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oapen-20.500.12657-540772023-12-13T13:22:41Z Screening Europe in Australasia Allen, Julie K. film, movies, cinema, silent film, Hollywood, popular entertainment, European, Australia bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFD Media studies bic Book Industry Communication::H Humanities::HB History::HBL History: earliest times to present day::HBLW 20th century history: c 1900 to c 2000 bic Book Industry Communication::K Economics, finance, business & management::KN Industry & industrial studies::KNT Media, information & communication industries::KNTC Cinema industry bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFC Cultural studies::JFCA Popular culture bic Book Industry Communication::1 Geographical Qualifiers::1M Australasia, Oceania & other land areas::1MB Australasia Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life. Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions. 2022-04-19T11:45:54Z 2022-04-19T11:45:54Z 2022 book 9781905816897 https://library.oapen.org/handle/20.500.12657/54077 eng Exeter Studies in Film History application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781905816897.pdf https://www.exeterpress.co.uk/products/screening-europe-in-australasia?variant=41289025224892 University of Exeter Press 10.47788/ITZE9134 10.47788/ITZE9134 8997c8ff-5e93-42a0-99b3-3ed1ff2e7d62 9781905816897 484 Exeter open access
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Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture.
Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life.
Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.
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