Filmhistorie, filmteori og filmkritik

Lion of Hollywood is the definitive biography of Louis B. Mayer, the chief of Metro-Goldwyn-Mayer—MGM—the biggest and most successful film studio of Hollywood’s Golden Age.An immigrant from tsarist Russia, Mayer began in the film business as an exhibitor but soon migrated to where the action and the power were—Hollywood. Through sheer force of energy and foresight, he turned his own modest studio into MGM, where he became the most powerful man in Hollywood, bending the film business to his will. He made great films, including the fabulous MGM musicals, and he made great stars: Garbo, Gable, Garland, and dozens of others. Through the enormously successful Andy Hardy series, Mayer purveyed family values to America. At the same time, he used his influence to place a federal judge on the bench, pay off local officials, cover up his stars’ indiscretions and, on occasion, arrange marriages for gay stars. Mayer rose from his impoverished childhood to become at one time the highest-paid executive in America. Despite his power and money, Mayer suffered some significant losses. He had two daughters: Irene, who married David O. Selznick, and Edie, who married producer William Goetz. He would eventually fall out with Edie and divorce his wife, Margaret, ending his life alienated from most of his family. His chief assistant, Irving Thalberg, was his closest business partner, but they quarreled frequently, and Thalberg’s early death left Mayer without his most trusted associate. As Mayer grew older, his politics became increasingly reactionary, and he found himself politically isolated within Hollywood’s small conservative community. Lion of Hollywood is a three-dimensional biography of a figure often caricatured and vilified as the paragon of the studio system. Mayer could be arrogant and tyrannical, but under his leadership MGM made such unforgettable films as The Big Parade, Ninotchka, The Wizard of Oz, Meet Me in St. Louis, and An American in Paris. Film historian Scott Eyman interviewed more than 150 people and researched some previously unavailable archives to write this major new biography of a man who defined an industry and an era.

From the author of the definitive heavy metal history, Bang Your Head, a behind-the-scenes look a century of horror filmsReel Terror is a love letter to the wildly popular yet still misunderstood genre that churns out blockbusters and cult classics year after year. From The Cabinet of Dr. Caligari to Paranormal Activity, Konow explores its all-time highs and lows, why the genre has been overlooked, and how horror films just might help us overcome fear. His on-set stories and insights delve into each movie and its effect on American culture.For novices to all out film buffs, this is the perfection companion to this Halloween's movie marathons.

Stardust Monuments spotlights the enduring efforts to memorialize and canonize the history and meaning of Hollywood and American film culture. In this engaging analysis, Alison Trope explores the tensions between art and commerce as they intersect in a range of nonprofit and for-profit institutions and products. An insightful tour of Hollywood's past, present, and future, Stardust Monuments examines the establishment of film libraries and museums beginning in the mid 1930s, the many failed attempts to open a Hollywood museum ranging from the 1960s to today, and the more successful recent corporate efforts to use Hollywood's past in theme restaurants and parks, classic movie channels, and DVD boxed sets.This fascinating narrative details the ongoing struggle to champion and codify Hollywood's legacy, a struggle engaged in by Hollywood stars and corporate executives, as well as memorabilia collectors and users of IMDb.

Bogart paints an indelible portrait of a complex man, from the privilege and abuse he experienced in childhood to his triumphant 1935 acting breakthrough in The Petrified Forest to his classic roles as the cynical idealist Rick of Casablanca and the drunken yet lovable Charlie Allnut in The African Queen. Based on more than two hundred interviews, years of research, and documents ranging from Warner Brothers script reports to an extensive FBI file, this is the definitive account of the immortal actor, painted against a backdrop of studio politics during Hollywood's Golden Age and the witch-hunts of the McCarthy era. Bogart is engrossing and unforgettable?a biography as towering as the legend at its heart.

Just as punk created a space for bands such as the Slits and Poly Styrene to challenge 1970s norms of femininity, through a transgressive, strident new female-ness, it also provoked experimental feminist film makers to initiate a parallel, lens-based challenge to patriarchal modes of film making. In this book, Rachel Garfield breaks new ground in exploring the rebellious, feminist punk audio-visual culture of the 1970s, tracing its roots and its legacies. In their filmmaking and their performed personae, film and video artists such as Vivienne Dick, Sandra Lahire, Betzy Bromberg, Ruth Novaczek, Sadie Benning, Leslie Thornton, Abigail Child and Anne Robinson offered a powerful, deliberately awkward alternative to hegemonic conformist femininity, creating a new "punk audio visual aesthetic". A vital aspect of our vibrant contemporary digital audio visual culture, Garfield argues, can be traced back to the techniques and forms of these feminist pioneers, who like their musical contemporaries worked in a pre-digital, analogue modality that nevertheless influenced the emergent digital audio visual culture of the 1990s and 2000s.

Engaging essays on a wide spectrum of Hollywood directors and the films they created.

Now Go interrogates not only how Studio Ghibli navigates grief so well, but how that informs our own understanding of grief's manifold faces.

Studienarbeit aus dem Jahr 2019 im Fachbereich Filmwissenschaft, Note: 1,0, Freie Universität Berlin (Theaterwissenschaften), Sprache: Deutsch, Abstract: Gegenstand dieser Arbeit ist der Film THE HATEFUL 8 von Quentin Tarantino (USA 2015), der in Verbindung mit theoretischen Konzepten und Begrifflichkeiten von Gilles Deleuze analysiert wird. Die Wahl des Films ist damit begründet, dass sich dort zahlreiche Szenen und Bilder wiederfinden, die einen ¿deleuzianischen¿ Charakter haben. In seinen theoretischen Schriften verwendet Deleuze zahlreiche Begrifflichkeiten und Konzepte von Henri Bergson und Charles Sanders Pierce, die auch in dieser Arbeit Erwähnung finden. Anhand des Films wird versucht, Deleuzes Theorien über den Affekt, das Affektbild, die Großaufnahme, das Gesicht, das Aktionsbild, die beliebigen Räume und die Bedeutungen der Wiederholung zu veranschaulichen. Mithilfe von Screenshots sollen die eben genannten Theorien illustriert werden. Als Hauptquelle dient dabei Deleuzes Werk über das Bewegungsbild.

This book presents a comprehensive history and analysis of Secret Cinema - the leading producer of large-scale immersive experiences in the UK. It examines how the company has evolved over twelve years from an experimental and artisanal organisation to a global leader in the field. The book focuses on the UK in late-2019, a point at which the immersive sector had grown significantly through its increasing contribution to GDP and its widespread recognition as a legitimate cultural offering. It captures an organisation and a sector transitioning from marginal and subcultural roots to a commodifiable and commercial form, now with recognisable professional roles and practices, which has contributed to the establishment of an immersive experience industry of national importance and global reach.

Bing Crosby's innovations as recording artist, actor, businessman, and radio and television performer. A multidisciplinary exploration, plus personal testimony from family members and colleagues.

Bachelorarbeit aus dem Jahr 2019 im Fachbereich Filmwissenschaft, Note: 1,3, Universität Wien (Theater-, Film- und Medienwissenschaft), Veranstaltung: Filmanalyse, Sprache: Deutsch, Abstract: In der folgenden Arbeit analysiere und interpretiere ich den Film ¿Rebeccä von Alfred Hitchcock aus dem Jahr 1940. Die Analyse ist dreigeteilt, untersucht werden die Aspekte Struktur, Form und Narration. Sie beruht auf den gängigen Methoden zur Analyse eines Films. Dem geht eine Inhaltsangabe der Handlung des Films voraus. Aus den Ergebnissen der Analyse schlussfolgere ich eine Interpretation, in der ich mich auch auf Analysen und Interpretationen aus einschlägiger Fachliteratur stütze. Der Interpretation liegt die Frage zugrunde, inwiefern man den Subtext des Films mit Fokus auf eine psychoanalytische Betrachtungsweise deuten kann. Im Fazit werden die Ergebnisse zusammengefasst und der Film einer abschließenden Betrachtung unterzogen.

Studienarbeit aus dem Jahr 2011 im Fachbereich Filmwissenschaft, Note: 1,7, Johann Wolfgang Goethe-Universität Frankfurt am Main, Sprache: Deutsch, Abstract: Der Kampf mit den inneren und äußeren Dämonen des Helden Howard Hughes in Martin Scorceses "Aviator" steht im Zentrum der vorliegenden Hausarbeit. Anhand des theoretischen Konzepts der Heldenreise wird der Film untersucht, um herauszufinden, inwieweit die Verfilmung dieser historischen Figur einem typischen Hollywoodfilm entspricht. Die Heldenreise stützt sich vor allem auf mythologische Bilder, Archetypen und psychologische Ansätze, die im Film besonders in der Bildgestaltung Ausdruck finden. Anhand der Urelemente, Farben und deren Konnotationen werden diese verbildlicht. Wir werden uns vor allem auf Howard Hughes¿ Zwangsneurose, seine Frauen- und Flugzeugaffinität beschränken und hier sehen, wie die diese Bereiche sowohl heilende als auch zerstörerische Wirkungen auf den Helden ausüben.

In this exciting first-hand account of an unexpected cinematic discovery, Michael Gates delves into the history behind a hoard of silent films found buried beneath the permafrost of an Arctic gold rush town.In 1978, hundreds of reels of silent films were unearthed from beneath the demolished site of an old hockey arena in Dawson City, Yukon. Author Michael Gates witnessed the cinematic discovery of these once-lost films-and in this book excavates and illuminates the history of a gold rush town like no other.An event in the most unlikely of places and circumstances, the Klondike gold rush was unique in the history of Canada and the development of the North. Dawson City, the "Paris of the North," was the hub of the Klondike gold rush 125 years ago. There were more saloons, gambling halls and theatres than there were places serving food, and the live theatre was at the centre of it all. Discover the icons who went from the Klondike to Hollywood: Robert Service, Jack London, Charlie Chaplin, Alexander Pantages, Sid Grauman, Roscoe "Fatty" Arbuckle, Marjorie Rambeau and more.Join Gates on this cinematic journey as he ponders the question: Did the Klondike help make Hollywood, or did Hollywood make the Klondike? Crafted from Gates's first-hand experience and extensive research, Hollywood in the Klondike casts a spotlight on an exciting piece of Canadian history.

Studienarbeit aus dem Jahr 2016 im Fachbereich Medien / Kommunikation - Medien und Politik, Pol. Kommunikation, Note: 1,3, Freie Universität Berlin (Publizistik- und Kommunikationswissenschaft), Veranstaltung: Exilpublizistik/ Filme, Sprache: Deutsch, Abstract: Aufgrund der Tatsache, dass der sowjetische Exilfilm ¿Aufstand der Fischer¿nach seiner Uraufführung am 5. Oktober 1934 in Moskau bald wieder aus den Kinos verschwand, wird in der vorliegenden Hausarbeit die Frage diskutiert, ob der vom deutschen Theaterregisseur Erwin Piscator produzierte Film ein politisches Opfer Stalins ist oder ob die Kritik sachlich berechtigt ist. Dazu werden zeitgenössische Kritiken präsentiert, anhand von geschichtlichen Fakten und Filminhalten bewertet und diese anhand von wissenschaftlichen Publikationen in den Forschungsstand eingeordnet. Bevor die Kritiken zusammengetragen und analysiert werden, wird im zweiten Kapitel die Handlung des Films kurz vorgestellt. Anschließend wird im dritten Kapitel ein Überblick über den Hintergrund zum ersten ¿ allerdings ebenso einzigen ¿ Spielfilm des kommunistischen für sein politisches proletarisches Theater umjubelten aber nicht unumstrittenen Berliner Regisseurs gegeben. Im abschließenden sechsten Kapitel werden resümierend die Forschungsfrage beantwortet, ein Fazit gezogen sowie ein Ausblick gegeben. Alle beschriebenen Inhalte, mittels derer die Filmhandlung skizziert und Filmkritik analysiert wird, beziehen sich auf eine aus mehreren Filmkopien neu geschnittene 85 minütige Version der Sammlung des GosFilmoFonds der UdSSR, die 1935 herausgegeben worden ist und deutsche Untertitel enthält. Die Produktion ist der eine der ersten sowjetischen Tonfilme. Die Handlung basiert auf dem Roman der deutschen Schriftstellerin Anna Seghers ¿Aufstand der Fischer von St. Barbarä.

Wie verändern medientechnologische Geräte wie Digitalkameras oder MP3-Player die Art und Weise, wie wir die Welt wahrnehmen und empfinden? Zwar ist die Rede von der Affektivität medialer Erfahrung in den Medien-, Kultur- und Sozialwissenschaften allgegenwärtig, doch befassen sich nur wenige Ansätze damit, welchen Einfluss die Technik auf unser Sehen, Hören und Fühlen nimmt.Diese Studie untersucht den Zusammenhang von Medientechnologie und Affekt auf Ebene der poetischen Muster audiovisueller Bilder: Hier lässt sich greifen, wie technische Apparate die inszenatorischen Strategien der Affizierung bestimmen. Filmanalytische Methoden werden dazu mit praxeologischen Ansätzen verknüpft. Die konkreten Anwendungsweisen der technischen Apparate - hier der Amateurkameras durch US-amerikanische Soldaten im Irakkrieg - werden auf ihre Konsequenzen für die Erzeugung raumzeitlicher Darstellungsmodi in Genre- und Dokumentarfilmen untersucht.In der entwickelten Perspektive lassen sich auf neuartige Weise technische und ästhetische Aspekte audiovisueller Bilder aufeinander beziehen. Zugleich eröffnet sich ein neuer Zugriff auf deren Historizität als je historisch spezifische Akte der Bilderzeugung und audiovisuellen Artikulation.

The Palgrave Handbook of Holocaust Literature and Culture reflects current approaches to Holocaust literature that open up future thinking on Holocaust representation. The chapters consider diverse generational perspectives¿survivor writing, second and third generation¿and genres¿memoirs, poetry, novels, graphic narratives, films, video-testimonies, and other forms of literary and cultural expression. In turn, these perspectives create interactions among generations, genres, temporalities, and cultural contexts. The volume also participates in the ongoing project of responding to and talking through moments of rupture and incompletion that represent an opportunity to contribute to the making of meaning through the continuation of narratives of the past. As such, the chapters in this volume pose options for reading Holocaust texts, offering openings for further discussion and exploration. The inquiring body of interpretive scholarship responding to the Shoah becomes itself a story, a narrative that materially extends our inquiry into that history.

Amidst the male-dominated South Korean cinema and the film industry, Yim Soon-rye has consistently produced critically and commercially influential films and has been recognized at numerous film festivals both in Korea and abroad. In the first English-language book focusing on this renowned South Korean director, ReFocus: The Films of Yim Soon-rye showcases critical readings of Yim's work and addresses Yim's position in the larger historical context of Korean cinema and women filmmakers globally. Molly Kim is an Adjunct Professor of the College of Humanities at Hanyang University.

THE CINEMA OF HAYAO MIYAZAKI Born on January 5, 1941 in Tokyo, Hayao Miyazaki is known as the 'Japanese Disney', a filmmaker as revered - and as popular - as Walt Disney or Steven Spielberg. Miyazaki, in short, is a true phenomenon in contemporary animation and in world cinema. Miyazaki's movies include Princess Mononoke, Spirited Away, Howl's Moving Castle, Laputa: Castle In the Sky and My Neighbor Totoro. Hayao Miyazaki may be the most talented fantasy filmmaker of his generation: not even the finest filmmakers of Hollywood can rival his films when it comes to creating fantasy worlds, and fantastical characters and events. Miyazaki has millions of fans around the world, not least among fellow animators and filmmakers, for whom he is a genius. What Hayao Miyazaki's films do is to bring you completely into a fantasy world that is instantly recognizable and familiar. It's as if these fantasy realms have always existed - very much like J.R.R. Tolkien's Middle-earth or Ursula Le Guin's Earthsea (both influences on Miyazaki). The visionary and magical elements are fused with the domestic and familial and social elements, so that it seems completely ordinary and believable that, say, flying machines soar overhead which have flapping wings like an insect, or that little white creatures pop up out of trees and make strange clicking noises. To write one hit animation movie is amazing, to write eleven is remarkable. To write and direct one spectacular animated picture is very impressive, to write and direct eleven features is unheard-of in the world of contemporary commercial animation. This new study considers all of his films and TV shows (and his manga work). It also includes chapters on Studio Ghibli ¿ on fellow director Isao Takahata ¿ Miyazaki's influences ¿ his contemporaries and colleagues ¿ his characters ¿ his movies' relation to Western animation (including the Walt Disney Company) ¿ his unmade films ¿ and his themes and motifs. Japanese animation, its production and style, some classics of anime, and digital animation are also explored. Includes quotes by Miyazaki; fans on Miyazaki; and resources. The second edition has been completely updated and revised. Fully illustrated. With filmography, bibliography and notes. 520 pages. ISBN 9781861713902. www.crmoon.comAUTHOR'S NOTE: I hope this book offers readers some new insights into the films of the incredible filmmaker Hayao Miyazaki, so they can go back and enjoy them all over again. I have looked at all of the key research for this book, which was begun years ago. I have focussed mainly on the movies themselves, exploring each one in detail. The book also includes technical info on animation, a chapter on the animation industry in Japan, and comparisons between Miyazaki's films and those in the West, including Walt Disney's work. There are chapters on the output of Studio Ghibli, and also Isao Takahata, Miyazaki's colleague.

Cinema in the Arab world has been the subject of varied and rigorous studies, but most have focused on films as text, providing in-depth analyses of plot, style, ideologies, or examination of the biographies of prominent directors or actors.This innovative new volume shifts the focus on Arab cinema off-screen, to examine the histories, politics, and conditions of distribution, exhibition, and cinema-going in the Arab world. Through broadening the frame of study beyond the screen, the book widens understanding of the cinema, not merely as a collection of films-as-texts, but as a site of cultural and political contestation in the Arab world. Divided into two sections, and guided by interdisciplinary considerations, the contributors examine historical and contemporary issues of Arab cinema in terms of the experience of movie-going and filmmaking. They examine the networks of distribution and exhibition, as well as the contested and multiple meanings that the cinema embodied through diverse historical periods and geographical locations. Part I focuses on new histories of Arab cinema in terms of film production, distribution, exhibition and audience's experiences of cinema-going. Part II deals with more recent issues within scholarship on Arab cinema such as issues of politics, economics, ideologies, as well as issues related to Arab movies' international circulation and screenings at festivals. Together, the chapters enrich our understanding of the cinema in the Arab world, showing how deeply embedded it is within its social, political, and economic contexts.