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chick flick Quick reference
A Dictionary of Film Studies (2 ed.)
... identification and narrative closure ( see narrative/narration ), and may be seen in part as documents of changes in women’s lives and expectations in the years after World War II, and in part as reaction to the beginnings of second-wave feminism. Later Hollywood films in this vein, like The Accused ( Jonathan Kaplan . 1988 ) and Thelma and Louise ( Ridley Scott , 1991 ), offer more physical action and relatively dynamic female protagonists, and have been claimed as pivotal in the shift between new women’s films and the chick flick, a number of phases...
CinemaScope Quick reference
A Dictionary of Film Studies (2 ed.)
...20th Century-Fox (TCF). It was based on an anamorphic lens system in which the image photographed is squeezed to half its width on the film stock and then unsqueezed when projected onto the cinema screen, producing an aspect ratio of between 2.35:1 and 2.55:1—significantly narrower and wider than the standard Academy Ratio of 1.375:1 ( see film projector ). It is conventionally accepted that TCF’s breakthrough CinemaScope film was the biblical epic The Robe (Henry Koster, 1953 ), which proved a huge box-office success; though rival claims for...
studio system Quick reference
A Dictionary of Film Studies (2 ed.)
...and US cinema is often referred to as a ‘producer’s cinema’, in contrast to the claims of the auteur theory which argues that the director is the key creative force ( see authorship ). Powerful studio bosses such as Barney Balaban and Adolph Zukor at Paramount; Nicholas Schenck , Louis B. Mayer, and Irving Thalberg at MGM, and Joseph Schenck and Darryl F. Zanuck at 20th Century-Fox dictated whether and how a film would be made. However, it is also claimed that a financially stable and supportive context, as well as a competitive creative...
war film Quick reference
A Dictionary of Film Studies (2 ed.)
...wars of ancient Greece and Rome, medieval crusades, the Napoleonic wars, and the US Civil War (the latter described as ‘war pictures’ in the early film trade press); and yet the genre is typically associated with 20th-century wars: for example, the Edison Company’s films of the Spanish-American War and British films of the Boer War are often claimed to be the earliest war films. World War I was a crucible of war film production. During that war the main combatants—France, Germany, and Britain—produced a number of (often staged or partly staged) actualities ,...
Turkey, film in Quick reference
A Dictionary of Film Studies (2 ed.)
...on films imported from France . Domestic film production was limited to a handful of short propaganda documentaries made by the military, including Ayastefanos’taki Rus Abidesinin Y ιkιlιşι / The Demolition of the Russian Monument at St Stephan ( 1914 ), which is claimed to be the first Turkish film. The earliest locally produced feature films, Pençe/The Claw and Casus/The Spy were both directed by Sedat Simavi and released in 1917 . When Turkey became a secular republic in 1923 feature film production began on a very small scale....
Palestine, film in Quick reference
A Dictionary of Film Studies (2 ed.)
...film in ). Local film production can be traced back to Palestinian filmmaker Ibrahim Hassan Firhan , who filmed the 1935 visit to Jerusalem of the Prince of Saud, and the first Palestinian feature film is usually claimed to be Holiday Eve ( 1945 ), directed by Ahmed Hilmi al-Kilani . Imports from Egypt were popular in the first half of the 20th century, but cinemagoing was not as widespread as in other Arab countries. The 1948 Arab-Israeli war and the experience of Naqba (a term meaning ‘disaster’ that Palestinians use to refer to their exile from...
television Quick reference
A Dictionary of Film Studies (2 ed.)
...film studies. For example, the viewing of films in the domestic context and as part of everyday life has been investigated using anthropological and ethnographic approaches. The different narrative techniques of film and television have also been compared from a neoformalist perspective ( see neoformalism ). The television viewer is said to glance at the screen, watching programmes in a distracted state: this is contrasted with the focused gaze of the film spectator . It is claimed that ‘glance aesthetics’ are now a feature of film viewing and that...
Hollywood Quick reference
A Dictionary of Film Studies (2 ed.)
...and world markets. It was in the 1930s that the studios refined the internationally influential group style referred to as classical Hollywood cinema . Gone With the Wind ( Victor Fleming , 1939 ), a film part-financed by MGM with independent producer David O. Selznick, was the most commercially successful film of the period (and many claim, of all time). US entry into World War II necessitated a switch to production of propaganda films, with one‐third of all Hollywood production devoted to war films and/or films with an anti‐Fascist theme: a...
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