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When male-desiring men in the United States began assembling as a sociopolitical entity in the late 1940s and early 1950s, it was prohibited to make, watch, or possess direct cinematic representations of male-male desire. While a small number of homoerotic photography and homosexual rights magazines began to circulate, images of male-male desire were far from direct. Images that placed men ...

Sociology of the family. Sociology of sexuality --- anno 1900-1999 --- Movies --- Homosexuality --- Images of men --- Book --- Imaging

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Postwar Hong Kong cinema played an active role in building the colony's community in the 1950s and 1960s. To Jing Jing Chang, the screening of movies in postwar Hong Kong was a process of showing the filmmakers' visions for Hong Kong society and simultaneously an attempt to conceal their anxieties and mask their political agenda. It was a time when the city was a site of intense ideological struggles among the colonial government, Chinese Nationalists, and Communist sympathisers. The medium of film was recognised as a powerful tool for public persuasion and various camps competed to win over the hearts and minds of the audience. 'Screening Communities' thus situates the history of postwar Hong Kong cinema at the intersection of Cold War politics, Chinese culture, and local society.

Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Social aspects --- History --- History and criticism --- 1900-1999 --- China

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At the beginning of the twenty-first century, as the contradictions of capitalism became more apparent than at any other time since the 1920s, numerous films gave allegorical form to the crises of contemporary capitalism. Some films were overtly political in nature, while others refracted the vicissitudes of capital in stories that were not, on the surface, explicitly political. Rumble and Crash examines six particularly rich and thought-provoking films in this vein. These films, Milo Sweedler argues, give narrative and audiovisual form to the increasingly pervasive sense that the economic system we have known and accepted as inevitable and ubiquitous is in fact riddled with self-destructive flaws. Analyzing four movies from before the global financial crisis of 2008 and two that allegorize the financial meltdown itself, Sweedler explores how cinema responded to one of the defining crises of our time. Films examined include Alfonso Cuarón's Children of Men (2006), Stephen Gaghan's Syriana (2005), Fernando Meirelles's The Constant Gardener (2005), Spike Lee's Inside Man (2006), Martin Scorsese's The Wolf of Wall Street (2013), and Woody Allen's Blue Jasmine (2013).

Motion pictures --- Capitalism in motion pictures. --- Politics in motion pictures. --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism

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Films for the Colonies examines the British Government's use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.

Motion pictures --- History. --- Social aspects --- Great Britain. --- Great Britain --- Colonies --- In motion pictures. --- 1920s. --- british colonies. --- british empire. --- british government. --- colonial film unit. --- empire. --- film. --- ghana. --- global cinema. --- independence. --- instructional and educational films. --- jamaica. --- legacies of colonialism. --- malaysia. --- malta. --- media. --- mobile cinemas. --- movies. --- new forms of cinema culture. --- new historical perspective. --- producing movies. --- propaganda. --- rapidly changing empire.

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Films for the Colonies examines the British Government's use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely-seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire, through the war, civil unrest and political independence. It also offers a fresh exploration of British, and global, cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, from Malta to Malaysia. This is not an antiquated history, but one that continues to shape Britain and its former colonies today.

Motion pictures --- History --- Social aspects --- Great Britain --- Colonies --- In motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Great Britain. --- Colonial Film Unit (Great Britain) --- History.