Representations of the family in postwar British amateur film: family histories in the Lane and Scrutton collection at the East Anglian Film Archive

This article examines the construction of the postwar British family in amateur film with reference to the Sidney Lane and Cecil Scrutton collection held at the East Anglian Film Archive (EAFA), particularly the films covering 1948 – 1961. Heather Norris Nicholson argues that home movies contribute to ‘an understanding of leisure and visual-related practices of consumption as well as the social processes by which people came to give themselves, and others, identities’ in the mid-twentieth century (Nicholson, H. N. [2004]. At Home and Abroad with Cine Enthusiasts: Regional Amateur Filmmaking and Visualizing the Mediterranean, ca. 1928 – 1962’. Geojournal, 49, 323–333). By considering the social and historical contexts in which these home movies were produced, and using accompanying notes by one of the filmmaker’s sons, the leisure time films of Lane and Scrutton can be analysed in order to understand how the amateur cine hobby ideologically constructed family, community and national identity in postwar Britain. The images of Christmas parties, daytrips and holidays in these films reveal much about this particular family, and are therefore very illuminating to the social historian and film scholar of today.     

Australian Cinema Studies: How the Subject Is Taught in Australian Universities

Since the mid-1970s, the subject Australian Cinema, and its various synonyms and neologisms, has been studied in humanities, social sciences and the arts in Australian higher education, and research in the field has played an important role in informing the critical approaches underpinning curriculum. Yet to date there is limited insight into the types of subjects offered, approaches to curriculum and syllabus, and their alignment with research. This article maps Australian cinema studies in higher education at an undergraduate level, and provides insight into common curriculum and syllabus models. Findings are drawn from an online survey of university course handbooks, content and thematic analysis of study guides and weekly syllabus, and correspondence with coordinators. Twenty-seven universities offered subjects with a dominant Australian cinema focus. Australian cinema studies is firmly embedded in national cinema curriculum, and three common curriculum models include the following: (1) a historical chronology of Australian cinema, (2) a text-dominant approach organised around the weekly study of a key film and (3) an approach predominately structured around Australian cinema discourses and critical theory. Despite the increasing importance of transnational approaches to Australian screen in research, transnationalism rarely functions as a dominant organising logic for curriculum in its own right.     

高仿真制模伪造指印的识别研究

目的 探究高仿真制模伪造指印的识别方法.方法 选取多个印泥指印作为母版,分别采用曝光法制作指模,将母版指印与对应的伪造指印进行整体比较及显微比较.结果 伪造指印较母版指印尺寸存在差异、纹线略变粗、纹线间隔略变小、细节特征易黏连、细小痕迹及细微特征不反映或反映不全、单根纹线的墨迹分布平实且缺少细微漏白等.结论 识别伪造指...     

‘I Want to Wear It’: Fashioning Black Feminism in Mahogany (1975)

ABSTRACT

In this article I focus on the portrayal of fashionable clothing in the 1975 film Mahogany and connect it to the history of African American women engaging with sartorial self-representation as a means to assert their visibility in American culture. My aim is to analyse Mahogany’s emphasis on brightly-coloured highly-ornamented clothing, which has a long history of signifying bad taste and became part of accusations of racial and sexual inferiority. I want to show how Mahogany’s representation of fashion undermines the historically entrenched bias against colourful, highly adorned clothing while also revealing how this bias has played a subtle but significant role in the racism and sexism black women have encountered, further (but not finally) impeding them from the forms of recognition the category of femininity offers. Mahogany represents those impediments and repeats the sexual and racial commodification underlying them, but also resists them (albeit quite subtly) through the film’s loving display of fashion and its attention to the work of designing and making clothes. Mahogany tells a story of bright sartorial resistance that can be understood as an articulation of black feminist desires for women of colour to be able to compose the images through which their bodies are perceived.     

Youth organizations,citizenship, and guidelines for tourism in the wake of mass tourism in Finland

This paper will study tourism as a site of citizenship formation with a particular focus on the arrangements and lived practices of citizenship in the Finnish Youth Organization and in a sub-section of Northern Ostrobothnian Travel Club between 1965 and 1985. From the perspective of the model of citizenship in Finland, modern mass tourism was not unproblematic and it was uniquely incorporated in the program and activities of the Finnish Youth Organization, underlining the wider social and civic utility of tourism. In this paper, the examination of archive materials from this particular historical period will provide a nuanced understanding of the mutual formation of citizenship and tourism at multiple geographical scales and insight into how the model of citizenship has been of great importance for mobile people in many ways.     

Interrogating the Look of the Gaze: Theorizing a Latina Cine-subjectivity

Abstract: This article concerns sexual object choice, transgender subjectivities and emancipatory heterosexuality as imaged in three films: The House of the Spirits (1993), I Like It Like That (1994) and Mi Vida Loca (1994). The author argues, through her examination of the three films, for cinematic ways to refocus and interrogate the look and gender of the gaze, thereby envisioning what the author theorizes as a Latina cinematic subjectivity. The idea of a Latina cinematic subject is presented in order to articulate how at particular moments in the films an autonomous Latina subjectivity is created through narrative and mise-en-scène. It is at these narrative and aesthetic moments that the characters look back at the objectifying gaze, thereby creating a cinematic sexual subjectivity for the characters and a model of agency for the culturally resistant spectator who is doing the looking. The House of the Spirits points to the contradiction of sexual object choice and female desire; I Like It Like That reveals the performative and fluid possibilities of gender, as well as the hybridity of black and Latino cultures; and Mi Vida Loca reflects the struggle for agency in Chicana heterosexual relationships and in their material lives. The author argues that the three portrayals begin important cultural work in the rethinking of sexualities, as they unthink the rigidity of monosexuality, destabilize normative conceptions of gender and reinvigorate agency and egalitarianism in heterosexual relations.     

Queer love economies: Making trans/feminist film in precarious times

In this essay, the authors, all experimental filmmakers, discuss the impact of Born in Flames on their own work, as well as the ways their various projects pick up, extend, or change the political questions raised by the film. The relationships of experimental film to political community and community building are explored, particularly in the context of queer, feminist, trans, anti-racist politics and media.     

The shadow block: Female bonding in quilters

In these brief notes, the author's aim is to situate Born in Flames historically, including within the history of feminist theory. His starting point for thinking through this film was the presumption that what it means now differs from what it meant in its own time. While that would be true of almost any text, it has seemed to the author that Born in Flames, as an incendiary text, is extraordinarily provocative in the very ways that make it now seem “dated.” It remains inspiring, however, because it offers a vision of intersectional political coalition more radical than any feature film that we are likely to see now, despite the influence of decades of feminist, queer, and critical race studies. Revisiting the discourses the film generated at the time of its release, the author has come to recognize that, though times and the trends in theory have changed since 1983, the stakes of the revolution in the film have not. It presents a desire to make the world otherwise, economically and culturally.     

论行贿犯罪档案查询中虚假证件的识别

检察机关行贿犯罪档案查询系统的开通,对于强化检察机关法律监督职能作用,加强从源头上遏制和预防腐败,全面推进廉洁准入制度,促进社会信用体系建设,起到了积极的作用。但近来投标人使用虚假证件的问题比较严重,应引起各级检察机关的高度重视。在执行查询工作时,我们应建立起严密规范的工作程序,让虚假证件失去赖以生存的空间。     

加强高校档案管理重在务实高效

高校档案是国家档案的重要组成部分,是高校管理的基础工作之一。随着社会主义市场经济体制的建立和高等教育体制的改革与发展,给档案管理工作提出了更新更高的要求。档案工作者不但要有广博的专业知识,还要建立严密、科学、高效的档案工作系统,实现档案信息资源共享,更好地为高校教学、科研和经济发展服务。