LICENCE TO THRILL: A CULTURAL HISTORY OF THE JAMES BOND FILMS Second edition
London: I.B. Tauris, 2007
ISBN 978 1 84511 515 9
Pp. xiv + 306
£15.99

James Chapman's original history of the James Bond film series, first published in 1999, was acclaimed by fans and scholars alike as the definitive study of celluloid Bond. Licence To Thrill follows Bond from his origins in the novels of author Ian Fleming through all the subsequent Bond films, chartinging how they have responded to changes in the film industry, popular culture and society at large, and demonstrating how they became the most successful series of action-adventure films in cinema history.

For this new, revised edition of Licence To Thrill, Chapman has rewritten the Introduction and Chapter One, and has brought the Bond story up to date to include the films that have been released since the book originally appeared. The new edition therefore includes full coverage of Pierce Brosnan's tenure as Bond and a brand new chapter on Daniel Craig's debut as the British super-spy in Casino Royale.

NAZIS AND THE CINEMA
Susan Tegel
ISBN: 9781847250001
Hardback r.r.p. £30
Published by Hambledon Continuum

Before the rise of television, the cinema was a key medium of entertainment and information. The Nazi regime, which inherited the largest film industry outside Hollywood, realised this clearly, with some of the most memorable images of Hitler and his party coming from Leni Riefenstahl's film Triumph of the Will. Susan Tegel has written a comprehensive account of the films made in Nazi Germany from 1933 to 1945, including the notorious feature film, Jüd Suss, and the compilation documentary Der Ewige Jude. She explores in detail how the film makers were controlled and used by the regime. She also examines other less well- known films featuring Jewish characters. In such films she relates the historical context to government policies concerning the Jews. Newsreels and documentaries and their place within a cinema programme are discussed as are the two documentaries made in Theresienstadt under the SS rather than the Propaganda Ministry. She looks at the industry itself, its reorganization, funding, the interventions of the Propaganda Ministry headed by Goebbels, the compromises which people had to make, the careerism and the dangers which some faced either of unemployment or worse.

Susan Tegel, formerly head of History at the University of Hertfordshire, was historical advisor to the legal team which planned to press charges against Leni Riefenstahl for Holocaust Denial (2002). She has been a member of the editorial board of the Historical Journal of Film, Radio and Television since 2003.

Available from all good bookshops and online. Can be ordered directly from the publisher by calling Orca Book Services on T: +44(0) 1202 665432 or email orders@orcabookservices.co.uk

The Columbia History of American Television
Gary Edgerton (Columbia University Press)

Television is a form of media without equal. It has revolutionized the way we learn about and communicate with the world and has reinvented the way we experience ourselves and others. More than just cheap entertainment, TV is an undeniable component of our culture and contains many clues to who we are, what we value, and where we might be headed in the future.

Media historian Gary R. Edgerton follows the technological developments and increasing cultural relevance of TV from its prehistory (before 1947) to the Network Era (1948-1975) and the Cable Era (1976-1994). He begins with the laying of the first telegraph line in 1844, which gave rise to the idea that images and sounds could be transmitted over long distances. He then considers the remodeling of television's look and purpose during World War II; the gender, racial, and ethnic components of its early broadcasts and audiences; its transformation of postwar America; and its function in the political life of the country. He talks of the birth of prime time and cable, the influence of innovators like Sylvester "Pat" Weaver, Roone Arledge, and Ted Turner, as well as television's entrance into the international market, describing the ascent of such programs as Dallas and The Cosby Show, and the impact these exports have had on transmitting American culture abroad.

Edgerton concludes with a discerning look at our current Digital Era (1995-present) and the new forms of instantaneous communication that continue to change America's social, political, and economic landscape. Richly researched and engaging, Edgerton's history tracks television's growth into a convergent technology, a global industry, a social catalyst, a viable art form, and a complex and dynamic reflection of the American mind and character. It took only ten years for television to penetrate thirty-five million households, and by 1983, the average home kept their set on for more than seven hours a day. The Columbia History of American Television illuminates our complex relationship with this singular medium and provides historical and critical knowledge for understanding TV as a technology, an industry, an art form, and an institutional force.

About the Author
Gary R. Edgerton is professor and chair of the communication and theater arts department at Old Dominion University in Norfolk, Virginia. He has published eight books and more than seventy book chapters and journal articles on a wide assortment of television and media history topics, and is coeditor of the Journal of Popular Film and Television. In 2004 he received the American Culture Association Governing Board Award for Outstanding Contributions to American Cultural Studies. Gary Edgerton is a longtime member of the International Association for Media and History.

The book can be purchased through the Columbia University Press website: www.columbia.edu/cu/cup

Americans and the Making of the Riviera
Michael Nelson

Americans and the Making of the Riviera describes how Americans created the summer season on the French Riviera. Led by Cole Porter in the nineteen twenties, Americans revolutionized the region by demonstrating that the best season to visit was not the winter, but the summer.

Before Porter arrived the season ran from September to April. In the twentieth century Americans took over the nineteenth century British role of shaping tourism on the Riviera.

Michael Nelsons 'Americans and the Making of the Riviera' is published by McFarland at $35. The ISBN is 978-0-7864-3160-1. The book is a sequel to Queen Victoria and the Discovery of the Riviera, which was published by IB Tauris in 2001 and is now available in paperback at $11.66. The ISBN is 978-1-84511-345-2. 

Both books can be bought through the website www.michaelnelsonbooks.com and at all good bookshops.

Perspectives on European Film and History
L. Engelen and R. Vande Winkel (eds)
The fourth book in the book series Film & TV Studies

Perspectives on European Film and History compiles essays on European historical movies such as Luc Besson's The Messenger (1999), Oliver Hirschbiegel' s Downfall (2004) and Mike Leigh's Vera Drake (2004). This volume thus enriches scholarship on historical films, which tends to focus on Hollywood productions. The book, featuring original contributions from internationally renowned scholars such as Robert Rosenstone, Amy Sargeant, Willem Hesling, Uli Jung, James Chapman and Brett Bowles, was edited by Leen Engelen (Media & Design Academy) and Roel Vande Winkel (Ghent University).
Perspectives on European Film and History is the fourth publication in the book series Film & TV Studies. This multilingual series publishes critical academic research about film, television and contemporary screen culture. Find more information on previous editions.

Table of Contents:
Preface

Acknowledgements

Prologue: Historical Film as Palimpsest
Bruno De Wever

No Way to do History? Towards an Intertextual Model for the Analysis of Historical Films
Leen Engelen

An Icon of Change: Andrei Rublev (1966) as a Historical Film about the Birth of Russia   
Pascal Vandelanoitte

Luc Besson’s The Messenger (1999): Remaking Joan of Arc for the New Millennium
Brett Bowles

Artist Legends and the Historical Film. Alexander Korda’s Rembrandt (1936)
Willem Hesling

The World Turned Upside Down: Cromwell (1970), Winstanley (1975), To Kill A King (2003) and the British historical film   
James Chapman

‘A truly fatherlandish epic’? Karl Grune’s Waterloo (1928)
Uli Jung

Reframing the Past to Change the Future. Reflections on Herbert Wilcox’s Dawn (1928) as a Historical Documentary and War Film
Liesbet Depauw

Hitler’s Downfall, a film from Germany (Der Untergang, 2004)
Roel Vande Winkel

The Time Which Is Yet To Come: Understanding My Friend Ivan Lapshin (1983-1985)
Jasmijn Van Gorp

Vera Drake (2004): The comfort of strangers, the discomforts of strangeness
Amy Sargeant

Epilogue: The Promise of History on Film
Robert A. Rosenstone   

Notes on the Contributors

Index

ORDERING INFORMATION
Price: 30.00 EUR
Leen Engelen and Roel Vande Winkel (eds)
Perspectives on European Film and History
Gent, Academia Press, 2007, 281 p.
ISBN 97 890 3821082 7
Illustrations: b/w & colour
Download the order form.

CINEMA AND THE SWASTIKA
The International Expansion of Third Reich Cinema
Edited by Roel Vande Winkel & David Welch

Cinema and the Swastika is the first publication to bring together comparative research on the international expansion of Third Reich cinema. This volume investigates various attempts to infiltrate - economically, politically and culturally – the film industries of 20 countries and regions either occupied by, friendly with or neutral towards Nazi Germany. With contributions from internationally acclaimed specialists, the territory covered includes Western and Central Europe, Italy, Japan, Scandinavia, Spain, South Americas and the USA. This book also features assessments of the International Film Chamber, through which the Nazi propaganda minister, Joseph Goebbels, tried to lead the ‘Film Europe’ movement, and of Hispano Film, through which German cinema tried to conquer Spanish markets.

CONTENTS
Introduction - Europe's New Hollywood? The German Film Industry Under Nazi Rule, 1933-1945; D. Welch & R. Vande Winkel - 'European Cinema for Europe!' The International Film Chamber, 1935-42; B.G. Martin - German Attempts to Penetrate the Spanish-speaking Film Markets, 1936-1942; L. Jarvinen & F. Peredo-Castro - Between Resistance and Collaboration: Austrian Cinema and Nazism Before and During the Annexation, 1933-45; R. von Dassanowsky - German Influence on Belgian Cinema, 1933-45: from Low-Profile Presence to Downright Colonisation; R. Vande Winkel - Nazi Film Politics in Brazil, 1933-42; L. Nazario - The Influence of German Cinema on Newly Established Croatian Cinematography, 1941-45; D. Rafaelic - A Dangerous Neighbourhood: German Cinema in the Czechoslovak Region, 1933-45; I. Klimes - The Attempted Nazification of French Cinema, 1934-44; B. Bowles - Cinema Goes to War: the German Film Policy in Greece during the Occupation, 1941-44; E. Sifaki - 'Competitor or Compatriot? Hungarian Film in the Shadow of the Swastika', 1933-44; D.S. Frey - A War Within the War: Italy, Film, Propaganda and the Quest for Cultural Hegemony in Europe (1933-43); A.A. Kallis - Celluloid Competition: German-Japanese Film Relations, 1929-45; J. Hansen - From Dawn to Young Eagles : The (Failed) Attempt of Germanisation and Nazification of Luxembourg Through Cinema, 1933-1944; P. Lesch - Dutch-German Film Relations Under German Pressure and Nazi Occupation, 1933-45; I. Schiweck - From Will to Reality - Norwegian Film During the Nazi Occupation, 1940-45; B. Sorenssen - Brown-Red Shadows: The Influence of Third Reich and Soviet Cinema on Afrikaans Film; K. Tomaselli & M. Eckardt - Film and Politics in South-East Europe: Germany as 'leading cultural nation'; T. Kirk - German Films on the Spanish Market Before, During and After the Civil War; M. A. Paz & J. Montero - Swedish Film and Germany, 1933-45; R. Wright - Film Propaganda and the Balance between Neutrality and Alignment: Nazi Films in Switzerland, 1933-45; G. Haver - 'A thin stream issuing through closed lock gates': German Cinema and the United Kingdom, 1933-45; J. Fox - German Films in America, 1933-45: Public Diplomacy and an Uncoordinated Information Campaign; D. Culbert - Select bibliography

ORDERING information
Palgrave Macmillan, February 2007
Hardcover, illustrated, 344 p.
ISBN 1-4039-9491-9
GBP 55.00 – USD 90.00

Publisher’s website:
http://www.palgrave.com/products/Catalogue.aspx?is=1403994919
http://www.palgrave-usa.com/catalog/product.aspx?isbn=1403994919

DOCUMENTARY STORYTELLING, SECOND EDITION: MAKING STRONGER AND MORE DRAMATIC NONFICTION FILMS
Sheila Curran Bernard
Focal Press, 2007
Paperback, 400 pages, $29.95
ISBN-10: 0240808754
ISBN-13: 978-0240808758
Buy at FocalPress.com

"Sheila Curran Bernard's ability to dissect a wide range of narrative approaches and explore the elements that make dramatic stories so compelling make this guide invaluable for documentary filmmakers as well as anyone who uses information and evidence to portray real events. But the value of this book goes beyond its service to story tellers; the consumers of documentary films and all journalism can benefit by more fully understanding the narrative structures that we all use to construct order and meaning in the world."
- Dr. Pennee Bender, Media Director, Center for Media and Learning, City University of New York, The Graduate Center

"With all the buzz over blockbuster docs, Focal Press serves up a perfectly timed winner in a much-neglected area. True to the nature of the beast, the book is more about filmmaking as a whole, and how and where storytelling weaves into the overall process."
- Bruce McKenna, Canadian Screenwriter (Writers Guild of Canada)

"Bernard is keenly aware of the power of persuasive images, and her insistence on complexity and integrity is a consistent theme throughout the book."
- Alyssa Worsham, The Independent (Association of Independent Video and Filmmakers)

Documentary Storytelling is unique in offering an in-depth look at story and structure as applied not to Hollywood fiction, but to films and videos based on factual material and the drama of real life. This practical guide offers advice for every stage of production, from research and proposal writing to shooting and editing, and applies it to diverse subjects and film styles, from vérité to archival histories. Filled with real-world examples drawn from the author's career and the experiences of some of today's top documentarians, Documentary Storytelling includes special interview chapters with film professionals including:

a.. Victoria Bruce and Karin Hayes (The Kidnapping of Ingrid Betancourt)
b.. Ric Burns (New York: A Documentary Film, The Civil War, The Donner Party)
c.. Jon Else (Cadillac Desert, The Day After Trinity)
d.. Nick Fraser (commissioning editor, BBC Storyville)
e.. Susan Froemke (Lalee's Kin: The Legacy of Cotton)
f.. Sam Pollard (4 Little Girls, When the Levees Broke)
g.. Kenn Rabin (archivist, Good Night, and Good Luck; Eyes on the Prize)

Contents
PART I: STORY DESIGN: Story Basics, Documentary Storytelling, Approach, Structure, Manipulating Time, Case Studies

PART II: IDEAS TO TREATMENTS: Research, Casting, Pitching and Proposal Writing, Outlines and Treatments

PART III: SHOOTING AND EDITING: Shooting, Editing, Writing Narration and Voice Over, Storytelling: A Checklist

PART IV: CONVERSATIONS ABOUT STORY: Steven Ascher and Jeanne Jordan, Victoria Bruce and Karin Hayes, Ric Burns, Jon Else, Nick Fraser, Susan Froemke, Sam Pollard, Kenn Rabin, Per Saari, Onyekachi Wambu

PART V: ADDITIONAL MATERIAL: Sources and Notes, Films, About the Author, Index

About the Author
Sheila Curran Bernard is an Emmy and Peabody Award-winning filmmaker (Eyes on the Prize, America's War on Poverty, I'll Make Me a World) and consultant. During the fall semester 2005, she served as the Anschutz Distinguished Fellow in American Studies at Princeton University.

City Girls The image of Women in Silent Film
City Girls The image of Women in Silent Film has been edited by Rainer Rother and Gabriele Jatho.

It contains essays by Annette Brauerhoch, Heike-Melba Fendel, Fabienne Liptay and Daniela Sannwald. Published in Berlin by Bertz + Fischer
176 pages, 199 illustrations.
Hardcover €22.90, soft cover €19.90

The Battle of the Somme
A live screening at the Queen Elizabeth Hall with music composed by Laura Rossi performed by the Philharmonia Orchestra, conducted by Nic Raine on 22 October 2006.

A little background is indispensable here. The Battle of the Somme was sponsored by the War Office, and first shown in August 1916, while the battle, which began on July 1 was still in progress. (It didn’t end until November.) The film was seen by more than 20 million people at a time when the population of Britain was 43 million. Filming was the work of two cameramen: Geoffrey Malins and J.B, McDowell. The few voices raised against the idea of showing images of the dead and dying, or of soldiers who would never return, made little headway against those who believed, like the Daily Express, that ‘for sheer realism there has perhaps never been anything to excel this wonderful film’.

The film has long been regarded as one of the principal jewels in the Imperial War Museum’s collection, and the live performance was organized to celebrate its inclusion as the very first British document to be registered in the UNESCO’s Memory of the World programme. There it will join other documents—120 so far from 59 countries—like the German 1921 silent feature film Metropolis, Ibsen’s manuscript of the Doll’s House, Beethoven’s score to his Ninth Symphony, and two items from Kazakhstan; http://www.answers.com/topic/kazakhstan a collection of manuscripts of Khoja Ahmed Yasawi, and “Audiovisual documents of the International Antinuclear movement “Nevada-Semipalatinsk” though neither of these were included at the request of the celebrated Kazakhstani TV journalist Borat Sagdiyev.

It was a stunning coup for Roger Smither and his team to have succeeded where the Magna Carta, Shakespeare’s plays, and the Lindesfarne Gospels (not to mention the British Film Institute and its Mitchell and Kenyon and Frieze-Green collections) have never even been offered. The evening was a triumph as well for Dragon Digital Intermediate, who restored the film—the original negative no longer exists, and the company had to work from duplicating materials struck more than 70 years ago.

Above all it was a vindication of the Imperial War Museum and the Eric Anker-Peterson Charity’s decision to commission Laura Rossi to write new music. (she had already scored the Battle of the Ancre for the Museum) She could so easily have produced a pot-pourri of jaunty marching songs and dolefully sentimental ballads; but instead had the courage to distance herself from the popular songs of the day and compose a thoughtful, elegiac work which wonderfully matched the images. She even mastered the art of mimicking close ups of artillery firing and distant shells exploding. Until I heard—and saw—her solution, I did not think such things were possible. Nic Raine, who conducted the Philharmonia caught her mood exactly

The Queen Elizabeth Hall can only hold 917 people and every seat was taken. A note to the organisers of this gala : Next time hire the Royal Festival Hall which seats 2300. A further note: This was a live performance, and no recordings—not even pirate—were made. But an undertaking was given to release the film with its new music on DVD next year. Please make sure this happens.



IN THE NAME OF PUBLIC ORDER AND MORALITY
Cinema control and film censorship in Luxembourg 1895-2005
de Paul Lesch - Edition: Centre national de l'audiovisuel 22 €, version française et version anglaise
Buy at e-shop

After more than one century of cinema exhibition, film censorship and classification, the study of ministerial bans, deleted scenes, legally imposed seizures, decisions made by the Cinema Commission, and also the numerous debates surrounding certain films, gives us an insight into aspects of Luxembourg history and society as varied as the evolution of popular moral standards and sensibilities, certain great political debates or the frailty of the country’s international status during the 1930s.

Several films (Lucrèce Borgia, Viridiana, etc.) were banned by the government on moral or religious grounds. Others such as Morgenrot or The Road Back fell victim to political considerations. During the 1960s and 1970s, Quiet Days in Clichy and Last Tango in Paris were seized – temporarily –because of their allegedly obscene content. This book also tackles the issues of cinema advertising, the practice of film mutilation, and the memorable debates sparked off by productions as varied Die Sünderin, The Green Berets or History of O.

332 pages, nombreuses illustrations.
ISBN French version : 2-919873-25-3
ISBN English version : 2-919873-37-7



BLACKOUT: WORLD WAR II AND THE ORIGINS OF FILM NOIR
Sheri Chinen Biesen, The Johns Hopkins University Press, 2005
Buy at Johns Hopkins University Press
Buy at Amazon.com

"This volume stands out as one of the best and perhaps the single most essential book in English on film noir. Biesen reveals an untold part of the movement with originality, sophistication, and vitality. Her work will become a foundation for subsequent interpretation of film noir, as well as an ideal text in film, history, and cultural studies courses."
— Brian Taves, film historian, author of The Romance of Adventure: The Genre of Historical Adventure Movies

Challenging conventional scholarship, placing the origins of film noir in postwar Hollywood, Sheri Chinen Biesen finds the genre's roots firmly planted in the political, social, and material conditions of Hollywood during the war. After Pearl Harbor, America and Hollywood experienced a sharp cultural transformation that made horror, shock, and violence not only palatable but preferable. Hard times necessitated cheaper sets, fewer lights, and fresh talent; censors as well as the movie-going public showed a new tolerance for sex and violence; and female producers experienced newfound prominence in the industry.

Biesen brings prodigious archival research, accessible prose, and imaginative insights to both well-known films noir of the wartime period — The Maltese Falcon, The Big Sleep, and Double Indemnity, and others often overlooked or underrated — Scarlet Street, Ministry of Fear, Phantom Lady, and Stranger on the Third Floor.

Sheri Chinen Biesen is a film historian and assistant professor of radio, television, and film studies at Rowan University. Educated at the University of Southern California School of Cinema-Television (B.A. 1987, M.A. 1995) and University of Texas at Austin (Ph.D. 1998), Professor Biesen is the recipient of numerous research awards and teaching honors and has taught cinema history at the University of Texas at Austin, University of California, University of Southern California School of Cinema-Television, and University of Leicester in England. She has contributed to Film Noir Reader 4, Film and History, Literature/Film Quarterly, Popular Culture Review, Quarterly Review of Film and Video, The Historian, Television and Television History and edited The Velvet Light Trap.



Propaganda, the Press and Conflict - The Gulf War and Kosovo
David R. Willcox

Publisher: Routledge
ISBN:0415360439
Pub Date:13 JUN 2005
Type: Hardback Book
Price: £65.00
Extent:256 pages
(Dimensions 234X156 mm)
Illustrations:
15 line drawings



Announcement
James Chapman Past and Present: National Identity and the British Historical Film.
I.B. Taurus London 2005
The cost of Past and Present is £14.99 paperback, or £39.50 hardback.



Announcement
Dear collegues, you can download information on my published thesis (PPT - 151K) - Wochenschau, westdeutsche Identität und Geschlecht in den fünfziger Jahren, Frankfurt/Main: Campus 2002. For a review copy please visit http://www.campus.de/presse/3593368730.

Sincerely,
Uta Schwarz
Düstemichstrasse 14
D-50939 Köln
Tel. 00 49-221-42 00 878



Hollywood behind the Wall: The cinema of East Germany
Daniela Berghahn
216x138mm 296pp 20 b&w illustrations - Publication date: March 2005
HB 0-7190-6171-7 £55.00 / PB 0-7190-6172-5 £16.99

Hollywood behind the Wall is a representative history of East German film culture from 1946 to the present. The book offers close readings and insightful contextual analyses both of DEFA's celebrated classics and of the most acclaimed post-unification feature films by East German directors.

In this comparative study Daniela Berghahn is able to demonstrate that East German cinema occupies an ambivalent position between German national cinema on the one hand and East European and Soviet cinema on the other. On an imaginary map of national cinemas, German cinema is at the epicentre of the ideological divide between communism and capitalism. The cinema of the divided Germany, therefore, emerges as a microcosm that throws the fault lines of Cold War tensions and ideological contests into stark relief.

Hollywood behind the Wall addresses issues that have proved central to critical debates on national cinema, but that take a rather specific inflection in the context of Germany's split screen. It examines the signifying practices and narrative strategies employed by East and West German feature films in the construction of nation-building myths and competing national identities.

Hollywood behind the Wall introduces the reader to the vast corpus of East German feature films by providing contextualised, close readings of twenty films chosen for their paradigmatic significance, while discussing or referencing no less than 190 East German films, as well as numerous West German and East European classics. The detailed textual analyses make this book extremely accessible and will encourage many teachers to assign East German cinema a more prominent place on the curriculum.

The book's scope and its critical consideration of archival materials and scholarly literature make it an authoritative compendium for scholars and students in film studies, German studies, cultural studies and modern European history.

Contents
1. The East German film industry and the state
2. Coming to terms with the Nazi legacy: DEFA’s anti-fascist films
3. In the guise of costume drama: The appropriation of Germany’s cultural heritage
4. The forbidden films
5. Women on film, or how political is the private sphere?
6. German cinema after unification
References
Index

Purchase Online
The book can be purchased online at the following sites:
In the UK at www.manchesteruniversitypress.co.uk
In the USA at www.palgrave-usa.com
In Australia at www.footprint.com.au

About the Author
Daniela Berghahn is Principal Lecturer in German and Film Studies at Oxford Brookes University.



The Television History Book
Michele Hilmes, editor (associate editor Jason Jacobs)
British Film Institute/University of California Press (2003)
Paperback: $24.95

Over the last half a century, the developments in television broadcasting have exerted an immeasurable influence over our social, cultural and economic practices. The Television History Book presents an overview, written by leading media scholars, which collectively traces the history of broadcasting in two major centres of television development and export, Great Britain and the United States.

With its integrated format, The Television History Book encourages readers to make connections between events and tendencies that both unite and differentiate these national broadcasting traditions. The numerous "grey box" case studies illustrate the course of television innovation and are accompanied by lists of recommended further reading, an extensive bibliography and suggested tips for classroom use.

From the origins of the public service and commercial systems of broadcasting to the current period of technological and economic convergence, this book provides an accessible overview of the history of television technology, institutions, polices, programmes and audiences.

Michele Hilmes is Professor of Media and Cultural Studies at the University of Wisconsin - Madison. She has written several books on broadcast history, including Only Connect: a Cultural History of Broadcasting in the United States (Wadsworth, 2001) and Radio Voices: American Broadcasting 1922 to 1952 (Routledge, 2001) . She is currently at work on a history of the mutual influence and opposition between US and British broadcasters during radio and television's formative years. Associate Editor: Jason Jacobs is Senior Lecturer in the School of Film, Media and Cultural Studies, Griffith University, Queensland and the author of Body Trauma TV: The New Hospital Dramas (bfi 2003)

For more information or to purchase this book, visit the University of California Press website.



The Columbia Companion to American History on Film
How the Movies Have Portrayed the American Past
Peter Rollins, editor

American history has always been an irresistible source of inspiration for filmmakers, and today, for good or ill, most Americans´ sense of the past likely comes more from Hollywood than from the works of historians. In important films such as The Birth of a Nation (1915), Roots (1977), Apocalypse Now (1979), and Saving Private Ryan (1998), how much is entertainment and how much is rooted in historical fact?

In The Columbia Companion to American History on Film, more than seventy scholars consider the gap between history and Hollywood. They examine how filmmakers have presented and interpreted the most important events, topics, eras, and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic. Divided into eight broad categories - Eras; Wars and Other Major Events; Notable People; Groups; Institutions and Movements; Places; Themes and Topics; and Myths and Heroes - the volume features extensive cross-references, a filmography (of discussed and relevant films), notes, and a bibliography of selected historical works on each subject.

The Columbia Companion to American History on Film is also an important resource for teachers, with extensive information for research or for course development appropriate for both high school and college students. Though each essay reflects the unique body of film and print works covering the subject at hand, every essay addresses several fundamental questions:

• What are the key films on this topic?
• What sources did the filmmaker use, and how did the film deviate (or remain true to) its sources?
• How have film interpretations of a particular historical topic changed, and what sorts of factors - technological, social, political, historiographical - have affected their evolution?
• Have filmmakers altered the historical record with a view to enhancing drama or to enhance the "truth" of their putative message?

To purchase online or to learn more, visit the The Columbia Companion to American History on Film website.

About the Author
Peter C. Rollins is Regents Professor of English and American Film Studies at Oklahoma State University. He has published widely on film and history, including Hollywood´s Indian: Images of the Native American on Film and U.S. Films of World War I: Movie Versions of Our First Great War.He is currently editor in chief of Film & History: An Interdisciplinary Journal of Film and Television Studies (www.filmandhistory.org).



Bert Hogenkamp, De documentaire film 1945-1965
(The documentary cinema 1945-1965)
Rotterdam: 010 Publishers, 2003, 316p., ill..
The book is in Dutch, but contains an English summary.

The Netherlands have an international reputation with regard to documentary film. In the twenties and thirties film makers related to the film society Filmliga made a name for themselves. After 1945 the "Dutch Documentary School' became a byword for quality.

In the 1988 publication De Nederlandse documentaire film 1920-1940 (Dutch Documentary Film 1920-1940) the history of documentary film making in that particular period is written. The book is now out of print. You can find the summary of its six chapters here.

In the 2003 publication De documentaire film 1945-1965 (the documentary film 1945-1965) the production in this particular period is being discussed. This book can be ordered from the publisher. A summary of this book as a whole can be found here.

Read sample chapters and view film clips here.



BEWEGEND GEHEUGEN (Memory in Motion)
Een gids naar audiovisuele bronnen over Vlaanderen
(A guide to audiovisual collections about Flanders/Belgium)
Daniel Biltereyst and Roel Vande Winkel
This guide is the result of a unique research project on historical non-fiction film (Licht op een Collectief Verleden, ‘Throwing Light onto a collective Heritage’), funded by the Belgian Fund for Scientific Research (Max-Wildiersfonds). For four years, researchers from the Ghent University (Working Group Film and Television Studies) worked in close alliance with the Royal Film Archive in Brussels on the retrieval and preservation of local non-fiction film material.

Simultaneously they organized a systematic survey into film collections owned by other archives, institutions, companies, private collectors etc. This quest resulted in the publication of Bewegend Geheugen (‘Memory in Motion’), a guide to historical and contemporary audiovisual materials about Belgium. The book features a large introduction, including an article on the importance of film as a major historical source as well as a practical guide to legal issues surrounding the use of audiovisual material. The second and main part of the book is devoted to an annotated overview of foreign and domestic (Belgian) archives for historical audiovisual material. Bewegend Geheugen contains many illustrations, including many original black/white and colour stills from previously unknown movies.

Bewegend Geheugen (VI + 363 p.) is the first publication in a new book series, Film & TV Studies. The series publishes critical academic work on cinema, television and contemporary screen culture. It reviews Dutch, French and English manuscripts. For more information, contact the series editor, Prof. Daniel Biltereyst.

Daniel Biltereyst is professor in film, television and cultural media studies, Ghent University, Belgium.
Dr. Roel Vande Winkel is researcher at the Ghent University, Belgium.

Information
http://www.psw.ugent.be/comwet/wgfilmtv/BewegendGeheugen.htm
Purchase
http://www.academiapress.be/homenl.asp
Purchase online at ABC CLIO



Cold War, Cool Medium
Television, McCarthyism, and American Culture
Thomas Doherty

Conventional wisdom holds that television was a coconspirator in the repressions of Cold War America, that it was a facilitator to the blacklist and handmaiden to McCarthyism. But Thomas Doherty argues that, through the influence of television, America actually became a more open and tolerant place. Although many books have been written about this period, Cold War, Cool Medium is the only one to examine it through the lens of television programming.

To the unjaded viewership of Cold War America, the television set was not a harbinger of intellectual degradation and moral decay, but a thrilling new household appliance capable of bringing the wonders of the world directly into the home. The "cool medium" permeated the lives of every American, quickly becoming one of the most powerful cultural forces of the twentieth century. While television has frequently been blamed for spurring the rise of Senator Joseph McCarthy, it was also the national stage upon which America witnessed – and ultimately welcomed – his downfall. In this provocative and nuanced cultural history, Doherty chronicles some of the most fascinating and ideologically charged episodes in television history: the warm-hearted Jewish sitcom The Goldbergs; the subversive threat from I Love Lucy; the sermons of Fulton J. Sheen on Life Is Worth Living; the anticommunist series I Led 3 Lives; the legendary jousts between Edward R. Murrow and Joseph McCarthy on See It Now; and the hypnotic, 188-hour political spectacle that was the Army-McCarthy hearings.

By rerunning the programs, freezing the frames, and reading between the lines, Cold War, Cool Medium paints a picture of Cold War America that belies many black-and-white clichés. Doherty not only details how the blacklist operated within the television industry but also how the shows themselves struggled to defy it, arguing that television was preprogrammed to reinforce the very freedoms that McCarthyism attempted to curtail.

"Explores TV's wonders and skillfully exposes the power of pressure groups on the new medium, which acted out the psychosis that dominated the 1950s. Relying on thorough and enlightening research, Doherty notes the ironies, anti-Semitism and class prejudices that underlined Senator Joseph McCarthy's ascension... Doherty chronicles the medium and its players with style and scholarship."
–  Publishers Weekly

"[A] seriously intelligent history."
–  Library Journal

About the Author
Thomas Doherty is a professor in the American studies department and chair of the film studies program at Brandeis University. He is the author of Projections of War: Hollywood, American Culture, and World War II; PreCode Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934; and Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s, and is associate editor of the film journal Cinéaste.

purchase online at Columbia University Press



PROPAGANDA AND MASS PERSUASION
A Historical Encyclopedia, 1500 to the Present
Nicholas J. Cull, David Culbert, and David Welch

A truly international, authoritative A–Z guide to five centuries of propaganda, in both wartime and peacetime, which covers key moments, techniques, concepts, and some of the most influential propagandists in history.

What were the secrets of both Hitler's and Stalin's success? Why did so many Americans approve of Senator Joseph McCarthy? How did FDR maintain his image with the electorate? The answers to these questions can be found in the realm of propaganda: the art of mass political persuasion.

This fascinating survey provides a comprehensive introduction to propaganda, its changing nature, its practitioners, and its impact on the past five centuries of world history. Written by leading experts, it covers the masters of the art from Joseph Goebbels to Mohandas Gandhi and examines enormously influential works of persuasion such as Uncle Tom's Cabin, techniques such as films and posters, and key concepts like black propaganda and brainwashing.

Case studies reveal the role of mass persuasion during the Reformation, the American Revolution, the Vietnam War, and today's War on Terrorism. Regional studies cover propaganda superpowers, such as Russia, China, and the United States, as well as little-known propaganda campaigns in Southeast Asia, Ireland, and Scandinavia. The book traces the evolution of propaganda from the era of printed handbills to computer fakery, and profiles such brilliant practitioners of the art as Third Reich film director Leni Riefenstahl and 19th-century cartoonist Thomas Nast, whose works helped to bring the notorious Boss Tweed to justice.

Features

• 60+ biographical profiles of the masters of mass persuasion, from Joseph Stalin, Joseph Goebbels, and Saddam Hussein to Mohandas Gandhi, Franklin Delano Roosevelt, and Malcolm X
• Information on dozens of historical and present-day propaganda institutions, including the KGB and the Voice of America
• 20+ of the best-known documents and artifacts of propaganda, such as the film Casablanca and the novel Uncle Tom's Cabin
• Covers five centuries of mass persuasion across the world from the 1500s to current times

Highlights

• First single-volume work on the topic with this breadth of coverage
• Gathers and analyzes important results from the past 20 years of propaganda research in one convenient volume
• Covers five centuries of mass persuasion, offering material that has contemporary relevance
• Case studies explain contemporary mass persuasion techniques, including the peace movement, women's liberation, and environmentalism

Nicholas J. Cull is professor of American studies and director of the Centre for American Studies at the University of Leicester, Midlands, England.

David Culbert is professor of history at Louisiana State University, Baton Rouge, LA.

David Welch is professor of modern history and director of the Centre for the Study of Propaganda at University of Kent, Canterbury, England.

purchase online at ABC CLIO



HOLLYWOOD'S WHITE HOUSE
Eds. Peter Rollins and John E. O'Connor. UP of Kentucky, May, 2003.
The major presidents from Washington to Clinton with bibliographical guidance on the subject — along with a filmography.

"An engaging collection on a subject that needs more treatment in scholarship. This book should excite considerable interest."
– Robert Brent Toplin

"Timely and well-documented. The book presents vivid interpretations of our national institution."
– Robert Fyne

purchase online at Amazon.com

THE WEST WING: THE AMERICAN PRESIDENCY AS TELEVISION DRAMA
Eds. Peter C. Rollins and John E. O'Connor. Syracuse UP. Now available.
The Aaron Sorkin series analyzed by journalists and scholars for the origins of the idea, the aesthetic and political content, and the impact.

Some pedagogical suggestions included with a bibliography and filmography.

purchase online at Amazon.com



THIS FILM IS DANGEROUS
A Celebration of Nitrate Film
Editor: Roger Smither
Associate Editor: Catherine A Surowiec
Published by The International Federation of Film Archives (FIAF), Brussels 2002
ISBN: 2-9600296-0-7.   Price: 60 Euros + mailing costs.
720 pages, 350 illustrations. Text by more than 100 contributors from 35 different countries.
Contents comprises:
Guest Editorials and Endorsements – from (Lord) Richard Attenborough, David Brown, Fay Kanin, Leonard Maltin, (Lord) David Puttnam, and others.
The Last Nitrate Picture Show – papers by the speakers at the symposium which formed part of the June 2000 FIAF Congress in London.
The Silver Lining – a collection of original essays on nitrate topics.
Everyday Nitrate – a section of original and reprinted material illustrating the ways people have worked with celluloid, both during and after the nitrate era.
Luminous Impressions – accounts of restoration projects involving nitrate films.
When Time Ran Out – recollections of “Nitrate Can’t Wait” and “Last Film Search” campaigns from around the world.
The Cost of Nitrate – fire and nitrate film.
Fiery Tails – a more light-hearted, anecdotal look at the theme of fire and nitrate.
Speaking of Nitrate - an anthology of archivists’ reminiscences.
Nitrate Muse – a sampling of original works inspired by the theme of nitrate film.
Bibliography and Filmography.

Authors include: Jean-Louis Bigourdan, Stephen Bottomore, Eileen Bowser, Harold Brown, Kevin Brownlow, Suresh Chabria, Paolo Cherchi Usai, Carlos Roberto de Souza, Clive Donner, Ray Edmondson, Manuel Gonzales Casanova, Jan-Christopher Horak, Clyde Jeavons, Martin Koerber, Jerome Kuehl, Sam Kula, Tom Luddy, Janet McBain, Nicola Mazzanti, Jorge Martin Neira, Ib Monty, P K Nair, Sunniva O’Flynn, Hisashi Okajima, Vladimir Opela, Dominique Paini, David Pierce, David Robinson, Deac Rossell, Sami Sekeroglu, Paul Spehr, Angela Tong, Vanessa Toulmin and Christine Whittaker.

To order this book send an Email to: info@fiafnet.org.



THE MAKING – AND REMAKING – OF A MULTICULTURALIST
Carlos E. Cortés
Foreword by James A. Banks
Multicultural Education
Pub Date: August, 2002 - 240 pages

"Dr. Cortés takes you on a soul-searching course for equitable, inclusive educational approaches to tell accurately and honestly the multidimensional story of the American experience. Compelling and witty, this book is a must read for anyone who wants to make a difference in schools and their communities."
– Ricardo L. García, University of Nebraska

"With its creative synthesis of autobiography and exposition, this book shows a prolific author ‘walking his talk’. Carlos Cortés has said ‘yes’ to every opportunity for professional growth in the multicultural field, and we should also say ‘yes’ to this extraordinary offering of his insight."
- Milton J. Bennett, Director, The Intercultural Communication Institute

"In his conversational and exuberant way, Carlos Cortés offers us an affirming message after the September 11 horror–diversity is not to be feared but rather to be embraced, for as Americans we personify the peoples of the world. The essays attached to his life story concretely illustrate the practices of this master teacher of multicultural education."
- Ronald Takaki, author of A Different Mirror: A History of Multicultural America

Carlos Cortés has been a first-hand observer and participant in the growth of multiculturalism and multicultural education from their birth in the social movements of the 1960s to the present day. In this unique collection of essays about diversity, society, and education, he provides readers with valuable insights, both from his own life story and from some of the most thought-provoking articles he has written over the past three decades. In many ways, Cortés’s personal and professional story is the story of the multicultural movement itself, and this volume gives witness to the struggles and successes that Cortés and many others have experienced while striving to create a place for the voices, values, and visions of racial and ethnic groups in our culturally diverse nation and shrinking world.

Buy online at Teachers College Press



Latest from Rainer Rother
A paperback version of Rainer Rother's biography of Leni Riefenstahl, Leni Riefenstahl. Die Verführung des Talents, published in August 2002 by the Hene Verlag in Munich (ISBN: 3-89487-360-4). The original version has gone into its second edition with the Henschel Verlag, Berlin (288 pages and 60 illustrations, price 12 Euros). An English translation will appear issued by Continuum (288 pages, 50 illustrations, price £20 or $29.95).

Finally Rainer has written a article entitled Was ist ein nationalsocialistischer Film? [What is a National Socialist Film?] for the German periodical Merkur (Number 632, December 2001). He is also preparing a new exhibit for the German Historical Museum whose working title is The Great War 1914-18 and National Memory.

Buy this book online at Continuum International Publishing.



New articles by Lindeperg and Sorlin on representations of history
Two IAMHIST members, Sylvie Lindeperg and Pierre Sorlin, have contributed chapters to Les Institutions de l'Image, edited by Jean-Pierre Berlin-Maghit and Béatrice Fleury-Vilatte with a preface by Marc Ferro (2002). Sylvie Lindeperg chapter is called Traces, documents, monuments. Usage cinématographiques de l'histoire, usages historiques du film. The chapter by Pierre Sorlin is entitled La Shoah: une représentation impossible?



Cinéma et histoire aux Etats-Unis, Paris, La Documentation photographique
n° 8028, 2002. (Buffalo Bill, Paris, Fayard, 2002.)
Jacques Portes
Professor North-America History, University Paris 8
Home: 28 rue Marceau, 92130 Issy-les-Mx, France
tel: 331 47360538
Email: jacques.portes@wanadoo.fr



Charles Maland - John Ford's Stagecoach
Charles Maland's most recent essay has just been published in JOHN FORD'S "STAGECOACH" - edited by Barry Grant in the Cambridge Film Handbooks series. It's called "Powered by a Ford?: Dudley Nichols, Authorship, and Cultural Ethos in STAGECOACH." More details on the book can be found at the Cambridge University Press website.



Edgerton on Ken Burns's America
Gary R. Edgerton, Ken Burns's America. Published in New York by Palgrave for St. Martin's Press, 2001. ISBN is 0-312-23646-8, 270 pages. The usual price is $26.95, but Palgrave/St. Martin's Press now has it on sale for $20.25 at their website.



New from Suzanne Langlois
Suzanne Langlois, La Résistance dans le Cinéma Français: De 'La Libération de Paris' à 'Libera me', Paris, L'Harmattan, 2001.



Television Histories: Shaping Collective Memory in the Media Age
IAMHIST members David Culbert, Thomas Doherty, Gary Edgerton, Douglas Gomery, Peter Rollins and Philip Taylor have all contributed to 'Television Histories: Shaping Collective Memory in the Media Age' edited by Gary Edgerton and Peter Rollins.

Winner of the 2001 Ray and Pat Browne National Book Award for Outstanding Textbook, given by the Popular Culture Association

From Ken Burns’s documentaries to historical dramas such as Roots, from A&E’s Biography series to CNN coverage, television has become the primary source for historical information for tens of millions of Americans today. Why has television become such a respected authority? What falsehoods enter our collective memory as truths? How is one to know what is real and what is imagined – or ignored – by producers, directors, or writers?

Gary Edgerton and Peter Rollins have collected a group of essays that answer these and many other questions. The contributors examine the full spectrum of historical genres, but also institutions such as the History Channel and production histories of such series as The Jack Benny Show, which ran for fifteen years. The authors explore the tensions between popular history and professional history, and the tendency of some academics to declare the past “off limits” to nonscholars. Several of them point to the tendency for television histories to embed current concerns and priorities within the past, as in such popular shows as Quantum Leap and Dr. Quinn, Medicine Woman. The result is an insightful portrayal of the power television possesses to influence our culture.

Gary R. Edgerton, professor and chair of the Communication and Theatre Arts Department at Old Dominion University, is the co-editor of the Journal of Popular Film and Television and the author of several books, most recently In the Eye of the Beholder: Critical Perspectives in Popular Film and Television. Peter C. Rollins, Regents Professor of English at Oklahoma State University, is editor of the journal Film & History and of numerous books, including Hollywood’s Indian and Hollywood as Historian.

“Working from the thesis that people learn about history through television more than any other medium, Edgerton and Rollins look at what TV subliminally teaches us by what is shows and does not show.”
– Variety

Buy this book online at the University of Kentucky Press.



The Movies as History
IAMHIST members have contributed to a new work, 'The Movies as History: Visions of the Twentieth Century'. Edited by David Ellwood, former President of IAMHIST, the book is based on the History Today series which he initiated under the title 'Films in Context' .

See ordering details and a list of the essays on The Movies as History: Visions of the Twentieth Century page.



Hollywood's Film Wars with France
IAMHIST member Jens Ulff-Moller has written 'Hollywood's Film Wars with France', an account of how the Americans conquered the French market after World War I. Published by Boydell and Brewer ISBN 1 58046 086 0 at £45.00. The Boydell website is www.boydell.co.uk and a generous discount is offered to members of our organisation.  



Les Actualités Filmées de la Liberation: Archives du Futur
Sylvie Lindeperg has written 'Les Actualités Filmées de la Liberation: Archives du Futur' about French newsreels from 1944 to 1946. It was published in the series Clio de 5 à 7, by the Editions CNRS in Paris. ISBN: 2-271-05791-4



RECENTLY PUBLISHED

TEENAGERS AND TEENPICS
The Juvenilization of American Movies in the 1950s
Revised and Expanded Edition
Thomas Doherty's book tells the story of two signature developments in the 1950s: the decline of the classical Hollywood cinema and the emergence of that strange new creature, the American teenager. Hollywood's discovery of the teenage moviegoer initiated a progressive "juvenilization" of film content that is today the operative reality of the American motion picture industry.

"Thomas Doherty is a wonderful film historian, as well as an astute cultural observer and a scholarly live wire. His account of Hollywood youth movies is as sensitive to the craziness of the marketplace as that of the movies themselves – smart, detailed, and near-definitive."
— J. Hoberman, film critic, The Village Voice

Order online from Temple University Press.

The Historian, Television and Television History
Edited by Graham Roberts and Philip M Taylor.
Published by the University of Luton Press, 2001. ISBN: 1 86020 586 0.
These collected essays arose out of the 1999 IAMHIST conference at the University of Leeds - 'History and Television'. The contributors are Stephen Badsey, Sheri Chinen Biesen, Ian Bremner, Valeria Camporesi, James Chapman, Luisa Cigognetti, Nicholas J. Cull, Gerda Hendriks, Andre Lange, David E. Morrison, Graham Roberts, Pierre Sorlin, Philip M Taylor, Isabel Veyrat-Masson, Christine Whittaker and Adrian Wood.

The Children Are Watching: How the Media Teach About Diversity
Carlos E. Cortés
Multicultural Education Series
Pub Date: Mar 2000, 224 pages
Paperback: $22.95, ISBN: 0807739375
Cloth: $52, ISBN: 0807739383

"Once in a great while a book comes along that establishes the frame for other works to follow. With wisdom, humor, and an invaluable command of the relevant literature, Cortés deftly defines the questions and establishes the categories for inquiry around the many issues of how and what media teach about diversity. A major contribution to the intersection of media, education, and culture."
–Elizabeth Thoman, President and Founder, Center for Media Literacy

"This groundbreaking book draws deeply from popular culture, research, and the author’s humane and engaging approach. For Cortés, diversity is a source of strength and joy. As America becomes the first genuine multicultural nation, this book is a must read."
–Peter Cookson, Jr., Director, The Center for Educational Outreach and Innovation, Teachers College, Columbia University

When it comes to teaching about diversity, schools face a powerful competitor — the mass media. Analyzing both entertainment and news media, this important new book grapples with such issues as the ways that media frame diversity-related themes, transmit values concerning diversity, contribute to stereotypes, and influence thinking about topics like race, ethnicity, gender, religion, and sexual orientation. Cortés suggests ways that schools and parents can more effectively address the implications of this inevitable media multicultural curriculum. Both powerful and useful, this seminal work should be on every educator’s bookshelf.

Carlos Cortés is a Professor Emeritus of History at the University of California, Riverside. Since 1990 he has served on the summer faculty of the Harvard Institutes for Higher Education and is also on the faculty of the Summer Institute for Intercultural Communication.

Buy online at Teachers College Press

Valeria Camporesi, Mass culture and National Traditions: the BBC and American Broadcasting, 1922-54
European Academic Press 2000

The Tyranny of Change: America in the Progressive Era 1890-1920
John W. Chambers
Rutgers University Press 2000

Queen Victoria and the Discovery of the Riviera
Michael Nelson
I.B. Tauris 2000

Warrior Nation: Images of War in British Popular Culture, 1850 - 2000
Michael Paris
London: Reaktion Books, 2000/2002

The First World War and Popular Cinema
Michael Paris (ed.)
Edinburgh University Press, 1999 - includes a number of essays by IAMHIST members.

The Media at War: Commemoration and Conflict in the 20th Century
Susan Carruthers
Macmillan 1999

Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema 1930-1934
Thomas Doherty
Columbia University Press 1999

British Propaganda in the Twentieth Century: Selling Democracy
Philip M. Taylor
Edinburgh University Press 1999

Dialog mit einem Mythos: Aesthetische und Politische Entwicklung des Leipziger Dokumentarfilm-Festivals in vier Jahrzenten
Ruediger Steinmetz (ed)
Leipzig 1998



IAMHIST MEMBERS – Publication Announcements
Please send details of recent publications to Jerry Kuehl at info-contact @ iamhist.org.