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The article examines the relationship between settler colonial narratives, settler narratives, and the Westerns in the U.S. Topics include the characteristics of settler cinemas, the wagon trail films "Wagon Master" and "Westward the Women," and the 2010 revisionist film "Meek's Cutoff." Also discussed are settler narratives in settler cinemas, the usual themes of settler cinema, and the portrayals of Native Americans and settlers.

In this article, I explore the cinematic work of the Moroccan director Hakim Belabbes, with focus on his fragmentary practice most evident in his 2009 film, Ashl ā' (In Pieces), made a few years after his father's death. I interrogate three interconnected and mutually constituting dimensions of this film: the fragmentary, the archival, and the citational, because Belabbes constructed this film from fragments of his previous films. By focusing on this strategy of gleaning, I attend to the ways in which Ashl ā' enables us to reflect on the expansive feature of images as the film moves laterally to Belabbes' other films, recasting them by way of citation, while at the same time it links the life and death of the father to the vicissitudes of the history of cinema within shifting economic and social conditions. [ABSTRACT FROM AUTHOR]

The year 1969 saw the release of the Pakistani political fantasy film Zerqa , directed by socialist filmmaker Riaz Shahid. At once a leftist critique of the Ayub Khan regime and an endorsement of Palestinian armed struggle, Zerqa refracted Pakistan's political crisis through the question of Palestine. This paper historicizes Zerqa against Pakistani and third-worldist creative responses to Palestine in the 1950s and 1960s. Through textual analysis of the film and its ephemera, I argue that Zerqa 's approach to solidarity, gender, and the figure of the Arab-Jew both captures the nuances of the identities imbricated in the Palestinian struggle and universalizes Palestine toward its own political ends. [ABSTRACT FROM AUTHOR]

This article considers the release of Siamak Yasemi's 1965 commercial Iranian hit Qarun's Treasure in the context of Iranian cinema's historic and competitive relationship with Egyptian and Indian cinemas in the mid-twentieth century. I trace the development of a national cinema industry in Iran through sound practice in order to demonstrate that fīlmfārsī was born out of its sonic and material connections to the film industries in the Middle East and South Asia. Through a focus on sound and industry, my article expands Iranian cinema historiography beyond national frameworks and methods of textual analysis. [ABSTRACT FROM AUTHOR]

The article discusses what the author refers to as the Vietnam Trilogy of films and documentaries that featured U.S. actor John Wayne. It examines Wayne's roles in the films "A Nation Builds under Fire," "The Green Berets," and "No Substitute For Victory." According to the article, Wayne teamed with the U.S. Armed Forces in such films in order to support U.S. efforts during the Vietnam War. The article discusses Wayne's acting in movies portraying the U.S. frontier, his association with the U.S. government, and the concept of neoliberalism in the Vietnam Trilogy.

Between the two great wars the British variety theatre and film developed a complex interrelationship in which performers negotiated new challenges: emerging technologies, strong management structures and fierce competition. Taking the career of Renee Houston (1902–80) as a case study, this article details her comedy double act with her sister (Billie) in drag. The Houston Sisters worked their way from local cine-variety to national fame on radio, the live stage and film, while Renee's subsequent solo career mapped the trajectory of popular entertainment in a period which introduced modernism, talking pictures, radio broadcasting and greater freedom of expression for women. [ABSTRACT FROM AUTHOR]

An introduction to articles published within the issue is presented on topics including British developments in production, exhibition and distribution of early cinema in Scotland, silent cinema and the transition to sound, the and transition from silent to sound cinema in Scotland.

Since its publication, Yi Yŏngil's Complete history of Korean cinema (1969) has remained a seminal work of film historiography. A critical rereading of the work is required, however, to capture the paradoxes of postcolonial historiography that are created by the spatial-temporal orders of modernity in a decolonizing, non-Western society. By examining Yi's creative use of historical documentation, such as oral testimonies of filmmakers, this article considers how he offers a counter-narrative against colonialist historiography that denies Korea's agency to transform itself into a modern nation-state without Japanese annexation. However, despite his decolonizing endeavor, his work cannot fully eradicate the colonial effects that inevitably shape postcolonial subjectivity in the globalizing world. In reassessing the possibilities and predicaments of his work, this article reveals Yi's fundamental conundrum as a postcolonial writer living with the effects of colonialism, ultimately challenging the imagination of the postcolonial experience as an uninterrupted struggle to establish an autonomous nation. [ABSTRACT FROM AUTHOR]

Since the earliest overt depiction of bisexual characters in Philippine cinema in 1954, filmmakers have been attempting to provide various images of bisexuality, initially for comic or melodramatic genre entries, and more recently for serious realist and fantastic social discourses. With the absence of any comprehensive queer-film report that focuses on bisexuality, this article will provide a survey and look at basic trends over two time periods (before and after the current millennium) as well as differences in male and female imaging. [ABSTRACT FROM AUTHOR]

Americans first saw motion pictures on a screen in 1896 but had begun to tire of cinema's stale offerings by the end of 1897, and American filmmakers were considering abandoning the unprofitable medium. Then the USS Maine exploded in Havana Harbor (15 February 1898), and a small band of entrepreneurs rushed to capitalize on the disaster. Seizing upon the Spanish-American War's inherent drama, they created films with narrative power, which brought audiences back to theaters and enabled the pioneers to survive the embryonic American film industry's near financial collapse. They soon led the motion picture industry west and helped to make Hollywood the cinematic capital of the world. [ABSTRACT FROM AUTHOR]

The article discusses the relation of U.S. film industry to the U.S. Department of Defense (DOD) during the Vietnam War. Topics include DOD censorship of films in relation to the U.S. military aims, military assistance for the making of the film "The Green Berets," and DOD views on the depictions of brutality and drug use by U.S. military personnel.

The article discusses the role of social democracy in the U.S. film industry as part of a New Deal era Hollywood Left. Topics include the January 12, 1938 essay "Hollywood Wakes Up" by Ella Winter in the magazine "The New Republic," the impact of the Nazi-Soviet Pact on the organization Motion Picture Democratic Committee (MPDC), and the work of the organization Hollywood Democratic Committee (HDC) in activism. The relation of politician Henry Wallace to the Hollywood Left is addressed.

An introduction is presented that notes issue articles on topics including the history of Salisbury (Harare), Zimbabwe, the notion of the Hollywood Left in the history of the U.S. film industry, and Russian war aims in the Black Sea Straits during World War I, as well as an issue table of contents.

An essay is presented examining the career of Turkish actor Turhan Bey during the 1940s in the American motion picture industry. It discusses film studio attempts to present dialectical portrayals of Orientalism and Occidentalism, suggesting that Turhan's onscreen persona was influenced by studio employers.

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. [ABSTRACT FROM AUTHOR]

Drawing on extensive archival research, this paper examines the controversies over the place and the role of cinema in early twentieth-century Brazil. It situates these debates in the context of Brazil’s struggle to come to terms with the powerful forces of modernity, in particular with issues of race, immigration, class formation and conflict, and changing gender roles. Tracing the discourses of Brazil’s cultural elites and also the practical responses of film entrepreneurs and exhibitors, the paper discusses how these interactions overlapped with changes taking place in Brazil’s cinematic landscape and illustrates how they had profound effects on film content, its function, and exhibition practices. [ABSTRACT FROM AUTHOR]

The article discusses the production of erotic films by Turkey's sex film industry, or Yesilcam, during the 1970s known as the "Sex Influx" (seks furyası) period. An overview of the relations between Turkey's economy and the attendance of motion picture theaters in the country, including the impact a tax reduction had on increasing filmgoers to theaters, is provided

The state rights system, a regional method of distribution in which film rights are sold off to franchisees on a state-by-state basis, was a longstanding American film institution that emerged at the beginning of the twentieth century and continued through the 1970s. However, film and media historians have largely overlooked the pivotal role of this distribution method in moments of major industrial change. The essay addresses this gap through a focus on the state rights market and the emergence of the multi-reel feature film in the mid-1910s. Initially used as a method of specialty distribution for non-narrative and long-form subjects such as boxing films and filmed passion plays, European importers soon exploited the method's adaptability to release the earliest multi-reel films of four reels or more. Not only did the state rights method offer manufacturers of multi-reel films an alternative to the short film-based variety program, but the regional method also enabled producers to tailor the entire film-going experience to an individual release, to specialize marketing strategies, and to reap profits from higher production expenditures. In effect, the defining industrial and generic characteristics of the feature film that would emerge by the end of the decade - that of not only a longer but an artistically superior film - were, I argue, developed in the state rights market from 1912 to 1915. Drawing from trade papers and industry discourse, this article frames the state rights market as an overlooked parallel and overlapping American film institution that figured centrally in the construction of the multi-reel moving picture. [ABSTRACT FROM AUTHOR]

Hollywood's war mobilization efforts in support of the Liberty Loan Bond Drives (1917-1918) were critical to shifting government officials' perceptions of the value of commercial cinema as a tool of propaganda and cultural policy during wartime. By tracing the industry's efforts in the bond drives, and the narrative production and distribution of the Liberty Loan propaganda films in particular, this article shows how the patriotic film star testimonial became an expedient ideological mechanism. The propaganda films reinforced perceptions held by some political elites of commercial film as lowbrow as they also signaled a new manner of effectively linking popular culture with state power to promote unified national identity during crisis. [ABSTRACT FROM AUTHOR]

The article offers criticism of film and television depictions of Mormons, including the television show "South Park," directed by Trey Parker and Matt Stone, and the film "Brigham Young," directed by Darryl F. Zanuck. Topics include the popularity of Utah as a location for U.S. motion picture filming during the early 20th century, depictions of Mormon religious founder Joseph Smith, and reactions of the Church of Jesus Christ of Latter Day Saints (LDS Church) to satirical depictions of Mormonism.

Through an analysis of the films Altar mayor [High Altar] (Gonzalo Delgrás, 1944), El clavo [The Nail] (Rafael Gil, 1944) and Tuvo la culpa Adán [Adam's Fault] (Juan de Orduña, 1944), I attempt to support the hypothesis of a certain kind of expulsion of female characters in Spanish fiction films in the years immediately following the Civil War, which would not only exclude them through ideological discourse, but also through the mise en scène. The analytical method adopted here moves away both from historiographical approaches and from the politique des auteurs, as well as from cultural studies and other similar disciplines, to take a direction already begun by other authors towards a possible history of forms in Spanish cinema. I thus analyse questions such as the relationship of the actress with the shot and the narration, her disappearance from the borders existing between them, her conversion into phantasmagoria, and, in short, the construction of an alternative, rebellious story in opposition to the official one. To conclude, I argue for the possibility of viewing the actress's body and gestures as instigators of a kind of materialist poetics in film analysis. [ABSTRACT FROM AUTHOR]

Tracing the 'Golden Age' collaborations between Mexican, Argentine, and Venezuelan film studios, this article analyses La Balandra Isabel llegó esta tarde (1949) and Caín adolescente (1959) as the fruits of early efforts to establish a film industry in Caracas. Bookending the 1948-58 military dictatorship, each film mediates local anxieties surrounding urbanization within the framework of melodrama that was predominant in 1940s Latin American cinema. Focusing on the films' distinct mediations of intersections between race, class, and gender, I argue that they negotiate the rise of the popular according to the conflicting ideologies that shaped their production in Venezuela [ABSTRACT FROM AUTHOR]

The article discusses the history of relations between the American motion picture industry and Fascist Italy from 1922 to 1941. It considers president of the Motion Picture Producers and Distributors Association (MPPDA) Will Hays, focusing on his his professional dealings with the political party of Italian leader Benito Mussolini. Topics include profits for American film companies from foreign sales, government rules requiring the dubbing of films in Italian, foreign relations between the administration of Franklin D. Roosevelt and Italy, and U.S. Secretary of State Cordell Hull.

The article focuses on the early 20th-century history of sexuality in the U.S., discussing prevalence of sapphism or female same-sex intimacy and their support by the U.S. urban entertainment industry. Topics include political and social concerns faced by interwar feminine sapphist, integration female homosexual identities in the entertainment industry and female intimacy in show business.

The article examines the importance of the recurring figure of the hero or heroine to the success of seriality in mass culture during the 1910s. It looks at American dime novels, pulp fiction, and early film series and serials. The author argues that seriality in the movies differed from print fiction due to the appeal of personalities and famous actors for film audiences compared to characters in print.

In this article, the cycle framework is applied to the 1930s girl reporter pictures. The films illuminate the operations of a programmer cycle, a form yet to be explored in cycle studies, opening the consideration of cycles to a wider cross-media trend. The formal and informal practices of repetition and seriality within the cycle are shown to possess limited life spans that, like cycles, were subject to market determinants. Studying cycles as historical, commercial processes contributes a deeper understanding of how industrial strategies were developed, modified, and adjusted in response to a particular set of economic and cultural conditions. [ABSTRACT FROM AUTHOR]

The article discusses the dilemma of the Soviet filmmakers during the motion picture production about the conflict ideologies of Turkey and Soviet Union. It examines the similarities in practices of the state and ideological borders for both countries. It also cites the cinematographic cooperation of Soviet for world historical event.

The article profiles American filmmaker Don Siegel who is said to be famous for transcending limitations of genre and budget. Topics covered include the major role he played in codifying the use of montage at film company Warner Bros. from 1934 to 1945, his entry into Warner Bros. which coincided with industry trend of a shift from the central producer to the unit-producer system, and how individual agency during Siegel's time at Warner collided with the studio system.

This essay maps the first decade of the Society of Motion Picture Engineers (SMPE) as it evolved from a small group of entrepreneurs into a major trade organization dominated by corporate engineers. The SMPE served as a venue for collaboration among the technology companies who sought to standardize the tools of the trade and later between the engineering community and the technicians and producers in Hollywood. In order to maintain significance, the SMPE changed its definition of a motion-picture engineer, including cinematographers, laboratory superintendents, and production managers among its ranks. This history reveals the incorporation of technological standardization and management into the Hollywood system. [ABSTRACT FROM AUTHOR]

Perhaps no other visual or physical obstruction posed a greater annoyance to 1910s motion-picture spectators than the woman's hat. Adorned with everything from exotic bird plumes, to entire fruit baskets, to miniature barnyard animals, women's early twentieth-century hat fashions butted heads with the sheer logistics of film screen visibility. As the mayor of Macon, Georgia, put it in 1912, in his futile efforts to pass an ordinance banning ladies' hats from film screenings, 'many a man goes to the moving picture show, pays his dime and for it sees a beautiful hat but no picture.' More than just a physical obstacle to the visibility of the screen, the woman's hat represented a whole constellation of social and aesthetic problems that afflicted the motion-picture industry. These triangulations between spectator bodies, women's hats, and moving-picture images had an enormous impact on the emergence and uneven codification of industry film culture from roughly 1907 to 1916, a period characterized by the simultaneous standardization and constant transformation of the meaning and experience of filmgoing. [ABSTRACT FROM AUTHOR]

The article explores the history of the nomenclature of motion pictures and the origins of the term movie. Emphasis is given to topics such as the development of the term from slang used by motion picture audiences in the U.S., the transition of the term from oral culture to print culture and trade publications, and the development of the motion picture industry in Hollywood, California.

After the collapse of the studio system (1920 to 1950), the film industry underwent dramatic changes in both its business model and land use. In 1961, Twentieth Century Fox (Fox) sold more than 280 acres of studio land in West Los Angeles for the creation of a “city within a city” called Century City and leased back 75 acres for film production. This article examines Fox’s land planning after Century City, when executives planned to redevelop its studio land and move its production facilities elsewhere in Los Angeles, deeming the existing one ill-suited for a changed industry. The studio remains an active production facility today, disproving earlier assumptions that overestimated the property’s exchange value and underestimated its use value. [ABSTRACT FROM AUTHOR]

The article examines the motivations of legal and illegal film consumption. Particular focus is given to the habits of young adults between the ages of 18 and 24 years. Additional topics discussed include the use of online streaming services such as Netflix and Quickflix, the notion of fandom and how it impacts illegal film downloads, and the popularity of renting and purchasing films in the early-21st-century.

In the wake of the 9/11 attacks the American film industry took a while to react to the Islamist threat at home and abroad. From 2005, however, Hollywood responded to the threat to the homeland and the War on Terror “over there” in Iraq and Afghanistan in a variety of ways. This article examines the nature of that response and whether it evinces, as critics allege, that the American film industry reflects and shapes a capitalist and imperialist agenda. More particularly, by evaluating the cinematic treatment of both the Iraq war and the problem of surveillance, rendition, and homeland security, the analysis explores what this distinctive on-screen genre tells about how the U.S. cultural mainstream has dealt with the challenge global jihadism poses to American values. The analysis suggests that post-9/11 movie making, while sometimes bleak and often clichéd, is cognizant of the gray area morality inherent in fighting the “War on Terror,” and is still thus able to offer some possibilities for sophisticated reflection. [ABSTRACT FROM PUBLISHER]

Gene Gauntier's career as an actor, screenwriter, and producer offers an important case study within American film's transitional era, as the creative opportunities and collaborative character of stock-company productions gradually gave way to the centralized spaces and practices of studio-era Hollywood. Gauntier progressed within less than a decade from inexperienced stage actress to leading lady and screenwriter at Kalem and then became an independent producer and studio owner. Her status and significance within the American film industry was then rapidly eclipsed by the consolidation of production and distribution structures and a more narrowly defined and highly gendered discourse of stardom. Making detailed use of her evolving construction in the contemporary trade press and her memoirs, this article traces Gauntier's rise and demise within the shifting industrial discourses and practices of this period and brings to light information concerning her exit from the industry and her life afterward. [ABSTRACT FROM AUTHOR]

The Great War broke out at the moment that the film industry at all levels, production, distribution and exhibition was becoming established. Here the attention is on the local cinema cultures of three spaces: Louvain in Belgium, Southampton in England, and Stevens Point, Wisconsin, in the United States. The areas share marked differences: Louvain suffered considerably, including direct damage to its buildings, reprisal executions of its citizens and German occupation for the four years of the war; Southampton witnessed the parade of war through its role as the main embarkation point for British troops, as well as suffering the loss in unprecedented number of casualties which the British people endured; and Stevens Point was different again in that the war directly touched the local community, with its considerable German and Polish immigrant population, as the politics of the nation shifted from isolation to engagement. These were all factors in the exhibition strategies of local cinema exhibitors who negotiated new audiences. The article draws out similarities and differences in these areas to argue that the war’s impact on particular local cultures was significant in the establishment of cinema’s social function within each community. [ABSTRACT FROM PUBLISHER]

The ‘omnibus’ featureKuldesak(Cul-de-sac 1998), made by four young film school graduates and spanning the major political transition from Suharto's 30-year New Order to the current reformasi era between its dates of production and distribution, was accused by many critics of unceremoniously severing its ties with Indonesia's 50-plus-year history of national cinema. By closely re-examining critical moments within the cinematic past from whichKuldesakemerges, this article stages an alternate reading. I argue that the film represents an earnest reflection on the very impossibility, indeed the potential deadliness, of freeing oneself from history, despite the obvious allure of its upper-middle-class characters’ bold, Grunge-and-McDonald's-infused attempts to do precisely that. Examining the local effects of globalisation in the late 1990s with a fascinated-yet-repulsed gaze,Kuldesakstrongly recalls the indirect, yet scathing, critiques of Suharto staged by many of the films of the early 1970s. Seen in this way,Kuldesakpresciently locates itself in a historical cul-de-sac in which the oncoming future of democratic reform is glimpsed through the mirror of a past filled with corruption and violence, and entangled in an international web of dubious promises and onerous commitments. [ABSTRACT FROM AUTHOR]

Based on Roberto Saviano’s bookGomorra(2006), production of the TV seriesGomorra–La serie(2014) was met with scepticism as many feared it would glamorise organised crime and, consequently, attract young people toward Camorra affiliation. The series’ bleak portrayal of criminals and criminality was offered as a response to such concerns. Despite the preoccupations,Gomorra–La seriewas hugely successful and, because of its quality, was sold to other countries. In Italy, the series’ success can be measured by the popularity of its Twitter hashtag#GomorraLaSerie. Engaged with Henry Jenkins’ theories of media convergence and based on a corpus of tweets bearing this official hashtag, this article proposes a quantitative analysis and advances conclusions regarding the Italian TV audience and second-screen viewing practices. Additionally, through a qualitative study of Saviano’s tweets about the series, it examines the writer’s use of the social media platform as a tool of narrative continuity. Finally, the article highlights a few examples of fan-generated media and concludes with remarks regarding Saviano’s problematic position at the centre of a transmedia object. [ABSTRACT FROM AUTHOR]

Contrary to conventional wisdom, the Production Code was not an imposition of the Catholic Church. The forces that implanted the code were more numerous and powerful, and its main objective was to maintain its hegemony over society at a time when it was weakening. One of the main keys to the defense of economic and ideological status quo was the creation of primary frameworks that would serve to interpret social problems in a univocal way. In this paper I treat the establishment of the code from the perspective of the analysis of these frames. [ABSTRACT FROM AUTHOR]

The article examines the film industry and culture in Manila, Philippines. Particular focus is given to how the author describes the film culture in Manila as Cinephilia. Additional topics discussed include how digital media has impacted Manila, the exhibition of films in the city and media consumption in the 21st-century, and DVD (digital video disc) sales and viewing.

A criticism of the 1962 film "The Manchurian Candidate" directed by John Frankenheimer is presented. It examines the tragic aspects of the film, an adaptation of the novel of the same name by Richard Condon. The author goes on to explore how the film's tragedy interacts with its melodrama, suggesting that such generic hybridity was possible in cinema of the early 1960s.

The article reports the author's experience in the National Archive of the Moving Images of the Portuguese Film Museum, where she has been carrying out research on the Portuguese tourism film since March 2012, as a departure point for a reflection on the notion of the archive as an anthropological terrain. It is argued that the way the archive is conceived has important consequences for the way the object is constructed. In this particular case, the theoretical repositioning of the archive as a terrain or field led the author to call into question the centrality of the film as image-content, together with concepts like "tourist gaze", which have been defining and delimiting the study of the relationship between tourism and visuality. It has also culminated in a research project, in which these ideas have been tested and developed. [ABSTRACT FROM AUTHOR]