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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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"When the Bolsheviks seized power in the Soviet Union during 1917, they were suffering from a substantial political legitimacy deficit. Uneasy political foundations meant that they were always on the defensive and cinema became a key part of the strategy to protect the existence of the USSR. This welcome book shows how one of film's central functions was as an important means of convincing the masses that the regime was legitimate and a bearer of historical truth. Based on extensive research in archives and primary sources, the book examines the interaction between politics and the Soviet cinema industry during the period between Stalin's rise to power and the beginning of the Great Patriotic War. This was the era when the Bolsheviks were trying to develop a 'cinema for the millions', which sought to engage Soviet citizens politically by carefully blending entertainment with the communist message. Jamie Miller investigates how political and administrative decision-making, censorship, thematic planning and purges were shaped by the Bolsheviks' defensive outlook, which in turn had a largely negative impact on the production process. He examines the role of film unions and societies, compares the development of two different studios and looks at the education system for cinema personnel. He also analyses key films of the period, including the classic musical Circus, the class enemy drama The Party Card and the political epic The Great Citizen."--Page 4 of cover.

Motion pictures --- Motion pictures in propaganda --- Communism and motion pictures --- Political aspects --- History --- #SBIB:309H1313 --- Communism and moving-pictures --- Motion pictures and communism --- Moving-pictures in propaganda --- Propaganda in motion pictures --- historia --- Cinéma dans la propagande --- Communisme et cinéma --- Cinéma dans la propagande --- Communisme et cinéma --- Film --- Russia --- Cinéma --- Aspect politique --- Propaganda --- History. --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek)

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Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt, Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939). Review: With a rich blend of art and politics, Doherty brings to light the story of how Hollywood handled Nazism during Hitler's reign. Recommended. Library Journal (starred review) 3/15/13 Hollywood and Hitler, 1933-1939 tracks the advance of fascism, and the movie industry's reaction on screen and in private... [A] fascinating work. -- Kate Muir The Times (London) 4/20/13 A lively study of Hollywood's relationship to Nazism. -- Emily Greenhouse Culture Desk blog, The New Yorker 5/21/13 Wide-ranging and brightly written.The New York Times Book Review -- Dave Kehr The New York Times Book Review 5/26/13 A lively, detailed account and a worthy successor to his books Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934 and Hollywood's Censor: Joseph I. Breen and the Production Code Administration. -- Philip Kemp Times Higher Education 5/16/13 A remarkable and stimulating account of an important part of movie history and American history. -- Rob Hardy The Dispatch 7/19/13 [Doherty's] books on American cinema from the 1930s to the 1950s are essential reading: Pre-Code Hollywood and Hollywood's Censor: Joseph I. Breen & the Production Code Administration... No one has told this story in as comprehensive or convincing a fashion. As always, Doherty's work is well researched. -- Clayton Koppes Cineaste Fall 2013 A witty writer familiar with Hollywood history and manners, Doherty places the studios' craven behavior within a general account of the political culture of the movies in the thirties and forties.The New Yorker -- David Denby The New Yorker 9/16/13 [A] riveting read. -- Merve Emre The Millions 9/18/13 Mr. Doherty fully understands the studio system and how it juggled interference from its own internal agency, the Production Code Administration. -- Jeanine Basinger Wall Street Journal 9/18/13 Meticulously researched and captivating. -- Noah Isenberg Times Literary Supplement 10/25/13 Doherty masterfully describes how the movie industry, mostly headed by Jews, ultimately came together at a time when the nation needed unity... The book is crisply written, well documented. -- Burton Boxerman St. Louis Jewish Light 11/27/13 Doherty's well researched Hollywood and Hitler 1933-1939 throws fascinating new light on America and the rise of Nazism. -- Philip French The Observer 11/23/13 [A] wide-ranging, scrupulously researched and highly entertaining study. -- Philip French Sight and Sound 8/1/13 [A] judicious and comprehensive history of the period. -- Mark Horowitz Tablet 12/20/13

Nationaal-socialisme en film --- National socialism and motion pictures --- National-socialisme et cinema --- Nazi's in de film --- Nazis dans le cinéma --- Nazis in motion pictures --- National socialism and motion pictures. --- Motion picture industry --- Motion pictures --- Motion pictures in propaganda --- Motion pictures, American --- Motion pictures, German --- Nazis in motion pictures. --- Nazisme et cinéma --- Cinéma --- Cinéma dans la propagande --- Films américains --- Films allemands --- Nazis au cinéma --- History --- Political aspects --- Influence --- Industrie --- Histoire --- Aspect politique --- Nazisme et cinéma --- Cinéma --- Cinéma dans la propagande --- Films américains --- Nazis au cinéma --- United States --- 20th century --- Germany --- Motion pictures [American ] --- Motion pictures [German ] --- Film --- anno 1930-1939 --- Los Angeles [California] --- American motion pictures --- Moving-pictures, American --- Foreign films --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Motion pictures and national socialism --- German motion pictures --- History and criticism

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791.43 --- Documentary films --- Motion pictures --- -Motion pictures in propaganda --- -#SBIB:309H1320 --- #SBIB:309H1329 --- #SBIB:309H1332 --- film --- USIA --- Capra Frank --- Office of War Information --- U.S Film Service --- Lorentz Pare --- Grierson John --- documentaire film --- documentaires --- film en politiek --- Verenigde Staten --- filmgeschiedenis --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Filmkunst. Films. Cinema --- History and criticism. --- Political aspects --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Films met een informatieve functie (met inbegrip van de documentaire film) --- Films met een educatieve functie --- History and criticism --- 791.43 Filmkunst. Films. Cinema --- -History and criticism

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"Cinema and the Wealth of Nations explores how media principally in the form of cinema was used during the interwar years by elite institutions to establish and sustain forms of liberal political economy beneficial to their interests. It examines the media produced and circulated by institutions such as states, corporations, and investment banks, as well as the emergence of a corporate media industry and system supported by state policy and integral to the establishment of a new consumer system. Lee Grieveson sketches a genealogy of the use of media to encode liberal political and economic power across the period that saw the United States eclipse Britain as the globally hegemonic power and the related inauguration of new forms of liberal economic globalization. But this is not a distant history. Cinema and the Wealth of Nations examines a foundational conjuncture in the establishment of media forms and a media system instrumental in, and structural to, the emergence and expansion of a world system that has been--and continues to be--brutally violent, unequal, and destructive."--Provided by publisher.

Capitalism and mass media. --- Motion pictures and globalization. --- Motion pictures in propaganda --- Industrial films --- Motion pictures --- Business films --- Industry-sponsored films --- Motion pictures in business --- Motion pictures in industry --- Moving-pictures in industry --- Documentary films --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- Globalization and motion pictures --- Globalization --- Mass media and capitalism --- Mass media --- Political aspects --- Industrial applications --- Motion pictures and globalization --- Capitalism and mass media --- #SBIB:309H1313 --- #SBIB:309H1331 --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- Films met een persuasieve functie (met inbegrip van de propaganda- en reclamefilm) --- american cinema. --- american film. --- american movies. --- britain. --- cinema studies. --- cinema. --- consumer. --- corporate media. --- corporate. --- economic power. --- economy. --- elite. --- film and television. --- film studies. --- film. --- globalization. --- interwar. --- liberal. --- mass media. --- media industry. --- nationalism. --- oppression. --- political. --- politics. --- post war. --- propaganda. --- state policy. --- united states. --- violence.