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Film Industry (film + industry)
Selected AbstractsCo-Opting the Wolves: National Film Industry Reform in China After 1978ASIAN POLITICS AND POLICY, Issue 1 2010Katherine Kit Ling Chu This article is about the relationship between the film industry, society, and the state, in the context of economic reforms. I first provide an overview of current writings on the field and then explain the film industry's structure since 1949. I also examine policy changes over the past 30 years. What exactly did the state change? And why did it change? By way of analyzing Chinese cinema, this article examines the relationship between the market, the state, society, and transnational capital. Although the government has increasingly been in favor of a market economy, it has never given up its official ideology over films. Moreover, the domestic film industry did not collapse after the entry of transnational capital; instead, the state successfully co-opted the "wolves" not only to save the film industry but also to enable the state to accumulate both economic and political capital. [source] Entertainment industrialised: the emergence of the international film industry, 1890,1940ECONOMIC HISTORY REVIEW, Issue 3 2009John Sedgwick No abstract is available for this article. [source] Celluloid angels: a research study of nurses in feature films 1900,2007JOURNAL OF ADVANCED NURSING, Issue 1 2008David J. Stanley Abstract Title.,Celluloid angels: a research study of nurses in feature films 1900,2007. Aim., This paper is a report of a study examining the influence on how nursing and nurses are portrayed in feature films made between 1900 and 2007, with a nurse as their main or a principle character and a story-line related specifically to nursing. Background., Nurses and the nursing profession are frequently portrayed negatively or stereotypically in the media, with nurses often being portrayed as feminine and caring but not as leaders or professionals capable of autonomous practice. Methods., A mixed method approach was used to examine feature films made in the Western world. Over 36,000 feature film synopses were reviewed (via CINAHL, ProQuest and relevant movie-specific literature) for the keywords ,nurse'/,nursing'. Identified films were analysed quantitatively to determine their country of production, genre, plot(s) and other relevant data, and qualitatively to identify the emergence of themes related to the image of nurses/nursing in films. Findings., For the period from 1900 to 2007, 280 relevant feature films were identified. Most films were made in the United States of America or United Kingdom, although in recent years films have been increasingly produced in other countries. Early films portrayed nurses as self-sacrificial heroines, sex objects and romantics. More recent films increasingly portray them as strong and self-confident, professionals. Conclusion., Nurse-related films offer a unique insight into the image of nurses and how they have been portrayed. Nurses need to be aware of the impact the film industry has on how nurses and nursing are perceived and represented in feature films. [source] Picturing Architecture Otherwise: the voguing of the Maison Mallet-StevensART HISTORY, Issue 4 2000Richard Becherer This essay pursues the answer to a simple question: How was it that Robert Mallet-Stevens's career masterpiece, the Maison Mallet-Stevens, built in Paris in 1927, found its way into a 1929 Hollywood movie vehicle for Greta Garbo? To respond to this query, this essay confects an understanding of the Maison Mallet-Stevens as photographic image. It explores the designer's longstanding involvement with the French film industry, and his understanding of set décor as photogenic and fully geared to its reception by the camera. It also probes Mallet-Stevens's view of his architecture as publicistic, that is, as presented within the press and as capturing specific visual operations of publicity, especially montage. To make the argument, this essay describes Mallet-Stevens's collaboration with Thérèse Bonney, the Paris-based American photographer and press agent. Bonney apprised Mallet-Stevens of photography's informational value and especially its propagandistic potential, fostering in him an understanding of his craft as engaged in an exchange with other visual industries, particularly fashion and film. As he came to acknowledge the productive capacities of these proximate realms, Mallet-Stevens also indexed their specific production modes to his increasingly image-attuned architecture. Doing so, the designer challenged a time-honoured understanding of architecture as autonomous professional activity. Instead, Mallet-Stevens came to see his architecture as a manifold, mutable, visual world capable of colonizing and annexing allied industries, vastly expanding its scope, allure and desirability , the very functions, coincidentally, it served for Garbo. [source] Co-Opting the Wolves: National Film Industry Reform in China After 1978ASIAN POLITICS AND POLICY, Issue 1 2010Katherine Kit Ling Chu This article is about the relationship between the film industry, society, and the state, in the context of economic reforms. I first provide an overview of current writings on the field and then explain the film industry's structure since 1949. I also examine policy changes over the past 30 years. What exactly did the state change? And why did it change? By way of analyzing Chinese cinema, this article examines the relationship between the market, the state, society, and transnational capital. Although the government has increasingly been in favor of a market economy, it has never given up its official ideology over films. Moreover, the domestic film industry did not collapse after the entry of transnational capital; instead, the state successfully co-opted the "wolves" not only to save the film industry but also to enable the state to accumulate both economic and political capital. [source] | ||||||||||