2024-03-29T15:38:31Zhttps://research-repository.st-andrews.ac.uk/oai/requestoai:research-repository.st-andrews.ac.uk:10023/127042024-02-24T00:38:10Zcom_10023_123com_10023_30com_10023_879com_10023_878col_10023_124col_10023_880
War in peace : the American Legion and the continuing service of film
Rice, Tom
Wasson, Haidee
Grieveson, Lee
University of St Andrews. Film Studies
PN1993 Motion Pictures
BDC
R2C
SDG 16 - Peace, Justice and Strong Institutions
2018-02-12T14:30:13Z
2018-02-12T14:30:13Z
2018-01
Book item
Rice , T 2018 , War in peace : the American Legion and the continuing service of film . in H Wasson & L Grieveson (eds) , Cinema’s Military Industrial Complex . University of California Press , pp. 95-115 .
9780520291508
9780520291515
9780520965263
ORCID: /0000-0002-4333-7493/work/77524755
https://hdl.handle.net/10023/12704
https://www.ucpress.edu/book.php?isbn=9780520291508
eng
Cinema’s Military Industrial Complex
University of California Press
oai:research-repository.st-andrews.ac.uk:10023/85552024-02-18T00:41:20Zcom_10023_123com_10023_30com_10023_879com_10023_878col_10023_124col_10023_880
From the astonished spectator to the spectator in movement : exhibition advertisements in 1920s Germany and Austria
Cowan, Michael
University of St Andrews. Film Studies
Advertising
Exhibitions
Film
Spectatorship
Portable Projection
German Studies
PN1993 Motion Pictures
Lorsque les foires commerciales, phénomène nouveau et en voie de professionnalisation, se sont répandues après la première guerre mondiale dans des villes telles que Vienne, Francfort, Berlin et Düsseldorf, elles se sont souvent tournées vers le film comme moyen publicitaire, employant fréquemment des experts en animation ou des cinéastes d’avant-garde. En examinant les films publicitaires faits pour ces évènements, cet essai explore quelques unes des relations changeantes, dans les années 1920, entre le cinéma et la culture des foires commerciales. Les films adoptent souvent une stratégie de l’étonnement qui est commune à la publicité imprimée, aux expositions technologiques du 19ième siècle et au cinéma d’attraction des premiers temps. Mais, ils tendent aussi à illustrer un nouveau paradigme du film comme médium qui peut à la fois interpeler le spectateur et le contrôler. Cette idée du film comme moyen de direction du spectateur est en phase avec les nouvelles théories de la publicité qui sont apparues après la guerre et qui ont trouvé leur terrain d’essai précisément dans le milieu des foires commerciales.
2016-04-05T11:00:05Z
2016-04-05T11:00:05Z
2014-08-01
Journal article
Cowan , M 2014 , ' From the astonished spectator to the spectator in movement : exhibition advertisements in 1920s Germany and Austria ' , Canadian Journal of Film Studies , vol. 23 , no. 1 , pp. 2-29 .
1084-1490
https://hdl.handle.net/10023/8555
http://www.filmstudies.ca/journal/cjfs/archives/articles/23.1-cowan-exhibition-advertisements-germany
eng
Canadian Journal of Film Studies
oai:research-repository.st-andrews.ac.uk:10023/85752023-04-18T10:07:34Zcom_10023_123com_10023_30com_10023_879com_10023_878col_10023_124col_10023_880
Fidelity, Capture and the Sound Advertisement : Julius Pinschewer and Rudi Klemm's "Die chinesische Nachtigall"
Cowan, Michael
University of St Andrews. Film Studies
Advertising film
Sound film
Animation
Silhouettes
PN1993 Motion Pictures
ISBN: 978-3-7065-5356-8. Edited by Sema Colpan, Lydia Nsiah, Joachim Schätz, Siegfried Mattl (Hrsg.)
Examines the first sound advertising film in Germany (1928)
2016-04-07T15:00:02Z
2016-04-07T15:00:02Z
2014-04
Journal article
Cowan , M 2014 , ' Fidelity, Capture and the Sound Advertisement : Julius Pinschewer and Rudi Klemm's "Die chinesische Nachtigall" ' , Zeitgeschichte , vol. 2 , no. 14 , pp. 90-101 .
PURE: 241574384
PURE UUID: 37673cdf-4bb1-42c4-959f-88560c181f21
Scopus: 84899854939
http://hdl.handle.net/10023/8575
http://www.studienverlag.at/page.cfm?vpath=buecher/buchdetail&titnr=5356
eng
Zeitgeschichte
© 2014 Publisher / the Authors. This work is made available online with permission from the publisher. This is the final published version of the work, which was originally published at http://www.studienverlag.at/page.cfm?vpath=buecher/bilderdownload&type=cover&titnr=5356
oai:research-repository.st-andrews.ac.uk:10023/82352023-04-25T23:42:41Zcom_10023_123com_10023_30com_10023_879com_10023_878col_10023_124col_10023_880
Chronicle of a quest : silence after killing
Torchin, Leshu
University of St Andrews. Film Studies
Genocide
Testimony
Witnessing
Documentary Film
Indonesia
PN1993 Motion Pictures
SDG 16 - Peace, Justice and Strong Institutions
After the “flamboyant fever dream” and ontological experimentations of The Act of Killing (2013), Joshua Oppenheimer’s latest film, The Look of Silence comes as something of a shock. A poetic, intimate film, it relies on more traditional documentary styles, interviews and observation in particular. At the same time, the film illustrates the challenges of documentary testimony, both practical (in terms of collection, credibility and deployment) and existential (as a hybrid of truth and fiction). The challenges and oscillation offer a way of expressing the conditions of the survivors, caught between a past they know to be true and the amnesiac historiography that surrounds them. Although such strategies produce a similar destabilization of ontological and epistemological certainty akin to those found in Killing, there is nonetheless a departure as the sobriety confers a moral authority that enables this film to be deployed in social justice projects.
2016-02-15T15:10:07Z
2016-02-15T15:10:07Z
2015
Journal article
Torchin , L 2015 , ' Chronicle of a quest : silence after killing ' , Film Quarterly , vol. 69 , no. 2 , pp. 25-35 .
0015-1386
PURE: 217780787
PURE UUID: b53092d6-0642-43c4-b7d3-bfbdf535e33d
Scopus: 84962206337
ORCID: /0000-0001-9486-8027/work/66069967
http://hdl.handle.net/10023/8235
http://www.jstor.org/stable/10.1525/fq.2015.69.2.25
eng
Film Quarterly
© 2015 by The Regents of the University of California. All rights reserved. Copying and permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® or directly with the Copyright Clearance Center.