فیلم‌هایی که کار می‌کنند: فیلم صنعتی و بهره‌وری رسانه (فرهنگ فیلم در حال گذار)

The history of industrial films - an orphan genre of twentieth-century cinema composed of government-produced and industrially sponsored movies that sought to achieve the goals of their sponsors, rather than the creative artists involved - seems to have left no trace in filmic cultural discourse. At its height the industrial film industry employed thousands, produced several trade journals and festival circuits, engaged with giants of twentieth-century industry like Shell and AT & T, and featured the talents of iconic actors and directors such as Buster Keaton, John Grierson and Alain Resnais. This is the first full-length book, anthology, and annotated bibliography to analyze the industrial film and its remarkable history.Exploring the potential of the industrial film to uncover renewed and unexplored areas of media studies, this remarkable volume brings together renowned scholars such as Rick Prelinger and Thomas Elsaesser in a discussion of the radical potential and new possibilities in considering the history of this unexplored corporate medium.Review'Industrials' and 'educations', promotional and corporate films and videos, like amateur film, have in recent decades begun to receive attention, but barely a dozen books can be cited which seek to place these films in a broad context. FILMS THAT WORK offers, for the first time, a distinct theoretical framework in which to consider this archive of non-canonical non-fiction film.[-]More than that, it makes a rare contribution to bridging the chasm between English language and continental European film studies -- not just the Shell Film Unit but the Dutch side of its activities; not just sponsorship in the US but film as vocational training in France; not just film and Taylorism but also European uses of film to propagandise it. In short, this is one of the few books to give equal if not additional -- weight to non-fiction film activity in continental Western Europe.[-]And FILMS THAT WORK achieves this in no dry and inaccessible manner. On the contrary, fascinating nuggets are to be found throughout: 150 copies of newsreels made pre-WW II by the Czech Bat'a shoe company and sent out to its 800 shops, Switzerland as corporate films' 'Hollywood', transvestite Krupps employees at a works-party filmed in 1936.[-]FILMS THAT WORK marks a step-change in the study of non-fiction cinema outside the documentary canon.[-][-]Professor Brian Winston[-]Lincoln Professor of Communications[-]University of Lincoln[-] - Industrial films have been around since the first decades of the Twentieth Century, but until recently they have largely been ignored in cinema scholarship. Films that Work is a masterful contribution to the growing literature in this area, and it does more than fill in the gap. Sensitive to both aesthetic practice and social context, its essays offer a comprehensive introduction to the sponsored film's international history. This brilliantly researched and engagingly written collection is a must-read for anyone interested in understanding the vital place of the moving image in industrial relations.[-][-]Anna McCarthy[-]Associate Professor and Associate Chair[-]Department of Cinema Studies, NYU[-]Coeditor, Social Text[-] - Films That Work represents the leading edge of a new era in media research. The history of nontheatrical films - productions that greatly outnumbered the commercial features we have long studied - is now being written in scholarly form. Hediger and Vonderau's anthology of new essays sets a high standard, demonstrating how significant this research can be and how much we have yet to learn about the thousands of such films awaiting rediscovery in archives and private collections.[-][-] -- Dan Streible, New York University About the AuthorVinzenz Hediger is professor of media studies at Ruhr University Bochum in the Netherlands. Patrick Vonderau is assistant professor in the department of media studies at the same university. [C:\Users\Microsoft\Documents\Calibre Library] Contents 6 Introduction 10 I Navigating the Archive 18 Archives and Archaeologies 20 Record, Rhetoric, Rationalization 36 Vernacular Archiving 52 II Visuality and Efficiency 64 Early Industrial Moving Pictures in Germany 66 Layers of Cheese 76 Images of Efficiency 86 “What Hollywood Is to America, the Corporate Film Is to Switzerland” 102 Poussières 120 Thermodynamic Kitsch 128 III Films and Factories 152 Touring as a Cultural Technique 154 Corporate Films of IndustrialWork 168 Filming Work on Behalf of the Automobile Firm 188 Eccentricity, Education and the Evolution of Corporate Speech 212 Centron, an Industrial/Educational Film Studio, 1947-1981 222 Films from Beyond the Well 244 IV See, Learn, Control 258 The Personnel Is Political 260 Behaviorism, Animation, and Effective Cinema 284 Technologies of Organizational Learning 304 The Central Film Library of Vocational Education 316 “Reality Is There, but It’s Manipulated” 330 V Urbanity, Industry, Film 348 Modernism, Industry, Film 350 A Modern Medium for a Modern Message 378 Harbor, Architecture, Film 392 Industrial Films 406 The Desiderata of Business-Film Research1 464 Contributors 472 Index of Names 477 Index of Film Titles 481 Index of Subjects 486 Only available in The history of industrial films an orphan genre of twentieth-century cinema composed of government-produced and industrially sponsored movies that sought to achieve the goals of their sponsors, rather than the creative artists involved seems to have left no trace in filmic cultural discourse. At its height the industrial film industry employed thousands, produced several trade journals and festival circuits, engaged with giants of twentieth-century industry like Shell and AT & T, and featured the talents of iconic actors and directors such as Buster Keaton, John Grierson and Alain Resnais. This is the first full-length book, anthology, and annotated bibliography to analyse the industrial film and its remarkable history. Exploring the potential of the industrial film to uncover renewed and unexplored areas of media studies, this remarkable volume brings together renowned scholars such as Rick Prelinger and Thomas Elsaesser in a discussion of the radical potential and new possibilities in considering the history of this unexplored corporate medium. This study examines the life and world of Conrad Bröske (1660-1713), Court Preacher in Offenbach/Mayn. His claim to fame lies in a ten year period between 1694 and 1704 in which this Marburg-trained pastor became a prolific author, polemicist and promoter of chiliastic writings, thanks to a meeting with Thomas Beverley in 1693 and the baptism of a Muslim convert in 1694. Bröske lived a complex existence "between Sardis and Philadelphia," as a Reformed court preacher and Philadelphian chiliast. His two-sided experience was actually the norm among the Pietists, including so-called radicals. Life between paradigms was the German way of being radical in early modern times due to a lack of religious toleration compared to England and the Netherlands. Bröske's story belongs to the rise of "Early Evangelicalism" that W.R. Ward has recently discussed Industriële films worden gezien als een apart filmgenre van de twintigste eeuw. Ze werden geproduceerd en gesponsord door de overheid en grote bedrijven en moesten vooral aan de wensen van de sponsors voldoen, en niet zo zeer aan die van de filmmakers. In de hoogtijdagen werkten er duizenden mensen aan deze industriële films. Zo zijn er vakbladen en filmfestivals ontstaan door samenwerking met grote bedrijven als Shell en AT & T. Daarnaast hebben belangrijke regisseurs, zoals Buster Keaton, John Grierson en Alain Resnais, aan deze films meegewerkt. Toch lijkt de industriële film geen spoor te hebben achtergelaten in het filmische culturele discours. Films that Work is het eerste boek waarin de industriële film en zijn opmerkelijke geschiedenis worden onderzocht This study examines the life and world of Conrad Broske (1660-1713), Court Preacher in Offenbach/Mayn. His claim to fame lies in a ten year period between 1694 and 1704 in which this Marburg-trained pastor became a prolific author, polemicist and promoter of chiliastic writings, thanks to a meeting with Thomas Beverley in 1693 and the baptism of a Muslim convert in 1694. Broske lived a complex existence 'between Sardis and Philadelphia', as a Reformed court preacher and Philadelphian chiliast. His two-sided experience was actually the norm among the Pietists, including so-called radicals. Life. The history of industrial films. At its height, at the 20th-century, the industrial film industry employed thousands, produced several trade journals and festival circuits, engaged with giants of twentieth-century industry like Shell and AT & T, and featured the talents of iconic actors and directors such as Buster Keaton, John Grierson and Alain Resnais. Exploring the potential of the industrial film to uncover renewed and unexplored areas of media studies, and new possibilities in considering the history of this unexplored corporate medium