This article explores the relationship of Soviet cinema and the Spanish Civil War, 1936–1939. The article focuses on three separate components of Moscow's cinematic operations vis-à-vis the Spanish imbroglio: (1) the distribution of Soviet-made feature films in the Loyalist zone, (2) the production of Soviet propaganda newsreels on Spanish subjects intended for distribution within the Soviet Union, and (3) the significance of the Spanish war for Soviet cinema throughout the balance of the Bolshevik period. The narrative and conclusions herein are supported by new research from archives in both Spain and the Russian Federation, as well as analyses of films rarely if ever discussed in the scholarly literature, either within film studies or twentieth century European history.
The Telenews Theater chain flourished in the United States between 1939 and 1967, offering its audiences continuous newsreel presentations in an age before CNN and other cable news services. While not the first newsreel chain, Telenews was unique in providing local managers the ability to personalize each theater's program by splicing together selected clips from various competing reels. By adapting to the needs of local television stations, Telenews survived well into the video age. The authors relate the history of Telenews through an account of their own investigations of its role in their family history.
The British American Film Manufacturing Co. (Briam) was created in 1912 by entrepreneurs who saw Canadian nationalism as a commercial opportunity. In accordance with ideas widely held within the moving picture industry in the transitional era, Briam aimed to produce and market films connoting genteel values such as education, nationalism and patriotism. Its project was to re-enact events from Canadian history on the actual locations where they had taken place. For added 'realism', most of its films were to feature 'show Indians' from the Kahnawake Mohawk reservation. However, industrial rationalization and the increased sophistication of narrative films turned out by the leading US film producers soon put an end to this experiment in 'historically correct' Canadian photoplays.
A notable early example of the docu-drama feature, Stark Love (1927) was filmed on location in the North Carolina mountains with a local cast of non-professionals. Since its rediscovery in the late 1960s it has been of great interest to both film historians and students of Appalachia. Through the use of personal papers, memoirs and other local history resources, this paper clarifies many of the myths surrounding its production and reception.
Alfred Hitchcock's I Confess was based on Paul Anthelme's 1902 play Nos Deux Consciences. Hitchcock began working on the film in 1947 but had great difficulty in fashioning a script which met both his requirements and those of various other interested parties, including the Production Code Administration and the Roman Catholic Church. The paper traces the compromised development of the project through to its location filming in Quebec in 1952, and suggests that problems with the film cited by Robin Wood and others can be traced to this troubled development process.
This article looks at approaches to film acting in 1930s British Cinema by examining the papers of the actor Robert Donat (1905–1958), now housed in the Donat Archive in the John Rylands University Library, Manchester. Using Donat's original documents, particularly the 'The Emotion Chart', that was used in preparation for his role in The Citadel (MGM,1938), it argues that film acting methodologies in Britain were developed from the cross-fertilisation of stage acting and existing film acting practice.
The concept of 'character doubling,' which has deep literary roots, was developed with special force in the cinema. Carl Jung's theory of psychological types, first published in English in 1923, suggests an approach to understanding the use of stereotyped characters, especially doubles, so familiar in American cinema. The on- and off-screen career of actress Kim Novak is used as an illustration of this fascination with disjointed personalities, particularly in such films as Vertigo, Bell, Book and Candle, The Legend of Lylah Clare and Kiss Me, Stupid.