Where Can You See Striking Workers? Communist Media Networks, Documentary Film and Regimes of (In)Visibility in the Early Cold War

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F24%3A10482846" target="_blank" >RIV/00216208:11210/24:10482846 - isvavai.cz</a>

Výsledek na webu

<a href="https://doi.org/10.4324/9781032618326-5" target="_blank" >https://doi.org/10.4324/9781032618326-5</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.4324/9781032618326-5" target="_blank" >10.4324/9781032618326-5</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Where Can You See Striking Workers? Communist Media Networks, Documentary Film and Regimes of (In)Visibility in the Early Cold War

Popis výsledku v původním jazyce

The international exchange of films between East and West continued for political and symbolic reasons even during the Cold War. However, the circulation of documentary films and the role of the Western European communist parties in this process remain under-researched. This chapter focuses on the media tactics of the Italian, French and Czechoslovak communist parties in the early 1950s, when Prague, the capital of Czechoslovakia, played an important role as an unexpected media centre, organising radio and television broadcasts to France and Italy but also mediating the visibility of documentaries about the oppression of Western European workers through the Karlovy Vary Film Festival. Introducing the concept of regimes of (in)visibility into the field of film and media studies, it analyses the negotiation about the distribution of films banned or censored in France and Italy in Eastern Europe as a specific set of media tactics aimed at promoting or displacing certain ideas or narratives in/from public discourse within East and West entanglements.

Název v anglickém jazyce

Where Can You See Striking Workers? Communist Media Networks, Documentary Film and Regimes of (In)Visibility in the Early Cold War

Popis výsledku anglicky

The international exchange of films between East and West continued for political and symbolic reasons even during the Cold War. However, the circulation of documentary films and the role of the Western European communist parties in this process remain under-researched. This chapter focuses on the media tactics of the Italian, French and Czechoslovak communist parties in the early 1950s, when Prague, the capital of Czechoslovakia, played an important role as an unexpected media centre, organising radio and television broadcasts to France and Italy but also mediating the visibility of documentaries about the oppression of Western European workers through the Karlovy Vary Film Festival. Introducing the concept of regimes of (in)visibility into the field of film and media studies, it analyses the negotiation about the distribution of films banned or censored in France and Italy in Eastern Europe as a specific set of media tactics aimed at promoting or displacing certain ideas or narratives in/from public discourse within East and West entanglements.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Media Tactics in the Long Twentieth Century

ISBN

978-1-03-261827-2

Počet stran výsledku

16

Strana od-do

54-69

Počet stran knihy

286

Název nakladatele

Routledge

Místo vydání

New York

Kód UT WoS kapitoly

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