This summer, Haidee Wasson presented « Siegfried Kracauer’s Secret Business: A German Émigré and American Institutions of Film Art (1939 –1945) » at the international conference Geographies of film Theory held at the University of London.
In 1963 and 1965 Jean Mitrypublished two massive tomes that, according to Christian Metz who reviewed them, bookended the period sometimes known as ‘classical film theory.’ Just slightly under 1000 pages long, printed in a large format, the two books are colossal in both size and scope.There is a common underlying thread that joins together aspects of Esthéti
At the end of the 1940s Gilbert Cohen-Séat convinces the Sorbonne to offer a degree in film studies through l’Institut de filmologie. This is the first such degree to be offered by a French university until 1962, when the Institute is shut down.
In 2006, Zoë Druick presented her work on The International Educational Cinematograph Institute to the ARTHEMIS team at Concordia University.
Since the late 1950s, the idea that hidden, imperceptible messages could influence mass behaviour has been debated, feared, and ridiculed. In Swift Viewing, Charles R. Acland reveals the secret story of subliminal influence, showing how an obscure concept from experimental psychology became a mainstream belief about our vulnerability to manipulation in an age of media clutter.
Modernity, as has often been observed, was fundamentally concerned with questions of temporality. The period around 1900, in particular, witnessed numerous efforts to define, discipline or 'liberate' temporal experience. Within this broader framework of thinking about temporality, 'rhythm' came to form the object of an intense and widespread preoccupation.
By exploring the use of film in mid-twentieth-century institutions, including libraries, museums, classrooms, and professional organizations, the essays in Useful Cinema show how moving images became an ordinary feature of American life.