The Effectiveness of Australian Film Propaganda for the War Effort 1914-1918
Among studies along a similar line, the first chapter of Nicholas Reeve’s book The Power of Film Propaganda: Myth or Reality? traces the history of Government-sponsored film propaganda in Britain during World War One, and draws several conclusions about the effectiveness of cinematic propaganda. He notes that “there is a clear relationship between the chronology of changing audience attitudes towards the official films and the chronology of changing wartime public opinion.” Furthermore, he states that “film propaganda was the servant, not the master of the audience it sought to control”, concluding that “the power of film propaganda does seem to have been more mythical than real.”[1] Reeves bases his argument exclusively on a study of the official war films, virtually all actuality films, produced under the authority of the British government.
Australian cinema, the first eighty years
Chronological coverage of the making of a film industry which only achieved international recognition in the 1980s.
The Tsadik and His Soul’s Sparks: From Kabbalah to Hasidism
The present study shows the continuity between the Safedian Kabbalistic view of the relations between the sparks of a certain soul, and the Hasidic theory, that was conceived of as innovated by and characteristic of 18th century Hasidism, as to the responsibility of the Tsadik for the sparks that belongs to his soul. In the two literatures, the rescue of a spark of one's soul is related to the beautiful captive woman that is conceived of as an externalization of an inner dimension of the righteous person, immersed in a shell.