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The literature on evolution of organizational forms has remained largely silent on where the first organizational instance of a new form comes from, treating it as either a given or an outcome of random variation. We challenge this agnostic assumption by putting the first organizational founding into a specific spatiotemporal context and revealing the role of provisional spaces, defined as small-scale, easily accessible settings where market pioneers temporarily experiment with applications of an innovation before dedicated organizations emerge. We theorize that provisional spaces disseminate necessary information about an innovation and enable potential entrepreneurs to envision a new template for organizing. Therefore, geographic communities with a higher number of provisional spaces are more likely to host the first organization embodying a new form sooner than others. Using archival data on all movie-showing venues in Chicago communities, 1896–1927, we find empirical support for our theorizing. Community variance in volume and types of provisional spaces for movie projectors, such as opera houses and penny arcades, led to community-level differences in the emergence of distinct movie theater forms: nickelodeon, movie house, and movie palace. We advance scholarship on organizational form emergence by uncovering the role of provisional spaces in shaping localized opportunity structures. [ABSTRACT FROM AUTHOR]

The article explores the concept of "slow-clap" behaviors, which are actions that are morally right but may not be seen as praiseworthy. The author argues that these behaviors are often overlooked in discussions of moral worth and proposes further investigation into the topic. The text also discusses the importance of adequate caring and understanding in moral decision-making, as well as the limitations individuals may face in promoting certain behaviors. The author suggests that while some behaviors may go beyond the minimum and deserve praise, not all required actions necessarily deserve recognition. [Extracted from the article]

Ana M. López was a pioneer in Latin American film and cultural studies. Her work focused on the significance of classical Mexican melodrama and Latin American telenovelas, challenging previous dismissals of these forms. López's publications advanced a broader perspective of Latin American cinemas, including the New Latin American Cinemas, and brought cultural studies perspectives into the field of Latin American film studies. She also emphasized the transnational focus of Latin American cinema, highlighting cross-border dynamics and the influence of traveling filmmakers. López was known for her generosity and nurturing nature, creating a community of young scholars and defending their research topics. Her work continues to inspire new avenues of research in the field. [Extracted from the article]

The article discusses the annual Avalon Harbor Underwater Cleanup (AHUC) dive that takes place on Santa Catalina Island in California. The event, which has been running for over four decades, involves hundreds of scuba divers cleaning up debris in Avalon Harbor. The article also provides historical information about the island, including its Native American occupation, Spanish colonization, and development as a tourist destination. The Casino building, a prominent landmark on the island, is highlighted for its role in the diving industry and its historical significance. The article concludes by mentioning the success of this year's cleanup and the funds raised for the Catalina Hyperbaric Chamber and the Casino Point Dive Park improvement project. [Extracted from the article]

This article examines the effects of the 1916 poliomyelitis (polio) epidemic on the film industry and on popular conceptions of the definition and social function of moving pictures. When the major epidemic broke out in New York City, state and local health authorities across the Eastern United States closed motion picture theaters to children. These bans not only had significant financial ramifications on the motion picture business, but they also prompted debates among health authorities, social reformers, the film industry, and the public about the definition and social role of cinema. Relying on print sources from 1916, as well as one no-longer-extant film made about the epidemic, Fighting Infantile Paralysis (Universal, 1916), I argue that the film industry sought to avoid regulation during the epidemic by not only ensuring the safety of theaters, but also promoting the idea that cinema was a critical social utility during a time of crisis. [ABSTRACT FROM AUTHOR]

Cet article explore les dynamiques contradictoires à l'œuvre dans les biopics français contemporains qui apparaissent d'une part comme les symptômes d'une culture cinématographique globalisée, ce dont témoigne l'appropriation récente du label 'biopic' dans le répertoire générique national, et d'autre part comme un écrin pour des histoires de vie qui restent ancrées dans une histoire et une culture nationales. Plusieurs facteurs expliquent ce positionnement paradoxal et conduisent à l'hypothèse d'une ère postnationale pour le genre : l'hybridation culturelle et cinématographique des représentations ; l'effacement de l'origine nationale des biopics dans le discours critique en raison de leur abondance dans les cinémas occidentaux ; le caractère bicéphale du biopic français, avec des films aux sujets biographiés locaux et aux ambitions locales et des films aux ambitions internationales consacrés à des héroïnes et des héros nationaux mais d'envergure internationale ; la mise en scène d'identités plus complexes et la diversification des mémoires ; l'utilisation de formes de multilinguisme ; l'exportabilité du genre, à la fois recherchée par les producteurs et en partie effective. This article explores the contradictory dynamics at work in contemporary French biopics that appear on the one hand as symptoms of a globalised film culture, reflected in the recent appropriation of the 'biopic' label in the national genre lexicon, and on the other as a showcase for life stories that remain rooted in a national history and culture. Several factors explain this paradoxical positioning and lead us to hypothesise a postnational era for the genre: the cultural and cinematographic hybridisation of representations; the erasure of the national origin of biopics in the critical discourse owing to their abundance in Western cinemas; the two-headed nature of the French biopic, which includes films with local subjects and local ambitions as well as those with international ambitions devoted to figures who are national but with an international status; the mise en scène of more complex identities and the diversification of memories; the use of different types of multilingualism; and the exportability of the genre, both sought after by producers and in some cases successful. [ABSTRACT FROM AUTHOR]

This article aims to achieve an experiential study of cinematic representations of females in Chinese films through quantitative narrative analysis. Applied to a census of 360 Chinese films across various genres produced across 18 years (2001-2018) systematically selected on Mtime, we ask to what extent female characters in Chinese films are empowered? How is their power exercised? And what socio-cultural implications can be detected from the cinematic representations of women in the contemporary Chinese gender discourse? We aim to fill in the gap in Chinese cinema studies in which most scholarships focused on pre-2000 works, adopted qualitative textual and narrative analysis to interpret the representations of women in a particular genre or in typical cases, leaving the quantitative approach, particularly focusing on the post-2000 films, all but absent. We develop a systematic set of typologies, including 4 major power-level categories (power-over, power-to, powerwith, and no-power) and 12 deuterogenic ones, which can be applied for future research on Chinese film and media studies. While women's career success has been articulated with empowerment, independence, subjectivity, and ambition in the neoliberal rhetoric, our research reflects a more intricate relationship between cultural representations of women and power in contemporary Chinese films. [ABSTRACT FROM AUTHOR]

Noah Tsika's book, "Cinematic Independence: Constructing the Big Screen in Nigeria," provides a detailed history of theatrical film in Nigeria, focusing on the relationship between Hollywood and Nigeria. Tsika argues that Nigeria should be at the center of film analysis, rather than being relegated to the margins. The book explores the power dynamics between Hollywood and Nigeria, highlighting the exploitation and power asymmetry that exists. It also examines the emergence of multiplex cinemas in Nigeria and their impact on the Nigerian film industry. While the book critiques the influence of Hollywood and corporate interests, it also acknowledges the opportunities and challenges faced by Nigerian filmmakers in navigating these systems. Overall, the book offers a comprehensive understanding of Nigeria's cinema history and the complexities of the present-day Nigerian film industry. [Extracted from the article]

This paper analyzes why child film star series produced by major French production companies (Pathé, Gaumont, Eclectic, and Éclair) in the early 1900s (Bébé, Bout‐de‐Zan, Willy, and the Maria Fromet series) were received with such interest by global audiences. This period, prior to World War I, was a brief era when French cinema held significant hegemony worldwide, before Hollywood's dominance began. There are ideas suggesting that child film stars emerged with American cinema. Contrary to this, however, French producers competed fiercely in the 10 years following 1906, producing series featuring child film stars. Substantial budgets were allocated for the marketing of these series, ultimately gaining a considerable fan base not only in Europe but also in America. When examining these film stars from the early 20th century within their historical context, they emerge as the first international child stars with international fame and financial success, unlike child musicians, vaudeville artists, and theater actors from the 18th and 19th centuries. Inspired by the field analysis of French sociologist Pierre Bourdieu, this article aims to establish a connection between the struggles within the field and the symbolic needs of the audience as reflected in the content of child star films. The films were viewed at the Eye Film Museum archive. [ABSTRACT FROM AUTHOR]

"Hollywood's Embassies: How Movie Theaters Projected American Power Around the Globe" by Ross Melnick is a comprehensive study that reframes our understanding of Hollywood's influence as a purveyor of U.S. soft power. The book focuses on the global network of cinemas owned and operated by major U.S. studios, highlighting their role as embassies of American culture. The author explores the cinemas' architectural splendor, abundance of consumable goods, and their ability to market and shape the film experience according to Hollywood's vision. The book covers the cinemas' presence in various regions, including Europe, Australasia, Latin America, the Middle East, Africa, and Asia, and examines the cultural, commercial, and political struggles that arose from their dominance. The author also discusses the technological advancements that contributed to Hollywood's global dominance, such as air-conditioning, sound systems, widescreen techniques, and the popularity of drive-ins. While the book acknowledges the cultural superiority projected by Hollywood, it also highlights the resistance and indignation it elicited from those who opposed Americanization. Overall, "Hollywood's Embassies" provides a milestone in film history, offering a global perspective on Hollywood's impact and the individuals who played key roles in shaping its history. [Extracted from the article]

The Atco Literary Society and the Delhi Punjabi Saudagran Foundation recently organized a book launching ceremony for 'A City, Cinema and A Community' by Brig. Retd.A. R. Siddiqi. Former Senator Javed Jabbar praised the author's work, which reflects on the city of Delhi, its history, and the magic of cinema. The book discusses the decline of cinema in India and the fact that the majority of the population can no longer afford to go to the movies, which used to be an affordable form of entertainment. The event was attended by various speakers and members of the community. [Extracted from the article]

"Transpacific Convergences: Race, Migration, and Japanese American Film Culture before World War II" by Denise Khor explores the formation and development of Japanese American cine-culture in the first half of the 20th century. The book highlights how the Japanese in the United States actively shaped an "alternative system" of cinematic engagement that challenged classical Hollywood. It examines the politics of silent film reception and production, the establishment of permanent movie houses, and the transition from silent films to talkies. The book offers valuable insights into Japanese American film culture and its efforts to build everyday life through social, cultural, and institutional engagement. [Extracted from the article]

This paper aims to propose a method to measure the operational efficiency of the movie theater businesses. The method is based on a bootstrap data envelopment approach to test the statistical significance of the performance difference between companies in the movie theater industry. The proposed method is utilized to investigate the operational efficiency of the three major U.S. movie theater chains. This article utilizes data from each company's individual financial filings to estimate their bias-corrected efficiency scores. An aggregate report of the efficiency scores shows that the movie theater industry is experiencing a significant decline in both scale and technical efficiencies. The efficiency assessment of the three movie theater chains reports statistically significant differences. Based on the constant returns to scale assumption, the efficiency scores are different among the three movie theater chains. Closely, two significant differences are identified when considering the variable returns to scale assumption. The kernel density of the efficiency scores is estimated as well. Results suggest that the movie theater chains are in imperative need of developing an innovative strategic plan to tackle poor attendance and weak managerial practices. Other contributions and managerial issues are also discussed. [ABSTRACT FROM AUTHOR]

Han Sang Kim's book, "Cine-Mobility: Twentieth-Century Transformations in Korea's Film and Transportation," explores the relationship between film, transportation, and Korean society. The book examines how films and media were used to scrutinize Korean modernity and political changes. It delves into the impact of trains and railways during the Japanese colonial era, the role of automobiles in Park Chung Hee's regime, and the decline of cine-mobility with the rise of television in the 1970s and 1980s. The book offers insights into the visual representations and infrastructure projects that shaped historical narratives in Korea. [Extracted from the article]

The article focuses on a childhood trip to the MGM Grand Hotel in Las Vegas, where the author, excited about encountering a real lion in the hotel, reflects on the contrast between the structured life at home and the allure of the city's vibrant lights and unpredictability. Topics include the author's fascination with the prospect of seeing a wild animal in a hotel, the regimented nature of family life, and the contrast between the routine at home and the unpredictable experiences in Las Vegas.

This article discusses the use of Chinese indentured labor by the British Phosphate Commissioners (BPC) in mining operations on Ocean Island and Nauru from the 1920s to 1942. The Chinese workers lived in BPC accommodation and had agreements regarding their work, benefits, and wages. In 1942, due to the threat of a Japanese attack, the Chinese miners were evacuated and later employed to mine wolfram in Hatches Creek and Wauchope in the Northern Territory. However, they went on strike shortly after arriving, accusing the government of not fulfilling its promises. The article compares the working and living conditions of Chinese miners in different locations and aims to broaden the historical understanding of their lives. [Extracted from the article]

The aim of this paper is to analyze the potential contribution of broadcasting live performing arts in movie theaters to the democratization of high culture. To accomplish this, we analyze the profile of attendees to these events to explore whether this new form of cultural consumption can attract individuals who do not normally attend live performances, thereby renewing high-brow audiences. Using data from the Spanish Survey of Cultural Habits and Practices in Spain (2018–2019), we find that individuals who frequently attend movies are more likely to attend live opera broadcasts in movie theaters, even those who do not consume live opera or even do not listen to opera at all. This is a positive insight suggesting that this initiative may be successful to engage new audiences to high culture. [ABSTRACT FROM AUTHOR]

This article uses three coming-out YouTube videos to narratively map the emergence of "New Queer YouTube," a phrase used in this article to describe the evolving tactics and styles deployed by LGBTQ+ microcelebrity YouTubers over the previous decade. Encapsulated by Ingrid Nilsen's 2015 YouTube video "Something I Want You to Know (Coming Out)," 2010s-era coming-out videos represent early attempts to reconcile authentic queer disclosure with the performative conditions of microcelebrity. In the 2020s era, coming-out videos and queer YouTubers frequently acknowledge and elevate this legacy with an aesthetic that evokes the postmodern sensibilities of New Queer Cinema and "post-Stonewall" queer documentaries. Two videos are of particular interest here: Natalie Wynn's "Shame | ContraPoints," and Abigail Thorn's "Identity: A Trans Coming Out Story | Philosophy Tube ★." While the creators of these texts declare authentic queer identities to their audiences, they pursue different approaches that nonetheless tangle personal confession with performance. These videos and their respective microcelebrity personas wield coming-out and LGBTQ+ embodiment as devices to simultaneously claim agency over a queer identity and, ultimately, enhance perceived authenticity through the revelation of performance and the reflexive rebirth of digital persona. These strategies exemplify an aesthetic of queer, postmodern YouTube microcelebrity necessitated, in part, by the site's increasing stratification and precarity as a meaningfully user-generated platform. [ABSTRACT FROM AUTHOR]

This article recounts the author's personal experience of a fire that destroyed their church sanctuary. The author describes the devastation caused by the fire, including the loss of stained-glass windows, historical artifacts, and the pipe organ. The author reflects on the significance of the sanctuary as a place of worship and community, and the grief experienced by the congregation. The article also highlights the importance of recognizing the interconnectedness between environmental and social injustices, and the role of religious education in understanding and addressing these issues. [Extracted from the article]

Policy orientations by the European Union foreground the need to attend to peripheral territories (especially non-dense urban areas), as they combine multiple socioeconomic and cultural asymmetry factors. This applies to cinema, in-between market- and cultural-driven logics, and film exhibition in particular. Theatrical exhibition in Europe remains concentrated in urban multiplexes, where US blockbusters largely dominate, and although the majority of the films released are European, US films account for the majority of admissions. This paper results from an ongoing research about non-commercial exhibition in Portugal. We will present an overview of the European framework and then an outline of the Portuguese cinema policy settings. This overview will contribute to the clarification of the (minor) place and (high) importance of the cultural dimension of film exhibition, especially the role of non-commercial exhibition, an invisible segment in most official data and reports, although strategic to countering cultural inequalities and homogenisation. [ABSTRACT FROM AUTHOR]

This article examines the history and cultural significance of handkerchiefs in Turkish society. It explains that handkerchiefs have multiple uses and are often used symbolically. The article explores the etymology of the Turkish word for handkerchief and its origins in various languages. It also discusses the role of handkerchiefs in different contexts, such as religious celebrations, mining communities, and the film industry. The article further explores the impact of political events on Turkish society and the loss of minority populations. It concludes by discussing the symbolism of handkerchiefs in relation to love and cultural heritage. Another text explores the disappearance of handkerchiefs from daily life in Turkey. The author reflects on their childhood memories of using handkerchiefs and how they were once an important part of social and cultural practices. The text discusses the shift from handkerchiefs to disposable tissues and the reasons behind this change, including the influence of neoliberal policies and changing consumption patterns. The author also highlights the cultural significance of handkerchiefs in literature and songs. The text concludes with a personal memory of watching a film with family and neighbors, where handkerchiefs were used to wipe away tears and provide comfort during a difficult time. [Extracted from the article]

This article discusses Kafkaesque cinema as a response to historical conditions of post-fascism through the close-reading of three films: Chris Marker's La Jetée (1962), Béla Tarr's Werckmeister harmóniák (Werckmeister Harmonies , 2000), and Christian Petzold's Transit (2018). Important interlocutors are the Hungarian philosopher Gáspár Miklós Tamás and the Italian historian Enzo Traverso; both understand post-fascism as a historical condition that perpetuates fascism's hostility to the Enlightenment, but which, however, permeates even mainstream politics. Drawing on their work, the article shows how the films' Kafkaesque aesthetic and themes invite us to consider the link between post-fascism and the defeat of the radicalized Enlightenment thought. [ABSTRACT FROM AUTHOR]

The article published in the American Anthropologist in December 2024 explores the ethical considerations and challenges faced by anthropologists who are also parents. It delves into the impact of parenting on fieldwork, highlighting the need to balance care responsibilities with academic careers. The authors, Jessica Barnes and Kate McGurn Centellas, share their personal experiences as ethnographers and mothers, reflecting on the intersection of their research and carework trajectories. The article calls for a reevaluation of methodological approaches, training methods, and evaluation criteria to create a more inclusive discipline that values diverse perspectives and acknowledges the complexities of conducting fieldwork while caring for children. [Extracted from the article]

The article explores the impact of plastic on children's health and the environment in Tamil Nadu, India, focusing on two cleanliness campaigns: a plastic ban and a contagion-prevention campaign. Plastics are seen as both a threat to the environment and a protective shield against contagious diseases. The discourse surrounding the plastic ban campaign emphasizes care for human and planetary health, with children playing a central role as ambassadors of the message. The article highlights the complexities and tensions that arise from the interplay between individual, community, and planetary health in relation to plastic use and disposal. [Extracted from the article]

Copyright of Uru: Revista de Comunicación y Cultura is the property of Universidad Andina Simon Bolivar, Sede Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The perception of the concept of Eros has evolved through shared cinematic experiences, to the point of shaping collective imagery in Cadiz, Spain. This city is known for its creativity and an extraordinary amount of performances during the period of carnival, and is represented annually by anonymous citizens. The research method employed consisted of an exhaustive analysis of bibliographic, press, and archival references on audience behavior from the introduction of the cinematograph to the present day. The authors have designed a table that organizes the emergence of movie theaters in the city and completed the background information, delving into the historical, geographical, and idiosyncratic factors that have contributed to collective creativity in the city. From there, we analyzed the evolution of the concept of Eros through the perspectives of Byung Chul Han and Georges Bataille. As a result, we recovered the value of projection interruptions in the analog environment as an opportunity for collective interaction, confronting them with the demands of technological perfection. We demonstrated the resilience of the analog through new experiences that show the evolution of the need for collective contact. Future studies will focus on other contexts, such as supermarkets and terraces, to contribute to a broader understanding of urban spaces, social cohesion, and perceptions of Eros. [ABSTRACT FROM AUTHOR]

Copyright of Innovar: Revista de Ciencias Administrativas y Sociales is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines two documentary films by women filmmakers dealing with combat stress: Irit Gal's Harmed Forces (1999) and Nurit Kedar's On the Edge (2003). The first Israeli female directors to deal with combat stress reactions, their work is distinguished from that of male directors in its criticism of the establishment and society and a camera perspective that identifies and empathizes with combat stress victims, including a cinematic strategy for representing the trauma of war. The article offers close readings of the films' narratives that reveal their radical criticism of hegemonic attitudes and examines their different ethical concepts, forms of trauma discourse, and modes of identification with combat-stressed soldiers. Reading these films from the historical perspective of women's documentary cinema reveals two different approaches to creating counter cinema. [ABSTRACT FROM AUTHOR]

Entertainment products such as movies are risky investments but contribute to societal welfare through their cultural and economic value. Therefore, movie production receives financial support from both private investors and public institutions, in the form of subsidies. Noting the ongoing debate about the actual impact of such funding, in research and practice, this study reviews a large sample of 1984 movies (co-) produced in Germany and released to cinemas over a 10-year period. The findings demonstrate the positive impact of public funding on movie success: indirectly by attracting private funding, and directly by increasing local and global box office revenues. However, public funding does not directly improve movie quality, which contradicts one of the aims of public funding. The analyses reveal different correlations and interaction effects with regard to financing and quality signals generated by the cast, directors, and producers of movies. Public funding emerges not only as relevant for the economic success of movies but also as a factor that supports their cultural contribution. [ABSTRACT FROM AUTHOR]

This article analyses three popular films from Kerala released post-2000, viz. Masala Republic (2014), Acha Din (2015), and Amar Akbar Anthony (2015) that depict the life of interstate migrant labourers. The attempt is to critically engage with the complex processes of narrativisation and characterisation, such as region, ethnicity, culture, body, etc. in Malayalam cinema to make sense of their effect on regional identity and othering processes. The construction of a regional or sub-national identity is explored from the spatial and social configurations of the 'outside' and the 'other' within the region as imagined by the Malayali public. This article also focuses on the popular imaginings of the assemblage of 'Bengali migrants' in these films and their significance in the larger societal spectrum. We argue that Malayalam films reinforce its region by othering migrants and their markers in contemporary cinema. [ABSTRACT FROM AUTHOR]

Focusing on one representative case study – the Danish film literacy initiative School Cinema (Med skolen i biografen) – this article investigates how film education can make European arthouse cinema more sustainable in both cultural and industrial terms. The analysis has shown that one successful model builds on a collaboration between the cultural sectors and the market players where the former ones propose the content and reach out to the target audience, while the latter ones provide the infrastructure and technology. School Cinema gathers both stakeholder groups in Denmark. The cultural sector is represented by the Danish Film Institute, municipal education departments, schools and regional centers for education. The market players in this constellation are Danish distributors and exhibitors which provide rights to the films and secure the screening venues. According to the School Cinema's concept, students see films in cinemas and discuss their themes, dramaturgy and visual language afterwards in class within multiple school subjects. Yet, this program does not only have educational and cultural goals. As this article demonstrates, building on the exclusive distribution data and one expert interview, School Cinema also contributes to the European audience-building project in an industrial sense. [ABSTRACT FROM AUTHOR]

This article provides an overview of Quentin Tarantino's career and his film "Pulp Fiction" on its 30th anniversary. It discusses Tarantino's background, his controversial reputation, and his contributions to cinema. The article also explores the narrative structure of "Pulp Fiction" and its impact on the development of puzzle films. It concludes by mentioning a special issue dedicated to analyzing different aspects of the film, including its reception, soundtrack, and themes. [Extracted from the article]

Based on content analysis (in the context of the historical, socio-cultural and political situation, etc.) of texts published during the "stagnant" period of the Soviet Screen magazine (1969--1985), the authors came to the conclusion that the principle of choosing cinematic personalities to paint portraits of Western actors and directors in 1969-1985 remained stable in the Soviet Screen. This magazine readily wrote about "progressive filmmakers" who went unnoticed in negative statements against the USSR and participation in anti-Soviet films. Especially if these filmmakers came to the Moscow International Festival and spoke positively about the Soviet Union. One of the favorite subjects of the Soviet Screen within the framework of foreign themes is Western actors as "victims of Hollywood", evidence of the "tragedy of the artist in the bourgeois world." But if any of the famous Western actors was involved in the creation of anti-Soviet films and/or films "glorifying the American military," the magazine could strike him with "heavy artillery" on its pages. However, there were many less politicized articles about Western actors on the pages of the magazine. As for interviews with Western filmmakers, as in previous years, the Soviet Screen magazine selected interlocutors from among the most "progressive artists." For example, among American filmmakers, the first place was given to Stanley Kramer. The progressive political position was also emphasized in interviews with Sydney Pollack, Norman Jewison, Ellen Burstyn, Jessica Lange and other Western directors and actors. In general, during the period 1969-1985, the ideological positions of the Soviet Screen magazine remained unchanged. [ABSTRACT FROM AUTHOR]

Based on the content analysis (in the context of the historical, socio-cultural and political situation, etc.) of the texts published during the "perestroika" period of the Soviet Screen magazine (1986--1991), the authors came to the conclusion that materials on the subject of Western cinema on this stage can be divided into the following genres: -- ideologized articles emphasizing criticism of bourgeois cinema and its harmful influence on the audience (1986-1987); -- articles on the history of Western cinema; -- biographies and creative portraits of Western actors and directors (as a rule, with positive ratings); -- interviews with Western filmmakers (as a rule, with those who came to Moscow film festivals); -- reviews of Western films (here we can note a violation of the old tradition: if in 1986-1987 the magazine still often negatively evaluated some "politically harmful bourgeois" films, then later Western film production was evaluated without regard to ideological stereotypes, moreover, even received a positive interpretation films that were previously rejected for ideological reasons); -- articles about international film festivals and weeks of foreign cinema in the USSR, reviews of the current repertoire of Western national cinematographies (no longer divided into "progressive" and "bourgeois" cinematography); -- short informational materials about events in Western cinema (from neutral reports to "yellow" gossip). [ABSTRACT FROM AUTHOR]

This article explores the representation of work and labor in American popular culture during the 1970s and 1980s. It examines the portrayal of work in film, television, and music, as well as the creators behind these forms of entertainment and the underlying messages conveyed through them. The article highlights the significant role that work and labor play in shaping popular media culture in the United States. It also discusses the academic study of work and labor during this period and its influence on popular culture. Overall, the article emphasizes the continuity and change in the portrayal of work and labor across different media and explores various aspects of working life, including technological advancements, globalization, gender dynamics, racial issues, corporate conduct, and generational shifts. [Extracted from the article]

"The Matter of Black Living: The Aesthetic Experiment of Racial Data, 1880–1930" by Autumn Womack is a book that explores the intersection of black social life, aesthetics, and data visualization during the late 19th and early 20th centuries. Womack analyzes the experimental film practices of Zora Neale Hurston and argues that they offer a radical gestural grammar of blackness that cannot be easily captured or controlled. The book also examines how black data practitioners challenged normative forms of racial knowledge and sought to represent the complexity and dynamism of black social life. Womack's interdisciplinary approach and archival recoveries provide new insights into the ways in which data has been used to document and understand black life. [Extracted from the article]

Technology changes the look of the film industry, particularly regarding marketability through online streaming platforms. Online streaming provides a second option for viewers, which has altered Malaysia's film-viewing culture. This difference is significant between watching movies on TV screens and in cinemas, regulated and filtered by the Film Censorship Board (Lembaga Penapisan Filem, LPF), compared to streaming online via platforms not bound by LPF regulations. Through qualitative and library research methods, this study examined the development and changes in film-viewing culture in Malaysia and the relevant acts. The Culture of the Streaming Model was used as a guide to explore the development and changes in film-viewing culture in the Malaysian film industry. In conclusion, the changes brought about by the advances in technology have significant implications for the film industry, particularly ensuring that inappropriate content does not reach young people. [ABSTRACT FROM AUTHOR]

Although intolerance towards others has always existed in Western societies throughout history, it started to come to the fore more after the attack on the twin towers in the USA on September 11, 2001. This situation, which is called Islamophobia, means fear of Islam and Muslims, but also includes the meanings of anti-Islam and hostility. The aim of this article is to examine the effect of cinema, which is used as a common religious education tool, on society and people. In the study, which was limited to movies and TV series shot in Hollywood cinemas after 2000, the data were evaluated in the context of Islamophobia. The reason why cinema is preferred is that it easily reaches the masses, creates a permanent effect on society, and changes people's behavior. In this respect, the question of how to benefit from religious education against the increasing Islamophobic films in cinema, which are accepted as one of the non-formal education instruments, constitutes the main problem of the study. The data used in the research were selected from the TV series and movies that got 7 or more points from the Imdb website. Imdb has been preferred because of its objective features, such as separating actors and movies according to their categories, giving points, and having a membership system open to everyone. The content analysis method was used to classify and summarize the data in terms of problem and purpose and to extract a certain meaning. Since the study is an original study that evaluates post-2000 Hollywood films in the context of Islamophobic elements and gives information about the methods of benefiting from cinema in religious education, it is hoped that it will be a source for cinema and religious education research in the coming years. [ABSTRACT FROM AUTHOR]

In this paper, I attempt to study the different determinants of cinematic masculinities, the gendered bodies of male performer figures and their changing patterns with reference to film dance from the 1980s-1990s period of Bengali popular cinema. This paper explores how the inclusion of performative male bodies in the dance numbers brought a distinct imagination of masculinity and flamboyance, thereby disrupting the established idea of the bhadra (the polished and gentle class of Bengal) hero of Bengali cinema. In the first section of my article, I focus on how the disco sensation and its cinematic registers took a new form with Mithun Chakraborty's figuration in Bengali film dances. The second section studies how this pattern of dancing male bodies and its flamboyance changed in the later period when the imagination of a working class male protagonist intervened in film dance in the 1990s. In brief, I try to read the shifting imaginations of masculinities in Bengali film dance from the disco flamboyance and 'global-national-popular model' of Mithun Chakraborty's star persona in the 1980s to the more localized and hybrid form of dance idioms in Prosenjit's iconic film roles in a later period. [ABSTRACT FROM AUTHOR]

Despite the historical absence, there has been a small but significant uptick in recent years in cinema about women with chronic and long term illness and/or pain. A prominent theme which unites this small corpus is that of time. Characters talk of losing the time of one's life, of being lost in time, or of feelings of disjunction in relation to normative temporal structures. The article explores how narrative film about women with chronic illness and/or pain navigates the representation of bodies which may not adhere to normative, heavily gendered life, and cinematic rhythms and trajectories. Drawing on critical disability studies and queer feminist theories of temporality, the work demonstrates how the temporal and cinematic challenges posed by the figure of the chronically ill woman often results in the decentring of this subject and the foregrounding of male, able-bodied characters. In contrast, it is seen how documentary cinema by disabled women filmmakers recovers the chronically ill female body from normative temporal, cinematic regimes and offers alternative modes of representing a life based on the temporal and ontological experience of the chronically ill body. [ABSTRACT FROM AUTHOR]

This article analyses one of the most ubiquitous but overlooked categories of Japanese cinema: gekijōban. Straddling Japanese franchising from live action to animation, gekijōban films have appeared in Japanese cinemas for decades, becoming one of the most significant facets of Japanese serial media production. This article investigates how gekijōban films have sailed beneath theoretical radar both in Japan and beyond by first analysing existing theories on media mix, before outlining some of the trends in gekijōban production and then concluding with a media mix case study, Meitantei Konan (Case Closed), in order to understand why it is that these franchise films have become so common and yet have remained so obscure. I argue that by refocusing attention on these overlooked films, we can see media mix management in practice and process, and understand the roles these often extremely popular films play within Japanese media franchising. [ABSTRACT FROM AUTHOR]

Over-the-top platforms are increasingly being accepted by the younger generation. This study examines the different modes of watching films that have emerged due to the proliferation of over-the-top platforms, smartphones, and 5G technologies during the pandemic period in China. Using survey data, we examine the perception and behavior of 592 respondents. The top five factors in increasing over-the-top platforms to watch movies include easy access, various genres, no time to visit a cinema, pandemic, and new films. Findings also show that users tend to use smartphones to access over-the-top platforms. Bilibili, Tencent Video, and iQIYI are China's most popular over-the-top platforms among viewers. Increasing cinema ticket prices, pandemics, lack of quality content, and film stories are significant challenges for the cinema industry in the near future. These results suggest that the film industry should maintain the quality of the movies, especially those released on the cinema screen. These findings also designate significant substitution between the over-the-top platform and cinema and recommend that competition authorities widen market definitions. The cinema environment and IMAX/3D appear to have little incentive to degrade over-the-top platforms, despite over-the-top's films contributing to declining box office revenue. [ABSTRACT FROM AUTHOR]

Despite being a disreputable genre, horror remains a staple in cinemas and has become increasingly prominent on TV, a medium that has, until recently, been considered inferior to film. Now, a maligned genre and a previously discredited medium are producing some of the most original and engaging histories currently seen on screen. Lovecraft Country (HBO, 2020), Them (Amazon Prime, 2021–), and The Terror (AMC, 2018–2019) are experimental histories of the Peak TV period that effectively weave together historical truths with fantasy. The way the audience physically reacts to the "bounded" horrors in these shows shapes their response to the "unbounded" historical horrors with which they appear alongside. While history and horror might be considered unusual bedfellows, adding horror to a period setting does not automatically void an onscreen historical representation; instead, the resulting unorthodox history can complicate the audience's understanding of the past and their reaction to it. Anthology and limited series formats are particularly suited to this form of history making, as they maintain an atmosphere of dread while allowing ample time for character development and the construction of narratively complex historical storylines. [ABSTRACT FROM AUTHOR]

This study empirically investigates the revenue return to differential seat pricing in the Korean movie theater market and how it is affected by competition. In March 2016, one of three major multiplex chains in the market divided the seats in most of its screening auditoria into prime (high-quality), standard (medium-quality), and economy (low-quality) zones, and started charging different prices for each seating zone. For the analysis, we construct a unique dataset that contains ticket prices and the number of tickets that are sold at the show level. We find that differential seat pricing increases revenue on average by 10.6%, but does not affect the number of tickets sold. Based on the results, we suggest that in a situation in which a large number of seats remain unsold, the pricing scheme involves encouraging the sale of the prime zone seats by increasing their price only slightly. By measuring the degree of competition as the number of showings of the same movie that are played by neighboring theaters at a similar time, we also find that competition has a small negative effect on the revenue gain from differential seat pricing. This finding may be explained by switching costs that are due to moviegoers' being away from preferred theater locations and showtimes. [ABSTRACT FROM AUTHOR]

This text explores the concept of postnational cinema and its relationship to transnational cinema in the context of French film and television production. It discusses the diversification of offerings and audiences, as well as the connections between different levels in the production and consumption of media. The text includes analyses of various French and francophone productions, examining their strategies for appealing to international audiences and their portrayal of national identity. The authors suggest that the rise of streaming platforms and increasing intercultural literacy may lead to the prominence of less familiar territories and cultures within mainstream cinema circuits. They emphasize the importance of research in understanding our globalized world. [Extracted from the article]