New PDF release: 100 Years of European Cinema: Entertainment or Ideology?

By Alison Smith, Diana Holmes

ISBN-10: 0719058724

ISBN-13: 9780719058721

Cinema is leisure that still communicates a suite of values and a imaginative and prescient of the area. This publication explores the complicated dating among leisure, ideology, and audiences from the Stalinist musicals of the Thirties via cinematic representations of masculinity less than Franco, to contemporary French motion pictures and their Hollywood remakes. It covers movie from the previous Soviet Union, Germany East and West, Czechoslovakia, France, and Spain, and the connection among Europe and Hollywood.

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Extra resources for 100 Years of European Cinema: Entertainment or Ideology?

Sample text

Aftter the advent of ‘talkies’ the expansion of the project slowed down. The new sound recording cinema gear was too expensive. ) The earliest ‘talkie’ equipment was very pricy. ’ The Office did manage gradually to replace the ‘silents’ with ‘talkies’ as far as the Thursday schedules were concerned. In 1938-1939, Cauvin recorded a total of 2,400 ‘silent’ showings and 1,260 ‘talkies’. Right from the outset, the venture was not content just to supply programmes to school and post-school 28 Educational cinema — a libertarian invention ventures.

75 secretary Marcos Alcón. 1 making industry. 4 entertainment in order to escape his Source: Labor del Comité Económico de Cinema employers in his original industry; his in Mi Revista, No 33, 30 January 1938 pugnaciousness had led to his being jailed 44 Anarchist cinema during the Spanish Revolution and Civil War time and again, once on charges of having murdered an accomplice of the bosses’ gunmen. In addition to that post, Marcos Alcón served on the CNT’s National Council from 1931 to 1933: and in 1937 was appointed general secretary of all of the anarchist entertainment unions in Spain.

Differences between militants, marginalisation of those workers who were not CNT card-holders and the dearth of funds devoted to the sort of films that best approximated their ideals brought about failure. The Republican state itself declared itself against socialisation: the anarchist economic system was phased out prior to the end of the war. By the 1930s, thanks to the freedoms introduced by the Second Republic, Spain witnessed a discernible growth in — and increasing intervention in cinema — by the political system.

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100 Years of European Cinema: Entertainment or Ideology? by Alison Smith, Diana Holmes


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