Project MUSE®: Film History: An International Journal - Latest Articles
https://muse.jhu.edu/journal/285
Project MUSE®: Latest articles in Film History: An International Journal.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 17 (2005) through current issueLatest Articles: Film History: An International JournalTWOProject MUSE®Film History: An International Journal1553-39050892-2160Latest articles in Film History: An International Journal. Feed provided by Project MUSE®Decentralizing the Global History of Cineclubs and Cinemathèques
https://muse.jhu.edu/article/984467
<p></p>
In 1999, Christophe Gauthier published his dissertation in book form, significantly influencing research on the historiography of the cineclub phenomenon.1 Through extensive and rigorous archival research, Gauthier located the origins of cineclub activities in Paris, identifying them as a crucial element in the development of film culture. His book inaugurated a line of research on a phenomenon that had previously received little attention from Western film historiography, placing it within the broader context of Parisian film culture in the 1920s. Specifically, he connected the rise of cineclubs with the development of specialized magazines, which announced their foundation, functions, and activities, as well as
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallDecentralizing the Global History of Cineclubs and Cinemathèques2026-03-05text/htmlen-USDecentralizing the Global History of Cineclubs and Cinemathèques2026-03-052026TWOProject MUSE®894512026-05-14T00:00:00-05:002026-03-05Once Upon a Time, There Was a Film Club … From Cinephilia to Amateur Filmmaking in Interwar Bulgaria
https://muse.jhu.edu/article/984468
<p></p>
Film societies and amateur filmmaking in Bulgaria and the Balkans throughout the first half of the twentieth century remain understudied and obscured among researchers of amateur cinema. This article focuses on the formative years of the amateur film movement in the Tsardom of Bulgaria, from the mid-1920s to the early 1940s, and which factors determined the nature of the first amateur films produced in the country. Evidence of their existence is scarce and can only be found in fragmentary press reports and a few testimonies. In this text, I will discuss five movies, whose titles are known, made from the 1920s to 1930s that can be qualified as amateur films. Of these, only the poorly digitized Приключение в Индиана
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallOnce Upon a Time, There Was a Film Club … From Cinephilia to Amateur Filmmaking in Interwar Bulgaria2026-03-05text/htmlen-USOnce Upon a Time, There Was a Film Club … From Cinephilia to Amateur Filmmaking in Interwar Bulgaria2026-03-052026TWOProject MUSE®841372026-05-14T00:00:00-05:002026-03-05In Limited Edition: The First Decade of the Film Discussion Clubs Movement in Poland, 1955–64
https://muse.jhu.edu/article/984469
<p></p>
Film societies—or rather, film discussion clubs, as they used to be called in Poland—have come to represent one of the most mythologized elements of history in Polish film culture. Some Polish film scholars, as well as filmmakers, born in the 1940s or 1950s were active in the film discussion club movement, either as the organizers of the screenings or simply as film club members. In oral and written accounts, they claim that the film discussion club movement, which emerged in mid-1950s, was one of the most important cultural and social phenomena of their youth, as they recollect their participation as a formative experience, both in terms of learning film history, as well as making new professional
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallIn Limited Edition: The First Decade of the Film Discussion Clubs Movement in Poland, 1955–642026-03-05text/htmlen-USIn Limited Edition: The First Decade of the Film Discussion Clubs Movement in Poland, 1955–642026-03-052026TWOProject MUSE®1128202026-05-14T00:00:00-05:002026-03-05The Uruguayan Cinemateca and its Regional Links: An Analysis of Documentary Archives
https://muse.jhu.edu/article/984470
<p></p>
This article analyzes the configuration and activities of the Cinemateca Uruguaya in its first period, considering the specificities of the archive it gathered while concentrating on its parallel activities and importance in the development of regional organizations that brought together Latin American film archives. This entity was created through the union of the archives of the two main local film clubs in Montevideo, which had been created a few years earlier. These two clubs, Cine Club del Uruguay (1948) and Cine Universitario del Uruguay (1950), were vital, rapidly expanding spaces dedicated to the dissemination of film culture. The clubs grew to more than five thousand members by the mid-1950s, with prolific
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallThe Uruguayan Cinemateca and its Regional Links: An Analysis of Documentary Archives2026-03-05text/htmlen-USThe Uruguayan Cinemateca and its Regional Links: An Analysis of Documentary Archives2026-03-052026TWOProject MUSE®931182026-05-14T00:00:00-05:002026-03-05Policies and Cinephilia: The First Three Decades of the Spanish National Film Archives Filmoteca
https://muse.jhu.edu/article/984471
<p></p>
Audiences and policies, passionate cinephilia and political decisions are heavily intertwined in the history of the Spanish National Film Archives; Filmoteca was founded in 1953 and by the end of the 1950s it was already part of the International Federation of Film Archives (FIAF). Over the next two decades, a period marked by the end of the Francoist dictatorship and the Spanish transition to democracy, it became a central institution in the national film cultural field. Filmoteca cooperated with film festivals, assisted film clubs with their screenings, published books, and profited from the engagement of a group of committed collaborators that helped reform it until its fully institutional stabilization in the
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallPolicies and Cinephilia: The First Three Decades of the Spanish National Film Archives Filmoteca2026-03-05text/htmlen-USPolicies and Cinephilia: The First Three Decades of the Spanish National Film Archives Filmoteca2026-03-052026TWOProject MUSE®1083712026-05-14T00:00:00-05:002026-03-05Cinephiles and Revolutionaries: The Turkish Cinematheque Association (1965–80) and the National Cinema Debate
https://muse.jhu.edu/article/984472
<p></p>
Founded in 1965 by a group of intellectuals, filmmakers, and art enthusiasts who defined themselves as cinephiles, the Turkish Cinematheque Association (hereafter the Cinematheque) reflected the global aspirations of postwar cinephilia, a moment when different institutions of film culture like film societies derived mainly from Europe and proliferated across the world through developing transnational alliances with each other.1 The Cinematheque attempted to institutionalize film culture in Turkey by importing the Western ideals of postwar cinephilia and the film society movement. It emanated, first of all, from a need to access global art films excluded from the domestic film market of the period. Onat Kutlar, one
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallCinephiles and Revolutionaries: The Turkish Cinematheque Association (1965–80) and the National Cinema Debate2026-03-05text/htmlen-USCinephiles and Revolutionaries: The Turkish Cinematheque Association (1965–80) and the National Cinema Debate2026-03-052026TWOProject MUSE®1443642026-05-14T00:00:00-05:002026-03-05Annotated Bibliography on the Historiography of Cineclubism and Film Culture in Latin America and Europe
https://muse.jhu.edu/article/984473
<p></p>
The following pages present a selection of publications that over the last three decades have addressed the relevance of film clubs, film societies, and other related institutions in the emergence and development of film culture in Europe and Latin America. The significance of cineclubs, which originated in the 1920s, has been largely overlooked by traditional historiography. Additionally, there is a significant disparity in the approaches to studying cineclubism within the regions covered in this annotated bibliography. While Latin America has seen a greater tradition of research into cineclub phenomena, Europe has shown much more limited interest. Moreover, the cineclub phenomenon remains vibrant and active in
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallAnnotated Bibliography on the Historiography of Cineclubism and Film Culture in Latin America and Europe2026-03-05text/htmlen-USAnnotated Bibliography on the Historiography of Cineclubism and Film Culture in Latin America and Europe2026-03-052026TWOProject MUSE®435682026-05-14T00:00:00-05:002026-03-05Memorandum sent by the Polish Federation of Film Discussion Clubs to the
International Federation of Film Societies
https://muse.jhu.edu/article/984474
<p></p>
Title:Memorandum sent by the Polish Federation of Film Discussion Clubs to the International Federation of Film SocietiesWarsaw, July 17, 19591The International Federation of Film Societies (IFFS or, as it was commonly referred to in continental Europe, FICC—stemming from French version of the name of the organization, Fédération Internationale des Ciné-Clubs) was set up in 1947 in Cannes, France. By mid-1959, it comprised three main sections, Anglo-Saxon, Latin, and German, and brought together a total of thirty-five countries. The Polish Federation of Discussion Film Clubs (Polska Federacja Dyskusyjnych Klubów Filmowych, PFDKF) joined the FICC at the International Congress in Paris in 1957 and immediately
... <a href="https://muse.jhu.edu/article/984474">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/285/image/coversmallMemorandum sent by the Polish Federation of Film Discussion Clubs to the
International Federation of Film Societies2026-03-05text/htmlen-USMemorandum sent by the Polish Federation of Film Discussion Clubs to the
International Federation of Film Societies2026-03-052026TWOProject MUSE®265532026-05-14T00:00:00-05:002026-03-05