Pavle Levi’s Jolted Images (Unbound Analytic) displays a panel from the comic “Survival” (Spunk no. 1, 1979). A man, his chest exposed to reveal an electrical socket imbedded in his left breast, lifts a cord that is dangling in front of him. He plugs the cord into his chest socket, and his eyes illuminate. His sense of sight becomes both a receiver and a projector of light. For Levi, the panel is a representation of the “syntotics of the future” (16)—syntotics being a therapeutic procedure utilizing colored lights to alleviate a variety of mental and physical ailments (13). Levi’s personal experience with syntotics as a child was, in a sense, his initiation into the space of cinematic exhibition. The “syntotics of the future,” he says, is an “adjust[ing] of the physiological basis of sight ... that will enable the gaze to directly, immediately, affect its environment” (16). In this way, the cover image encapsulates the “jolted image” to which Levi refers. “Jolted image” is a term coined by Serbian filmmaker Dušan Makavejev. To jolt an image is to make the spectator an active participant in a world not of their creation; they become lucid dreamers in the space of the art they are spectating (23). Jolted Images provides exposure to a variety of these jolted images, and in doing so casts a wide net over different artists, media, scholastic approaches, and national identities. This wide net divides the book into a series of disparate essays—Levi refers to them as “brisk and lively criticaltheoretical reflections” (20)—which grapple with the effects of “jolting” art while also attempting to create jolted images of their own. Levi moves elusively through the works of several artists. He begins with Roman Polanski, of whom Levi once dreamed. In his dream state, Levi is convinced he has learned the “secret” to Polanski’s art, a secret that takes Levi much longer to discover in his waking life. This oneiric battle between wakefulness and dream states as it relates to artistic interpretation is to be Levi’s driving motif. He goes on to observe the encapsulation of Ingmar Bergman’s oneiric sequences as collaged by Makavejev; Miodrag Milošević’s reframing of Bernardo Bertolucci Last Tango in Paris; and the “objective chance” intersections in the works of poet Vujica Rešin Tucić, artist Michael Snow, and filmmaker Slobodan Šijan. Levi’s chapters take on an oneiric form of their own, and this form manifests itself in one of two ways. In the first, the chapter will, as dreams often do, end abruptly without the usual conclusionary statement. “In lieu of a conclusion” at the end of the chapter on Milošević’s Last Tango in Paris, Levi presents a series of images that attempts to reconstruct Last Tango in Paris using both Bertolucci’s original and Milošević’s grainy alterations— Levi calls it a “cardiogram” (53). The conclusion of a later chapter states, against an otherwise blank page, “[s]o, can we orgasm” (71), indicating a relationship between the ","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"90 - 91"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48438750","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":"High Noon: The Hollywood Blacklist and the Making of an American Classic by Glenn Frankel, and: The Broadcast 41: Women and the Anti-Communist Blacklist by Carol A. Stabile (review)","authors":"Christine D'Auria","doi":"10.1353/flm.2019.0038","DOIUrl":"https://doi.org/10.1353/flm.2019.0038","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"4 - 6"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43875759","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":"Two Takes On Harriet","authors":"A. Schmidt, F. Fucile","doi":"10.1353/flm.2019.0036","DOIUrl":"https://doi.org/10.1353/flm.2019.0036","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"58 - 63"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46421186","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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