Alphaville: Journal of Film and Screen Media. Issue 06: Reframing Cinema Historieshttps://hdl.handle.net/10468/55712024-03-29T00:44:40Z2024-03-29T00:44:40Z141"A taste in pictures": the second birth of cinema in CorkCondon, Denishttps://hdl.handle.net/10468/57992023-12-19T11:23:10Z2013-01-01T00:00:00Zdc.title: "A taste in pictures": the second birth of cinema in Cork
dc.contributor.author: Condon, Denis
dc.description.abstract: Institutional cinema did not arrive fully formed to the city of Cork, Ireland, but was constituted there in the 1910s through the actions of picture-house proprietors, city councillors, clergy and the many ordinary people who make up the audience. Although this transformation in the city’s popular culture formed part of the internationally occurring “second birth” of cinema after 1910, cinema became an institution in Cork by integrating into the local culture defined by Cork’s unique institutional constellation. An account of the processes involved in the institutionalisation of cinema in Cork illuminates the growth of audiences and venues, how other entertainments were altered or displaced, and both local and regional conditions that encouraged, regulated and offered resistance to the new medium.
2013-01-01T00:00:00Z"The greatest film of the fascist era": the distribution of Camicia nera in BritainErcole, Pierluigihttps://hdl.handle.net/10468/58012023-12-19T11:07:56Z2013-01-01T00:00:00Zdc.title: "The greatest film of the fascist era": the distribution of Camicia nera in Britain
dc.contributor.author: Ercole, Pierluigi
dc.description.abstract: During the Fascist era in Italy, the state-controlled L’Unione Cinematografica Educativa produced newsreels and documentaries promoting the regime’s achievements. By the 1930s, LUCE’s films were screened to Italian immigrant audiences abroad in order to engage spectators already sympathetic or potentially allied to the Fascist agenda. In this article, I discuss the distribution and reception in Britain of Camicia nera (1933), a film produced by LUCE to mark the tenth anniversary of Mussolini’s rise to power and often referred to as “the film of the Decennial”. Employing records retrieved from state archives and contemporary British sources from the period of the film’s release, I revisit the history of one of the most important official films of the Fascist era and offer a new perspective on the dynamics and actual applications of Italian propaganda operations abroad during the 1930s.
2013-01-01T00:00:00ZA Book on the Making of Lonesome Dove, by John SpongCarter, Matthewhttps://hdl.handle.net/10468/58062023-12-19T11:16:52Z2013-01-01T00:00:00Zdc.title: A Book on the Making of Lonesome Dove, by John Spong
dc.contributor.author: Carter, Matthew
dc.contributor.editor: Murphy, Ian
2013-01-01T00:00:00ZA Star Is Born: Cinematic Reflections on Stardom and the "Stardom Film", King’s College London, 13 September 2013Rowan-Legg, Shelagh Mhttps://hdl.handle.net/10468/58112023-12-19T11:13:07Z2013-01-01T00:00:00Zdc.title: A Star Is Born: Cinematic Reflections on Stardom and the "Stardom Film", King’s College London, 13 September 2013
dc.contributor.author: Rowan-Legg, Shelagh M
dc.contributor.editor: Chen, Yuanyuan
2013-01-01T00:00:00ZAn advertiser's dream: the construction of the "consumptionist" cinematic persona of Mercedes GleitzeChambers, Ciarahttps://hdl.handle.net/10468/58032023-12-19T11:24:02Z2013-01-01T00:00:00Zdc.title: An advertiser's dream: the construction of the "consumptionist" cinematic persona of Mercedes Gleitze
dc.contributor.author: Chambers, Ciara
dc.description.abstract: Mercedes Gleitze was a British endurance swimmer who garnered huge public interest in the 1920s and 1930s. Celebrated for her athletic endeavours and philanthropic work, she was one of the first sportswomen to endorse a range of products, and most famously became a “poster girl” for Rolex. At a time when Edward Bernays was developing the psychoanalytic theories of his uncle, Sigmund Freud, to expand the fields of advertising and public relations, the media became increasingly interested in celebrities and the products they promoted. This article will examine the way the media covered Gleitze’s attempts to break world records and how coverage of her in the press and newsreels expanded beyond her athletic prowess to delve into her personal life and financial affairs. It will also consider how Gleitze became a symbol of expanding consumerism and explore how the tensions between her “new woman” status and her commodified persona were framed in the cinema. The article will also offer a consideration of how newsreels, a resource that has been underutilised by film scholars and historians, can help to inflect debates about contemporary popular culture, shifting female identities and burgeoning consumerism.
2013-01-01T00:00:00ZEx-Cinema: From a Theory of Experimental Film and Video, by Akira Mizuta LippitFlynn, Niallhttps://hdl.handle.net/10468/58072023-12-19T11:11:34Z2013-01-01T00:00:00Zdc.title: Ex-Cinema: From a Theory of Experimental Film and Video, by Akira Mizuta Lippit
dc.contributor.author: Flynn, Niall
dc.contributor.editor: Murphy, Ian
2013-01-01T00:00:00ZExploring racial politics, personal history and critical reception: Clarence Brown's Intruder in the Dust (1949)Young, Gwendahttps://hdl.handle.net/10468/58022023-12-19T11:22:36Z2013-01-01T00:00:00Zdc.title: Exploring racial politics, personal history and critical reception: Clarence Brown's Intruder in the Dust (1949)
dc.contributor.author: Young, Gwenda
dc.description.abstract: 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.
2013-01-01T00:00:00ZMen and Masculinities in Irish Cinema, by Debbie GingMonahan, Barryhttps://hdl.handle.net/10468/58082023-12-19T11:19:19Z2013-01-01T00:00:00Zdc.title: Men and Masculinities in Irish Cinema, by Debbie Ging
dc.contributor.author: Monahan, Barry
dc.contributor.editor: Murphy, Ian
2013-01-01T00:00:00ZReframing cinema historiesErcole, PierluigiYoung, Gwendahttps://hdl.handle.net/10468/57982023-12-13T15:05:36Z2013-01-01T00:00:00Zdc.title: Reframing cinema histories
dc.contributor.author: Ercole, Pierluigi; Young, Gwenda
2013-01-01T00:00:00ZRevisiting Star Studies, Culture Lab, Newcastle University, 12–14 June 2013O'Meara, Jenniferhttps://hdl.handle.net/10468/58102023-12-19T11:23:57Z2013-01-01T00:00:00Zdc.title: Revisiting Star Studies, Culture Lab, Newcastle University, 12–14 June 2013
dc.contributor.author: O'Meara, Jennifer
dc.contributor.editor: Chen, Yuanyuan
2013-01-01T00:00:00Z