Alphaville: Journal of Film and Screen Media. Issue 06: Reframing Cinema Histories

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https://hdl.handle.net/10468/5571

This issue of Alphaville originates in a one-day symposium, “Reframing Cinema Histories”, which was organised at University College Cork in March 2013. The aim of the event was to bring together a select group of scholars working on a range of historical projects and, through presentations of specific case studies and a round table discussion, highlight the variety of methodological approaches that may be adopted by the researcher studying and writing about cinema history. Edited by Pierluigi Ercole and Gwenda Young, University College Cork.

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Now showing 1 - 5 of 14

World Cinema on Demand: Film Distribution and Education in the Streaming Media Era, Queen’s University Belfast, 15–16 June 2012; 26 June 2013; 19 September 2013
(Film and Screen Media, University College Cork, 2013) Kapka, Alexandra; Chen, Yuanyuan
A Star Is Born: Cinematic Reflections on Stardom and the "Stardom Film", King’s College London, 13 September 2013
(Film and Screen Media, University College Cork, 2013) Rowan-Legg, Shelagh M; Chen, Yuanyuan
Men and Masculinities in Irish Cinema, by Debbie Ging
(Film and Screen Media, University College Cork, 2013) Monahan, Barry; Murphy, Ian
Revisiting Star Studies, Culture Lab, Newcastle University, 12–14 June 2013
(Film and Screen Media, University College Cork, 2013) O'Meara, Jennifer; Chen, Yuanyuan
Exploring racial politics, personal history and critical reception: Clarence Brown's Intruder in the Dust (1949)
(Film and Screen Media, University College Cork, 2013) Young, Gwenda
Using archival sources from the Clarence Brown Archive at the University of Tennessee at Knoxville, newspaper clippings from a wide range of national and regional press, and unpublished interviews, this article explores how the complexities and contradictions that are central to Clarence Brown’s film version of Intruder in the Dust (1949)—complexities that, arguably, make this film the most ambiguous of all the “race issue” films released in 1949—are mirrored in the director’s own deeply divided attitude to race and to the South. These tensions also surface in the critical reception of the film in the white press, and perhaps more tellingly, in the black press of 1949. The notion that this was a film generally acclaimed in the black press can be challenged, or at the very least nuanced, through a closer examination of newspaper archives, which, in turn, reveals some of the divisions within black intellectual circles of the late 1940s.

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