For decades, the subject of film popularity and the Second World War – or more specifically, the 1933-1945 period – has been a thriving research interest among historians and film and media scholars alike. Sometimes this point of interest is made explicitly clear, and sometimes it is present implicitly. In either case, popularity as such is seldom defined or scrutinised as an idea. The thesis that “popularity is important” seems to be highly independent of methodological design and even scientific paradigm.1 Critical insights have had little impact on the generally positive view of a popularity-centred approach to film history. Here, there is strong continuity from the predominantly ideologically oriented studies of film during the Third Reich era until the 1970s, via social-historical, industrial-economic and political-artistically oriented approaches to New Cinema History’s emphasis on the screening situation, spaces of cinema and audience practices.
Fy og Bi temafilm
Se temafilmen og bliv klogere på Fyrtårnet, Bivognen og menneskene bag. Produceret af Liv Thomsen fra Historieselskabet.