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The article "MANY MEN: THE LONGEST DAY AND CLASSICAL HOLLYWOOD STARDOM" explores the intersection of Hollywood stardom and the film "The Longest Day" (1962), focusing on the changing dynamics of the star system in the 1950s and 1960s. The film, directed by Ken Annakin and others, features a large ensemble cast of international stars and reflects the evolving nature of celebrity in Hollywood. Through a detailed analysis of the film's production, casting choices, and thematic elements, the article delves into the complexities of the Hollywood star system during a period of transition. [Extracted from the article]

The article examines Melvin Van Peebles's early short films as precursors to his renowned work, Sweet Sweetback's Baadasssss Song. Van Peebles's films showcase a unique black radical cinema style, emphasizing anti-dramatic literary realism and everyday realism. The analysis delves into the political aesthetics of light in Sunlight, contrasting it with F.W. Murnau's Sunrise to highlight the distinctive aesthetic and political implications of Van Peebles's unheroic protagonists. The films critique racial capitalism and explore moral responses to social injustice in the Cold War and Civil Rights era, offering a nuanced perspective on black subjectivity and working-class experiences. The text also provides a list of academic resources related to African American art, literature, and cultural movements, including topics such as Black writers in the Cold War, African American social realism, the Black Power movement, and the cultural politics of Black aesthetics, along with references to specific works and interviews with prominent figures like Melvin Van Peebles. [Extracted from the article]

This article examines Cold War-era representations of WWII, observing the visible influence that sixties' espionage media had on retrospective images of WWII. Representations of bunkers in the postwar were influenced by advent of atomic warfare, with images of Normandy's brutalist pillboxes replaced by fantasies of Nordhausen's subterranean rocket factories. While wartime propaganda had platformed film reels of vast public armies fuelling the Allied fight against fascism, cinema of the 1960s replaced total war with the image of the singular spy, operating covertly behind enemy lines in Nazi uniforms, and allegedly unmarred by ideology. Examining the visual rhetoric at play in these scenarios, this paper argues that it is not fascism which these films claim must be stopped. Rather, it is the Cold War-era fear of global insecurity, caused by the misuse or mishandling of advanced weaponry by nations which are not America or Britain. [ABSTRACT FROM AUTHOR]

This article provides an overview of the history of pogroms against Jews in the former Poland-Lithuania region during the 19th and 20th centuries. It discusses the long history of antisemitism in Europe and how it contributed to the rise of politicized antisemitism and eventually the Holocaust. The article also explores the role of Catholic peers in the violence, the portrayal of pogroms in literature and art, and the denial and whitewashing of pogroms by Polish intellectuals and the government. It highlights the importance of studying and understanding this history in the context of contemporary issues of intolerance and violence. The article mentions a comprehensive four-volume work called "Pogromy Żydów" that covers various periods and provides case studies and historical analysis of specific pogroms. It notes that the book is a valuable resource for researchers, although it lacks a comprehensive index and information on the contributors. The article suggests that an English edition or a selection of material from the book could be considered for future publication. [Extracted from the article]

The film Jojo Rabbit is a coming-of-age story that explores the power of the imagination in constructing and deconstructing Nazi ideals. Ten-year-old Johannes (Jojo) Betzler was educated by Nazi society to imagine Hitler, the Nazis, and the “Aryans” as his friends and the Jews as his diabolical foes. Only when he meets and befriends Else, a Jewish girl hidden in his attic, is he able to break free and begin to recognize and deconstruct these imagined friends and foes. Moreover, Jojo Rabbit demonstrates how friendship is a context in which vice or virtue can develop (depending on the friend) by enabling transformation, training the emotions, and enslaving or setting free. The filmmakers turn the Nazi imagination upon its head: they dismantle the Nazi view of jungle animals fighting each other for survival to show that it is only by laying down hatred and animosity that we can rely on each other and survive together amid the chaos.

This article examines the role of propaganda in American World War II anti-Japanese films and the attempts by federal agencies to moderate racist elements. It analyzes four films, two produced by the military and two by Hollywood, and discusses how they intensified racial hatred towards Japanese people, including Japanese-Americans. The article also explores the censorship and control of film propaganda during the war, as well as the internment of Japanese-Americans and the portrayal of Japanese people in American movies. It draws parallels between propaganda in Nazi Germany and the United States, highlighting the targeting of specific groups and the distortion of historical narratives. The article provides evidence from polls conducted in the 1940s and 1960s to support its arguments. [Extracted from the article]

The film Jojo Rabbit is a coming-of-age story that explores the power of the imagination in constructing and deconstructing Nazi ideals. Ten-year-old Johannes (Jojo) Betzler was educated by Nazi society to imagine Hitler, the Nazis, and the "Aryans" as his friends and the Jews as his diabolical foes. Only when he meets and befriends Else, a Jewish girl hidden in his attic, is he able to break free and begin to recognize and deconstruct these imagined friends and foes. Moreover, Jojo Rabbit demonstrates how friendship is a context in which vice or virtue can develop (depending on the friend) by enabling transformation, training the emotions, and enslaving or setting free. The filmmakers turn the Nazi imagination upon its head: they dismantle the Nazi view of jungle animals fighting each other for survival to show that it is only by laying down hatred and animosity that we can rely on each other and survive together amid the chaos. [ABSTRACT FROM AUTHOR]

Toxic leading is by no means a modern problem--it is a human problem. As such, scholars can take a historical view in their analyses of toxic leading, enriching the study of this problem with additional resources. The authors present an example of this broader scholarly approach in the film study of leadership, using the dramatized World War ii television film series Band of Brothers, which compares the leader behaviors of several characters along a spectrum of harm. Among other suggestive conclusions, the analysis indicates that toxic leading combines a disregard for one's organization and a disregard for other people, and that habitual practice of virtuous behavior inhibits progress along a spectrum of harm that would otherwise result in chronic toxic leadership. [ABSTRACT FROM AUTHOR]

Socialism, communism, urban planning, architecture, modernism, planning Keywords: socialism; communism; urban planning; architecture; modernism; planning EN socialism communism urban planning architecture modernism planning 1404 1409 6 11/07/23 20231101 NES 231101 Zubovich, Katherine (2020). Demshuk examines the Nazi past of many post-World War II architects and urban planners to hint at the continuities between that era and the one that followed. While only Demshuk has written a book that is comparative across the Iron Curtain, all of these books force their readers to ask questions about the meaning of modernity and modernism across the Communist-capitalist divide. [Extracted from the article]

Analysing World War II films, from Allied propaganda to Good Neighbor Policy productions, this work probes the visual construction of the idea of the Western Hemisphere and Latin America's place in it. It finds how war propaganda carried messages beyond the explicit anti-Axis one. In the films discussed here, the resources of novel aerial photography, cartography, and time-travel plots achieved the contradictory effect of showing the entire continent as one, while North and South were in contrast. During the war, Good Neighbor Policy productions promoting a continental alliance used many of the same visual elements as war propaganda to shore up morale ahead of battles. A focus on Brazil offers a counterpoint to US-based pan-Americanism, considering its nationalist discourse in the Estado Novo. Wartime cinema created a New World where the US was the future of "Western" civilisation as a continuum of Europe, while Latin America was visualised as existing in the past, resulting in a deeply ambivalent Western Hemisphere. [ABSTRACT FROM AUTHOR]

The article explores the ethical challenges faced by photographers in contemporary global narratives, specifically focusing on the intersection of Haiti and Palestine. The author, Vanessa Charlot, reflects on her experiences as a Haitian-American photographer and academic, grappling with the role of the photographer in documenting war and violence. Charlot discusses the power dynamics and subjective determinations involved in photography, emphasizing the responsibility of photographers to portray context accurately and ethically. The article also touches on the historical entanglement of imperialism and death, and the importance of recognizing interconnected histories and narratives. [Extracted from the article]

The article presents information about Guillermo del Toro, the Mexican filmmaker known for his film "Guillermo del Toro's Pinocchio". Del Toro is a "non-practicing Catholic" who proposes realities of love, sacrifice, forgiveness, and redemption in his films. The plot of "Pinocchio" focuses on the character of Geppetto, a carpenter who creates Pinocchio, a wooden puppet that comes to life. The film addresses themes of freedom, goodness, and the violence of power, and is set during Italian fascism. Pinocchio rebels against control and sacrifices his life out of love for his father. The film was praised for its artistic quality. [Extracted from the article]

This book review discusses the film Stalingrad directed by Fedor Bondarchuk. The author, Stephen M. Norris, analyzes the film in relation to other films about World War 2 and its place in Russian cinema. Norris explores the different perspectives and interpretations of the battle of Stalingrad, as well as the political and cultural context surrounding the film. The book also includes a discussion of film reviews and the perception of the film in Russia and other countries. Overall, Norris argues that the battle of Stalingrad has been turned into a mythic story and that films like Stalingrad contribute to the creation and reactivation of myths. [Extracted from the article]

The first motion picture system to use 16mm film was the Ciné-Kodak, Eastman Kodak's camera-projector pair, which, in the words of a 1924 advertisement, "enable[s] you to show in motion on your screen the sort of pictures you turn to first in your album. At the heart of these changes was Kodak's new chemical subsidiary, the Tennessee Eastman Corporation, where Kodak transferred all of its cellulose acetate production in 1930. Kodak was attracted to Kingsport, Tennessee Eastman's headquarters, by the town's unfinished wood alcohol plant and by its dense forests, which provided many of cellulose acetate's raw materials. [Extracted from the article]

While Stanley Kubrick long sought to make a film about World War II and the Holocaust, he never succeeded. He came very close in his attempt to adapt Louis Begley's Wartime Lies as Aryan Papers between 1991 and 1993. Combining the latest insights in the emerging field of Kubrick Studies, specifically into Kubrick's Jewishness, with the newly available archival material deposited in the Stanley Kubrick Archive at the University of Arts London, this article explores the pre-production of Aryan Papers before considering why it was never realized and then tentatively suggesting, in the absence of any shot footage, how it may have looked. [ABSTRACT FROM AUTHOR]

"Writing Australian History On-Screen: Television and Film Period Dramas 'Down Under' edited by Jo Parnell and Julie Anne Taddeo is a collection of essays that explore Australian history through period productions from the 1960s to the 2010s. The essays examine key moments and mythologies of Australian history, highlighting their relevance to contemporary Australia. The collection also explores the ethical, political, and social impact of production context on the representations of periods, characters, events, and archetypes. The book offers valuable insights for students of history and sociology, providing extensions and revisions of familiar tropes, movements, and mythologies." [Extracted from the article]

Focusing on the image-making capacity of cinema, Deleuze defines two types of cinematographic image.These two image types also coincide with two different periods in the history of cinema. Defining the period until World War II with the concept of movement-image, Deleuze sets forth that movement and action become prominent.The movementimage period began with the first films of the Lumière brothers and continued until after the Second World War. It refers to the period that centered the "movement". In movement-image films, exemplified by narrative cinema, time progresses according to the action of the character. All actions in the movie are determined by linear causality, and the characters perform actions consistent with the present. Deleuze describes films after World War II as time-images. He states that the time-image emerged with the collapse of the cinema, which focuses on the actions of the characters in the film, and explains this situation with the "disconnection of the sensory-motor connection". The rise of optical states along with the break in the sensory-motor scheme is also important in the emergence of the time-image. The movie 'Mirror' (Zerkalo-1975), which was selected from Tarkovski's cinema by purposive sampling method, was analyzed according to cinematographic elements such as "time perception, narrative style, characters, audio-visual elements, use of space". As a result of the analysis, it was concluded that the film can be evaluated as an example of time-image cinema. [ABSTRACT FROM AUTHOR]

In chapter 6, Durkin returns to Europe to analyze Dunham's work in the films Botta e risposta (1950) and Mambo (1954). Refreshingly, Durkin specifies the African American vaudeville tradition from which Baker derived her material, describing specific dance steps (Pecking, the Itch, the Mess Around, etc.) as she analyzes the films. [Extracted from the article]

The article explores when louis le prince first captured motion through the use of one camera at a speed high enough to present a "believable" motion effect in 1888, the word "cinematography" was not in use. The idea of cinema itself was not even a consideration for the burgeoning group of experimenters trying to obtain the motion image at the time. It was not until 1895, when the Lumière brothers first presented their film La Sortie de L'usine Lumière.

The article informs about COVID-19's Implications for new Paradigms of Human Rights and International Security and Cooperation. Topics include disasters can demolish orthodoxies and prompt new thinking needed for sustained recovery and transformative change; challenges of pandemics and human-induced climate change, which stem from environmental and biodiversity degradation caused by human economic activity; and human-induced climate change, which stem from environmental and biodiversity degradation caused by human economic activity.

The article reports that Universal-International film "Illegal Entry" opened in June 1949. Topics include considered that it tells the tale of Anna, a beautiful European woman tangled up with the criminal ring that smuggled her brother, a concentration camp survivor, over the Mexico-US border; and examines that the filmmakers and their camera crew flushed a car parked in dense undergrowth.