Book Description
This is the most comprehensive analysis to date of Nazi film propaganda in its political, social, and economic contexts, from the pre-war cinema as it fell under the control of the Propaganda Minister, Joseph Goebbels, through to the end of the Second World War. David Welch studies more than one hundred films of all types, identifying those aspects of Nazi ideology that were concealed in the framework of popular entertainment.
Book Description
Set against the backdrop of the black struggle in society, Slow Fade to Black is the definitive history of African-American accomplishment in film--both before and behind the camera--from the earliest movies through World War II. As he records the changing attitudes toward African-Americans both in Hollywood and the nation at large, Cripps explores the growth of discrimination as filmmakers became more and more intrigued with myths of the Old South: the "lost cause" aspect of the Civil War, the stately mansions and gracious ladies of the antebellum South, the "happy" slaves singing in the fields. Cripps shows how these characterizations culminated in the blatantly racist attitudes of Griffith's The Birth of a Nation, and how this film inspired the N.A.A.C.P. to campaign vigorously--and successfully--for change. While the period of the 1920s to 1940s was one replete with Hollywood stereotypes (blacks most often appeared as domestics or "natives," or were portrayed in shiftless, cowardly "Stepin Fetchit" roles), there was also an attempt at independent black production--on the whole unsuccessful. But with the coming of World War II, increasing pressures for a wider use of blacks in films, and calls for more equitable treatment, African-Americans did begin to receive more sympathetic roles, such as that of Sam, the piano player in the 1942 classic Casablanca. A lively, thorough history of African-Americans in the movies, Slow Fade to Black is also a perceptive social commentary on evolving racial attitudes in this country during the first four decades of the twentieth century.
Customer Reviews:
Slow Fade to Black: The Negro in American Film, 1900-1942.......2007-03-10
Everything arrived in perfect order
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Film and Television Distribution and the Internet
Andrew Sparrow
Manufacturer: Gower Pub Co
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ASIN: 0566087367 |
Book Description
Hollywood culture has been dismissed as insignificant for so long that film buffs and critics might be forgiven for forgetting that for two decades an unprecedented interaction of social and cultural forces shaped American film. In this probing account of how a generation of industry newcomers attempted to use the modernist art of the cinema to educate the public in anti-Fascist ideals, Saverio Giovacchini traces the profound transformation that took place in the film industry from the 1930s to the 1950s. Rejecting the notion that European emigres and New Yorkers sought a retreat from politics or simply gravitated toward easy money, he contends that Hollywood became their mecca precisely because they wanted a deeper engagement in the project of democratic modernism.
Seeing Hollywood as a forcefield, Giovacchini examines the social networks, working relationships, and political activities of artists, intellectuals, and film workers who flocked to Hollywood from Europe and the eastern United States before and during the second world war. He creates a complex and nuanced portrait of this milieu, adding breadth and depth to the conventional view of the era's film industry as little more than an empire for Jewish moguls or the major studios. In his rendering Hollywood's newcomers joined with its established elite to develop a modernist aesthetic for film that would bridge popular and avant-garde sensibilities; for them, realism was the most effective vehicle for conveying their message and involving a mass audience in the democratic struggle for progress.
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European Film Industries (Bfi International Screen Industries)
Anne Jäckel
Manufacturer: British Film Institute
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Film Policy: International, National, and Regional Perspectives (Culture, Policy, and Politics)
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Transnational Cinema, The Film Reader (In Focus: Routledge Film Readers)
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Cinema and Nation
ASIN: 0851709486 |
Book Description
In what kind of state is the European film business? European Film Industries is the first title in a new series of books intended to provide an accessible understanding of how the world's contemporary screen industries function. It looks at all the factors in play, from Government regulation, to the marketing strategies behind an international success like Run Lola Run/Lola Rennt.
The author evaluates how Europe's film industries operate, their working practices, and the region's place within the global business of cinema. Exploring trends in production, distribution, and exhibition, the book considers a range of national and pan-regional developments. Key areas of critical debate are highlighted, including private and public financing, co-production, film policy, links between the film and television industries, and the threats to 'art cinema' from within and without Europe.
This unprecedentedly concise introduction provides an invaluable starting point to the understanding of this most high profile of European media in the age of digitisation and globalisation.
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- Films Warns Against Nazism
- WARNER BROTHERS MOVIES PAVE THE WAY FOR USA WWII ENTRANCE
- Well-researched on an important subject
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Celluloid Soldiers: Warner Bro.'s Campaign Against Nazism
Michael E. Birdwell
Manufacturer: New York University Press
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Projections of War
ASIN: 0814798713
Release Date: 2000-12-01 |
Book Description
"Contributes significantly to our understanding of how Warner Bros. crusaded against fascism from the middle 1930s to Pearl Harbor. Drawing on extensive archival research, Birdwell provides particularly lively discussions of Alvin York's conversion to interventionism during the making of Sergeant York and of the 1941 Nye-Clark Committee investigations of 'premature anti-fascism' in Hollywood."
--Charles Maland, University of Tennessee
"Will be a lasting contribution, not only on the impact of media on our nation's policies--a topic of concern for most thoughtful people--but also for academics in popular culture studies."
--Peter Rollins, Editor-in-Chief, Film & History: An Interdisciplinary Journal of Film and Television Studies
During the 1930s many Americans avoided thinking about war erupting in Europe, believing it of little relevance to their own lives. Yet, the Warner Bros. film studio embarked on a virtual crusade to alert Americans to the growing menace of Nazism.
Polish-Jewish immigrants Harry and Jack Warner risked both reputation and fortune to inform the American public of the insidious threat Hitler's regime posed throughout the world. Through a score of films produced during the 1930s and early 1940s-including the pivotal Sergeant York-the Warner Bros. studio marshaled its forces to influence the American conscience and push toward intervention in World War II.
Celluloid Soldiers offers a compelling historical look at Warner Bros.'s efforts as the only major studio to promote anti-Nazi activity before the outbreak of the Second World War.
Customer Reviews:
Films Warns Against Nazism.......2001-03-18
"Celluloid Soldiers: Warner Bros.' Campaign Against Nazism," by Michael E. Birdwell, New York: NYU Press, 2001. A book review by Harvey Karten, film_critic@compuserve.com.
Politicians pursuing the "family" vote regularly chime in like critic Michael Medved about the harmful effects of film on theatergoers, particularly the young. "'The Basketball Diaries' has led to an increase of heroin use in teenagers," says one. "'Pulp Fiction' shares the blame for the increase of gun use in junior high schools," asserts another. "James Bond encourages the drinking of martinis, shaken not stirred," insists a third.
Motion pictures influence our thinking. How could they not? We sit in a darkened space, focused on little other than our popcorn and the big screen, as heroes from Humphrey Bogart to Tom Cruise spin their tales across the celluloid. But to what extent do they influence the way we actually act? Pondering and debating that unresolved issue should give us something to talk about at cocktail parties for years to come. Do filmmakers actually WANT us to behave in a certain way? Probably: to the extent that they supply us with propaganda, or, what theater people call agitprop. One of the best examples of passionate partisanship involves the case of Harry Warner, one of the founders of the illustrious Warner Bros. studio, who, during the 1930's, was so incensed by Hitler's actions in Europe and so disgusted by the isolationist views of the American government and a majority of its people that he set out to influence everyone from F.D. Roosevelt to backwoods 'billies to see that the policies of the Third Reich endangered this country as well as the continent of Europe.
While the other major studios pandered to the German fascists by doing business with them throughout the thirties, Harry Warner exploited his celluloid soap-box for all its worth, backing up his lobbying efforts with at least four motion picture productions unique in their evocation of Germany's evil. The heroism of this lone ranger might not be remembered by today's world had Michael E. Birdwell not written "Celluloid Soldiers: Warner Bros.' Campaign Against Nazism."
Birdwell's prose makes the heart beat faster as we join the author in loathing groups that had their own axes to grind in the U.S. during from 1933 to 1945--organizations whose names may have changed but whose professional haters
even today spew their venom against immigrants, Jews, African-Americans and other minorities whom they consider at the very least not to be 100% American. Some of Birdwell's scholarly but passionate statements might be describing activities in the year 2001 rather than movements that should have died a lingering and painful death during the thirties. Birdwell states: "Many Americans knew that Jews played a prominent role in the film monopoly. [One] vicious handbill read, 'Boycott the Movies! Hollywood is the Sodom and Gomorrah!'" What's missing in today's more subtle broadsides against Hollywood is the mention of Jews as the target of abhorrence, but The Pacific Coast Anticommunist Federation of that time had no problem declaring "international Jewry controls vice--dope--gambling. Buy Gentile. Employ Gentile. Vote Gentile."
Birdwell discusses Harry Warner's attempts to counteract the malice by his productions of anti-fascist movies, the most
arresting being his analysis of the film "Sergeant York," starring Gary Cooper as the title hero of World War I--an uneducated Tennessee mountain person who killed more Germans than Vassily Vaitsev but who turned pacifist immediately following the war to end all wars. When Alvin C. York came to his senses in the late thirties, he stumped for intervention. As Warner saw the prospect for waking up the world community to the dangers of Nazism, he convinced a reluctant York to give his permission for a portrayal of his life. "Sergeant York," one of the most influential archetypes of agitprop cinema, emerged. President Roosevelt may have been more affected by the attack on Pearl Harbor than on this movie, but both Harry Warner and Alvin York deserve monuments for their work in splashing cold water on the faces of a largely indifferent America. In the same manner, Birdwell--and the NYU university press, must be commended for its short but thoroughly researched study about the impact of media writ small on politics and American thinking in general... film_critic@compuserve.com
WARNER BROTHERS MOVIES PAVE THE WAY FOR USA WWII ENTRANCE.......2001-01-23
Dr. Michael E. Birdwell of the University Of Tennesse's Center For The Study Of War And Society has authored an interesting, detailed, and scholarly yet readable book about intentional efforts by Hollywood's Warner Brothers Movie Studios to encourage USA entrance into World War II during a pre-war period characterized by massive social and political opposition to war entry by still famous groups such as the Charles Lindbergh led America First group, and also by more than 300 other anti-war entry groups identified by the Roosevelt administration's pro-war FBI in 1938.
Dr. Birdwell explains that the Warner Brothers' effort to encourage hostility to the German government through use of Hollywood movies began in the early thirties, and was particularly the result of the fervor of Harry Warner, the "head" Warner brother, a devout religious Jew who tried without success to purchase Germany's largest movie studio called UFA, producer of famous 1920's German silent classics including THE CABINET OF DR. CALIGARI and METROPOLIS. As Dr. Birdwell tells the tale, Harry Warner was just about to close the UFA purchase deal when the Nazis came to power in 1933, and stopped German business dealings with Jewish owned and/or dominated companies like Warner Brothers.
Harry Warner became very angry at this rebuff, and began his own personal war with Germany which, Dr. Birdwell argues, resulted importantly in the USA decision to join and support that war, which went on to cost more than half a million American lives.
Anti-war politicians of the 1930's put many roadblocks in Mr. Warner's way, including especially the Neutrality Act of the mid-1930's, which forbade negative characterization of America's then trading partners, in which ranks Germany numbered prominently. This did not deter Mr. Warner whose efforts began with a 1936 Warner Brothers cartoon, and then with a live action movie titled BLACK LEGION about one of the many anti-Black, anti-Jewish political groups active in the 1930's. All seven of the major Hollywood studios of the 1930's were owned and run by American Jews (the Disney studio was not, but was tiney compared to the others, and could not be called a true peer of the "majors" in 1930's Hollywood).
The Harry Warner anti-German campaign included movies such as DR. EHRLICH'S MAGIC BULLET (about the Jewish research scientist who found a cure for venereal disease) and others which celebrated accomplishment by Jews. It also included a series of short subjects, shown in movie houses along with cartoons, etc. to supplement feature films, titled the Old Glory series, which identified Jews prominent in American history, including Chaim Solomon who helped finance the American Revolutionary War, and the Levi family who bought Thomas Jefferson's Monticello mansion, lived in it for almost 100 years, then set up the foundation which still operates and makes tours of Jefferson's home available to the public.
Feature movies of various types were also produced to support the pro-war entry cause, including SERGEANT YORK (about a conscientious objector during WWI who changed his mind and became a winner of the Congressional Medal Of Honor) starring Gary Cooper (who won an Academy Award for his role) and CASABLANCA (about an expatriate American in Morocco who distains politics, but suddenly is converted to the anti-German cause in the last moments of the film) starring Humphrey Bogart (the film won an Academy Award for "best picture," and interestingly includes Conrad Veidt starring as the German villain, "Major Strasse," 20 years after Veight starred in Germany's most famous movie of the 1920's, THE CABINET OF DR. CALIGARI, a UFA production).
Movies which celebrated England and partiotism on England's behalf (such as ROBIN HOOD and THE SEA HAWK, both starring Warner Brothers Australian born movie star, Errol Flynn) were produced to overcome American antipathy, then widely prevalent, for helping England maintain her Empire.
After USA entrance into the war, the efforts of Warner Brothers (and other studios) to support USA war activity continued, and included the participation of a Warner Brothers contract player (in a movie titled THIS IS THE ARMY) who later became the President of the United States, Ronald Reagan.
Dr. Bridwell's book is worth reading. It is an important addition to the literature of books published over the decades, and longer, about the place of propaganda in propagating and encouraging participation in wars, even when those wars are unpopular, as WWII was in the eyes of many Americans before USA entrance into WWII.
Well-researched on an important subject.......1999-05-05
Dr. Birdwell, an authority on popular culture, has written with fascinating insight about the role of Warner Brothers in their efforts to expose the conditions inside Nazi Germany during the years between the wars when no one else was paying much attention.. The book also delineates the viewpoints of two popular heroes, Charles Lindbergh and Sgt. Alvin C. York, and their influence on public opinion. This book is a "must" for those interested in the subtle ways that Hollywood molds our attitudes toward moral and political issues.
Book Description
Has European cinema, in the age of globalization, lost contact not only with
the world at large, but with its own audiences? Between the thriving
festival circuit and the obligatory late-night television slot, is there
still a public or a public sphere for European films? Can the cinema be the
appropriate medium for a multicultural Europe and its migrating multitudes?
Is there a division of representational labor, with Hollywood providing
stars and spectacle, the Asian countries exotic color and choreographed
action, and Europe a sense of history, place and memory?
This collection of essays by an acclaimed film scholar examines how
independent filmmaking in Europe has been reinventing itself since the 1990s,
faced by renewed competition from Hollywood and the challenges posed to
national cinemas by the fall of the Wall in 1989. Elsaesser reassesses the
debates and presents a broader framework for understanding the
forces at work since the 1960s. These include the interface of "world
cinema" and the rise of Asian cinemas, the importance of the international
film festival circuit, the role of television, and the changing
aesthetics of auteur cinema. New audiences have different allegiances, and
new technologies enable networks to reshape identities, but European cinema
still has an important function in setting critical and creative agendas,
even as its economic and institutional bases are in transition.
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Budgets and Markets: A Study of the Budgeting of European Film (Blueprint: Media Business School)
Terry Ilott
Manufacturer: Routledge
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Binding: Hardcover
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ASIN: 0415136628 |
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Budgets and Markets highlights the decisions involved in budgeting and marketing European films. It looks at the origin, development, production, distribution, finanancing and profit of thirteen films, including such critical and popular successes as Tacones Lejanos (High Heels) by Pedro Almodovar and Peter's Friends by Kenneth Branagh. Detailed financial data is reinforced by interviews with the producers of each film. The core of the analysis is based on the question 'was this film made at the right price for the right market?'
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National Identity and Europe: The Television Revolution (European Media Monographs)
Manufacturer: British Film Inst
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Binding: Paperback
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ASIN: 0851703828 |
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2006 Yearbook: European Audiovisual Observatory
Council of Europe European Audiovisual Observatory
Manufacturer: Council of Europe
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Binding: Paperback
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ASIN: 9287160457 |
Product Description
The Yearbook 2006 supplies you with a precise and comprehensive picture of the situation of the European audiovisual markets and industry in 36 European States.
It is composed of three trilingual volumes, dedicated to the three main branches of the audiovisual sector: film/cinema, television and video.
Volume 1 - Television in 36 European States (Available)
Country by country reports
- Operating revenues of principal television companies
- Financial situation of television companies
- TV audience market share
- Breakdown by genre of TV channels' programme output
Volume 2 - Trends in European television (To be published by end February 2007)
The global audiovisual market
Radio and television companies in Europe
Financial resources of the television industry in Europe
The transition to digital television
Supply of television channels: a multi-channels universe
Trends in television audience
Trends in television programming
Television production companies
Volume 3 - Film and Home Video (To be published by end March 2007)
Production
Theatrical distribution/Exhibition
Electronic cinema
Admissions
The DVD market
Pay-per-view and video-on-demand
Financial situation of the European film industry
Expected publication date: mid March 2007
Books:
- Raising a G-Rated Family in an X-Rated World
- Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Phillip K. Dick's Do Androids Dream of Electric Sheep?
- Sam Shepard : Seven Plays (Buried Child, Curse of the Starving Class, The Tooth of Crime, La Turista, Tongues, Savage Love, True West)
- Sams Teach Yourself Macromedia Flash 8 in 24 Hours (Sams Teach Yourself)
- Save The Cat! The Last Book on Screenwriting You'll Ever Need
- Sculpting a Galaxy: Inside the Star Wars Model Shop
- Simple Path
- Smoke Your Firefighter Interview
- Steve Irwin: The Incredible Life of the Crocodile Hunter
- Steven Spielberg: A Biography (Greenwood Biographies)
Books Index
Books Home
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- The Knowledge Management Yearbook 1999-2000
Ministry of Illusion: Nazi Cinema and Its Afterlife
Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts
The Third Reich: Politics and Propaganda
Film Propaganda: Soviet Russia and Nazi Germany (Cinema and Society)
Hitler's Heroines: Stardom and Womanhood in Nazi Cinema (Culture and the Moving Image)
