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Article Evaluation Notes[edit]

Qatar Petroleum[1]

  • Is everything in the article relevant to the article topic? Is there anything that distracted you?
    • Everything in the article is relevant to the topic especially the companies background going back to the establishment and details about the resources[2] the company sells.
  • Is any information out of date? Is anything missing that could be added?
    • I could not find any information thats out of date as the the layout of the article is very organized and is an accurate chronological order
  • What else could be improved?
    • More information could be added regarding the companies history and board members etc.
  • Is the article neutral? Are there any claims that appear heavily biassed toward a particular position?
    • The tone of the article is extremely professional backed up with facts and dates e.g year, sub-links and names of institutions
  • Are there viewpoints that are overrepresented, or underrepresented?
    • No viewpoints seem over presented since its a page about a company someone's point wouldn't be needed
  • Check a few citations. Do the links work? Does the source support the claims in the article?
    • Sources and links are of a reputable and educational level.
  • Is each fact referenced with an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted?
    • All facts seem reliable and the information come from peer-reviewed journal articles, reports, books and official government websites.
  • What kinds of conversations, if any, are going on behind the scenes about how to represent this topic?
    • The talk page lacks conversation but there are some questions about modifications that has been done.
  • How is the article rated? Is it a part of any WikiProjects?
    • The article is rated C [3]and is included in the Wikiproject Energy
  • How does the way Wikipedia discusses this topic differ from the way we've talked about it in class?
    • The fact that people are responsible to there own ideas and opinions

The Power of Stars: Do Star Actors Drive the Success of Movies?[edit]

Actors in movies are a active force in order for a movie to become successful[4]. This journal addresses the billion dollar movie industry and how actors involved in the star system are a huge contribution for a box-office hit.

Article Selection[edit]

Cinematography[5]

  • Is the article's content relevant to the topic?
    • The article content is extremely relevant to the topic. it includes its history, different aspects e.g technique, filters, aspect ratio[6]
  • Is it written neutrally?
    • its written in a professional manner and neutral in terms of tone
  • Does each claim have a citation?
    • Most claims don't have a citation but includes many highlighted words which lead you to different articles.However, the citations/sources are reliable and reputable
  • Are the citations reliable?
    • Yes
  • Notes to improve?
    • Some notes to improve is that there are some areas that are not organized well for example, under the heading "Film Cinematography" there is a list of events and facts which I suggest should be arranged differently by including a subheading so it could be clearer.

Film Industry During World War II - DRAFT[edit]

The film industry during World War II was an importance source of communication to the people on all sides. At this time the cinema was the most popular form of entertainment to the people. It was used to entertain, lift spirits, motivate and inform the audience. This made film an important means of distributing propaganda. Governments used film to influence the public to support the war effort in there everyday lives and to justify there actions. Film was a powerful force which unified the nations.

Hollywood (USA)[edit]

From December 8, 1941 that is when the USA entered the WWII it was a big year for the country because they have to arrange for the results of the war. The main focus that the US wanted to make on films was the historical phenomena and the US culture[7]. The war films that they have made focused mostly on the "desperate affirmation" and the "societal tensions"[7]. Many films main focus was about the war they wanted to make sure that they explain the objectives. The US war films were good and bad, many of them showed the different lives of the people during the war. The importance of these films and as studies have mentioned, is that they want the audience to think when they watch them[7]. Furthermore, war films showed a lot of information about the war and the life of their families just like the film Since You Went Away. When the US government noticed the content of the feature films and was more interested in the political and social significance[7]. This shows how Hollywood wanted to raise two important production of films and the main focus of war films and family lives.

Propaganda[edit]

The film industry during the second world war was able to communicate with large audiences. In this way, it was a very powerful source of mass communication and could be used for propaganda purposes. A great deal of explicit and implicit propaganda took place within the film industry and the cinemas. The film industry stereotyped Hitler and the Nazis as cold-hearted with an authoritarian regime. For example, the movie Beast of Berlin [8] . Interestingly, was shot in less then a week and this was the first Hollywood film to show the brutal treatment of resisting heroes in concentration camps at the hands of vicious gestapo officers [8].  This was the first film to depict life in Germany under Nazi Rule. More movies that showed a lack of sympathy for religion, the Jews and intellectuals by a ruthless Nazi regime flourished. Movies like The Mortal Storm, The Man I Married, Hitlers Children and Pastor Hall all portrayed these as victims of the Nazis. In 1941, the US entered the war and more films were made to reinforce an image of the Nazis as “Army officers as impeccable aristocrats, cold, aloof and efficient, Gestapo men as clever and merciless…. And the German soldier as efficient, displinced, and unswervingly patriotic” [9]. This was a strong image of a military regime which did not respect the individual or democracy.

Hollywood did not just focus on stereotyping Nazis but also in raising the moral of the people. Movies that depict “war”  reinforced the message that the war would not be permanent and that a better world and society would be created in the end [10]. Hence, they were aimed at keeping the moral of the nation high and convincing the people that the war justified and righteous. For example movies like The story of GI Joe, Dive Bomber, So Proudly We Hail and Sahara all displayed the humanitarian principles of the allies in contrast to the brutality of the enemy and gave justification to the public to fight the war. Film historian Arthur F. Mclure states that these motivational films had two purposes “ to give unity of purpose for the war itself and to give strength of purpose to the people on the home front” [9]. Propaganda not only was used to create an impression of a evil nazi enemy but also to instill in the people the justification of the war they were in and Hollywood provided this in its film production. Hollywood believed that "the role that films should play in time of war was a bone of contention within the industry"[10] which describes the conflict between patriotism and art was ongoing throughout the war.

Censorship[edit]

Hollywood was controlled by the government through the Office of War Information (OWI)[11]. A branch of this organization, The Bureau of Motion Picture informed Hollywood about key issues which the government wanted the industry to promote. Hollywood did not easily accept governmental control. Clayton R. Koppes and Gregory D. Black stated in the book Hollywood Goes To War: How Politics, Profits and Propaganda Shaped World War II Movies that "From a mixture of patriotism and the profit motive, Hollywood became a compliant part of the American war machine" [12]. The film industry cooperated with the government and included the required ideas within the films but the government was constantly suspicious of Hollywood and kept an FBI investigation of all activities[13].

Prominent Film Directors[edit]

Britain[edit]

The film industry in Britain during world war II was highly important to the country and had a huge impact on the citizens. Interestingly, two days after Britain declared war on Germany the government ordered that all public entertainment places to close which included “4300 cinemas”[14] . Within two weeks, this was revoked and far from being afraid to go to the cinema the attendances grew steadily[15]. In fact “cinemas thrived in wartime, and attendance figures surged upward from an average of just under 20 million weekly admissions in 1939 to over 30 million weekly admissions in 1944 and 1945. In a country with a population of approximately 48 million people[14]. This is a clear indication of the part that films played in the lives of the ordinary people to either escape reality.  Statistics show that “The Wartime Social Survey", conducted in 1943, found that 32% of Britons went to the cinema frequently (defined as once a week or more) and another 38% attended occasionally (defined as once a fortnight or less)” [15]. Therefore, more than half of the British population were regular cinema goers. There were many reasons why the cinema was so popular. During this time everybody was employed but food was rationed and not everyone especially women wanted to spend their time in pubs. Therefore, a cinema was a secure and warm place to go to where a person could escape their own homes which often had lodgers living with them and spend their money[14].

Propaganda[edit]

Propaganda was also prevalent in the British film industry movies such as Miss Grant Goes to the Door and The Way ahead were made. Some of the propaganda films made in Britain were sponsored by the government to be featured films with a message motivate the audience[16]. Even Though television had been invented it was in its efficiency and very few people had a television set.  The only home entertainment for most people was a radio or a gramophone.

Germany[edit]

Films played a dominant figure in propaganda[17] during World War II in Germany. WWII was a blow to Germans film centers[18]. The film industry in Germany was controlled by the Nazis which was the greatest political party at the time[19]. The ordering of the closure of the films was given where they were reopened later under the control of Nazi. People relied on the industry to acquire news and get entertained. It is the place where people were going to get their stresses off. The films had shown promoting the nations culture where people would watch and learn what was expected of them. People did not have televisions during World War II and the only place they would get chances of watching were the film centers and entertainment joints[17].

The film industry was initially the source of information for the nation's citizens. The broadcast helped them understand what was happening in the world, especially with the two major operating films[20]. On taking control, the Nazi party ensured that what they wanted to be known. This had an impact on the citizens because the content depicted was merely Nazism in cinema [21]. Films depicted messages which provided people with information against the Jews[22]. It tried to explain how Jews were bad people and “why they looked like rats”[23]. Spreading diseases, making the nation dirty and slowing the other nations’ economies was all that the German citizens were fed with about the Jews so that they could also hate and collaborate in fighting them. The nation's values were disrupted where people were expected to follow the iron fist and what was provided on the films rather than what rotated around their way of life and cultural practices. The film industry was filled with lies and negative information meant to destroy people’s relations and give Nazi more support[24]. Propaganda was evident in the Germany film Industry films such as Der Marsch zum Führer and Menschen im Sturm. These films showed the nationwide march of Hitler Youth to Nuremberg for the Nazi Party Rally. Also, it showed the justification of Germany's invasion of Slovenia. Fritz Kirchhoff was a director who showed anti-British propaganda in his films. Kirchhoff directed Attack on Baku (1942) which was filmed in Germany intending to show messages against the British while including aspects of German patriotism.  

Popular Propaganda Films[edit]

Genre of Films[edit]

From 1939 to 1942, there were 1,313 feature films produced of these 374 films had a connection with war [10]. Of the films with a war-connection 43 films dealt with why America was fighting the war while 107 films dealt with the enemy[10]. There are nearly two and a half times the number of film about the enemy then the justification for war. A further 68 films dealt with the allies. The remaining films are split into two groups either the 65 home-front films made which included life under war-time conditions and other occupations such as red-cross or air-raid wardens[10]. The remaining 95 films were feature length about American soldiers fighting the war[10].

Most of the films in this period were about the enemy and had a propaganda basis[25]. Films were created to influence the audience to believe that the enemy was evil followed by films showing the bravery of the American forces [26]. After this came, equal categories of supporting the allies and the Homefront followed by the least number of films which covered the reason why American was fighting the war [26]. This follows a recognized pattern for propaganda where validation of an action is the least priority and concepts are a high priority.

Cover Page of Picturegoer

Impact of the film industry[edit]

During this period, the cinema was the most popular pastime in fact following the war “the average “A” film reached an audience of thirteen million in 1948, a large audience than could be claimed by any single magazine, book or newspaper” [27].  It was the prime form for entertainment and reached all members of society. In fact, going to the cinema was such a special occasion because the audience were treated to the entertaiment within dazzling movie palaces. These buildings equated with the power of this industry they not only showed films but they were prime source of news distribution because they held such large audiences [28]. Cinema-going was not just to see feature films but the audience also watched news articles such as Pathe News which were important for the government to inform the population[28].

Most moviegoers had family members participating in the war and were suffering hardships in there daily life and the cinema was an effective form of escapism from reality [15]. Not only in the films but also in the magazine “Picture-goer” which followed the film industry throughout this period. The magazine describes Hollywood glamour “an impossible ideal… but also one that freed women expectation of self sacrifice” [14]. Men and women tried to imitate the fashion and styles of there stars in order to raise their spirits.The film industry in that era did not solely focus of propaganda but also created psychological support and motivation through its film stars.  



References[edit]

  1. ^ "Qatar Petroleum", Wikipedia, 2019-02-05, retrieved 2019-02-14
  2. ^ "Qatar Petroleum", Wikipedia, 2019-02-05, retrieved 2019-02-10
  3. ^ "Talk:Qatar Petroleum", Wikipedia, 2016-07-21, retrieved 2019-02-10
  4. ^ "SAGE Journals: Your gateway to world-class journal research". SAGE Journals. doi:10.1509/jmkg.71.4.102. Retrieved 2019-02-14.
  5. ^ "Cinematography", Wikipedia, 2019-01-27, retrieved 2019-02-14
  6. ^ "Cinematography", Wikipedia, 2019-01-27, retrieved 2019-02-10
  7. ^ a b c d Arthur, McClure. "HOLLYWOOD AT WAR: THE AMERICAN MOTION PICTURE AND WORLD WAR II, 1939-1945". Journal of Popular Film and Television.
  8. ^ a b Rostron, Allen. "No war, no hate, no propaganda". Journal of Popular Film & Television. 30(2): 89.
  9. ^ a b McClure, Arthur F. "Hollywood at war: The american motion picture and world war II". Journal of Popular Film and Television. I(2: 123–135.
  10. ^ a b c d e f Meerse, David E. (1976). "TO REASSURE A NATION: HOLLYWOOD PRESENTS WORLD WAR II". Film & History. 6 (4): 82.
  11. ^ "Hollywood went to war in 1941—and it wasn't easy". National Museum of American History. 2016-05-03. Retrieved 2019-04-15.
  12. ^ Koppes, Clayton R.; Black, Gregory D. (2000). Hollywood Goes to War: Patriotism, Movies and the Second World War from Ninotchka to Mrs Miniver. London: Tauris Parke. p. 141.
  13. ^ "Hollywood Goes to War | Hollywood Goes to War : Conflict and Censorship: Hollywood and the Government". marb.kennesaw.edu. Retrieved 2019-04-15.
  14. ^ a b c d Glancy, Mark (2011). "Picturegoer: the fan magazine and popular film culture in Britain during the Second World War". Historical Journal of Film, Radio and Television. XXXI(4): 453.
  15. ^ a b c Glancy, Mark (2010). "Going to the Pictures: British cinema and the Second World War". Past and Future : the magazine of the Institute of Historical Research. 8: 9.
  16. ^ Murphy, Robert (2000). British Cinema and the Second World War. Continuum. p. 69.
  17. ^ a b Weinstein, Valerie (2019). "Hitler and Film: The Führer's Hidden Passion by Bill Niven". German Studies Review. 42 (1): 172–174. doi:10.1353/gsr.2019.0024. ISSN 2164-8646.
  18. ^ Kracauer, Siegfried; Levin, Thomas Y. (1987). "Cult of Distraction: On Berlin's Picture Palaces". New German Critique (40): 91. doi:10.2307/488133. ISSN 0094-033X.
  19. ^ Kracauer, Siegfried; Levin, Thomas Y. (1987). "Cult of Distraction: On Berlin's Picture Palaces". New German Critique (40): 91. doi:10.2307/488133. ISSN 0094-033X.
  20. ^ Johnson, Jason (2019). "Remapping Modern Germany after National Socialism, 1945–1961 by Matthew D. Mingus". German Studies Review. 42 (1): 174–176. doi:10.1353/gsr.2019.0025. ISSN 2164-8646.
  21. ^ Bangert, Axel (2016), "Facing Dark Heritage: The Legacy of Nazi Perpetrators in German-Language Film", Screening European Heritage, Palgrave Macmillan UK, pp. 107–126, ISBN 9781137522795, retrieved 2019-04-18
  22. ^ Johnson, Jason (2019). "Remapping Modern Germany after National Socialism, 1945–1961 by Matthew D. Mingus". German Studies Review. 42 (1): 174–176. doi:10.1353/gsr.2019.0025. ISSN 2164-8646.
  23. ^ Bangert, Axel (2016), "Facing Dark Heritage: The Legacy of Nazi Perpetrators in German-Language Film", Screening European Heritage, Palgrave Macmillan UK, pp. 107–126, ISBN 9781137522795, retrieved 2019-04-18
  24. ^ Kracauer, Siegfried; Levin, Thomas Y. (1987). "Cult of Distraction: On Berlin's Picture Palaces". New German Critique (40): 91. doi:10.2307/488133. ISSN 0094-033X.
  25. ^ "Hollywood went to war in 1941—and it wasn't easy". National Museum of American History. 2016-05-03. Retrieved 2019-04-15.
  26. ^ a b Jacobs, Lewis (1967–1968). "World War II and the American Film". Cinema Journal. 7: 10.{{cite journal}}: CS1 maint: date format (link)
  27. ^ Small, Melvin (1972). "Motion pictures and the study of attitudes: Some problems for historians". Film & History. II(1): 4.
  28. ^ a b Short, K.R.M (1985). World War II Through the American Newsreels, 1942-1945. Oxford Microform Publication. p. 1.
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