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Relevant bibliographies by topics / Historial films

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Academic literature on the topic 'Historial films'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Historial films"

1

Sklar, Robert. "Historical Films: Scofflaws and the Historian-Cop." Reviews in American History 25, no. 2 (1997): 346–50. http://dx.doi.org/10.1353/rah.1997.0058.

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Hakim, Luqman Abdul. "MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI." SASDAYA: Gadjah Mada Journal of Humanities 3, no. 1 (February 28, 2019): 33. http://dx.doi.org/10.22146/sasdayajournal.43885.

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In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.

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Tsivian, Yu. "Joan Neuberger’s This Thing of Darkness." Modern History of Russia 11, no. 1 (2021): 248–51. http://dx.doi.org/10.21638/11701/spbu24.2021.119.

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The note is about the place of Joan Neuberger’s monograph among books on Eisenstein’s Ivan the Terrible, and, more broadly, among writings on period films, be they by film historians or by historians proper. The book is a triple portrayal — of Eisenstein, his Ivan, and, indirectly, of Stalin, whose favorite pastime was to use historical novels, plays, and films on Russia’s historic tyrants as one might a vanity mirror. The virtue of Neuberger’s approach is that, rather than judge or define, she successfully captures the ambiguity of each of her three protagonists. It is as much an analysis of the movie as an ambivalent mirror as it is of the person that holds it and of the one who expects to see in it a flattering reflection of himself — to no avail. Instead of assuming a bird’s eye point of view on the Soviet film-land, Neuberger nose-dove into it like a kid-loving pelican, picked one film and brought it to us in a big beak of a book. That is not to portray Joan Neuberger as a shape-shifter, a historian-turned-film-scholar. Yes, film scholars do write book-length studies on a single movie while political historians rarely do, but the choice of this specific format does not turn Neuberger into a film scholar. There is a lot of superb film scholarship to be found here, but the stunt that makes Neuberger’s scholarship unique is that, for all its film-scholarship lenses, it remains a historical study par excellence.

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Annegarn-Gläß, Michael. "The German Colonies in Die Weltgeschichte als Kolonialgeschichte." Journal of Educational Media, Memory, and Society 8, no. 1 (March 1, 2016): 14–29. http://dx.doi.org/10.3167/jemms.2016.080102.

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Academic history has begun only relatively recently to study films as historical sources, and thus far it has focused principally on feature films to the exclusion of nonfictional cinema, despite the use of educational films for propaganda as early as the interwar period. This essay examines the extent to which educational films of this period employed a range of techniques to reach their viewers and encouraged them to take the film’s argumentation on board. Categorizing these techniques as either narrative strategies or visual effects, we contextualize their use by taking the film Die Weltgeschichte als Kolonialgeschichte (“World History as Colonial History,” 1926) as an example.

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Fuentes-Moreno, Concha, and Alba Ambrós-Pallarés. "Panorámica de la trilogía cine, historia y educación en España (1995-2020)." Panta Rei. 14, no. 2 (October 16, 2020): 197–223. http://dx.doi.org/10.6018/pantarei.445841.

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Se realiza una síntesis analítica de las principales líneas de trabajo que se han gestado en los últimos 25 años sobre el cine y el aprendizaje de la historia. Se revisa la literatura desde una perspectiva histórica mediante el uso de bases de datos, organizando las salidas en tres categorías. En la primera categoría, historia y cine, se agrupan las investigaciones relacionadas con la aceptación del cine como fuente histórica y como testimonio de una época. Una segunda categoría concentra los trabajos sobre historia, cine y educación, englobando las siguientes temáticas: cine y currículum escolar; cine de ficción y no ficción y cine como constructor de identidades. La tercera categoría se focaliza en el uso del cine en el aula de historia considerando aspectos didácticos relevantes. Los resultados demuestran que las recientes investigaciones reivindican el cine como instrumento de análisis y reflexión sobre el pasado como otra fuente histórica más, así como vía para fomentar el análisis crítico y empático propios de la competencia ciudadana. Del mismo modo, existe una tendencia que defiende la inclusión de la educación mediática y la alfabetización cinematográfica dentro de la educación formal y la formación inicial y permanente de todos los docentes. The aim of the paper consists on an analytical synthesis of the main lines of research that have been developed in the last 25 years on the teaching of history with films. A systematic review of the literature inside databases from a historical perspective has been the followed methodology. The analysis has been structured in three categories. The first one, called history and cinema, evidences the existence of a research line focused on the acceptance of cinema as a historical source and also as witness of an Era. The second one relates history, films and education, and three more lines emerge from it: films and curriculum; fiction and non-fiction films, and using films as a constructor of identities. The third and last category is based on the use of films in the History classroom attending on methodological relevant aspects. The core results of the analysis point at two complementary directions. First, the vindication of films as a tool of analysis and reflection on the past as a historical source. Second, the acceptance of films as an instrument to promote critical and empathetic analysis of citizenship competence. Similarly, there is a trend that advocates the inclusion of media education and film literacy within formal education and the initial and ongoing training of all teachers.

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Toplin, Robert Brent. "Cinematic History: Where Do We Go From Here?" Public Historian 25, no. 3 (2003): 79–91. http://dx.doi.org/10.1525/tph.2003.25.3.79.

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The study of film and history has made remarkable progress in recent years, but an assessment of those advances leads historians to consider the challenges that lie ahead. With specific reference to Hollywood movies about historical subjects, the author identifies five questions that are likely to engage historians: (1) Should historians focus on blockbusters or experimental films? (2) Are movies about the past essentially about the present? (3) How can scholarship move beyond a political history of movies? (4) In which directions can research on Hollywood films move to achieve deeper levels of understanding? (5) Is "cinematic history" essentially a genre?

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Dewi, Pratika Rizki, Arfan Habibi, and Ratna Bella Sari. "POSISI ARSIP DAN SEJARAH KELUARGA DALAM HISTORIOGRAFI INDONESIA." Jurnal Kearsipan 15, no. 1 (June 30, 2020): 25–44. http://dx.doi.org/10.46836/jk.v15i1.148.

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The family is the smallest social unit in society. Files or records are also created witihin the family. Family files are documents relating to the family such as personal identity, family identity, diplomas, photos, diaries up to personal letters. Family files are historical sources, part of them are primary ones, and crucial for historians. By implementing historical methods, the article suggests that they are available within various forms, they are historical sources and because of that they are crucial within Indonesian historiography.

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Michelson, Annette. "The Kinetic Icon in the Work of Mourning." October 169 (August 2019): 87–104. http://dx.doi.org/10.1162/octo_a_00361.

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Among Dziga Vertov's films, Three Songs of Lenin is unique in its immediate and enduring approval within the Soviet Union. The film was commissioned for the tenth anniversary of Lenin's death and made extensive use of archival material documenting Lenin's political trajectory and his funeral. Annette Michelson offers a reading of the film's political function within the historical situation of the USSR in the 1930s, claiming that the register and scale of Three Songs of Lenin make the film a “kinetic icon” for the deceased leader. Michelson discusses similarities between religious icons and films, particularly the way in which death haunts both, and she examines the way in which the film's emphasis on the role of the female mourner enables it to transform document into monument.

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Lott, Martha. "The Relationship Between the “Invisibility” of African American Women in the American Civil Rights Movement of the 1950s and 1960s and Their Portrayal in Modern Film." Journal of Black Studies 48, no. 4 (April 18, 2017): 331–54. http://dx.doi.org/10.1177/0021934717696758.

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This research argues that the representation of African American women in modern civil rights film is a result of the “invisibility” that they faced during the civil rights movement in America during the 1950s and 1960s. To make its argument, this article contends that the media’s scant but negative coverage of women activists along with male leaders, such as Malcolm X’s attitude toward African American women during the period of the movement, is the reason why ultimately African American women activists received lack of recognition for their involvement in the movement. This work also argues that the lack of recognition for these women is evident in modern civil rights film and they negatively portray African American women’s role during the movement. This is shown by examining two films— Selma and The Help. This work also debates whether using film as a historical source is correct. This work touches upon the ongoing stereotypical role of “Mammy” in films such as The Help and argues that overall, by studying various arguments, and as historian Peniel Joseph believes, that many prestigious movies take dramatic license with historical events, arguing that films are not scholarly books and people should not learn about historical events through films.

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Nigra, Fabio. "Más allá de Rosenstone. Por una agenda de trabajo en Cine-Historia." FILMHISTORIA Online 29, no. 1-2 (January 22, 2020): 27–46. http://dx.doi.org/10.1344/fh.2019.1-2.27-46.

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Sin perjuicio de la gran cantidad de investigadores de relevancia que se han dedicado a reflexionar sobre la forma y modalidad de representación de la Historia a través del cine, quien se posicionó claramente en la idea de que los films pueden ser entendidos como una forma de escritura de la Historia ha sido Robert Rosenstone, y sobre esta impronta se plantea el presente trabajo con la idea de profundizar y avanzar sobre cuestiones y conceptos delineados por ese autor. De esta forma se presentarán análisis tales como las particularidades de la narración en historia y en el cine, o cómo podría trabajarse la trasposición de un libro de historia a una película, y la existencia de referencias intertextuales con otros filmes; también, la capacidad de films no necesariamente basados en hechos reales para expresar la problemática de ciertos procesos históricos. El problema rector es ¿cómo hace un film de Hollywood para convencer y construir un particular nivel de consenso? ¿Su objetivo es meramente doméstico o se pretende su universalización? ¿Qué se pretende con ese intento de convencimiento?

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Dissertations / Theses on the topic "Historial films"

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Ludvigsson, David. "The historian-filmmaker's dilemma : historical documentaries in Sweden in the era of Häger and Villius /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3865.

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Ludvigsson, David. "The historian-filmmaker's dilemna : historical documentaries in Sweden in the era of Häger and Villius /." Uppsala : Uppsala universitet, 2003. http://catalogue.bnf.fr/ark:/12148/cb399193638.

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Håkansson, Therese. "Historia och film - några lärares och elevers ställningstagande om historisk film och dokumentärer och elevers identitet i historisk film." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31128.

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Syftet med denna uppsats är att ta reda på vilket eller vilka ställningstagande elever och lärare har om historisk film och dokumentär, men också hur historiska filmer och dokumentärer används i historieundervisningen. Även elevers identitet i historisk film lyfts fram mycket i uppsatsen. Undersökningen bygger på kvantitativa enkätstudier och gruppintervjuer som har kompletterats av litteratur. Resultaten visade att elevernas och lärarnas ställningstagande till historisk film och dokumentär var ganska neutralt, då eleverna oftast tror på att historiska filmer är historisk korrekta och lärarna inte arbetar med källkritik rörande historisk film och dokumentär med eleverna. När lärarna visar historisk film eller dokumentär samtalar eleverna och lärarna om filmen både efter och före visningstillfället. Elevers identitet i historisk film utgör en mindre faktor i ungdomarnas liv enligt undersökningen. De flesta kan endast identifiera sig socialt, kulturellt eller nationellt ibland och de anser att det inte är så vikigt att kunna identifiera sig med en karaktär i en historisk film.
The purpose of this essay is to find out how students and teachers attitudes about historical movies and dokumentaries are, but also how historical movies and dokumentaries are used in education of history. Students identities in historical movies are also pointed out in this essay. The research consists of quantitative and groupinterviewes which have been completed of literature. The results showed that the students and teachers attitudes about historical movies and dokumentaries were quite neutral, when students often believe that historical movies are historically correct and that the teachers seldom work with source criticism with the students conserning historical movies and dokumentaries. Students and teachers talk about the demonsrated movie before and after it is shown. According to the research, students identities in historical movies play a minor role in their life. Most of the students could only sometimes identify themselves socially, culturally and nationally and they think that it is not that important to identify themselves with a character in a historical movie.

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Lindberg, Victor. "Film som läromedel : En undersökning om elevers attityder till film i historieunder-visningen." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67352.

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The purpose of this bachelor thesis is to examine upper secondary students’ attitudes towards historical feature films and documentaries as teaching materials in history education. A survey was cunducted with 133 students. The students were asked for advantages and disadvantages with films and documentaries, what knowledge they might gain from watching, and the films trustworthiness as a teaching aid. The result shows that the students generally are positive towards the usage of film in history education and consider films to be a good complement to other teaching methods, especially documentaries. They are considered more trustworthy than feature films, despite being regarded as a more tedious genre. On the other hand, both feature films and documentaries are said to increase an interest in history. The knowledge mentioned by the students are primarely factual knowledge. However, a few answers indicate that film also can help develop students historical literacy, visualise historical events, and time periods. Students’ trust for the feature films’ nar-rative and the documentaries’ objectivity are quite high. Paradoxically, the majority of the stu-dents claim to question whether the films’ content is historically correct or not.

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Bisson, Vincent J. 1984. "Historical Film Reception: An Ethnographic Focus beyond Entertainment." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.

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xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen

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Sutandio, Anton. "Historical Trauma and the Discourse of Indonesian-ness in Contemporary Indonesian Horror Films." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1395861044.

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Paleker, Gairoonisa. "Creating a 'black film industry' : state intervention and films for African audiences in South Africa, 1956-1990." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8259.

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Includes abstract.
Includes bibliographical references (leaves 217-239).
This thesis examines one aspect of cinema in South Africa, namely, the historical construction of a 'black film industry' and the development of a 'black' cinema viewing audience. It does so by focusing on films produced specifically for an African audience using a state subsidy. This subsidy was introduced in 1972 and was separate from the general or A-Scheme subsidy that was introduced in 1956 for the production of English- and Afrikaans-language or 'white' films. This thesis is a critical assessment of the actual film products that the B-Scheme produced. The films are analysed within the broader political, economic and social context of their production and exhibition. The films are used as historical sources for the way in which African identities were constructed. Through critical analyses of the selected films, the thesis examines the manner in which African people, culture, gender and family relations, as well as class and/or political aspirations were represented in film. Africans had very little opportunity or power to represent themselves and where this had been possible, it was within the ideological and political boundaries set by the apartheid government.

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Deldén, Maria. "Historien som fiktion : gymnasieelevers erfarande av spelfilm i historieundervisningen." Licentiate thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27218.

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The present study explores the reception of historical feature films in history education. It is concerned with how pupils experience the films as well as the significance of the feature film for their understanding and interpretation of history. The study incorporates empirical data from classroom projects in two different Swedish upper secondary schools where film was used as an educational tool. Observations of classroom activities were made and interviews with twelve pupils and their history teachers were conducted. The study applies a phenomenological approach. The lifeworld of the pupils is in focus, specifically the aspect of the lifeworld they live and experience in history class when film is used as a means of understanding the past. The phenomenon studied is thus how the pupils experience the film, and through the film, history itself. Theoretical notions from film reception studies and history didactics are used as analytic tools. The study shows how emotional and cognitive processes converge in the pupils’ meaning making of the films. The embodiment of the films’ narrative is an important factor that contributes to both the understanding of the film as well as of history. The pupils experience the films emotionally, feeling both empathy and antipathy for the various characters, physically through sight and sound as well as embodied reactions, and cognitively through an understanding of the film’s narrative. Embodied experience is fundamental for history to become materialized. The audiovisual portrayal and materialization of the past becomes embodied in the pupils so that the experience of the film and of the historical lifeworld presented therein becomes part of their lifeworld. Generally, pupils consider the films to be trustworthy, though this perceived accuracy depends on how authentically the narrative is performed and the pupils’ previous store of historical knowledge. A didactic dilemma to consider when using historical feature film in the classroom is the contradiction between the aesthetic experience of a feature film and its use as a tool for understanding the past. The captivating character of feature film evokes empathy and engagement with the films’ characters regardless of the degree of historical accuracy. This is a critical issue for teachers; there needs to be balance between respect for the pupils’ aesthetic experience of the film and the need to guide them to develop for example the skills of historical empathy, where distance is necessary for the pupils to be able to consider different perspectives.

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Quinn, Paul. "B films as a record of British working-class preoccupations in the 1950's : the historical importance of a genre that has disappeared /." Lewiston : The Edwin Mellen Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780773447882.

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Ludvigsson, David. "The Historian-Filmmaker's Dilemma : Historical Documentaries in Sweden in the Era of Häger and Villius." Doctoral thesis, Uppsala universitet, Historiska institutionen, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3865.

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This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.

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Books on the topic "Historial films"

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Historical dictionary of crime films. Lanham, MD: Scarecrow Press, 2013.

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Epic films: Casts, credits, and commentary on over 250 historical spectacle movies. Jefferson, N.C: McFarland, 1991.

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Epic films: Casts, credits, and commentary on over 350 historical spectacle movies. 2nd ed. Jefferson, N.C: McFarland, 2004.

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Vinuesa, Margarita Utrera. Historia de Mino Films: Mino Films S.A., cortometrajes. Sevilla: Junta de Andalucía. Consejería de Cultura, 1998.

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Ludvigsson, David. The historian-filmmaker's dilemma: Historical documentaries in Sweden in the era of Häger and Villius. Uppsala: Uppsala Universitet, 2003.

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A cinema of nonfiction. Rutherford: Fairleigh Dickinson University Press, 1990.

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Cinéma sous influence: Le cinéma à l'épreuve de l'histoire, de la littérature et des genres. Paris: Harmattan, 2007.

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Heritage film audiences: Period films and contemporary audiences in the UK. Edinburgh: Edinburgh University Press, 2011.

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Cine e historia: Las imágenes de la historia reciente. Madrid: Arco/Libros, 1998.

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Giovanni Scognamillo, aşk ve korku. Balmumcu, İstanbul: Hayal Et Kitaplığı, 2009.

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Book chapters on the topic "Historial films"

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Giles, C. H., S. D. Forrester, and G. G. Roberts. "Historical Introduction." In Langmuir-Blodgett Films, 1–15. Boston, MA: Springer US, 1990. http://dx.doi.org/10.1007/978-1-4899-3716-2_1.

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Greiner, Rasmus. "Refiguring Historical Consciousness." In Cinematic Histospheres, 205–10. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_9.

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AbstractBy way of conclusion, this chapter examines the relationship between historical films and theories of historical culture. At the heart of its discussion is the thesis that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. Consequently, this chapter argues that two new forms of remembering make a substantial contribution to transforming our historical culture: The reminiscence triggers integrated in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.

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Greiner, Rasmus. "Modeling and Perceiving." In Cinematic Histospheres, 75–114. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_5.

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AbstractThe aim of this chapter is to develop a theory of how filmic figurations are already fused with conceptions of history during the mise-en-scène process, and thereby enable historical experiences. The first section will therefore examine the theoretical concept of figuration and the special relation between cinematic illusion and historical reference. The second section analyzes the strategies used by historical films to create filmic spaces and model an internally consistent, temporally arranged historical world. Building on this, the third section proposes that, for historical films, the film theory concept of mise-en-scène should be supplemented by a concept of mise-en-histoire: the imaginative referentialization of the historical worlds constructed by a film.

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Greiner, Rasmus. "Appropriation and Configuration." In Cinematic Histospheres, 183–204. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_8.

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AbstractThis chapter will seek to demonstrate that the process of appropriation also irrevocably inscribes the aesthetic parameters of a cinematic-historical way of thinking into our historical consciousness. Building on theories of the phenomenological relationship between the spectator’s body and the world, the first section develops a model of incorporative appropriation of history, which it connects to constructivist and cognitive approaches. The second section raises the specific experience of historical films described in the previous section to the status of paradigmatic core of a historical film genre, which it fleshes out based on a phenomenological conception of genre. Its systematic account of this genre integrates the theoretical discussion of the distinctive characteristics of historical films from the preceding chapters.

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Rosenstone, Robert A. "Film-maker/historian." In History on Film/Film on History, 98–117. Third edition. | Abingdon, Oxon ; New York : Routledge, 2017. | Series: History: concepts, theories and practice: Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-7.

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Hindle, Maurice. "Histories." In Shakespeare on Film, 159–88. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-53172-8_21.

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Greiner, Rasmus. "Film/History/Experience." In Cinematic Histospheres, 49–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_4.

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AbstractThis chapter describes the interactions and intersections between film experience and historical experience. The first section introduces the phenomenological theories underpinning the notion of film experience and applies them to the historical film. Focusing on concepts of embodied film perception, it discusses the spectator’s impression of making direct contact with a film’s historical world. This imaginary contact with history bears similarities to Frank R. Ankersmit’s theory of historical experience, which is examined in the second section. The interconnections between Ankersmit’s concept and Vivian Sobchack’s phenomenological theory of film experience are considered in greater depth in the third section. The aim is to develop a concept of histospheres in which sensuous and cognitive perceptions are fused into a unified cinematic experience of history.

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Greiner, Rasmus. "Fiction Film and History." In Cinematic Histospheres, 17–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_2.

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AbstractAs well as taking stock of the existing literature on film and history, this chapter aims to develop a terminological apparatus for describing the conceptual core of the historical film. The first section makes reference to a classic semiological model according to which a film’s production of meaning is determined by its specific arrangement of signs. It draws parallels to debates within historical studies that have enabled a reassessment of fiction film as a historiographical medium and mode of conceptualizing history. Building on these considerations, the second section posits a genre of popular fiction film defined by its referential relation to historical events, individuals, and lifeworlds. The third section argues that this is less a matter of incontrovertible factual accuracy than of generating a feeling of authenticity.

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Berkhofer, Robert F. "Films as Historical Representations and Resources." In Fashioning History, 175–213. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617209_5.

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Bailey, Scott C. M. "Historical Biographical Films and World History." In Approaching Recent World History through Film, 24–48. First edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429299599-3.

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Conference papers on the topic "Historial films"

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Wu, Yi, and David Suter. "Historical film processing." In SPIE's 1995 International Symposium on Optical Science, Engineering, and Instrumentation, edited by Andrew G. Tescher. SPIE, 1995. http://dx.doi.org/10.1117/12.217412.

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Figura Lange, Karen. "Los Angeles : The Architecture and Urban Design of Nontradition." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.40.

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Past urban planners, real estate speculators and myth makers have achieved the fantasy city of the future in Los Angeles. Based on the public dream of individualism and the desire for space, Los Angeles is a city inspired and created not by history but by future endeavors, speculative gestures, unlimited possibilities and fantasy. Rising from an agricultural village it has attained metropolis status through industries that promote and depend on myth; real estate development, tourism, film. Los Angeles has become the city it dreamed of being; a future city without historic connections and foundations. Without a sense of community, reality became image. The simultaneous development of the automobile and airplane fueled the growth and pattern of urban evolution in Los Angeles. Populated by individuals escaping their personal histories in the mid-west and east, Los Angeles became a city of newness with a civic lust for the new and a general acceptance that new is better. This lead to city development without historic precedent, and a reliance on technology, first the automobile and airplane, later the computer. In the end the city resembles suburbia infinitum, a city of nowhere, without a center, egalitarian and without hierarchy. Over this pragmatic patterning lies the concern for architects today; to work from within to create a sense of place without responding to the historical models, but developing an event from fragments, estrangement and loss of connectivity.

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Winter, Renee. "Intertwining spheres." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.

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Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.

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Matrosov, Maksim Yurevich. "Cheboksary film festivals in historic retrospective." In VIII International applied research conference, chair Oleg Nikolaevich Shirokov. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-111725.

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Wangjingwen and luwei. "Imagination, Metaphor and Adpe: The Historical Reconstruction of Domestic Plague-Themed Films." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.487.

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Ekici, Anıl, Nejan Huvaj, and Cem Akgüner. "Index Properties and Classification of Marginal Fills or Coarse-Fine Mixtures." In Eighth International Conference on Case Histories in Geotechnical Engineering. Reston, VA: American Society of Civil Engineers, 2019. http://dx.doi.org/10.1061/9780784482131.010.

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Kagdi, Huzefa, Shehnaaz Yusuf, and Jonathan I. Maletic. "Mining sequences of changed-files from version histories." In the 2006 international workshop. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1137983.1137996.

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Foster, Byron, Bret Lingwall, Trent Parkhill, and Matthew Moriarty. "A First Step in Building on a Mine Tailings Superfund Site Part 1: Large Test Fills." In Eighth International Conference on Case Histories in Geotechnical Engineering. Reston, VA: American Society of Civil Engineers, 2019. http://dx.doi.org/10.1061/9780784482131.013.

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Kay, E. D., H. Power, and S. Hibberd. "Film Flow Characteristics of Droplet Cooling in a Simplified Bearing Chamber." In ASME Turbo Expo 2013: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/gt2013-94362.

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Droplet-cooled oil films develop on the internal surfaces of an aero-engine bearing chamber and are a primary mechanism in removing heat from the chamber as oil is continuously collected and externally cooled and recycled. Predicting the internal oil temperature and oil temperature history is an important thermal problem which becomes more apparent with potential increases in operating temperatures of gas turbines. Studying interacting oil flow and thermal processes within a simplified bearing chamber geometry provides useful information on the trends and characteristics which can arise under different applied flow conditions (e.g. mass flow rate of oil through the system) and insight to the effect chamber design parameters may have on oil degradation and cooling of chamber walls. Thin oil films develop on the walls of a bearing chamber as oil is injected or shed from bearings and impinges on the walls under a strong airflow set in motion by rotating components. Typically the film is also subject to a heat flux from the hot chamber walls and the droplets provide an important cooling effect through “heat-to-oil” mechanisms. We present a mathematical model for the depth-averaged flow and associated heat transfer by thin oil films on the walls of a simplified aero-engine bearing chamber. Cases corresponding to generic flow conditions relevant to an aero-engine bearing chamber are presented. Characteristics of the film and the efficacy of the flow regime to transfer heat from the chamber is explored through calculating residence times and time histories of oil particles as they make a transit of the internal system.

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Jing, Peng. "Analysis on Early Chinese Animation Film Music and Its Historical Status." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.109.

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Reports on the topic "Historial films"

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Kayhan, Ayla, and Sheridan Titman. Firms' Histories and Their Capital Structures. Cambridge, MA: National Bureau of Economic Research, May 2004. http://dx.doi.org/10.3386/w10526.

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Kim, Sukkoo. Markets and Multiunit Firms from an American Historical Perspective. Cambridge, MA: National Bureau of Economic Research, April 2001. http://dx.doi.org/10.3386/w8232.

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Alabarda, Yusuf, and Rafal Lisowiec. The Private Military Firms: Historical Evolution and Industry Analysis. Fort Belvoir, VA: Defense Technical Information Center, June 2007. http://dx.doi.org/10.21236/ada473255.

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Schofer, Ralph E. Cost comparison of selected alternatives for preserving historic pension files. Gaithersburg, MD: National Bureau of Standards, 1986. http://dx.doi.org/10.6028/nbs.ir.86-3335.

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LILLY, J. T. Anticipated Dose Estimate and Historical Documentation and Excel Files for Project W-460. Office of Scientific and Technical Information (OSTI), December 1999. http://dx.doi.org/10.2172/798824.

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Kerr GD, Frome EL, Watkins JP, Tankersley WG. Historical Evaluation of Film Badge Dosimetry Y-12 Plant: Part 2?Neutron Radiation ORAUT-OTIB-0045. Office of Scientific and Technical Information (OSTI), December 2009. http://dx.doi.org/10.2172/979065.

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Moriguchi, Chiaki. The Evolution of Employment Relations in U.S. and Japanese Manufacturing Firms, 1900-1960: A Comparative Historical and Institutional Analysis. Cambridge, MA: National Bureau of Economic Research, October 2000. http://dx.doi.org/10.3386/w7939.

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Véliz Gutiérrez, J., A. Velazco Díaz, and S. Salazar Navarro. Las historias cubanas de este siglo. Análisis discursivo de una muestra intencional de filmes de ficción de la última década. Revista Latina de Comunicación Social, August 2014. http://dx.doi.org/10.4185/rlcs-2014-1023.

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Yépez, Ariel, Luis San Vicente Portes, and Santiago Guerrero. Productivity and Energy Intensity in Latin America. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003219.

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Within an industrial setting, what would ones conjecture be about the relation between Energy Intensity (EI) and productivity? Could higher Energy use be associated to more capital intensive processes, and thus higher output (per worker)? Or Ceteris paribus, are productivity indicators inversely associated with energy intensity? So that more productive firms or industries tend also to be more energy efficient. The nature of this question is multifold as there are historical, geographical, institutional, developmental, and policy variables that jointly affect industrial development as well as a nations energy supply. This study seeks to assess the relationship between these variables in the industrial sector of four Latin American countries. Under alternative measures of productivity, namely, average labor productivity and total factor productivity (TFP), we find a statistically negative relationship between productivity and Energy intensity.

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Adams, Alexandra, Robert Byron, Bruce Maxwell, Susan Higgins, Margaret Eggers, Lori Byron, and Cathy Whitlock. Climate change and human health in Montana: a special report of the Montana Climate Assessment. Montana State University, December 2020. http://dx.doi.org/10.15788/c2h22021.

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The purpose of this assessment is to a) present understandable, science-based, Montana-specific information about the impacts of climate change on the health of Montanans; and b) describe how our healthcare providers, state leaders, communities, and individuals can best prepare for and reduce those impacts in the coming decades. This assessment draws from, and is an extension to, the 2017 Montana Climate Assessment (MCA1) (Whitlock et al. 2017), which provides the first detailed analysis of expected impacts to Montana’s water, forests, and agriculture from climate change. MCA explains historical, current, and prospective climate trends for the state based on the best-available science. The 2017 Montana Climate Assessment did not address the impact of climate change on the health of Montanans. This special report of the MCA fills that important knowledge gap; it represents a collaboration between climate scientists and Montana’s healthcare community and is intended to help Montanans minimize the impacts of climate on their health.

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