Leen Engelen
Biographic Data
| ID | 3766367 |
|---|---|
| NAME | Leen Engelen |
| GIVEN NAMES | Leen |
| FAMILY NAME | Engelen |
| SIGNATURE | ENGELEN L |
| AFFILIATIONS | KU Leuven |
| ORCID | 0000-0001-6763-7872 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
French Cinema and the Great War. Remembrance and Representation
The book French cinema and the Great War. Remembrance and Representation, edited by Marcelline Block and Barry Nevin, presents a set of close-readings of French World War I films. The volume covers approximately the whole era between the beginning of the war and the centenary. Chronologically almost every decade—the 1940s being curiously absent—is covered by one or two films: the war years (Une page de gloire, 1915), the 1930s (Le cinéma au servi…
Off to the Pictures
It is common knowledge that a vast part of the cinema audience in inter-war Britain, as elsewhere, was female. Over the past two decades, as part of the historical turn in film studies, women’s inv
American Cinematographers in the Great War, 1914–1918
status: Published
Fantômas sous les tropiques. Aller au cinéma en Afrique coloniale
"Fantômas sous les tropiques. Aller au cinéma en Afrique coloniale." Historical Journal of Film, Radio and Television, 35(4), pp. 673–674
Snapshots’
The Great War broke out at the moment that the film industry at all levels, production, distribution and exhibition was becoming established. Here the attention is on the local cinema cultures of three spaces: Louvain in Belgium, Southampton in England, and Stevens Point, Wisconsin, in the United States. The areas share marked differences: Louvain suffered considerably, including direct damage to its buildings, reprisal executions of its citizens…
Between Studio and Snapshot
This article focuses on the photographs of public sculptures used on belle époque picture postcards of Brussels. The subject is approached from two perspectives. Firstly, we analyse the conventions of in situ photography of public sculpture in light of the genre’s reliance on painterly and photographic traditions, as well as its adoption of visual strategies derived from amateur and snapshot photography. Secondly, we explore the role of the photo…
British Silent Cinema and the Great War
Movies in American History. An Encyclopedia
status: Published
Made in Flanders (Redux)
status: Published
Media, Memory and the First World War
status: Published
Back to the future, ahead to the past. Film and history
This essay is a commentary on Robert Rosenstone's book History on Film/Film on History (Pearson 2006). It offers some ideas about the debate on film and history, its participants and the way it has been argued over the years. From a film studies point of view, the author evaluates the debate, and makes suggestions for future research in the field. © 2007 Taylor & Francis
The Black Face Of Cinema In Africa
status: Published
Off to the Pictures
It is common knowledge that a vast part of the cinema audience in inter-war Britain, as elsewhere, was female. Over the past two decades, as part of the historical turn in film studies, women’s inv
French Cinema and the Great War. Remembrance and Representation
The book French cinema and the Great War. Remembrance and Representation, edited by Marcelline Block and Barry Nevin, presents a set of close-readings of French World War I films. The volume covers approximately the whole era between the beginning of the war and the centenary. Chronologically almost every decade—the 1940s being curiously absent—is covered by one or two films: the war years (Une page de gloire, 1915), the 1930s (Le cinéma au servi…
Media, Memory and the First World War
status: Published
The Black Face Of Cinema In Africa
status: Published
Back to the future, ahead to the past. Film and history
This essay is a commentary on Robert Rosenstone's book History on Film/Film on History (Pearson 2006). It offers some ideas about the debate on film and history, its participants and the way it has been argued over the years. From a film studies point of view, the author evaluates the debate, and makes suggestions for future research in the field. © 2007 Taylor & Francis
Made in Flanders (Redux)
status: Published
Media, Memory and the First World War
status: Published
Movies in American History. An Encyclopedia
status: Published
Between Studio and Snapshot
This article focuses on the photographs of public sculptures used on belle époque picture postcards of Brussels. The subject is approached from two perspectives. Firstly, we analyse the conventions of in situ photography of public sculpture in light of the genre’s reliance on painterly and photographic traditions, as well as its adoption of visual strategies derived from amateur and snapshot photography. Secondly, we explore the role of the photo…
British Silent Cinema and the Great War
Fantômas sous les tropiques. Aller au cinéma en Afrique coloniale
"Fantômas sous les tropiques. Aller au cinéma en Afrique coloniale." Historical Journal of Film, Radio and Television, 35(4), pp. 673–674
Snapshots’
The Great War broke out at the moment that the film industry at all levels, production, distribution and exhibition was becoming established. Here the attention is on the local cinema cultures of three spaces: Louvain in Belgium, Southampton in England, and Stevens Point, Wisconsin, in the United States. The areas share marked differences: Louvain suffered considerably, including direct damage to its buildings, reprisal executions of its citizens…
American Cinematographers in the Great War, 1914–1918
status: Published
Off to the Pictures
It is common knowledge that a vast part of the cinema audience in inter-war Britain, as elsewhere, was female. Over the past two decades, as part of the historical turn in film studies, women’s inv
French Cinema and the Great War. Remembrance and Representation
The book French cinema and the Great War. Remembrance and Representation, edited by Marcelline Block and Barry Nevin, presents a set of close-readings of French World War I films. The volume covers approximately the whole era between the beginning of the war and the centenary. Chronologically almost every decade—the 1940s being curiously absent—is covered by one or two films: the war years (Une page de gloire, 1915), the 1930s (Le cinéma au servi…
History (10 works) · Art (8 works) · Art history (8 works) · Cinema and Media Studies (6 works) · Movie theater (6 works) · Sociology (6 works) · Political science (5 works) · French Historical and Cultural Studies (4 works) · History (4 works) · Media studies (4 works)