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Motion picture production, distribution, exhibition and reception has always been a transnational phenomenon, yet East Germany, situated at the edge of the post-war Iron Curtain, separated by a boundary that became materialized in the Berlin Wall in 1961, resembles nothing if not an island, a protected space where film production developed under the protection of government subsidy and ideological purity. This volume proposes on the contrary that the GDR cinema was never just a monologue. Rather, its media landscape was characterized by constant dialogue, if not competition, with both the capitalist West and socialist East. These thirteen essays reshape DEFA cinema studies by exploring international networks, identifying lines of influence beyond national boundaries and recognizing genre qualities that surpass the temporal and spatial confines. The international team of film specialists present detailed analyses of over fifty films, including fiction features, adaptations of literary classics, children's films, documentaries, and examples from genres such as music, sci-fi, Westerns and crime films. With contributions by Seán Allan, Hunter Bivens, Benita Blessing, Barton Byg, Jaimey Fisher, Sabine Hake, Nick Hodgin, Manuel Köppen, Anke Pinkert, Larson Powell, Brad Prager, Marc Silberman, Stefan Soldovieri, and Henning Wrage.

Motion picture industry --- Motion pictures --- History. --- Political aspects --- DEFA --- DEFA. --- East Germany. --- Film Culture. --- GDR. --- Media History.

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While psychiatry and the neurosciences have dismissed the concept of neurosis as too vague for medical purposes, in recent years literary studies have adopted the term by virtue of its abstractness. This volume investigates the verbalization of neurosis in literary and cultural texts. As opposed to the medical diagnostics of neurosis in the individual, the contributions focus on the poetics of neurosis. They indicate how neuroses are still routinely romanticized or vilified, bent to suit aesthetic and narrative choices, and transfigured to illustrate unresolved cultural tensions. »[The book] fulfills its goal, and with gusto - it disposes of diagnostic exactness to embrace terminological vagueness yet successfully diagnoses many fundamental ailments and discomforts of our present-day culture.« Marija Spirkovska, KULT_online, 60 (2019)

American Studies. --- Anglophone World. --- British Studies. --- Cultural Studies. --- Culture. --- Film. --- Literature. --- Postcolonialism. --- SOCIAL SCIENCE / Popular Culture. --- Neurosis; Literature; Film; Culture; Anglophone World; Cultural Studies; British Studies; American Studies; Postcolonialism

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The first issue of Hollywood Quarterly, in October 1945, marked the appearance of the most significant, successful, and regularly published journal of its kind in the United States. For its entire life, the Quarterly held to the leftist utopianism of its founders, several of whom would later be blacklisted. The journal attracted a collection of writers unmatched in North American film studies for the heterogeneity of their intellectual and practical concerns: from film, radio, and television industry workers to academics; from Sam Goldwyn, Edith Head, and Chuck Jones to Theodor Adorno and Siegfried Kracauer. For this volume, Eric Smoodin and Ann Martin have selected essays that reflect the astonishing eclecticism of the journal, with sections on animation, the avant-garde, and documentary to go along with a representative sampling of articles about feature-length narrative films. They have also included articles on radio and television, reflecting the contents of just about every issue of the journal and exemplifying the extraordinary moment in film and media studies that Hollywood Quarterly captured and helped to create. In 1951, Hollywood Quarterly was renamed the Quarterly of Film, Radio, and Television, and in 1958 it was replaced by Film Quarterly, which is still published by the University of California Press. During those first twelve years, the Quarterly maintained an intelligent, sophisticated, and critical interest in all the major entertainment media, not just film, and in issue after issue insisted on the importance of both aesthetic and sociological methodologies for studying popular culture, and on the political significance of the mass media.

Motion pictures --- Cinéma --- History --- Social aspects --- Histoire --- Aspect social --- Culture in motion pictures. --- History. --- 20th century. --- academics. --- anthology. --- avant garde film. --- discussion books. --- documentary. --- entertainment. --- essay collection. --- film culture. --- film historians. --- film journalism. --- film scholars. --- film students. --- film studies. --- historical. --- hollywood. --- intellectual perspective. --- journal archives. --- leftist utopianism. --- mass media. --- media studies. --- narrative films. --- nonfiction. --- pop culture. --- postwar america. --- retrospective. --- sociological. --- textbooks. --- united states.

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This study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach—in dialogue with social history, print history and media archaeology—it also transforms our theoretical understanding of what a film society was and how it operated. Far from representing a mere collection of pre-formed cinephiles, film societies were, according to the book’s central argument, productive social formations, which taught people how to nurture their passion for the movies, how to engage with cinema, and how to interact with each other. Ultimately, the study argues that examining film societies can help to reveal the diffuse agency by which generative ideas of cinema take shape.

Motion pictures --- HISTORY / Europe / Germany. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Social aspects --- History --- Societies, etc. --- History. --- History and criticism --- Film societies, German cinema, Austrian cinema, film culture, film journals, media archaeology, scientific film, film industries, cinephilia, film activism.

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In a market long dominated by Hollywood, French films are consistently the most widely distributed non-English language works. French cinema, however, appears to undergo a transformation as it reaches Britain, becoming something quite different to that experienced by audiences at home. Drawing on extensive archival research the authors examine in detail the discourses, debates and decisions which have determined the place accorded to French cinema in British film culture. In so doing they provide a fascinating account of this particular instance of transnational cinematic traffic while simult

Motion pictures, French --- Motion pictures --- History --- archival research. --- art history. --- artistic. --- audiences. --- british film culture. --- british film. --- cinema. --- continental films. --- culture. --- detailed history. --- engaging. --- europe. --- european film industry. --- film distribution. --- film exhibition. --- film history. --- film markets. --- film society. --- foreign films. --- french cinema. --- french films. --- historical. --- history criticism. --- hollywood. --- humor and drama. --- page turner. --- performing arts. --- pop culture. --- retrospective. --- romance.