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Actualités

Table Ronde: In Plain Sight: Race, Nontheatrical Film, and Archives of the Everyday – Jeudi 25 février, 15h-17h (EST)

Nous vous invitons à vous joindre au C21 Media Studies Collaboratory et à la Moving Image…

Appel à contributions: Défilement, projection, performance. La lanterne magique comme dispositif narratif.

Les cahiers de narratologie viennent de publier un nouvel appel à contributions pour un numéro…

Nouvelles Publications

Joanne Bernardi, Paolo Cherchi Usai, Tami Williams and Josh Yumibe (ed), Le cinéma des premiers temps et la question de la provenance (IUP 2021)

Le comité d’organisation du colloque de Rochester 2018 et le comité exécutif de Domitor sont très…

Harold Brown, Caractéristiques physiques des films des premiers temps comme aide à l’identification (FIAF, 2020, nouvelle édition augmentée par Camille Blot-Wellens)

Ouvrage en anglais, intitulé Physical Characteristics of Early Films as Aids to Identification. Tout archiviste qui a…

Snapshots

New Audiences for Old Cinema: The Silent Comedy Watch Party

By Rosie Rowan Taylor A 2020 film screening – courtesy of Rosie Taylor Who would have imagined that…

Early Cinema, from Provenance to Media Archaeology: Notes from the Media Matter Conference

By Hugo Ljungbäck Media studies and its many sub-fields have over the past decade borne witness to…

Racial Justice Statement

2020 Paris Conference

Facebook Posts

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When this happens, it's usually because the owner only shared it with a small group of people, changed who can see it or it's been deleted.

Mars 3rd, 12:57 pm

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I wish I could speak German! ❤

Finally published! The edited volume Ufa international. A German Film Company with Global Ambitions takes a comprehensive look on the international activities of Germanys best-known film company.
Ufa international focuses on Ufas international strategies and activities between 1917 and 1962 and paints a new, critical picture of the company that has long since become a myth. From the foreign stars and the business in Latin America, Asia and Eastern Europe, Ufa international traces the expulsion of Jewish film artists in 1933 to the afterlife of Ufa after 1945. Ufa international is a story of great ambitions, of misfortunes and of failure.

Finally published! The edited volume "Ufa international. A German Film Company with Global Ambitions" takes a comprehensive look on the international activities of Germany's best-known film company.
"Ufa international" focuses on Ufa's international strategies and activities between 1917 and 1962 and paints a new, critical picture of the company that has long since become a myth. From the foreign stars and the business in Latin America, Asia and Eastern Europe, "Ufa international" traces the expulsion of Jewish film artists in 1933 to the afterlife of Ufa after 1945. "Ufa international" is a story of great ambitions, of misfortunes and of failure.Kein anderer deutscher Filmkonzern war so international und so vielsprachig wie die Ufa. Gegründet im Ersten Weltkrieg mit dem Ziel der Expansion im besetzten Osteuropa, entwickelte sich die Ufa in den 1920er und frühen 1930er Jahren zu einem Aushängeschild der Weimarer Republik. In ihren Studios in Berlin und Babelsberg arbeiteten Filmschaffende aus aller Welt; ihre Filme liefen in Argentinien und Australien, in Norwegen und Südafrika, in Indien und China. Die Ufa war der wichtigste europäische Filmkonzern und der bedeutendste Konkurrent der Hollywood-Studios. Die größte Verbreitung fanden ihre Filme im Zweiten Weltkrieg, als die militärische Okkupation und die wirtschaftliche Ausbeutung der ausländischen Märkte Hand in Hand gingen.

"Ufa international" stellt die internationalen Strategien und Aktivitäten der Ufa zwischen 1917 und 1962 in den Mittelpunkt und zeichnet ein neues, kritisches Bild des längst zu einem Mythos gewordenen Großkonzerns. Von den ausländischen Stars und den Geschäften in Lateinamerika und Asien schlägt "Ufa international" einen Bogen zur Vertreibung jüdischer Filmkünstler im Jahr 1933 bis zum Nachleben der Ufa nach 1945. "Ufa international" ist eine Geschichte von großen Ambitionen, von Fehlschlägen und vom Scheitern: https://etk-muenchen.de/search/Details.aspx/…; ... See MoreSee Less

Mars 4th, 3:20 am

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Recalls the Kaiserpanorama! ... See MoreSee Less

Through the mailbox slot: Japanese theatre offers new viewing experience

www.reuters.com

The lights dim, as at the start of any theatre performance, and the audience leans forward to look through a letter-box slot or peephole in the door in front of them as the performers break out into d...

Mars 2nd, 12:22 pm

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en.wikipedia.org/wiki/Kaiserpanorama#/media/File:August_Fuhrmann-Kaiserpanorama_1880.jpg

Paris-3 is announcing two post-doc scholarships in Paris on the topic of "L'esthétique au présent: Puissances de l'image en mouvement, funded by the great Jacques Aumont with his 2019 Balzan prize money. Deadline: Mai 31st.
http://univ-paris3.fr/post-doc-l-esthetique-au-pre… ... See MoreSee Less

Université Sorbonne Nouvelle - Paris 3 - Bourses Post-doc « LEsthétique au présent : puissances de limage mouvante» (Prix Balzan)

www.univ-paris3.fr

Dans le cadre d’un projet intitulé L’Esthétique au présent : puissances de l’image mouvante, et financé par la Fondation Balzan (sous la responsabilité de Jacques Aumont, professeur émér...

Mars 1st, 8:59 am

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Bravo, Jacques, pour ta générosité!❤️

Que belle et généreuse offrande ! J’adore le sujet !

The Films of Sidney Olcott Released in 1924 ... See MoreSee Less

Février 27th, 5:44 pm

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When this happens, it's usually because the owner only shared it with a small group of people, changed who can see it or it's been deleted.

Février 26th, 1:35 pm

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Great shot, Daddy Paley as well.

Cinema Year Zero: Tik Tok and the Grammar of Silent Film ... See MoreSee Less

Cinema Year Zero: Tik Tok and the Grammar of Silent Film

mubi.com

The forms and formulations of the social media juggernaut Tik Tok are rooted in the earliest of all films.

Février 26th, 5:28 am

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In Plain Sight: Race, Nontheatrical Film, and Archives of the Everyday
February 25 @ 3:00 pm - 5:00 pm CST

Hi everyone!

Please join several of your fellow Domitorians tomorrow, February 25 @ 3pm CST for a short screening and what is sure to be a fabulous round table discussion with the editors and contributors to Screening Race in American Nontheatrical Film (Duke 2019).

Paying attention to previously neglected and overlooked films, the participants show how race has been imagined, discussed, and represented in nontheatrical films—from educational and ethnographic to amateur and home movies—and how the nontheatrical archive presents an alternative to traditional histories of race and representation in cinema.

Participants: Allyson Nadia Field (Chicago), Marsha Gordon (NCSU), Martin Johnson (UNC Chapel Hill), Laura Isabel Serna (USC), Crystal Mun-hye Baik (UC Riverside), and Colin Williamson (Rutgers).

About Screening Race in American Nontheatrical Film:

“Although overlooked by most narratives of American cinema history, films made for purposes outside of theatrical entertainment dominated twentieth-century motion picture production. This volume adds to the growing study of nontheatrical films by focusing on the ways filmmakers developed and audiences encountered ideas about race, identity, politics, and community outside the borders of theatrical cinema. The contributors to Screening Race in American Nontheatrical Film examine the place and role of race in educational films, home movies, industry and government films, anthropological films, and church films as well as other forms of nontheatrical filmmaking. From filmic depictions of Native Americans and films by 1920s African American religious leaders to a government educational film about the unequal treatment of Latin American immigrants, these films portrayed—for various purposes and intentions—the lives of those who were mostly excluded from the commercial films being produced in Hollywood. This volume is more than an examination of a broad swath of neglected twentieth-century filmmaking; it is a reevaluation of basic assumptions about American film culture and the place of race within it.”
—from Duke University Press ... See MoreSee Less

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Février 24th, 6:19 pm

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Historical film colors: A guest entry from Barbara Flueckiger ... See MoreSee Less

Historical film colors: A guest entry from Barbara Flueckiger

www.davidbordwell.net

by Kristin Thompson. Berkeley: University of California Press, 2007. 400 pages, 6 × 9 inches, 12 color illustrations; 36 b/w illustrations. [go to Amazon | go to The Frodo Franchise blog]

Février 22nd, 8:24 pm

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great! thank you!!

Through a multi-year collaboration involving the EYE Filmmuseum, NFPF, Library of Congress, Academy Film Archive, Oregon Historical Society, and National Museum of American History, scores of “lost” American silent-era films are being returned to the big screen and shared with new audiences and posted online here: ... See MoreSee Less

National Film Preservation Foundation: EYE Project

www.filmpreservation.org

Through a multi-year collaboration involving the EYE Filmmuseum, NFPF, Library of Congress, Academy Film Archive, Oregon Historical Society, and National Museum of American History, scores of “lost�...

Février 20th, 4:06 pm

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here's another collection from the New Zealand Film Archive www.filmpreservation.org/preserved-films/lost-and-found-new-zealand

Domitor

Domitor, l’association internationale de recherche sur le cinéma des premiers temps, est une association regroupant des personnes ayant un intérêt académique dans le cinéma de ses origines à 1915.

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