Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. List of Illustrations 9
4. Introduction: A Sequel and a Shift 19
5. Section 1 Networks and Flows: Visualizing Value Chains
6. 1 The Aesthetics of the Global Value Chain Container Shipping, Media Networks and the Problem of Visibility in the Global Sphere of Circulation 37
7. 2 Object Lessons and Infrastructural Imperialism 105
8. 3 Energy and Industrial Film. Energo-Critical Registers 123
9. 4 Digital Afterlife of Industrial Film . Weak Dispositives, Choice Architecture and the Distribution of Industrial Cinema 143
10. Section 2 Operative Iconographies, Industry and the Nation State
11. 5 Beautiful Luxembourg, Steel Works and a Swimming Pool . The Corporate Film Columeta and the Formation of a Corporate and a National Image 175
12. 6 Hydropower for a Sealess Nation . Representation of Water Energy in Czech Visual Culture 203
13. 7 Modern Water Sprites . History, People and the Landscape of Northern Sweden in Vattenfall’s Film Production in the 1950s 227
14. 8 Taxonomy of Techniques . Visions of Industrial Cinema in Post-war Japan 249
15. 9 The Power of Flows . The Spatiality of Industrial Films on Hydropower in Switzerland 275
16. Section 3 Institutions and Distribution Frameworks: Archives, Festivals, Fairs
17. 10 Industry on Screen . The British Documentary in Distribution – British Transport Films: A Case Study 299
18. 11 On the Red Carpet in Rouen . Industrial Film Festivals and a World Community of Filmmakers 317
19. 12 Cinema and Industrial Design . Showmanship, Fairs and the Exhibition Film 339
20. Section 4 Teaching Oneself and Others
21. 13 Putting Films to Work . System, the Magazine for Business 365
22. 14 New Media for the Schools of Tomorrow . The AV Instructional Films of Robert W. Wagner 391
23. 15 We Must Know More Than We Can See . Images for Vocational Training and the Emergence of Cognitive Ergonomics 423
24. 16 Free Enterprise Film . Aims of Industry, Economic Propaganda and the Development of a Neoliberal Cinema 447
25. Section 5 Post/Colonial Industries and Third Industrial Cinemas
26. 17 Framing Local and International Sentiments and Sounds . Unilever and Royal Dutch Shell in a Changing Nigeria 473
27. 18 Working through the End of Empire 495
28. 19 Cinema-going on the Railway Tracks . Transportation, Circulation and Exhibition of Information Film in Colonial India 513
29. 20 The Latin American Process Film 533
30. Section 6 Production Cultures and/of the Industrial Film: Amateurs and Professionals
31. 21 Soviet Industrial Film across Categories . Negotiating between Utility, Art and Science 557
32. 22 “There Is No Life More Reckless and Adventuresome Than That of the Oil Prospector” . ENI’s Geologist-Filmmakers in Iran 581
33. 23 Industrial Film from the Home Studio . Amateur Cinema and Low-Budget Corporate Moving Image Culture in West Germany (1950 to 1977) 611
34. 24 Movie and Industry in Italy . The “Golden Age” of Italian Industrial Documentary (1950–1970) 635
35. 25 A Film That Doesn’t Seem to Work . A Shot of Renault’s Early Assembly Line (1920 to 1929) – A Case Study, Methodology and 3D Restitution for Film Analysis 651
36. Section 7 Ephemeral Artistry: Ecologies of Authorship in Industrial Cinema
37. 26 Business and Art . Pharmaceutical Industries, Film Production and Circulation, and the French Film Production Company ScienceFilm, 1960–1980 683
38. 27 Transfer of Power . Films Officers in the British Coal Industry 711
39. 28 Saudi Arabia’s John Ford? . Robert Yarnall Richie, Desert Venture and Ephemeral Authorship in Industrial Film 737
40. 29 Sounds Industrial . Understanding the Contribution of Music and Sound in Industrial Films 757
41. 30 Creative Films for Creative Corporations . Music and Musicians in Experimental Italian Industrial Films 779
42. Indices 799