Dissertations / Theses: '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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Borglin, Alice, and Julia Svensson. "Utveckla historiemedvetande hos elever genom film och skönlitteratur." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41000.

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Syftet med vårt arbete är att undersöka vad forskning säger om hur skönlitteratur och film kan hjälpa elever att öka sitt historiemedvetande inom historieämnet. Att undervisa så att eleverna blir engagerade och motiverade inför ett arbete inom ett speciellt område kan vara utmanande men är också avgörande för att de ska kunna ta åt sig ny information. Vi vill därför försöka ta reda på om skönlitteratur och film kan hjälpa eleverna att skapa sig en koppling till historieämnet så de kan fortsätta utveckla deras historiemedvetande. Vår metod har utgått från sökningar i databaserna ERC, ERIC och Swepub utifrån specifika sökord. Resultaten visar på många positiva fördelar med att använda film och skönlitteratur i klassrummet för att öka elevernas historiemedvetande. Detta under förutsättning att eleverna lär sig att kritiskt granska den information som förmedlas och att filmerna och skönlitteraturen ska inte användas fristående, utan att de bör användas tillsammans med andra läromedel.

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Mitchell, Louisa Jo. "Disrupting heritage cinema : the historical films of South Korea." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22590/.

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This thesis explores the revival of historical filmmaking in South Korean cinema. While the success of the domestic film industry over the past twenty years has been considered a second renaissance for Korean cinema, there has been little detailed engagement with the full diversity of films that have been made. Particularly, this thesis looks at the way this renaissance has seen a rediscovery of the Korean period drama. Known as sageuk in Korean, the genre has seen an unprecedented boom since the beginning of the twenty-first century. In my analysis, I draw out parallels between recent sageuk productions and the so-called 'heritage film'. My project aims to disrupt established ideas of heritage cinema, for instance cultural anxieties and the construction of a national identity, by examining recent shifts and hybridisation of the historical genre in South Korean film. I focus on the postmodern representation of a premodern past and explore issues of authenticity and nostalgia in the depiction of the Joseon period (1392-1897). The introduction provides the contextual basis for my research. Here I explore the history of the genre in conjunction within the context of Korean cinema. In the chapters that follow, I explore the recent development of the sageuk genre through close analysis of four successful and influential period films released between 2003 and 2014: Untold Scandal, Jeon Woo Chi, Masquerade, and The Admiral: Roaring Currents. My analysis looks at the changes to generic conventions and the impact of the Korean blockbuster phenomenon on the nation's historical representation. In so doing, I show how the contemporary form has been shaped by Korea's experience of the twentieth century, the changing use of traditional culture in neoliberal society, and the influence of global cinematic developments.

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Quinn, James Mark Vaughan. "The British historical film, 1930-1990." Thesis, Sheffield Hallam University, 2000. http://shura.shu.ac.uk/3188/.

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This thesis aims to understand the ways in which the historical film has vexed its many critics, and in doing so will look beyond its perceived inadequacies to provide a new appreciation of its character, appeal, f unction and development. I have attempted to achieve these goals through a substantial generic study of the British historical film, utilizing notions of myth and ideas derived from reception studies. In terms of overall approach, this project is an example of what David Bordwell has called 'middle-level research', applying theory to a problem-driven, in-depth, empirical investigation. In following the precepts of middle-level research, it is an additional aim of my thesis to contribute to theoretical and methodological debates surrounding the writing of film history and the study of film genre. In chapter one, I review the literature which addresses questions of historical film and film history, and in chapter two I discuss the various ways in which a generic consideration can be conducted, with particular reference to the work of Rick Altman and the idea of genre as mythic-ritual. Beginning in 1930, after which date a coherent genre begins to emerge, I apply the approach expounded in chapters one and two to a wide range of primary sources for British cinema, including Kine Weekly, Sight and Sound, the memoir, the pressbook, and a number of audience surveys. Ile result, in chapters three and four, is an original overview of the British historical film genre in the period until 1980. Chapter five then situates the British historical film in relation to the genres (both British and American) which lie adjacent to it, and chapter six examines the genre and its history in the 1980s, through detailed case-studies of Lady Jane, Chariots of Fire and Henry V. Finally, my conclusions are worked out by setting the genre as I have defined it in the context of two pertinent concepts - British national cinema and British national identity - and the discourses associated with them, in order to elicit key themes and issues. The main thrust of my argument is that recent work on 'the costume film', by Pam Cook, Sue Harper and others, has tended to distort the nature of the British historical film, ignoring generic distinctions made by those who produced and consumed the films in question. I hope that my analysis, and my archival research in particular, will lay a foundation for a clearer and fuller future understanding of films which represent the past.

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Queiroz, Anne Lee Fares de. "Cabra marcado para morrer : da historia do cabra a historia do filme." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284731.

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Orientador: Fernão Pessoa Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-06T21:52:24Z (GMT). No. of bitstreams: 1 Queiroz_AnneLeeFaresde_M.pdf: 413004 bytes, checksum: 035c8b8002186419c36482c8c981cfb9 (MD5) Previous issue date: 2005
Resumo: 20 anos após o lançamento, o filme Cabra Marcado Para Morrer, de Eduardo Coutinho levantou e continua levantando uma série de questões ligadas à cinematografia brasileira contemporânea, em termos de linguagem, história do cinema, história do país, e ainda à própria obra do cineasta que é hoje um dos mais representativos do Brasil. Por ter atuado ao longo dos mais de 30 anos (de 1964 até os dias atuais) com uma obra ficcional e documentária de valor reconhecido, autores continuam se debruçando sobre seus filmes, em atividades de análise e pesquisa histórica. Mesmo que 20 anos tenham se passado desde o lançamento do filme Cabra Marcado Para Morrer, este continua um marco qualitativo da cinematografia brasileira (vide as últimas enquetes de ¿melhores filmes¿) e uma referência em termos de inovação estilística no documentário.Quando Eduardo Coutinho decide retomar, em 1981, o projeto do filme que contava a vida e a morte do líder camponês João Pedro Teixeira, e que fora interrompido pelo golpe militar de 1964, suas intenções, segundo ele próprio, são de apurar a história da luta camponesa, a experiência da filmagem interrompida em 1964, a história real da vida de João Pedro e, claro, a trajetória de cada um dos participantes até aquele momento presente. Como documentário, Cabra Marcado Para Morrer é um relato de como a vida de todas as pessoas envolvidas e, sua confecção foi profundamente marcada pelo momento histórico do país. O Cabra de 84 representa um emaranhado de relações e de indicadores do modo como a História age no filme (do momento de sua concepção pelo CPC até o de sua retomada pelo cineasta apenas) e na esfera privada. Em contrapartida, tem-se ainda a atuação do filme sobre a História (como forma de reelaboração e de revisão do fatos, e até mesmo da construção de discurso) e sobre a vida particular dos camponeses retratados por Coutinho. A grande transformação de Cabra Marcado Para Morrer em relação ao docudrama que deu-lhe origem está justamente no fato do cineasta ter incorporado ao filme terminado todos os percalços do seu início, as transformações na história do país e, principalmente, a nova ética prescrita ao documentário, a partir da ética presente no cinema verdade e da própria experiência de Coutinho, adquirida em seus anos de trabalho na televisão, no programa Globo Repórter
Abstract
Mestrado
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Šonková, Stella. "Výtvarná koncepce filmu "Rudý Mor" podle knihy Jacka Londona. Postapokalyptické filmy, historie a příklady ve světové kinematografii." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-370737.

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The thesis deals with a visual concept for a feature film based on the novel „The Scarlet Plague“ by Jack London. It consists of two parts: a theoretical part and a practical part, which contains author’s own design for the film. The first, theoretical part describes the history of the genre, and analysis the visual concepts of a few post-apocalyptic films that are relevant to the concept chosen for „The Scarlet Plague“, particularly Rise of the Planet of the Apes (director Rupert Wyatt, 2011), Dawn of the Planet of the Apes (director Matt Reeves, 2014), Waterworld (director Kevin Reynolds, 1995), I am Legend (director Francis Lawrence, 2007), Mad Max: Fury Road (director Georges Miller, 2015). In the second, practical part, the approach to the concept of „The Scarlet Plague“ is described and accompanied with the visual execution of selected scenes.

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Larsson, Philip, and Jacob Titze. "Historisk film som historiedidaktiskt verktyg." Thesis, Malmö universitet, Malmö högskola, Institutionen för samhälle, kultur och identitet (SKI), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-40082.

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Filmens legitimitet som historieförmedlare har diskuterats och debatterats av historiker sedan mediet slog igenom. Sedan 1980-talet har akademiska diskussioner även förts angående filmens roll i skolan, där dess användning ökat i takt med dess genomslagskraft i övriga samhället. Allteftersom filmer blir mer lättillgängliga blir frågan om filmens roll i formandet av elevers historiemedvetande än mer aktuell. Hur dessa frågor tacklas i historieundervisningen och på vilket sätt film används i klassrummen är frågor som fångat vårt intresse och därför blev vår frågeställning: vad säger forskning om historisk film som historiedidaktiskt verktyg i historieundervisning på gymnasieskolan? I denna kunskapsöversikt har vi ämnat att kartlägga forskningsläget inom området historisk film i historieundervisningen. Vi har framförallt fokuserat på undervisning på gymnasial nivå. Inom arbetet har vi undersökt internationella såväl som svenska vetenskapliga skrifter från akademiker inom ämnet. Metoden som användes var informationssökning via sökmotorerna ERC, Swepub och Libsearch för att skapa en grundlig bild över vad tidigare forskning säger om användningen av historisk film i klassrummet och hur den mottas av elever. Bilden av den historiska filmens plats i klassrummet har gått från tveksam till accepterad allteftersom att mediets popularitet har ökat. Resultaten visar att det finns flera olika anledningar för lärare att använda film för att utveckla elevernas historiska förmågor. Elever kan också gynnas av att film inkluderas i undervisningen eftersom verktyget bidrar med andra perspektiv och möjliggör historisk empati. Slutsatser som vi kommit fram till efter insamling av information om det övergripande forskningsläget är att filmens användning som historieförmedlare till gymnasieelever inte längre är ifrågasatt. En del lärare tenderar dock att inte utnyttja mediets säregna fördelar och potential. Om film används på ett konstruktivt och utvecklande sätt, i linje med kurs- och ämnesplaners mål och syften, blir dess användning som undervisningsverktyg odiskutabel. Frågan blir då på vilket sätt den bör brukas i undervisningssammanhang.

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Nordbeck, Daniel. "Film som historieförmedlare - En studie kring spelfilm i historieundervisningen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35155.

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Syftet med denna undersökning är att undersöka vilka problem och möjligheter man kan möta med användandet av historisk spelfilm i historieundervisningen. Spelfilmens roll som historieförmedlare har ökat under de senaste åren. Idag fungerar spelfilm med historiska motiv som historieförmedlare för många människor, inte minst ungdomar. I många fall används spelfilmen i underhållningssyfte. En stor anledning till att jag gör denna undersökning är för att se närmare på hur läraren kan arbeta med spelfilmen i historieundervisningen utöver ett rent underhållningssyfte. Dessutom anser jag det viktigt att läraren har kunskap om spelfilm eftersom det är en referensram för många unga. Undersökningen bygger på litteraturstudier av tidigare forskares resultat av relationen mellan historia och film. I undersökningen diskuteras och analyseras spelfilmen utifrån följande perspektiv: pedagogiska teorier, kommunikationsteori, reception, autenticitet, dramaturgin, identitet och identifikation, Samtida avtryck i den historiska spelfilmen, historiebruk, historiemedvetande, kritiskt förhållningsätt samt källkritik. Utifrån dessa perspektiv är tanken att i slutdiskussionen presentera en matris för vad läraren bör tänka på när hon/han visar en spelfilm i historieundervisningen. Resultatet av undersökningen har visat att användning av spelfilm i historieundervisningen är långt mer komplicerad än att bara trycka på ”play”. Men planerar pedagogen bara filmanvändningen noga, utifrån olika aspekter, är det relativt enkelt att identifiera problemen och se fördelarna.
The purpose of this study is to examine problems and possibilities you may encounter when using historical motion-picture when teaching history. Motion-picture as an intermediary of history has increased in recent years. Today, motion-picture with historical motives works as an intermediary to many people, especially youths. Motion-picture is in many cases used for entertainment purposes. One of the big reasons to why I do this study is to look at how teachers can work with motion-picture in history teaching apart from the entertainment purposes. Furthermore, I believe it is important that the teacher has knowledge of motion-picture since it is a frame of reference for many youths.The study is based on literature studies of previous researchers' results of the relationship between history and picture. In the study, motion-picture is discussed and analyzed from the following perspectives: pedagogical theories, communication theory, reception, authenticity, dramaturgy, identity and identification, contemporary impressions in the historical motion-picture, uses of history, historical consciousness, a critical approach and source criticism. The idea is that from these perspectives a matrix/compilation of what the teacher should think about when she/he uses a motion-picture in history teaching will be presented.The results of the study have shown that the use of motion-picture in history teaching is far more complicated than just pressing "play". But if the teacher only plans the use of picture carefully, from various aspects, is it relatively easy to identify the problems and see the benefits.

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Andersson, Kristian, and Martin Andersson. "Spielberg har flyttat in i klassrummet : en studie om lärares syn på historiemedvetande och historisk spelfilm." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9396.

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I denna uppsats har vi valt att undersöka hur fem lärare, aktiva och blivande, använder sig av historisk spelfilm i undervisningen. Detta har i första hand gjorts utifrån fyra olika frågeställningar men som ibland visade sig flyta ihop med varandra. Fokus ligger bland annat på vilka problem respondenterna anser användningen av filmmediet kan föra med sig och hur man som lärare ska förhålla sig till detta. Syftet har också varit att undersöka hur respondenterna ser på det omdiskuterade begreppet "historiemedvetande". Undersökningen har genomförts genom kvalitativa intervjuer med de enskilda respondenterna. I förarbetet upptäckte vi att ett antal författare pekade på att spelfilmerna ofta sa mer om sina respektive produktionskontexter än den faktiska händelse de försökte skildra. Resultatet av undersökningen visade att respondenterna i första hand vill använda mediet för att visa på ett historiskt skeende och skapa en kontinuitet, känsla och ett sammanhang för eleverna. De problem som de tillfrågade ansåg kunde uppkomma vid användning av mediet grundade sig till största delen i att eleverna tycks sakna kunskaper i källkritik. Respondenterna hade även en relativt enig syn på begreppet "historiemedvetande"

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Symmons, Tom. "The historical film in the era of New Hollywood, 1967-1980." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8630.

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This thesis is the first sustained analysis of historical films made in the New Hollywood era (1967-80). It explores the mediation of the era’s social, cultural and ideological concerns in feature films that represent key periods in American history. The terms New Hollywood and the historical film are utilised with revisionist aims. As well as considering the new wave of ‘auteur’ cinema synonymous with the New Hollywood, the thesis demonstrates the diverse range of films produced in this era. Similarly, it rejects the boundary drawing practiced by many studies of history and film, and submits that any film set in the past can be used to explore the values, assumptions and ideological conflicts of the present. Furthermore, the thesis contends that analysis of historical films allows us to understand how audiences of a given period engage with the past in emotional, moral and aesthetic terms. The method and approach of this research is robust and wide reaching, providing evidence based analysis of each film’s production and reception, as well as close readings of individual texts. The primary sources utilised include production files, draft screenplays, film reviews, press interviews and other forms of publicity. The vast majority of new Hollywood historical films are set in the recent past, and the six case studies undertaken in this thesis include a broad section of the era’s significant historical films: The Day of the Locust (1975), a drama centred on 1930s Hollywood; Sounder (1972), a story of Depression-era African American sharecroppers in the deep South; The Dirty Dozen (1967), a Second World War combat drama; The Way We Were (1973), a romantic film bridging the radical 1930s and the McCarthy ‘witchhunts’ of the 1950s; and American Graffiti (1973) and Grease (1978), which look back on the early rock and roll era of the late 1950s and early 1960s with nostalgia.

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Borglin, John. "Django, historien om en hjälte : En diskursanalys av postkoloniala och genusteoretiska maktförhållanden i Quentin Tarantinos film Django Unchained." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70963.

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The following study aims to analyze expressions of postcolonial and gender theoretical conditions of power in Quentin Tarantino’s film Django Unchained. The method of analysis is the one of discourse analysis. The analysis is used as a means to distinguish the expressions of value which will aim to depict the gender theoretical- and postcolonial structures of power the film mediates. Furthermore, the results given by the analysis will be discussed in relation to creation of prosthetic memory. Considering the prosthetic memory’s impact on the viewers subjectivity, and outlook on both present and future values, the theory will adequately be discussed in relation to the representation this pop-cultural medium mediate. This study does not aim to analyze the historical authenticity of the film but rather to identify which postcolonial and gender theoretical values that are projected through the historical narrative. However, Django’s hero status will be discussed in relation with the mid-19th century American setting. As for the results of the analysis they were both in line with, and contradictive to, what the previous studies has shown. In correlation with the preceding studies the film did not seem to address the psychological issue of the different positions of power a slave could have. However, the position of Django was in fact a subject of problematization. The configuration of gender was less nuanced, which gave rise to a one-sided function and power stature for the depicted women of the film. In contrast to this, the power hieratical position for men were highly fluid and dependent on several factors.

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Boyett, Alaina. "Historia Naturalis." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2218.

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In this paper, I will detail the process of making the graduate thesis film Historia Naturalis. I will begin with how the idea came into being in the first part. Next, I will outline the methodology from screenwriting to completion- examining all the major creative and production related elements. Finally, I will attempt to personally analyze the success of the final project.

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Baker, William Andrew. "Melancholy and the Photo-Historical Approach in the Films of Wim Wenders." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu161913209076124.

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Nyström, Camilla, and Harald Willén. "Film i skolan - Elevers tolkning och analys av historisk film." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31110.

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Uppsatsen är en empirisk studie med en kvalitativ undersökning. Uppsatsen fokuserar på elevers audiovisuella förmåga. Dagens skola kräver andra redskap av dig som pedagog än vad gårdagens skola gjorde. En förändring som innebär många nya inlärningsmetoder som både kan vara positiva och negativa då kunskap om dessa kan vara bristfällig. Film är idag ett ledande medialt verktyg som kan användas till att öka elevers historiska kunskaper och intressen. Vår avsikt med den här uppsatsen är att försöka synliggöra hur elever tar till sig historiska fragment från film, samt att analysera vad orsaken till valet av dessa. Denna studie pekar på hur åttondeklasseleverna vid Färsinga lärcentrum i Sjöbo kommun uppfattar och tolkar historiska sekvenser på film. För att belysa och utforska problemet har vi använt oss av en intervjustudie. Slutsatsen visar att eleverna som grupp tillsammans har ett berikande historiemedvetande. Däremot är den enskilda elevens historiemedvetande mer begränsat. Denna situation kan bero på historiebruket, utvecklingspsykologiprocessen och identitetsskapandet som vi upplever kan vara en normal process.

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McKeown, Luke Daniel. "(Re)presenting the Past: Historiographical and Theoretical Implications of the Historical Docudrama." The University of Waikato, 2008. http://hdl.handle.net/10289/2230.

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This thesis contributes to the growing body of scholarship surrounding historical and filmic representations of the past. Moreover, it seeks to further the understanding and practical use of this sub-field in history by examining two films: Amistad (1997); and, The Wind That Shakes the Barley (2006). Building on the insistence of scholars such as Robert Rosenstone and Hayden White, this thesis seeks to evaluate historical films on their own terms as representations of the past that must be judged according to their own conventions. Cinema's attraction to historical subjects is not a recent phenomenon. However, the past two decades, have seen a marked increase in the academic critique of 'historical films' - most notably Hollywood features and television documentaries. Moreover, the appetite of the general public for filmic treatment of historical topics continues unabated. While it is agreed that historical film cannot be judged according to the criteria used in accessing traditional modes of historical representation, there is little agreement about what criteria, precisely, should be used in evaluating historical films' historical attributes and implications. This thesis commences with a general theoretical and methodological survey of the literature in this relatively new sub-field. It then analyses the film Amistad and its reception and criticism amongst historical professionals. This analysis, coupled with the findings of the first chapter, forms the basis for an original and independent review of The Wind That Shakes the Barley, a film that has not yet been widely critiqued by historians. The thesis suggests how historical films may be fruitfully evaluated in ways that are sympathetic both to the peculiar exigencies of the medium and the traditional concerns of historical scholarship.

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Alabarda, Yusuf, and Rafal Lisowiec. "The private military firms: historical evolution and industry analysis." Monterey California. Naval Postgraduate School, 2007. http://hdl.handle.net/10945/10231.

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MBA Professional Report
Soldiers for hire are not a new phenomenon of the twenty-first century. They are as old as war itself. However, in the present day these modern day soldiers for hire are part of well-organized and competently run Private Military Companies (PMC). The private military industry may be one of the most important, but little understood developments in security studies to have taken place over the last decade. This new industry, where firms not only supply the goods of warfare, but also fulfill many of the professional functions, is not only significant to the defense community, but has wider ramifications for global policies and warfare. This study attempts to clarify and analyze the historical evolution of the private military industry, comparing different private military firms and their future impacts on military operations.

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Wallgren, Emelie. "Minne och historia i Mémoires d’immigrés." Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-909.

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Den fransk-algeriska filmaren Yamina Benguiguis dokumentärfilmstriptyk Mémoires d’immigrés. L’héritage maghrébin var när den hade premiär 1997 en av de första filmerna som på allvar gav röst åt de nordafrikanska arbetskraftsinvandrarna och lyfte fram deras minnen av immigrationen till Frankrike. Uppsatsens syfte är att studera den filmiska gestaltningen av minnen i de tre filmerna utifrån hypotesen att de skapar ett kollektivt minnesrum som utmanar den officiella historieskrivningen och det nationella minnet i Frankrike. Analysen av filmerna tar avstamp i en teoretisk bakgrund i två delar: Diaspora- och exilfilm, där jag kortfattat redogör för vissa drag inom området diaspora- och exil inom filmteorin, samt Rörliga bilder och minne, där jag tar upp teman som filmen som minnesteknologi och kollektivt minne, spår och minnestecken, samt gestaltning av minnesprocesser på film. I analysens tre huvuddelar uppmärksammas följande aspekter av minnesgestaltningen: Att bryta tystnaden: Språk, röst och det akustiska, Bildminnen och visuell arkeologi, och Resor i tid och rum: Filmens minnesplatser. De muntliga vittnesmålen utmanar den kollektiva och nationella amnesin kring immigrationen samtidigt som de vittnar om den förda politikens konsekvenser i enskilda människors liv. Urvalet av arkivbilder, klippning och musik bidrar till en form av poetisk gestaltning av spår och minnesplatser. Sammantaget rör sig filmerna i skärningspunkten mellan privata, kollektiva minnen och offentlig historia där den inre, levda upplevelsen av historien står i centrum.

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Schroer, Kerstin. "Film matters : historical and material considerations of colour, movement and sound in film." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q14q8/film-matters-historical-and-material-considerations-of-colour-movement-and-sound-in-film.

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The narratives presented in most film histories seem to ignore the essential material components of analogue film stock. Film matters focuses on material components of the film image – specifically colour, movement and sound – with the aim of telling a material history in a contemporary, ‘post-digital’ environment. The aim of this history is to show how film as a material has participated in the building of social and political realities that are still at work today. My practice-led research results in two videos on colour and a 16 mm film on movement and sound. In these works I practice alternative ways of history writing and telling that may not be written, but which leave their sediments in the materialities and projections of film. My research is embedded in a historical framework, but at the same time reflects upon the actuality of the political history of film. History and memory images are disassembled into their components in order to make visible that which the image does not show, but of which it is made. Setting out from this methodology, in Chapter 1 I research the representational and constitutional participation of these material components in film’s different temporalities. Through a close reading of several seminal films and moving image works I focus on the interplay between film, time and certain contexts of social and political structures, in order to understand how these are constructed along with material history. Chapter 2 explores movement, rhythm and physicality in the materiality of film. Setting out from the experimental set-up of the film Fugue (2015), the chapter analyses the relationship between physicality(of a body) and materiality (of the film) founded on movement. I claim that movement on film and movement of film produce involuntary side products, which become readable in film through dance-like movements and rhythms. I discover micromovements and habit-formation in both the movement of the film and the movement of the body and seek to read their political and transformative potential in situations in which they were joined, or when transitions from one to the other took place. In Chapter 3 I analyse the role of colour within film history and collective memory. Colour, as a chemical component of the film emulsion, has a temporal permanence, seeping into the grounds and bodies as chemicality, as toxic substance. Colour as a transtemporal figure is elaborated in the video Red, she said (2011), which focuses on Technicolor, looking at the colonising power of colour film by characterising the film emulsion as an autonomous actor within the rules and boundaries of cinematic space. The research into colour continues with Rainbow’s Gravity (2014) – a cinematic study of the production, use and employment of colour in the Nazi period and the politics of memory it entails. I found that in many historical cases colour can take on an active role in processes of memorisation. The thesis concludes in a reflection on the practice of working with a negative approach. In my search for forms of resistance within the moving image that interrupt constant reproductions of power and its representations, I detect the necessity of working with negativity in a processual way.

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Strömberg, Izabella. "Film som läromedel : Hur ser lärare och elever på användningen av film som läromedel i historieundervisningen?" Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-136798.

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Användandet av film som läromedel kan få oförutsedda konsekvenser eftersom lärare är en tidspressad grupp och det kan vara svårt att få tiden att räcka till för att hitta det optimala materialet. Detta kan bidra till att lärare eventuellt har olika attityder till att ta in och använda sig av film i sin undervisning. Därför skulle det vara intressant att undersöka hur attityderna, enligt dagens forskning, till att använda film som läromedel ser ut, både bland lärare och elever. Detta eftersom hur en persons inställning till ett visst verktyg påverkar hur personen väljer att använda sig av det verktyget.

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Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.

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Cagle, Paul Christopher. "Historical foundations of Hollywood's social problem film, 1945-1967 /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174579.

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Lewis, Gavin Peter. "Masculinity and difference in popular film : an historical approach." Thesis, Manchester Metropolitan University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401338.

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Chaikin, Eric Justin. "An Assesment of Historic and Contemporary Models of Native Representation from Ethno-Entertainment Films to Experiential Education Films." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/chaikin/ChaikinE0806.pdf.

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Ethno-entertainment is a term that makes apparent the merger of entertainment and science in the depiction of the Native presence in film. This approach to filmmaking is assessed and is determined to be defunct. Experiential-education filmmaking is offered as an alternative approach. It is suggested that Native science can inform this approach in a way that allows a contextual understanding of Native language and culture. My video thesis work, K'anecho'xdekdiigh- I'm Not Going to Teach You, is suggested as an example of how the prominence of Native science may promote survivance rather than perpetuate ethno-entertainment's focus on absence.

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Canepa, Laura Loguercio. "Medo de que? : uma historia do horror nos filmes brasileiros." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285159.

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Orientador: Nuno Cesar Pereira de Abreu
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T16:44:22Z (GMT). No. of bitstreams: 1 Canepa_LauraLoguercio_D.pdf: 62092455 bytes, checksum: aeaa4fb7ba2110dbe657a81456b35c36 (MD5) Previous issue date: 2008
Resumo: Neste trabalho, examinam-se as manifestações do gênero horror nos longas-metragens sonoros brasileiros realizados entre 1937 e 2007, elaborando-se um panorama histórico desses filmes, desde os primeiros registros cinematográficos deste gênero de ficção no cinema nacional até os mais recentes, e propondo-se um modelo descritivo para as configurações do horror ficcional no cinema brasileiro. Para isso, partiu-se dos estudos de gêneros cinematográficos, de história do cinema mundial e de história do cinema brasileiro, procurando-se desenvolver ferramentas de análise que permitam elaborar um panorama dos filmes, e explorando-se a possibilidade de falar-se de estilos especificamente brasileiros para o tratamento cinematográfico do horror
Abstract: This thesis examines the manifestations of the horror genre in Brazilian movies made between 1937 and 2007, under a historical outlook, since the first cinematographic registries of this genre, to the later ones. The theoretical approach of this work starts from genre cinematographic studies, passes over cinema¿s history and Brazilian cinema¿s history, looking out for the development of analytical tools which allow elaborating an overview of the films, exploring the possibility of marking a specific Brazilian brand of horror films and a specific Brazilian approach on making horror films
Doutorado
Doutor em Multimeios

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Larsson, Josefine. "Undervisa i historia med spelfilm." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30104.

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Jag har gjort en studie av fyra lektionsplaneringar som rör spelfilmfilm i historieundervisningen. Syftet har varit att ta reda på hur spelfilm används i historieundervisningen. Film är en stor källa till historieförmedling. Genom att se hur filmen används i skolan vill jag ta reda på hur man dessa båda historiekulturer samverkar. Jag utgår från historiemedvetande och historiebruk när jag gör min analys och bygger min teori. Det som jag har kommit fram till är att i tre av dessa fall så ses filmen bara som en förlägning av läroboken och det görs inga reflektioner av historiebruk. I det tredje fallet fungerar filmen som en källkritisk övning men den går inte in på djupet i historiebruket.

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Kierstead, Joshua Anthony. "Noir of the past: anatomy of the historical film noir." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5791.

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This dissertation documents how a series of cynical 1940s Hollywood films set in historical eras served as a forum for Hollywood to reconcile the complex relationship between America and its European past. While these films are rarely discussed in the ongoing discourse surrounding film noir, this study posits that they function as “noirs of the past” by transposing the pessimism and trauma surrounding World War II to the distant American and European past in a narrative and stylistic manner consistent with film noir. Film noir is a branching term to describe a group of 1940s and 50s Hollywood crime melodramas that are known for their cynical worldviews and femme fatales. Produced during the war and postwar era, film noirs primarily depict squalid urban settings that underscore the broken promise that is the American Dream. However, this project maintains that many of these noirs also critique American society through historical settings that trace present-day class and gender problems back to the European aristocracy and its excesses. Noirs of the past are universally ignored in debates surrounding historical films because they appear at first blush to have little interest in depicting historical events in a precise manner. This is for good reason: they openly resist historical accuracy by employing devices that highlight their artificiality. The noir of the past’s lack of historical verisimilitude further extends to character types, dialogue, costumes, and aesthetics that feel closer in spirit to the gloomy shadows of contemporary-set film noirs than the glossy and monumental historical films of the 1940s. Through their overlap of historical and contemporary 1940s signifiers, “noirs of the past” construct a sense of location and time that borrows from both the past and present to demonstrate the cyclical nature of events and figures across history.

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Elliott, Eric Scott. "Historical Accuracy and the IRA Over 70 Years of Cinema." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/23.

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The purpose of this research is to examine how the Irish Republican Army has been represented in theatrical cinema since the 1930s. The goal is to demonstrate the necessity for historical accuracy in movies produced for public entertainment, which often neglect historical facts and circumstances in portraying an organization as controversial and complex as the IRA. This has been done by examining five movies produced for wide-distribution and comparing each to the detailed historical record. Upon analysis of these movies, it becomes clear that the films which are the most historically relevant are also the most powerful cinematic productions, both through emotional power and overall entertainment.

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Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.

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Butler, Christopher. "Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4648.

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New French Extremity films are violent, transgressive, and break many social taboos in their narratives. However, this genre's directors are intelligent and construct these films with clues to France's past and how it still has implications in the present. This thesis was written to point out how New French Extremity films offer spectators the potential to reincorporate traumatic moments in French history by juxtaposing them against present day social, political, and economic ideologies. The purpose for this course of study was to investigate historical encounters that are present in New French Extremity filmmaking, something that has yet to be addressed by other scholars in any great detail. The general approach taken was to use Walter Benjamin's theory of allegory to secure connections between the past and present and illustrate how they could be interpreted by the film's spectators. The outcome of this research indicates how a spectator can potentially change his or her relationship with history and work towards reassessing his or her relationship with the present under certain social, political, or economic structures.

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Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.

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No Way Out: A Historical Documentary is the written companion to a forty-minute documentary film entitled "No Way Out". The film deals with a 1974 inmate standoff at a prison in Huntsville, Texas known as the Carrasco Incident. The film examines the prison takeover through the eyes of those who lived through it. Composed of five interviews, "No Way Out" is a compilation of various points of view ranging from former hostages, members of the press, and law enforcement. The written companion for this piece discusses the three phases of the production for this film. These chapters are designed to share with the reader the various intricacies of documentary filmmaking. The thesis also explores theoretical issues concerning collective memory, coping behavior, and the ethics of historical documentary filmmaking.

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Riley, Eustacia. "From Matieland to motherland : landscape, identity and place in feature films set in the Cape Province, 1947-1989." Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11641.

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Includes abstract.
Includes bibliographical references.
This thesis analyses the representation of landscape, place and identity in films set in the Cape between 1947 and 1989. These films are products of a "white", largely state-subsidised film industry, although they include a small number of independent, "alternative" films. A critical reading of these cinematic "apartheid landscapes" provides evidence of the historical context, discourses and values informing their production, as well as the construction and transformation of place and identity in apartheid South Africa.

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Taormina, Mary Frances. "A Social Historical Exploration of the Popularity of "The Rockford Files"." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625491.

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Gustafsson, Anton, and Kathinka Lindhe. "Filmen "Dylans Historia" möter sin publik : - en receptionsstudie." Thesis, Högskolan i Halmstad, Sektionen för hälsa och samhälle (HOS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-19823.

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Med stöd av teorier om barn och kommunikation, mediepåverkan liksom synen på barn som publik ville vi i denna uppsats ta reda på hur barn i mellanstadiet i Halmstad läser filmen "Dylans historia”, en egenproducerad programserie om Halmstads historia. Frågeställningen var: Hur ser det narrativa mötet ut mellan producenternas intentioner, så som de uttrycks i produktionens/filmens narrativa element, och barnen. Det vill säga, hur uppfattar barnen filmen? Utifrån Stuart Halls teorier om ”encoding - decoding” jämförde vi producenternas intentioner med texten (filmen) med den tolkning som publiken (barnen) gjorde. 19 barn i åk 4 och åk 6 intervjuades. Slutsatsen vi kan dra är att barnens tolkning av de berättartekniska greppen, där redigeringen (montaget) och ljudet hade en framträdande roll, i stort överensstämmer med producenternas intentioner. Därtill visade våra intervjusvar att barnen, förutom att de tolkar det multimodala budskapet, också har en ”avslöjande läsning” av texten (filmen), något som Stuart Halls teori inte tar upp. Barn i dag är tekniskt bevandrade på ett helt annat sätt än på 1970-talet, då Halls teorier lanserades. De läser hur filmen är redigerad och deras referenser verkar, enligt våra intervjusvar, vara hämtade från mobiltelefonens kamerafunktion. Detta intresse tycker vi borde tas tillvara i undervisningen. Filmen finns på Halmstad stadsbiblioteks Hallandsavdelning.

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Holmquist, Fredrik. "Ungdomar och historiekultur. En studie av gymnasieelevers intresse för och förståelse av historia. Youth and Historical Culture. A study of High School Students´Interest for and Understanding of History." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36537.

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Syftet med examensarbetet var att göra en kvalitativ historiedidaktisk studie av gymnasieelevers intresse för historia i allmänhet och förståelse av en specifik historiekulturell artefakt i synnerhet. Detta är inte minst intressant med hänsyn till läroplanens riktlinjer om undervisningens anpassning och beaktande av elevernas erfarenhets- och livsvärld. En klass i respektive Historia A, B och C – sammanlagt åttio elever – fick läsa historikern, författaren och akademiledamoten Peter Englunds essä ”Om fattigdomens historia”. Därefter fick de svara på ett frågeformulär med öppna frågor om läsningen och deras förhållande till historiekultur i stort. Analysen av resultaten kom att problematisera och lyfta fram två huvudsakliga kritiska faktorer i historieundervisningen och fyra förslag på didaktiska och pedagogiska strategier för att i möjligaste mån utgå från och möta eleverna i densamma. Förslagen skiftar mellan erfarenhetspedagogikens tillmötesgående och en främmandegörande pedagogiks kritiska bearbetning av elevernas erfarenhets- och livsvärld.

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Viktora, Zdeněk. "Oliver Stone - Historie a fabaluca aneb Homér politického filmu." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79158.

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The diploma thesis deals with Oliver Stone?s films, particularly with the director?s approach to film representation of historic reality, as well as with the genesis of his political viewpoints, his conflicts with renowned historians and his work methods. The thesis searches for answers regarding the objective character of history and possibilities of its film representation.

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Eriksson, Jennifer. "Film som läromedel i historieundervisningen : En fallstudie baserad på en lärare och sex elevers uppfattningar och tankar om film i historieundervisningen, årskurs 4-6." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-36274.

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Ohlander, Daniel, and Petter Åberg. "Sex gymnasielärares syn på film i undervisningen: visuellt komplement eller slapp utfyllnad?" Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39699.

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This study focuses on teachers in civics and history in Swedish upper secondary schools. The study aims partly to examine how the teachers use film as a teaching method and how they motivate film as an educational tool in their classes. The study also assesses the thoughts of teachers regarding the optimal usage of film as an educational method. The analysis is based on qualitative interviews with six different teachers, all currently working in two different schools in the Southern parts of Sweden. To analyze and process the interviews we used didactics as our main theoretical focus, but also a hermeneutical perspective to interpret the outcome of our research. Furthermore, we’ve presented previous research about the usage of film in schools and how teachers use it as a teaching method. The results show that all teachers in our study use film as a source of education and that they all can motivate why they’re using film in their classes. The results also show that teachers are bound to the Swedish curriculum and limited time when they work with film in school, so even if they want to work with film more or differently, most feel that it’s hard to do so at the moment. Lastly the results show that film can and should be used in school as an educational tool, as long as it’s done properly and with a clear thought process from the teacher.

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Wu, I.-Fen. "Taiwanese new wave cinema : historical representation and cultural landscape." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369363.

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Holanda, Karla. "Documentario nordestino : historia, mapeamento e analise (1994-2003)." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284785.

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Orientador: Fernão Pessoa Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho consiste numa pesquisa sobre o documentário nordestino contemporâneo, resultando no mapeamento das produções e num panorama dos mecanismos de incentivo ao audiovisual presentes na região. Relaciona, ainda, o desempenho dos estados à adoção de medidas integradas de desenvolvimento, como festivais, concursos, formação e leis de incentivo. O período verificado está compreendido entre 1994 e 2003. Além isso, faz-se uma compilação histórica do documentário em cada um do nove estados da região desde seus primórdios, permitindo contextualizar suas trajetórias
Abstract: This text is the result of a research project about the contemporary production of documentaries in the Northeastern region of Brazil, providing both an analysis of the scenery on that area and an overview on audiovisual legislation and promotion mechanisms for that region. It includes each state's policies for local development, such as festivals, contests, specialization projects and governmental policies to foster film production. The research encompasses the period from 1994 to 2003. In addition, a historical compilation is made for each of the nine states that form the Northeastern region of Brazil, in order to contextualize the different paths that were followed, from the very beginning of documentary film production
Mestrado
Mestre em Multimeios

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Massee, Sara Marie. "The American Historical Imaginary| Memory, Wealth, and Privilege in American Mass Culture." Thesis, George Mason University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10823611.

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This dissertation seeks to make sense of historicist media in America and the ideological work that they do. It examines a variety of discourses that inflect the texts examined. It focuses on representations of the Anglo-American past since this history, more than any other, is selling to American media consumers and has been for the last thirty years. Consequently, media about Anglo-American history provides vital clues as to what motivates the dominant culture’s invocation of the past.

In order to gain the broadest perspective possible on how historicist media function in America, the texts this dissertation examines come from a variety of media, including television, film, a Renaissance festival, and an experiential history museum. For a similar reason, this dissertation explores three distinct historical locales that have been especially marketable in the United States: the English country house of the nineteenth and early twentieth centuries, Renaissance England, and the American Revolution.

This dissertation argues that the media studied is structured by a contradictory desire for the sense of stability promised by notions of pastness and the sense of freedom, flexibility, and novelty promised by notions of modernity and mass production. As a result of these conflicting desires, historicist media in America can best be characterized as contemporary versions of what Elizabeth Outka described as the nineteenth-century aesthetic of the “commodified authentic.” Like the “commodified authentic,” contemporary historicist media offer to help consumers negotiate anxieties caused by rapid social, technological, and economic change by holding history and modernity in productive tension with one another. Whereas the anxieties addressed in the nineteenth century stemmed largely from the Industrial Revolution though, the anxieties negotiated in contemporary media about the past have to do with digitization, neoliberalization, and the global economic crisis of 2007–2008. However, nineteenth century and current examples of the “commodified authentic” are similar in that by turning to history as a source of stability, they tend to reinforce conservative values, even when they incorporate various forms of liberal social critique. As a result, this dissertation pays special attention to the discourses of class-, gender-, and racial privilege that inflect the media texts examined, particularly when considering what kind of communal American identity (a la Benedict Anderson) my sample texts imagine or imply.

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Melo, Marcos Jose de. "Como se fossem insetos : África e ideologia no cinema contemporâneo." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6005.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The image of Africa in contemporary hegemonic film does not make up a mere object to be aesthetic appreciation or depreciation, and moreover, that image is a tangible indicator of a contemporary political practice whose roots are embedded in the Eurocentric colonial discourse of the nineteenth century. In this dissertation, the intellectual effort is directed towards showing the ways in which hegemonic contemporary cinema represents the African continent, what is done after a historical review of how this image of Africa was built by European intellectuals in the late nineteenth century , which served the interests invented this image, which supplied him with arguments legitimizing support and ways by which this image was popularized. At the end, is made a sketch of the bridge that connects the political situation of the late nineteenth century, which spawned the invention of Africa, the beginning of the century, which means that the image remains popular, and some considerations on the relationship between films and craft of the historian. More than mere curiosity or pursuit of scholarship, this dissertation is a conscious attempt to engage in a broad intellectual effort of decolonization of knowledge.
A imagem da África no cinema hegemônico contemporâneo não compõe um mero objeto passível de apreciação ou depreciação estética; para além disso, essa imagem é um dos indicadores palpáveis de uma prática política contemporânea cujas raízes estão fincadas no discurso colonial eurocêntrico do século XIX. Nesta dissertação, o esforço intelectual é direcionado no sentido de mostrar as maneiras pelas quais o cinema hegemônico contemporâneo representa o continente africano, após o quê é feita uma revisão histórica de como essa imagem da África foi construída pela intelectualidade europeia, em fins do século XIX, a que interesses essa imagem inventada atendia, quais argumentos legitimadores lhe forneceram sustentação e por quais modos tal imagem foi popularizada. Ao final, é feito um esboço da ponte que liga a conjuntura política do final do século XIX, que engendrou a invenção da África, à do início do século XXI, que faz com que aquela imagem permaneça popular, e algumas considerações sobre a relação entre os filmes e o ofício do historiador. Mais do que simples exercício de curiosidade ou erudição, esta dissertação constitui uma tentativa consciente de participar em um esforço intelectual amplo de descolonização do conhecimento.

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Dissertations / Theses on the topic 'Historial films'

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