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This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema's connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement. Drawing on set design sketches, archival documents and film-makers' memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost´, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.

Motion pictures --- Art direction --- History --- Silent films --- History.

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Motion pictures --- 791.42 --- CDL --- Scenery (Motion pictures) --- Setting (Motion pictures) --- Art direction --- Art direction. --- Setting and scenery. --- Production and direction --- Setting and scenery

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Aesthetics of art --- Film --- anno 1930-1939 --- anno 1940-1949 --- Los Angeles [California] --- Filmarchitektur. --- Filmgesellschaft. --- HOLLYWOOD (LOS ANGELES, CALIF.) --- Künstlerische Leitung. --- MOTION PICTURE STUDIOS --- MOTION PICTURES --- Motion picture studios --- Motion picture studios. --- Motion pictures --- HISTORY. --- CALIFORNIA --- LOS ANGELES --- UNITED STATES --- ART DIRECTION --- History --- Art direction --- Art direction. --- Umschulungswerkstätten für Siedler und Auswanderer --- California --- Hollywood (Los Angeles, Calif.) --- Los Angeles- Hollywood. --- United States. --- History.

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In the early days of filmmaking, before many of Hollywood's elaborate sets and soundstages had been built, it was common for movies to be shot on location. Decades later, Hollywood filmmakers rediscovered the practice of using real locations and documentary footage in their narrative features. Why did this happen? What caused this sudden change? Renowned film scholar R. Barton Palmer answers this question in Shot on Location by exploring the historical, ideological, economic, and technological developments that led Hollywood to head back outside in order to capture footage of real places. His groundbreaking research reveals that wartime newsreels had a massive influence on postwar Hollywood film, although there are key distinctions to be made between these movies and their closest contemporaries, Italian neorealist films. Considering how these practices were used in everything from war movies like Twelve O'Clock High to westerns like The Searchers, Palmer explores how the blurring of the formal boundaries between cinematic journalism and fiction lent a "reality effect" to otherwise implausible stories. Shot on Location describes how the period's greatest directors, from Alfred Hitchcock to Billy Wilder, increasingly moved beyond the confines of the studio. At the same time, the book acknowledges the collaborative nature of moviemaking, identifying key roles that screenwriters, art designers, location scouts, and editors played in incorporating actual geographical locales and social milieus within a fictional framework. Palmer thus offers a fascinating behind-the-scenes look at how Hollywood transformed the way we view real spaces.

Film --- Los Angeles [California] --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Scenery (Motion pictures) --- Setting (Motion pictures) --- Setting and scenery. --- Production and direction --- History --- History and criticism --- Art direction

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The Aesthetics of Nostalgia TV explores the aesthetic politics of nostalgia for 1950s and 60s America on contemporary television. Specifically, it looks at how nostalgic TV production design shapes and is shaped by larger historical discourses on gender and technological change, and America's perceived decline as a global power. Alex Bevan argues that the aesthetics of nostalgic TV tell stories of their own about historical decline and progress, and the place of the baby boomer television suburb in American national memory. She contests theories on nostalgia that see it as stagnating, regressive or a reversion to outdated gender and racial politics, and the technophobic longing for a bygone era; and, instead, argues nostalgia is an important form of historical memory and vehicle for negotiating periods of historical transition. The book addresses how and why the shows construct the boomer era as a placeholder for gender, racial, technological and declensionist discourses of the present. The book uses Mad Men (AMC, 2007), Ugly Betty (ABC, 2006-2010), Desperate Housewives (ABC, 2004-2012) and film remakes of 1950s and 60s family sitcoms as primary case studies.

Nostalgia on television --- Television --- Television programs --- #SBIB:309H1520 --- #SBIB:309H1521 --- Programs, Television --- Shows, Television --- Television shows --- TV shows --- Television broadcasting --- Electronic program guides (Television) --- Television scripts --- Art direction --- Social aspects --- Radio en/of televisieprogramma’s: algemene werken (functies, genres, taalgebruik, historiek) --- Radio- en/of televisieprogramma’s met een amusementsfunctie en/of esthetische functie --- Production design --- Production and direction --- Stage-setting and scenery --- Nostalgia on television. --- Nostalgie à la télévision. --- Télévision --- Émissions télévisées --- Art direction. --- Direction artistique. --- Aspect social --- Social aspects. --- United States.