Stripping the well-stocked shelves

Kinema, 1998

2021

At the beginning of cinema, in his early twentieth-century research the Soviet director and film theorist Sergei Eisenstein developed his theory of associative montage “1+1=3.” Nowadays, new methods have been added to this theory. These variables include the creative re-use of allusions to film history. In contemporary cinema, when a new archive film uses sequences from cinema heritage, it quotes from the past and can activate visually and content-wise complex cultural memories. In these films, the successive placement of two sequences, beyond their association, creates new associative meaning, thus, it calls forth metacinematic associations. This additional meaning is the imprint of cinematic heritage. Final Cut by György Pálfi and Péter Lichter’s works make use of the archives of cinematic heritage through a reinterpreted film language, attempting to create independent, innovative works of art. They use the same starting point, based on a directorial concept, but the two attempts ...

Studies in Eastern European Cinema, 2020

Historical Journal of Film, Radio and Television, 2016

2021

This zine is aimed at film archives, policymakers, and cultural heritage institutions. It provides guidance and suggestions for implementation on making use of out-of-commerce works within archival collections, following recent EU copyright reform

Research Data Journal for the Humanities and Social Sciences, 2024

This paper presents a database on film programming in Moscow cinemas between 1946 and 1955. It outlines the place of this research at the intersection of new cinema history and academic debates on film distribution in the field of Soviet history. The paper describes the data collection, the coding to present the data, and the structure of the database, which consists of the three datasets on Moscow film programming (1946–1955), Moscow cinemas (1946–1955), and the 1952 film calendar. Concluding remarks summarize the knowledge obtained from the database and introduce the Soviet case into the international context of digital data collections for historical cinema studies.

Journal of Scandinavian Cinema, 2016

This article offers a survey of the film distribution of FilmCentrum during the first years of the organization. Like the catalogues of other film cooperatives that were working with distribution, FilmCentrum’s was open, which meant that the organization accepted all submitted films. This openness is discussed at length, both in terms of the discourses around it and the controversies that it aroused, but also as a form of democratization of the film distribution. The notion of the open catalogue is also put into the context of a larger counter-cultural movement and connected to the notion of the anti-catalogue. The film distribution of FilmCentrum is also placed in the context of the history of Swedish cinema.

This paper examines how Cold War propaganda was used by both superpowers during the Cold War and how both of their respective governments maintained strict control over film and television media.

Synoptique, 2018