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Politics --- Film --- 791.43 --- Motion pictures in propaganda --- Politics in motion pictures --- #SBIB:309H1328 --- Motion pictures --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- Filmkunst. Films. Cinema --- Films met een ideologische en spiegelfunctie --- Motion pictures in propaganda. --- Politics in motion pictures. --- 791.43 Filmkunst. Films. Cinema
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Though often defined as having opposite aims, means, and effects, modernism and modern propaganda developed at the same time and influenced each other in surprising ways. The professional propagandist emerged as one kind of information specialist, the modernist writer as another. Britain was particularly important to this double history. By secretly hiring well-known writers and intellectuals to write for the government and by exploiting their control of new global information systems, the British in World War I invented a new template for the manipulation of information that remains with us to this day. Making a persuasive case for the importance of understanding modernism in the context of the history of modern propaganda, Modernism, Media, and Propaganda also helps explain the origins of today's highly propagandized world. Modernism, Media, and Propaganda integrates new archival research with fresh interpretations of British fiction and film to provide a comprehensive cultural history of the relationship between modernism and propaganda in Britain during the first half of the twentieth century. From works by Joseph Conrad to propaganda films by Alfred Hitchcock and Orson Welles, Mark Wollaeger traces the transition from literary to cinematic propaganda while offering compelling close readings of major fiction by Virginia Woolf, Ford Madox Ford, and James Joyce.
English fiction --- Modernism (Literature) --- Motion pictures in propaganda. --- Propaganda --- History and criticism. --- History --- Motion pictures in propaganda --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Communication in politics --- Political psychology --- Social influence --- Advertising --- Persuasion (Psychology) --- Psychological warfare --- Public relations --- Publicity --- Social pressure --- History and criticism
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#SBIB:309H1331 --- #SBIB:309H271 --- #SBIB:AANKOOP --- Films met een persuasieve functie (met inbegrip van de propaganda- en reclamefilm) --- Politieke communicatie: toepassingsgebieden --- Cinéma et propagande --- Publicité politique --- Politics in motion pictures. --- Science politique --- Cinéma et politique --- Motion pictures in propaganda --- Motion pictures --- Advertising, Political --- Au cinéma --- History. --- Political aspects --- Politics in motion pictures --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- History --- Au cinéma.
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Basing his study on some two-hundred-and-fifty German novels, memoirs, fictionalized histories, and films (including Das Boot), Michael Hadley examines the popular image of the German submarine and weighs the values, purposes, and perceptions of German writers and film makers. He considers the idea of the submarine as a war-winning weapon and the exploits of the "band of brothers" who made up the U-boat crews. He also describes the perceptions of the German public about the role of the U-boat in the war effort and the hopes that it carried for victory in two world wars against the Allied forces. Analysed in context, the U-boat emerges as a central factor and metaphor in Germany's ongoing struggle with its political and military past. In Count Not the Dead Hadley explores the complex relationships between political reality and cultural myth, and draws important conclusions about the way in which Germans have interpreted their past and how present concerns change these views.
Submarines (Ships) --- Submarines (Ships) in literature. --- Submarines (Ships) in motion pictures. --- Motion pictures in propaganda --- Propaganda --- Communication in politics --- Political psychology --- Social influence --- Advertising --- Persuasion (Psychology) --- Psychological warfare --- Public relations --- Publicity --- Social pressure --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Motion pictures --- Submarine boats --- Subs (Ships) --- Submersibles --- Warships --- History.
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This book explores how Soviet film worked with time, the past, and memory. It looks at Stalinist cinema and its role in the production of history, the conversion of the present and experience into history, mechanisms of transfer, and what is located between history and the past. The representation of history is always the representation of power. The institution of legitimization and the mechanism for the production of identity, history is the past, constructed and served by the authorities who are attempting to curtail the experience by packaging it into a literary narrative and new visual im
Motion pictures --- Motion pictures and history. --- Motion pictures in propaganda --- Communism and motion pictures --- Communism and moving-pictures --- Motion pictures and communism --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- History and motion pictures --- Moving-pictures and history --- History --- History.
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Explores five case studies in Britain, the USSR, Germany and Italy to determine whether or not propaganda films reached the audiences at which they were targeted, and where they did, whether the films made the impact on those audiences that the propagandists had expected.
Motion pictures in propaganda --- Politics in motion pictures. --- Motion pictures in propaganda. --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- History. --- Political aspects. --- History and criticism --- Politics in motion pictures
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Long description: In den 1910er Jahren entstand das moderne Kino als populäre Unterhaltungsform. Während des Ersten Weltkriegs begannen die Krieg führenden Staaten, das neuartige Medium systematisch für Propagandazwecke zu nutzen. Als Bestandteil eines massenmedialen Ensembles sollten Filme auf die öffentliche Meinung einwirken. Geografisch inmitten des Kriegsgeschehens gelegen, spielte die Informationsdrehscheibe Schweiz im weltweiten Propagandakrieg eine prominente Rolle. So betrieb etwa das deutsche Auswärtige Amt über Tarnfirmen mehrere Kinos in der Schweiz. Die Filme, mit denen sowohl die Mittelmächte als auch die Alliierten den schweizerischen Filmmarkt überschwemmten, hatten gegensätzliche Auswirkungen: Einerseits verschärften die sie begleitenden öffentlichen Debatten die Spannungen im Land; andererseits führte der Abwehrreflex gegen ausländische Beeinflussung zum Wunsch nach einem eigenen nationalen Filmschaffen. Die Studie beschreibt die Anfänge der modernen Filmkultur in der Schweiz und gibt einen Überblick über die Etablierung von Filmmarkt und Kinoöffentlichkeit; insbesondere rekonstruiert sie die Rezeption der international zirkulierenden Propagandafilme zwischen 1914 und 1918. Damit beleuchtet der Autor die bisher nur in Grundzügen bekannte frühe Schweizer Film- und Kinogeschichte im Spannungsfeld von Unterhaltung und gezielter politischer Einflussnahme. Biographical note: Adrian Gerber ist Filmwissenschaftler und Historiker. Im Rahmen seiner Forschungstätigkeit am Seminar für Filmwissenschaft der Universität Zürich hat er eine Monografie zur Geschichte der katholischen Filmarbeit in der Schweiz sowie Aufsätze über historische Kinowerbung und Filmplakate veröffentlicht.
World War, 1914-1918 --- Motion pictures in propaganda --- Motion pictures --- Motion pictures and the war. --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- History and criticism
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En 1945, après avoir constitué un puissant instrument de propagande sous le Troisième Reich, le cinéma allemand est réduit à néant et se trouve soumis au bon vouloir des puissances d’occupation. Tout en affirmant sa volonté de dénazifier et de rééduquer les Allemands, chacune d’elles entreprend de relancer et de développer les activités cinématographiques d’une façon conforme à ses intérêts. Cette étude se propose de cerner les caractéristiques, l’évolution et le rayonnement de l’action menée par les Français. L’importance qu’ils accordent au cinéma se traduit par de nombreuses mesures : réouverture des salles, installation d’ateliers et de studios, création de sociétés francoallemandes, sélection et diffusion de films français, organisation de galas et de festivals, mise en place de ciné-clubs… Si certaines réalisations s’inscrivent dans une politique de rééducation, d’autres dénotent une volonté de rehausser le prestige de la France et d’implanter le cinéma français en Allemagne. En même temps, des accords passés avec les autres puissances d’occupation témoignent de l’impact du contexte international (émergence de la Guerre Froide et adhésion progressive de la France à la politique anglo-américaine) sur le cinéma.
Motion pictures --- Motion pictures, French --- Motion pictures in propaganda. --- Political aspects. --- History. --- France --- Germany --- Relations --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- French motion pictures --- Foreign films --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- politique --- Occupation --- cinéma --- Cinéma --- Cinéma dans la propagande --- Aspect politique --- Histoire --- Allemagne
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"This critical text examines the seventy-year history of comic book superheroes on film and in comic books and their reflections of the politics of their time. Superheroes addressed include Batman, Wonder Woman, Spider-Man, Superman, the Invisible Woman and the X-Men, and topics covered include American wars, conflicts, and public policy"--Provided by publisher.
Propaganda in de film --- Propaganda in motion pictures --- Propagandafilms --- Propagande dans le cinéma --- Superheroes. --- Comic books, strips, etc. --- Superhero films --- Propaganda in motion pictures. --- Motion pictures --- Superheroes --- Political aspects. --- Moral and ethical aspects. --- History and criticism. --- History --- Comic books, strips, etc --- Comic strip superhero films --- Comic strip superheroes films --- Superheroes films --- Fantasy films --- Science fiction films --- Comic book heroes --- Super heroes --- Fictitious characters --- Moving-pictures in propaganda --- Propaganda --- Comic strips --- Comics --- Funnies --- Manga (Comic books, strips, etc.) --- Manhua (Comic books, strips, etc.) --- Manhwa (Comic books, strips, etc.) --- Serial picture books --- Caricatures and cartoons --- Wit and humor, Pictorial --- Moral and ethical aspects --- Political aspects --- History and criticism --- United States --- 20th century --- Manhua (Comic books) --- Manhwa (Comic books) --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal --- Drawing --- Thematology --- beeldverhalen
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