Category Archive for: ‘Issue 6 – Classics & Re-runs’

Translation by Annabelle J. de Croÿ Introduction by Harriet Margolis Uploaded 16 April 1999 | Modified 20 April 1999 This article first appeared in Revue international de filmologie 1.1 (Juillet-Août 1947): 36-38. The religious function of cinema If ethics is the opposite of religion, as labour is of talent, appropriation is of gift, then cinema will be to sport what religion is to ethics. …

Translation by Annabelle J. de Croÿ Introduction by Harriet Margolis Uploaded 16 April 1999 | Modified 20 April 1999 Neurosis, blockage, projection “If you cannot love me,” says the naïve lover, “at least help me to cure myself.” And he was never more ill. “Flee me,” replies the one he loves. But how to flee when one is not yet cured? The …

Into the past. Like many others in Hong Kong, Taiwan, China and further afield, I became conscious of China’s film heritage in the 1980s, partly as a result of archival and retrospective screenings in the local film festivals. This period was also the golden era of Hong Kong movies, but in my personal opinion, the boom inversely sentenced the creativity …

Uploaded 16 April 1998 Introduction: That filmologie is one of the more obscure byways of film history is surprising, given its influence on the development of film theory. Filmologie, a phenomenon of post-World War II France, is a direct predecessor of the sort of film theory associated with Christian Metz, both in his semiological and psychoanalytical phases. In fact, as Ed Lowry concluded, …

The Pioneer Nearly nine decades ago, in a small town about one hundred kilometres from Pune, a devout young man, brought up in a traditional orthodox Hindu household, got interested in the Arts and Photography, threw away his family profession of priesthood, sold his wife’s ornaments, pledged his life insurance policies and made history by producing what has been commonly …

The history of Japanese Cinema begins with the premiere of Edison’s Kinetoscope in 1886. The following year, the Lumiere brother’s Cinematograph from France was introduced to the Japanese public. In addition, in 1898, two cinematographers from the Lumiere company visited Japan and shot on various locations. During this tour, a Japanese photographer accompanied the group. These French films have been preserved in …

(I) In order to understand the history of early Korean Cinema, the first task perhaps would be to consider the influence of imported films, which would be the same case for other Asian Cinemas. The first imported films, which were called “moving pictures” at the time, can be traced to two historical accounts describing the first public screenings in Korea: …

2nd PUSAN INTERNATIONAL FILM FESTIVAL Presents EARLY ASIAN CINEMA: CLOSE ENCOUNTERS WITH ASIA’S PAST Early Works from India, Japan, China, Indonesia and Korea Seminar: The Beginnings and Development of Early Asian Film Objective: Until recently, the active exchange of film culture between Asian countries has been marginal, thereby limiting the range of research and archival work. In addition to the …