Petrocinema presents a collection of essays concerning the close relationship between the oil industry and modern media—especially film. Since the early 1920s, oil extracting companies such as Standard Oil, Royal Dutch/Shell, ConocoPhillips, or Statoil have been producing and circulating moving images for various purposes including research and training, safety, process observation, or promotion. Such industrial and sponsored films include documentaries, educationals, and commercials that formed part of a larger cultural project to transform the image of oil exploitation, creating media interfaces that would allow corporations to coordinate their goals with broader cultural and societal concerns. Falling outside of the domain of conventional cinema, such films firmly belong to an emerging canon of sponsored and educational film and media that has developed over the past decade. Contributing to this burgeoning field of sponsored and educational film scholarship, chapters in this book bear on the intersecting cultural histories of oil extraction and media history by looking closely at moving image imaginaries of the oil industry, from the earliest origins or “spills” in the 20th century to today’s post industrial “petromelancholia.”
Acknowledgements Introduction Marina Dahlquist and Patrick Vonderau Oil Rhetoric Chapter 1: Oil Media Archives Mona Damluji Chapter 2: “All the Earmarks of Propaganda”: Teapot Dome, The World Struggle for Oil, and Defining Corporate Rhetoric Jeremy Groskopf Chapter 3: Oil Aesthetics: BP, Greenpark Productions, and the Projection of Prestige Patrick Russell and Steve Foxon Advertisements and Sponsorship Chapter 4: On the Road with Mickey and Donald: Walt Disney, Standard Oil and the Golden Gate International Exposition of 1939 Susan Ohmer Chapter 5: Petroleum and Hollywood Stardom: Making Way for Oil Consumption through Visual Culture Marina Dahlquist Chapter 6: The American Petroleum Institute: Sponsored Motion Pictures in the Service of Public Relations Gregory A. Waller Chapter 7: Industrial Film and the Politics of Visibility Brian R. Jacobson Transformation of Oil Politics Chapter 8: “In India's Life and Part of It:” Film and Visual Publicity at Burmah-Shell from the 1920s to the 1950s Ravi Vasudevan Chapter 9: Creating Partners in Progress: Shell Communicating Oil during Nigeria’s Independence Rudmer Canjels Chapter 10: “Fuelling Apartheid:” Documentary Film in the Service of Apartheid Jacqueline Maingard Selected Bibliography Index
Marina Dahlquist is a Professor of Cinema Studies at the Department for Media Studies at Stockholm University, Sweden. She recently published The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s (2020, with Joel Frykholm), Corporeality in Early Cinema: Viscera, Skin, and Physical Form (2018, with Doron Galili, Jan Olsson, and Valentine Robert), and Exporting Perilous Pauline: Pearl White and the Serial Film Craze (2013). Patrick Vonderau is a Professor of Media and Communication Studies at the University of Halle, Germany. Recent book publications include, among others, Advertising and the Transformation of Screen Cultures (2020, with B. Florin and Y. Zimmermann), Films that Sell: Moving Pictures and Advertising (2016, with N. de Klerk and B. Florin), and Films that Work: Industrial Film and the Productivity of Media (2011, with V. Hediger). He is also an editor of the German scholarly journal Montage AV.
Reviews for Petrocinema: Sponsored Film and the Oil Industry
Petrocinema is a necessary collection that explores the long history of media produced by oil industries around the world. It is edited by significant, established scholars with considerable experience, and it brings together noteworthy scholars from around the world. The brilliant essays encompass detailed histories of oil-fuelled media (in the US, Nigeria, and India) alongside conceptual exploration of the role of media in fostering carbon-based economies accelerating in the post-WWII years. The book is a significant resource for scholars interested in a host of things - including the history of oil extraction, corporate propaganda, non-theatrical and documentary cinema - and its exploration of the media produced by some of the most significant corporate entities of the last three centuries is a significant and necessary task. * Lee Grieveson, Professor of Media History, University College London, UK *
