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"The process genre proposes the recognition of the process genre as an essential-and essentially cinematic-genre. 'The process genre' includes the wide array of films that represent people or machines completing a given task or producing something anew. While the representation of process is not solely the province of cinema-it can show up in any observed linear progression through steps to an intended end, including recipes, manuals, and other pictorial instruction-Skvirsky shows how the cinematic presentation of process is unique in that it makes labor visible. As process genre films from the experimental to the didactic engage viewers in mundane and minute tasks, they offer up a world that can be understood, known, or mastered by anyone. Chapter 3 connects a discussion of narrative theory to the unique capacity for process films to draw the viewer in, highlighting in particular Mr. Rogers's ability to engage viewers in the processes of a crayon factory. From there, Skvirsky builds the framework of a theory of the process genre, with an eye to the political effects of the genre in Latin American cinema. For Skvirsky, the politics of making concealed labor visible in a detailed and absorbing format illustrates the special relationship between the process genre and modernity. Chapters 3 and 4 delve into the process genre as it relates to labor, and particularly how it engenders a certain set of aesthetics of labor, while chapter 5 considers New Latin American Cinema and labor history, particularly in relation to development and use of the process genre in anticapitalist political projects. Skvirsky also grapples with affective labor and returns to Akerman's Jeanne Dielman as an exemplar of immaterial labor, producing the intangible like an emotional response. This book will interest readers in cinema and media studies, as well as readers in narrative theory, semiotics, Latin American film, Marxist theory, and labor studies"-- The political effects of this kind of cinematic humanism and the visibility of its labors are particularly important, Skvirsky argues, in an age of affective and freelance work that is increasingly resistant to this kind of holistic view and processual representation. Chapter 1 introduces a collage of different films, each an exemplar of how the viewer is drawn into the detailed actions of the subjects-whether the process involves pulling off a heist (such as in Jules Dassin's Rififi [1955]) or bathing oneself (as in Chantal Akerman's experimental Jeanne Dielman [1975]). These films are then interwoven through the arguments of the following chapters, giving depth to each chapter's theoretical assertions. Chapter 2 seeks to historicize the process film by situating it among other genres of the twentieth century-the educational, the industrial, and the ethnographic film genres.

Process films --- Work in motion pictures. --- History and criticism.

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The enormous influence of the Egyptian film industry on popular culture and collective imagination across the Arab world is widely acknowledged, but little is known about its concrete workings behind the scenes. 'Making Film in Egypt' provides a fascinating glimpse into the lived reality of commercial film production in today?s Cairo, with an emphasis on labor hierarchies, production practices, and the recent transition to digital technologies. Drawing on in-depth interviews and participant observation among production workers, on-set technicians, and artistic crew members, Chihab El Khachab sets out to answer a simple question: how do filmmakers deal with the unpredictable future of their films? The answer unfolds through a journey across the industry's political economy, its labor processes, its technological infrastructure, its logistical and artistic work, and its imagined audiences. The result is a complex and nuanced portrait of the Arab world's largest film industry, rich in ethnographic detail and theoretical innovations in media anthropology, media studies, and Middle East anthropology.

Cinematography. --- Motion picture industry. --- Motion pictures --- Motion pictures. --- Work in motion pictures. --- History --- Production and direction --- Production and direction. --- Egypt.

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Arbeit ist kein rein britisches Thema, wohl aber mit der britischen Geschichte besonders verbunden. Claudia Lillge zeigt, wie Literatur, Fotografie, Film und Fernsehen eigene Zugänge zum konfliktären Feld der vita actica finden, indem sie ihre sozialen, politischen und kulturellen Semantiken flankieren, perspektivieren und mitgestalten. Großbritanniens Pionierrolle in der Industrialisierung, die markante Herausbildung einer working class, die bewegte Historie einer wirkmächtigen Arbeiterbewegung sowie die charakteristische Architektur vormaliger Arbeiterquartiere verweisen darauf, dass Großbritannien ebenso facettenreiche wie außergewöhnliche Kulturen der Arbeit ausgebildet hat. Effekt und Teil dieser Kulturen ist eine reiche Tradition der literarischen und medialen Einlassung. Lillge stellt ästhetische Repräsentationen von Arbeit vor, die das 20. und frühe 21. Jh. hervorgebracht haben, und exploriert deren medienspezifische Verfahren. Im Sinne Raymond Williams’ nähert sie sich einer »structure of feeling« von Arbeitswelten an, der die Künste Sichtbarkeit verleihen.

Work in literature. --- Work in motion pictures. --- Work in art. --- English literature --- Motion pictures --- History and criticism. --- History.

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Contrary to the assumption that Western and Eastern European economies and cinemas were very different from each other, they actually had much in common. After the Second World War both the East and the West adopted a mixed system, containing elements of both socialism and capitalism, and from the 1980s on the whole of Europe, albeit at an uneven speed, followed the neoliberal agenda. This book examines how the economic systems of the East and West impacted labor by focusing on the representation of work in European cinema. Using a Marxist perspective, it compares the situation of workers in Western and Eastern Europe as represented in both auteurist and popular films, including those of Tony Richardson, Lindsay Anderson, Jean-Luc Godard, Andrzej Wajda, DušanMakavejev, Jerzy Skolimowski, the Dardenne Brothers, Ulrich Seidl and many others.

Motion pictures --- Work in motion pictures. --- Working class in motion pictures. --- History --- Work in motion pictures --- Working class in motion pictures --- E-books --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Labor and laboring classes in motion pictures --- History and criticism --- Performing Arts --- Film --- History & Criticism

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" In examining the enduring appeal that rags-to-riches stories exert on our collective imagination, this book highlights the central role that films have played in the ongoing cultural discourse about success and work in America"--

Succès --- Mythe --- Travail --- Mobilité sociale --- Cinéma --- Success in motion pictures. --- Myth in motion pictures. --- Work in motion pictures. --- Social mobility in motion pictures. --- Motion pictures --- Au cinéma --- #SBIB:309H1328 --- #SBIB:309H521 --- PERFORMING ARTS / Film & Video / General. --- PERFORMING ARTS / Film & Video / History & Criticism. --- Films met een ideologische en spiegelfunctie --- Audiovisuele communicatie: inhoudsanalyse: onderzoekingen --- Myth in motion pictures --- Social mobility in motion pictures --- Success in motion pictures --- Work in motion pictures --- PERFORMING ARTS / Film & Video / General --- PERFORMING ARTS / Film & Video / History & Criticism --- Au cinéma.