{"title":"From Iván Hevesy’s Aesthetics and Dramaturgy of the Film Play (1925), Part 2: The Structure and Image Construction of the Film Play","authors":"Melinda Szalóky, Ágnes Matuska, András Szekfü","doi":"10.1353/cj.2018.0047","DOIUrl":"https://doi.org/10.1353/cj.2018.0047","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"14 1","pages":"61 - 76"},"PeriodicalIF":0.0,"publicationDate":"2018-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81936533","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}
Abstract:This article traces the historical development of protests of LGBT representation in US commercial cinema from 1969 to 1974 by members of the broadly defined gay liberation movement. Drawing on coverage in both the LGBT and the trade press, I explore the evolving means by which gay and lesbian liberation activists sought to challenge stereotypical characterizations perpetuated by Hollywood. In doing so, I seek to nuance our understanding of how diverse types of activism—from on-the-street demonstrations to meetings with industrial leaders—both advanced gay liberationist aims and underscored complex internal conversations regarding the efficacy and merit of differing protest strategies.
{"title":"Liberating the Screen: Gay and Lesbian Protests of LGBT Cinematic Representation, 1969–1974","authors":"Matthew Connolly","doi":"10.1353/CJ.2018.0003","DOIUrl":"https://doi.org/10.1353/CJ.2018.0003","url":null,"abstract":"Abstract:This article traces the historical development of protests of LGBT representation in US commercial cinema from 1969 to 1974 by members of the broadly defined gay liberation movement. Drawing on coverage in both the LGBT and the trade press, I explore the evolving means by which gay and lesbian liberation activists sought to challenge stereotypical characterizations perpetuated by Hollywood. In doing so, I seek to nuance our understanding of how diverse types of activism—from on-the-street demonstrations to meetings with industrial leaders—both advanced gay liberationist aims and underscored complex internal conversations regarding the efficacy and merit of differing protest strategies.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"84 1","pages":"66 - 88"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80521579","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":"Introduction: There Is Something about Richard Dyer","authors":"Lisa Henderson","doi":"10.1353/CJ.2018.0013","DOIUrl":"https://doi.org/10.1353/CJ.2018.0013","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"40 1","pages":"148 - 151"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86438183","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 Big Picture: On the Expansiveness of Cinema and Media Studies","authors":"Lucas Hilderbrand","doi":"10.1353/CJ.2018.0005","DOIUrl":"https://doi.org/10.1353/CJ.2018.0005","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"14 1","pages":"113 - 116"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84326150","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":"Dear Sir or Madman","authors":"L. Bayman","doi":"10.1353/CJ.2018.0022","DOIUrl":"https://doi.org/10.1353/CJ.2018.0022","url":null,"abstract":"","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"102 1","pages":"174 - 176"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73289240","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}
Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections.
请注意，在King's Research Portal上提供的全文是作者接受手稿或印刷后版本，这可能与最终出版版本不同。如果引用，建议您检查并使用出版商的最终版本的页码，数量/发行和出版日期的详细信息。如果研究门户网站上提供了最终发表的版本，如果引用，建议您再次查看出版商的网站，以查看后续的更正。
{"title":"Promiscuous Histories, Materialist Theories, Speculative Poetics","authors":"Elena Gorfinkel","doi":"10.1353/CJ.2018.0007","DOIUrl":"https://doi.org/10.1353/CJ.2018.0007","url":null,"abstract":"Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"14 1","pages":"121 - 125"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84846036","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}
Abstract:This article examines studio architecture and the new light and sound infrastructure that shaped the American film industry's transition to sound in the 1920s. The shift to darkened sound studios intensified studio designers' ongoing efforts to achieve complete environmental control, previously by simulating natural phenomena like sunlight, and now also by managing the studio soundscape. With this control, however, came undesirable by-products, especially the risk of fire. Although long overshadowed by fires in film theaters, studio fires plagued the industry into the early years of sound. This article focuses on a 1929 fire that took ten lives during a Pathé production in Manhattan. Using a mix of Rick Altman's "crisis historiography" and what Paul Virilio terms "techno-analysis," it calls for greater attention to the ecological, labor, and gender politics of cinema's technological history and its persistent and uncontainable failures.
{"title":"Fire and Failure: Studio Technology, Environmental Control, and the Politics of Progress","authors":"Brian R. Jacobson","doi":"10.1353/CJ.2018.0001","DOIUrl":"https://doi.org/10.1353/CJ.2018.0001","url":null,"abstract":"Abstract:This article examines studio architecture and the new light and sound infrastructure that shaped the American film industry's transition to sound in the 1920s. The shift to darkened sound studios intensified studio designers' ongoing efforts to achieve complete environmental control, previously by simulating natural phenomena like sunlight, and now also by managing the studio soundscape. With this control, however, came undesirable by-products, especially the risk of fire. Although long overshadowed by fires in film theaters, studio fires plagued the industry into the early years of sound. This article focuses on a 1929 fire that took ten lives during a Pathé production in Manhattan. Using a mix of Rick Altman's \"crisis historiography\" and what Paul Virilio terms \"techno-analysis,\" it calls for greater attention to the ecological, labor, and gender politics of cinema's technological history and its persistent and uncontainable failures.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"92 1","pages":"22 - 43"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86973432","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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