To see the other types of publications on this topic, follow the link: Historial films.
Journal articles on the topic 'Historial films'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Historial films.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
Full text
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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?
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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?
11
Ahonen, Kimmo, and Rami Mähkä. "Imperialistinen trippi Kaukoitään." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 33, no. 3-4 (December 11, 2020): 25–43. http://dx.doi.org/10.23994/lk.100438.
Full textAbstract:
Yhdysvaltalaiset Vietnamin sota -elokuvat ovat muokanneet mielikuvia sodasta ja toimineet välineinä kansakunnan menneisyyden hallintaan. Tarkastelemme artikkelissamme Francis Ford Coppolan ohjaamaa Ilmestyskirja. Nyt -elokuvaa (Apocalypse Now, 1979) Vietnamin sodan historiatulkintana. Keskitymme artikkelissamme Ilmestyskirjan historialliseen kontekstualisointiin, jossa sitä tarkastellaan suhteessa Vietnamin sodan ja Hollywoodin Vietnam-kuvausten historiaan. Pohdimme myös Ilmestyskirjan imperialismisuhdetta ja sen luonnetta sotaspektaakkelina.
Coppolan Ilmestyskirjan monivaiheinen käsikirjoitus- ja tuotantoprosessi kesti yli vuosikymmenen. Käytämme lähteenämme alkuperäisen teatterilevitykseen tuotetun version (1979) ohella vuonna 2001 julkaistua Redux-versiota. Historialliset elokuvat, jollainen Ilmestyskirjakin on, ovat kertomuksia historiasta ja ovat historiapolitiikan ohella osa historiakulttuuria. Yhdysvaltojen käymän Vietnamin sodan tosiasiallista historiaa katsotaan yhä enemmän elokuvien välittämien representaatioiden luoman harson läpi. Ilmestyskirjan yksittäiset kohtaukset ja sitaatit ovat toistuvien viittausten kohteena populaarikulttuurissa.
Analysoimme erityisesti Redux-version ”plantaasikohtausta”, joka kytki tarinan alkuperäisversiota syvemmin Vietnamin sodan, imperialismin ja dekolonisaation historiapoliittiseen kontekstiin. Argumenttimme on, että Ilmestyskirja sekä reflektoi Vietnamin sodan historiaa että osallistui sen ”kirjoittamiseen”, mutta taiteellisuutensa vuoksi enemmän historiakulttuurisena kuin -poliittisena tulkintana Vietnamin sodasta. Coppolan elokuva onkin imperialistinen trippi Yhdysvaltain lähimenneisyyteen.
An Imperialistic trip to the Far East: Francis Ford Coppola’s Apocalypse Now as a historical interpretation of the Vietnam War
American-produced films have shaped images of the Vietnam War and acted as a means of handling the national past. In this article, we examine Francis Coppola’s film Apocalypse Now (1979) as an interpretation of the Vietnam War. We focus on the historical contextualization of the film: how it resonates with the history of the Vietnam War and is a part of the history of Hollywood’s treatment of the subject. We also examine Apocalypse Now’s relationship with imperialism and its nature as a war spectacle.
The production of Apocalypse Now was complicated and took more than a decade to be completed. This article uses both the original theatrical release (1979) and the extended “Redux” version from 2001 as its source material. Of the latter, we focus especially on the “French Plantation” scene, which was omitted completely from the original version. The scene clearly attempts to contextualize the Vietnam War and for that reason is an important source for analyzing Apocalypse Now as an interpretation of the historical event.
Finally, we examine the film as a historical film and, as such, a part of history culture. The film, and the “French Plantation” scene in particular, carries politically-charged themes of decolonization, imperialism and US history. Our argument is that Apocalypse Now, which featured several controversial events and phenomena experienced by people participating in the film’s production, both reflected and actively “wrote” the history of the Vietnam War.
12
Cordali Gradea, Adriana. "The rhetoric of leaving, or the mirage of the fetishized West in Cristian Mungiu’s Occident." Journal of European Studies 48, no. 3-4 (October 22, 2018): 250–64. http://dx.doi.org/10.1177/0047244118796091.
Full textAbstract:
In one of his earlier films, Occident (2002), Cristian Mungiu showcases the East–West divide in post-communist Romania. First, the rhetoric of leaving and the rhetoric of staying are complex historical legacies of the communist period, when communist propaganda demonized capitalism and the West. In the communist totalitarian public rhetoric, East–West binaries emphasized the East and communism, which led to a fetishization of the West in the private sphere. I call the motility of predominant discourses between private and public spheres the dialectic of rhetoric, which is also always historical. Secondly, the fetish of the West is a kind of Occidentalism, or a reversed Orientalism, and it is made apparent in the film’s title. The film’s characters are trapped between binaries, given that all these factors have social, political and psychological consequences on people’s lives. Compositionally, the film’s multiple narrative planes compile a postmodern, fragmented structure, mirroring the breakdown of rhetorical master-narratives in post-communism.
13
Lozano Mijares, Pilar. "La de(con)strucción de la Historia de España o metaficción historiográfica a la española: "Fabulosas narraciones por historias", de Antonio Orejudo Utrillla." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 428. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-1720.
Full textAbstract:
El objetivo de la novela histórica española última (también denominada metaficción historiográfica) es “de(con)struir”, es decir, reinterpretar e incluso destruir la historia oficial, y no tanto reconstruirla. Este objetivo se relaciona directamente con el paradigma estético al que pertenece: el posmodernismo. Pero, al mismo tiempo, es realista en un sentido más amplio, puesto que mimetiza la ontología plural de las sociedades industriales avanzadas, en las que la realidad ha dejado de ser un concepto firme para identificarse con la ficción. Esto es lo que nos demuestra Fabulosas narraciones por historias de Antonio Orejudo Utrilla (1996), en la que el autor da la vuelta a la historia de la literatura española y se alista a las filas del revisionismo histórico posmoderno, ofreciéndonos una mirada al pasado profundamente crítica hacia Occidente.The goal of the latest historical novel (also called historiographical metafiction) in Spain is to “de(con)struct”, that is to say, to interpret again and even to destroy the official history, and not so much to reconstruct it. This goal is directly related to the aesthetic paradigm to which it belongs: the postmodernism. At the same time, it is realist in a broader sense, as it mimetises the plural ontology of the advanced industrial societies, in which reality is not a stable concept any more, but it is identified with fiction. This is what Fabulosas narraciones por historias, by Antonio Orejudo Utrilla (1996), shows: the author turns the history of Spanish literature upside down and rallies for the postmodern historical revisionism, at the same time as he offers us a very critical glance at Occident past.
14
Sattelmacher, Anja. "“Self-testimony of a Past Present”: Reuses of Historical Film Documents." NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin 29, no. 2 (May 12, 2021): 143–70. http://dx.doi.org/10.1007/s00048-021-00300-z.
Full textAbstract:
AbstractHas the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich “Fritz” Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the “Hindenburg disaster.” This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image.
15
Melanson, Glen. "M. Keith Booker (2011) Historical Dictionary of American Cinema." Film-Philosophy 17, no. 1 (December 2013): 497–500. http://dx.doi.org/10.3366/film.2013.0032.
Full text
16
Nadel, Alan. "What Makes Films Historical??" Film Quarterly 62, no. 3 (2009): 76–80. http://dx.doi.org/10.1525/fq.2009.62.3.76.
Full text
17
Baltodano Román, Gabriel. "La literatura y el cine: una historia de relaciones." LETRAS, no. 46 (July 29, 2009): 11–27. http://dx.doi.org/10.15359/rl.2-46.1.
Full textAbstract:
La literatura y el cine se relacionan en cuatro aspectos básicos: la literatura determina, en sus orígenes, la naturaleza de los filmes, sus motivos y estrategias; la literatura y el cine son formas narrativas, por lo que comparten estructuras míticas, populares y de relato; ambos se vinculan mediante el problema de la adaptación; y el cine ejerce una influencia estética en las obras literarias y en el concepto tradicional de literatura. Este artículo examina estos vínculos desde una perspectiva conceptual e histórica.Literature and cinema are related in four main aspects: in its origins literature determines the nature of films; literature and motion pictures are narratives, and share mythical, popular and narrative structures; both are linked because of the issue of adaptation; and movies influence literary works and the traditional concept of literature. This article examines these relationships from a conceptual and historic perspective.
18
Paes Leme, Patricia, and Diogo da Silva Roiz. "‘VISTA MINHA PELE’ E ‘BRANCO SAI, PRETO FICA’: POSSIBILIDADES E DESAFIOS DA UTILIZAÇÃO DE CENAS FÍLMICAS NA APRENDIZAGEM HISTÓRICA." COLLOQUIUM HUMANARUM 15, no. 4 (October 1, 2018): 83–96. http://dx.doi.org/10.5747/ch.2018.v15.n4.h392.
Full textAbstract:
This paper aims at analysing the use of film scenes to teach the African-Brazilian and African History and Culture. In order to do so, it was anchored on the historical consciousness typology created by the German historian and philosopher Jörn Rüsen and on his concept of historical learning. The purpose is to elucidate if the use of films, as a contemporary cultural language of acknowledged pedagogical value, regarding the problematization of topics related to the teaching of African-Brazilian and African History and Culture could provoke changes in the historical consciousness of young students at high school and influence their historical learning process. Hence, from a participating research performed with two groups of students enrolled at high school integrated with a professionalising course, which were based upon qualitative techniques, such as participating observation, conflicts mediation, elaboration and consolidation of reflections through group debates and written narratives, semi-structured questionnaires and a qualitative analysis of the data, it was proposed to: a) proceed to the analysis of the narratives written by the researched subjects; b) investigate the level of competences of these students to attribute meanings and locate themselves intime. Amongst the reached results it could be pinpointed that the use of films scenes presents promising possibilities regarding making the historical thinking complex and consequently the development of the historical consciousness of these subjects.
19
Meneghetti, Mike. "Fearsome Acts of Interpretation: Audiovisual Historiography, Film Theory andGangs of New York." Film-Philosophy 21, no. 2 (June 2017): 223–44. http://dx.doi.org/10.3366/film.2017.0045.
Full textAbstract:
This article revisits Jean-Louis Comolli's “Historical Fiction: A Body Too Much” (1978) in the spirit of film-philosophy's various efforts to reassess the field's seminal texts, and it recasts Comolli's attentive analyses of film acting in terms of the original interpretations they produce. In short, I look to “A Body Too Much’ for its subtle disclosure of an underappreciated substratum of hermeneutics in so called “1970s film theory.” Comolli's study of the discord between actor and referent, I argue, is surprisingly consistent with Paul Ricoeur's pioneering contemporaneous work on metaphor and interpretation, and it leads him to understand the meaningful deployment of film actors in very particular ways. I provide an extended analysis of Martin Scorsese's Gangs of New York (2002) to further demonstrate how the distinctive utilization of actors constitutes both a redescription of the historical past and a spur to interpretation. When critically apprehended as a solution to the broadly construed problems of creating historical fictions (pragmatic filmmaking problems, but also the significant matter of making meaning), the calculated deployment of film actors can reveal a manner of thinking about the historical past – simply put, it can tell us what a film is thinking and how it regards its historical characters and events. In the final analysis, I claim, our attention to – and critical interpretation of – the embodiment of such filmic thinking permits us to grasp the imaginative form of historical knowledge on view in such films.
20
Elena, Alberto. "Exemplary lives: biographies of scientists on the screen." Public Understanding of Science 2, no. 3 (July 1993): 205–23. http://dx.doi.org/10.1088/0963-6625/2/3/002.
Full textAbstract:
Cinema has emerged in the twentieth century as one of the most powerful vehicles for the popularization of science. Medical melodramas, science-fiction films and biopics can be used to advantage by historians and sociologists of science alike in order to reconstruct the always elusive public opinion. As a subgenre of historical films, biopics constitute a vigorous attempt to communicate to the lay public the ethos conventionally associated with scientific endeavour. Much more than a simple illustration of the lives of great scientists, biopics are one of the best indicators of public attitudes towards science and technology in contemporary society.
21
Noriega, Chon A. "Emptiness is Fullness." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 68–86. http://dx.doi.org/10.1525/lavc.2019.000006.
Full textAbstract:
The artwork of Raphael Montañez Ortiz (b. 1934) represents the broad sweep of new art forms since the 1950s, their imbrication with concurrent intellectual and social movements, and the productive tension between object-based and performance-based art. Starting out as an Abstract Expressionist painter in the late 1950s, Ortiz proceeded to participate in the development of several new modes: recycled film and music, mixed-media sculpture, installation, performance art, guerrilla theater, piano destruction concerts, and computer art. Yet despite his presence and impact, he remains missing from art history. This essay argues that Ortiz’s earliest destructions—recycled films made in 1957 and 1958—challenge the accepted history of US avant-garde film. These films were concurrent with Bruce Conner’s A MOVIE (1958), yet signaled an entirely different direction than the diagnostic and rational modernism of Conner and other avant-garde filmmakers. Ortiz turned to destruction, non-Western ritual, and the unconscious while also engaging film as an object rather than a text, bringing the medium into dialogue with the shifting status of the art object and the colonial underpinnings of modern art. The essay explores Ortiz’s intellectual and artistic development, not toward a psychological profile but rather as one element of a broader historical moment. The text moves between the experiential and the contextual, the individual and the societal, the art object and everything else outside the white cube, exploring the relations between them. In this way, telling the story of Ortiz also tells a constellation of simultaneous histories that overlap around his life. RESUMEN El arte de Raphael Montañez Ortiz (nacido en 1934 en Estados Unidos) representa el amplio abanico de nuevas formas de arte a partir de la década de 1950, su imbricación con movimientos intelectuales y sociales concurrentes, y la tensión productiva entre el arte basado en objetos y el arte basado en performance. Al comenzar como pintor expresionista abstracto a fines de la década de 1950, Ortiz participó en el desarrollo de nuevas formas: cine y música reciclados, escultura de medios mixtos, instalación, performance artístico, teatro de guerrillas, conciertos de destrucción de pianos y arte computacional. A pesar de la presencia e impacto de Ortiz en las artes, sigue siendo un artista poco visible en la historia. Este ensayo sostiene que las primeras destrucciones de Ortiz, las películas recicladas hechas en 1957 y 1958, ponen en cuestión la historia aceptada del cine de vanguardia de los Estados Unidos. Estas películas coinciden con A MOVIE (1958) de Bruce Conner, pero señalan una dirección completamente diferente a la del diagnóstico y el modernismo racional de Conner y otros cineastas de vanguardia. Ortiz recurre a la destrucción, los rituales no occidentales y el inconsciente, al tiempo que estudia el cine como un objeto en lugar de un texto, poniéndolo así en diálogo con el estado cambiante del objeto artístico y los fundamentos coloniales del arte moderno. El ensayo explora el desarrollo intelectual y artístico de Ortiz, no con el fin de realizar un perfil psicológico, sino como elemento de un momento histórico más amplio. El ensayo se mueve entre lo experiencial y lo contextual, lo individual y lo social, el objeto artístico y todo lo demás fuera del cubo blanco, explorando las relaciones entre ellos. De esta manera, contar la historia de Ortiz también es contar una constelación de historias simultáneas que se superponen alrededor de su vida. RESUMO A obra de Raphael Montañez Ortiz (n. 1934, Estados Unidos) representa a ampla variedade de novas formas de arte desde os anos 1950, sua imbricação com movimentos intelectuais e sociais simultâneos e a tensão produtiva entre arte baseada em objeto e performance. Começando como um pintor expressionista abstrato no final dos anos 1950, Ortiz participou do desenvolvimento de novas formas: cinema e música reciclados, escultura de mídia mista, instalação, performance, teatro de guerrilha, concertos de destruição de piano e arte computacional. Apesar da presença e do impacto de Ortiz nas artes, ele continua sendo um artista ausente da história. Este ensaio argumenta que as primeiras destruições de Ortiz, filmes reciclados feitos em 1957 e 1958, desafiam a história aceita do filme de vanguarda dos EUA. Esses filmes são concomitantes com A MOVIE (1958) de Bruce Conner, mas sinalizam uma direção totalmente diferente do diagnóstico e do modernismo racional de Conner e de outros cineastas de vanguarda. Ortiz recorre à destruição, ao ritual não-ocidental e ao inconsciente, ao mesmo tempo em que engaja o filme como um objeto em vez de um texto, colocando o filme em diálogo com o status cambiante do objeto de arte e os alicerces coloniais da arte moderna. O ensaio explora o desenvolvimento intelectual e artístico de Ortiz, não em relação a um perfil psicológico, mas sim como um elemento de um momento histórico mais amplo. O ensaio se move entre experiencial e contextual, individual e social, o objeto de arte e tudo o mais fora do cubo branco, explorando as relações entre eles. Desta forma, contar a história de Ortiz é também contar uma constelação de histórias simultâneas que se sobrepõem em torno de sua vida.
22
Torchin, Leshu. "MEDIATION AND REMEDIATION." Film Quarterly 68, no. 1 (2014): 32–41. http://dx.doi.org/10.1525/fq.2014.68.1.32.
Full textAbstract:
In L’image manquante/The Missing Picture (Rithy Panh, 2013), Rithy Panh continues his exploration of the Cambodian genocide. Combining Khmer Rouge propaganda films, contemporary video footage and painted clay figurines in stunningly crafted—often multimedia—dioramas, the documentary couples ruminations on mediation, trauma, and history with Panh’s personal story. However, the film reaches beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, and provides a testimony that is polyphonic and collective. And through his deployment of clips from his former films, Panh creates a sedimented text, suggestive of a past that refuses to stay past and of the magnitude of history, where any production of memory can both preserve and veil the lives of others.
23
Golovnev, Ivan A. "Archival Ethnographic Films as a Historical Source." Herald of an archivist, no. 3 (2018): 692–703. http://dx.doi.org/10.28995/2073-0101-2018-3-692-703.
Full textAbstract:
The article draws on text and visual archival documents to study nature and informative value of Soviet ethnographic films. Ethnographic cinema is a phenomenon almost unstudied by both ethnography and cinematology. Analyzing an illustrative experience of film director A. A. Litvinov and researcher V. K. Arsenyev, who were at tip of the spear in Soviet ethnocinema, the author investigates effective methodology of their scientific and cinematographic work: from script based on scientific texts to lengthy ethnographic filming expeditions to editing of the films assisted by scientific advisors. The choice of the chronological framework rests on the fact that late 1920s – early 1930s was a time of growth for ethnographic filming in the Soviet Union, characterized by both quantity and quality of ethnographic films. It was a time when a panorama of ethnographic films about different peoples of the multinational Soviet country was created, in production of the most significant of these professional scientists were involved. A series of ethnographic films about ethnic groups of Primorye (the Udege), Kamchatka (the Koryaks, the Lamuts), and Chukotka (the Chukchi), a collaboration of A. A. Litvinov and V.K. Arsenyev, received recognition from the public, and also from the scientific community. These film documents are among first photovisual records on the ethnography of the peoples of the Far East. From the point of view of ethnographic cinematology, the article concludes that ethnographic films, if approached scientifically, become a form of research, film as a ‘document’ of the period providing historical and ethnographic data. Little-studied archival ethnographic films are a promising area of research, well deserving being included into the scholarship. Their creators’ experience is of practical interest for modern ethno-cinematographers.
24
Veiga, Ana Maria. "A história oral visita o cinema: Que bom te ver viva e Los Rubios." Revista Observatório 2, no. 1 (May 1, 2016): 118. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n1p118.
Full textAbstract:
ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo
25
Vermeulen, Timotheus. "Flat Film: Strategies of Depthlessness in Pleasantville and La Haine." Film-Philosophy 22, no. 2 (June 2018): 168–83. http://dx.doi.org/10.3366/film.2018.0071.
Full textAbstract:
In this essay I consider the device of depthlessness in film. I am interested in particular in the ways in which this device can determine, or at least raise questions about, the nature of the fictional world. Taking my cue from two films from the turn of the century – Gary Ross' 1998 film Pleasantville and Matthieu Kassovitz' 1995 La Haine – as well as, more broadly, arts historical and cultural theoretical debates, where rather more attention has been devoted to the issue of depthlessness, I focus on moments in which depth, that is, in Andre Bazin's oft-cited words, the “continuity” of the fictional realm, is flattened so as to trace the correlation between depthlessness and the ontology of the fictional world. The two strategies I look at are shallow focus and the dolly zoom. What I intend, here, is to offer some first, superficial (no pun intended), reflections that may allow us to begin thinking about this cinematic notion of the depthless as a device and concept in its own right, with its own rationales and implications, just as art historians and cultural theorists have found it an interesting concept by which to study and categorize artistic and cultural developments. There is so much discussion in film studies about depth – from Bazin's discourse about neorealism's “decisive step forward” re-introducing deep focus, to Gilles Deleuze's talk about Orson Welles' “freeing” of depth, it might be helpful to consider its supposedly backwards, “restrictive” antithesis as well.
26
Saeger, James Schofield. "The Mission and Historical Missions: Film and the Writing of History." Americas 51, no. 3 (January 1995): 393–415. http://dx.doi.org/10.2307/1008228.
Full textAbstract:
Because of the power of film, movies with historical themes affect public perceptions of the past more deeply than do scholarly reconstructions. Film makers and historians search for meaning in separate ways, but their quests can converge. Examples of different approaches to similar destinations are found in a newer film and older historical views of Catholic missions in South America. Released in 1986, The Mission, directed by Roland Joffé with a screenplay by Robert Bolt, displays paternalistic attitudes like those of an earlier generation of North American academic historians. The film's voice is a white European distortion of Native American reality. This essay will examine that voice, offer alternative explanations of historical events, and suggest a research agenda for future study of the Guarani missions of Paraguay, often mentioned in surveys but seldom studied by North American historians.
27
Idczak, Aleksandra. "Historia i metoda. O książce Piotra Witka "Andrzej Wajda jako historyk. Metodologiczne studium z historii wizualnej", Lublin 2016, ss. 712." Studia Filmoznawcze 39 (July 17, 2018): 165–72. http://dx.doi.org/10.19195/0860-116x.39.11.
Full textAbstract:
HISTORY AND METHOD. ON PIOTR WITEK’S BOOK ANDRZEJ WAJDA AS A HISTORIAN. METHODOLOGICAL STUDY OF VISUAL HISTORY, LUBLIN 2016, 712 PP.The review aims to shed light on the methodological concepts proposed in Piotr Witek’s book, and consider the possibility of applying them to the film studies. The reviewer highlights the book’s main concept, which is depicting Andrzej Wajda as a historian and treating his artistic works feature films, documentaries and TV Theatre as historical sources. This approach bases on visual history. In the paper the reviewer talks over the broadening of the frames of historiography done by Witek, and justifies this gesture as a well based on methodological roots of poststructuralism. Witek shows a broad interest in Wajda’s ways of understanding history, his philosophical assumptions, and the issue of artistics tools used in Wajda’s works about the past events. Apart from the reliable analysis of Wajda’s films, discussed book endeavor to build a conceptual platform, on which history and film studies might meet. Unfortunately, it turns out that the latter is dominated in Witek’s methodological concept.
28
Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.
Full textAbstract:
The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character.
This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.
29
Keil, Charlie. "Narration in the Transitional Cinema: The Historiographical Claims of the Unauthored Text." Cinémas 21, no. 2-3 (August 11, 2011): 107–30. http://dx.doi.org/10.7202/1005586ar.
Full textAbstract:
Though our knowledge of the transitional era has increased substantially over the last few decades, incorporating studies of pivotal institutions, exhibition and reception contexts, and forces of regulation and circulation, formal analysis of the period’s films is still indebted to the singular example of D.W. Griffith, identified as the instigator of the “narrator system” in Tom Gunning’s influential book, D.W. Griffith and the Origins of the American Narrative Film. But the historical accident that resulted in Griffith’s films surviving when those of his contemporaries largely disappeared has defined most historians’ approach to charting a history of narrational changes during the pivotal years of 1908-1913. Rather than challenge Griffith’s importance as an enterprising and influential filmmaker, historians require the means to better contextualize Griffith’s contributions, rewriting in the process a formal history that can incorporate authorship without being defined by it as a governing principle. To this end, this essay will use the opportunity provided by the ongoing restoration and distribution of Thanhouser films from 1910-1913 to investigate how the “unauthored text” from this period can aid in our endeavours to expand the contours of the historiography of the transitional era.
30
Supalla, Ted. "Making historical sign language materials accessible." Sign Transcription and Database Storage of Sign Information 4, no. 1-2 (December 31, 2001): 285–97. http://dx.doi.org/10.1075/sll.4.1-2.20sup.
Full textAbstract:
In the last few years we have begun developing a database for studying the history of American Sign Language (ASL), and more generally as a prototype for making historical and contemporary sign language materials accessible to a variety of users. Our prototype began with a set of films, produced by the National Association of the Deaf, of master signers from the period 1910 to 1920. In addition to a digitized frame by frame version of these films, we have added a full transcription and a linguistic coding of each sign and sentence in the films. We are in the process of expanding these materials, adding further types of coding and representation of the items, and developing an interface permitting users to access parts of these materials in accord with their interests and needs. This paper describes our work thus far, and illustrates one possible use of these materials with an example of historical linguistic change.
31
Supalla, Ted. "Making historical sign language materials accessible." Sign Transcription and Database Storage of Sign Information 4, no. 1-2 (December 31, 2001): 285–97. http://dx.doi.org/10.1075/sll.4.12.20sup.
Full textAbstract:
In the last few years we have begun developing a database for studying the history of American Sign Language (ASL), and more generally as a prototype for making historical and contemporary sign language materials accessible to a variety of users. Our prototype began with a set of films, produced by the National Association of the Deaf, of master signers from the period 1910 to 1920. In addition to a digitized frame by frame version of these films, we have added a full transcription and a linguistic coding of each sign and sentence in the films. We are in the process of expanding these materials, adding further types of coding and representation of the items, and developing an interface permitting users to access parts of these materials in accord with their interests and needs. This paper describes our work thus far, and illustrates one possible use of these materials with an example of historical linguistic change.
32
Past, Elena Margarita. "Island Hopping, Liquid Materiality, and the Mediterranean Cinema of Emanuele Crialese // Saltando de isla en isla, materialidad líquida y el cine mediterráneo de Emanuele Crialese." Ecozon@: European Journal of Literature, Culture and Environment 4, no. 2 (September 30, 2013): 49–66. http://dx.doi.org/10.37536/ecozona.2013.4.2.528.
Full textAbstract:
The history of the “mare nostrum” is a long history of the entanglement of human and more-than-human actors. Three films directed by the Italian Emanuele Crialese, Respiro: Grazia’s Island (2002), Golden Door (2006), and Terraferma (2011), recount stories of encounters and collisions on Mediterranean islands, where the challenges of political, cultural, and ecological cohabitation are intensified. Drawing on theories of material ecocriticism, this article argues that in this trio of films, the Mediterranean sea is not simply a picturesque liquid border. It is instead a generative space that participates in the very process of constituting the narratives, even while the films add another layer to the rich geo-archaeological palimpsest of the region. Resumen La historia del “mare nostrum” es una larga historia la implicación de actores humanos y más-que-humanos. Tres películas dirigidas por el italiano Emanuele Crialese, Respiro (2002), Nuovomondo (2006, Nuevo mundo), y Terraferma (2011), cuentan historias de encuentros y colisiones en islas mediterráneas, donde las dificultades de la convivencia política, cultural, y ecológica se intensifican. Apelando las teorías de la ecocrítica material, este artículo sostiene que en estas tres películas el mar Mediterráneo no es solamente una frontera líquida pintoresca, sino un espacio generativo que participa en el proceso de constituir las narrativas. Por su parte, las películas añaden una capa al palimpsesto geo-arqueológico de la región.
33
Grodź, Iwona. "Venice in Films. "Wenecja" by Jan Jakub Kolski (2010)." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 201–14. http://dx.doi.org/10.18778/2299-7458.09.09.
Full textAbstract:
The topic of the article is the image of Venice in Wenecja, a Polish feature film directed by Jan Jakub Kolski from 2010. The imaginary image of this city was inspired by “Sezon w Wenecji” (from the volume titled Jedźmy, wracajmy..., Krakow 1993 or Jedźmy, wracajmy i inne opowiadania, Warsaw 2000), a literary text by Włodzimierz Odojewski (1930–2016). The article undertakes to analyse the image of Venice in the film by the author of Historia kina w Popielawach as a testimony of understanding its role in a particular historical space and time, of both the plot of the film and the projected reception.
34
Youngmee Hwang. "Typology of the Genre of Korean Historical Films: Focusing on Lee Joon-ik’s Historical films." Film Studies ll, no. 68 (June 2016): 287–312. http://dx.doi.org/10.17947/kfa..68.201606.010.
Full text
35
Skrzypczak, Piotr. "Nowe źródło historii? Redefinicja gatunku filmu historycznego w dzisiejszym kinie polskim." Media - Kultura - Komunikacja Społeczna 3, no. 13 (February 6, 2019): 29–53. http://dx.doi.org/10.31648/mkks.2972.
Full textAbstract:
Dzieje polskiego filmu historycznego od jego początków były ściśle związane nie tylko z badaniami historycznymi, uwzględniającymi pewien rodzaj narracji historycznej i przyjmowane w opracowaniach naukowych strategie ich przekształcania, ale również z interpretacją naszej kultury literackiej i malarskiej – poświęconej historii. Z repertuaru terminów, którymi określa się filmy poświęcone historii tej bliższej i odleglejszej, jak na przykład „filmowa pop-historia”, „literacki historyzm”, „kino świadomości historycznej”, to ostatnie wydaje się najbardziej właściwe. Problematyka filmowej interpretacji historii okazuje się obecnie bardzo istotna z powodu poszukiwań repertuarowych – tematów rekonstruujących najnowszą historię. Zaprojektowany przez Ministerstwo Kultury i Dziedzictwa Narodowego konkurs na scenariusz filmu historycznego otwiera różne formuły filmowe: od utworu kameralnego aż po wielkie widowisko. Niewyraźnie została określona perspektywa czasowa historii najnowszej i tej sprzed wielu wieków. Dystans czasowy podejmowanych przez kinematografię procesów i wydarzeń wyraźnie się jednak zmniejsza. Za historyczne uważa się filmy, które ukazują to, co działo się zaledwie „przedwczoraj”. Nasuwa się więc pytanie o trafność i aktualność definicji filmu historycznego. Być może konieczna jest jego redefinicja. Może w tym pomóc rekonesans w dzieje polskiego kina historycznego.
36
Cunnington, Trevor James. "Homeopathic Repetition and Memories of Underdevelopment : The Dialectic of Subjective Experience and Objective Historical Forces." Film-Philosophy 17, no. 1 (December 2013): 383–401. http://dx.doi.org/10.3366/film.2013.0022.
Full text
37
Kallioniemi, Kari. "Toposkartta, kliseekokoelma ja moderni panoraama." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (July 1, 2019): 27–39. http://dx.doi.org/10.23994/lk.83448.
Full textAbstract:
Artikkelissa tarkastellaan suomalaisista musiikkitähdistä viime vuosina tehtyjä elämäkertaelokuvia ja niiden luonnetta mediahistorian kontekstissa. Millainen yhteys 1800-luvun mediakulttuurin todellisuudella ja sen topoksilla on musiikkitähdistä kertoviin melodramaattisiin elämäkertaelokuviin? Historiallisen ja vertailevan musiikkielokuvien lähiluvun kautta artikkeli pohtii kysymystä siitä, millä tavoin nämä elokuvat ovat kuvanneet musiikkitähtien elämää ja taidetta valkokankaalla. Käsittelemissäni suomalaiselokuvissa topokset, kliseet ja muut banaalin kansallisuuden merkit ovat osa digitaalisen kulttuurin kierrätystä, niiden avulla voidaan rakentaa emotionaalinen silta digitaalisen maailman ulkopuolella olevaan kansalliseen materiaaliseen todellisuuteen.Varhaisen eurooppalaisen kulttuuriperinnön topokset löysivät paikkansa 1800-luvun media- ja massakulttuurin panoraamoissa ja varhaisessa elokuvassa. Erityisesti Timo Koivusalon kansallisista musiikkitähdistä kertovat elokuvat ovat tietynlainen reaktionäärinen osa digitaalisen aikakauden mediakulttuurista murrosta. Elokuvien edustamat kliseet, topokset ja panoraamakerrontaan viittaava rakenne eivät niinkään pyri olemaan osa elokuvataidetta, vaan viittaavat elokuvan muodon avulla enemmän nykypäivän kulttuuriseen nationalismiin, joka hakee elinvoimansa kansallisista myyteistä, suurmiehistä, kansallisen historian käännekohdista, traditioista ja rituaaleista, maisemista, esineistä ja musiikkiesityksistä.Topos map, cliché collection, and modern panorama: The national music star biopic in media culture continuumThe article examines recent Finnish music star biopics and their characteristics in the context of media history. I apply historical and comparative close reading in analyzing the ways in which earlier films have represented the lives and art of great music stars. Melodramatic biographical films were in many ways successors to 19th century media culture as carriers of European cultural heritage in depicting the lives and art of musical heroes. The Finnish films discussed in this article use topoi and clichés which represent banal nationalism.The 21st century Finnish national musical hero biopics, and especially the films by Timo Koivusalo, can be seen as a kind of reactionary response to the digital disruption of media culture. The films’ clichés, topoi, and panoramic style of narration are not used to create film art as such. Instead, film form is applied to flag today’s cultural nationalism, which uses national myths, great men, national historical turning points, traditions and rituals, landscapes, artifacts, and music to gain vitality. The films construct an emotional bridge to a nationalistic, materialistic past which exists outside the digital world.
38
Smyth, J. E. "Against the Beat." Film Quarterly 67, no. 1 (2013): 7–13. http://dx.doi.org/10.1525/fq.2013.67.1.7.
Full textAbstract:
The opening sequence of Ragtime (1981) takes place in a theater during the silent film era where the protagonist, Coalhouse Walker Jr. (Howard Rollins, Jr.), accompanies a newsreel featuring the stars of American public life in the early decades of the twentieth century. While postmodern theorists and film historians have linked the content and form of textual and visual fictions with their historical counterparts, less attention has been given to musical and aural styles as historiographic interventions. And while new research in historical film studies has revealed the flirtations of mainstream feature films with postmodern critique, much of this work skirts the racially coded structures of historiography. This article explores screenwriter Michael Weller and director Milos Forman’s decision to focus on Coalhouse’s story (over novelist E. L. Doctorow’s objections) and to deploy ragtime as both African American counter-beat and explosive historical style.
39
Portuges, Catherine. "The Third Generation: Hungarian Jews on Screen." Hungarian Cultural Studies 2 (January 1, 2009): 11–17. http://dx.doi.org/10.5195/ahea.2009.21.
Full textAbstract:
The post-Cold War era, with its redrawn European topographies and renegotiated political and cultural alliances, has witnessed the return of Central European Jews to the screen in fiction features, documentary and experimental films, and new media. A younger generation of filmmakers devoted to speaking out on the Holocaust and its aftermath is opening vibrant new spaces of dialogue among historians, literary and scholars, as well as within the framework of families and audiences. By articulating unresolved questions of Jewish identity, memory and history, their work both extends and interrogates prior narratives and visual representations. My presentation compares recent films by several filmmakers with regard to the contested meanings of Jewish identity; issues of gender and the filmmaker’s voice and subject position; the contextualization of historical evidence; and innovative modes and genres of cinematic representation.
40
Horne, Jennifer. "The Better Films Movement and the Very Notion of It." Feminist Media Histories 3, no. 4 (2017): 46–68. http://dx.doi.org/10.1525/fmh.2017.3.4.46.
Full textAbstract:
This essay considers the historical and conceptual framing of the American better films initiatives of the early twentieth century. Starting with the observation that the film betterment campaigns coincided with the moment women en masse began to be admitted to decision-making processes of government and civic enterprises, the article connects the advances achieved in both spheres with the downplaying of better films achievements by historians of cinema. In doing so, it calls for a more complex explanation of this so-called movement in order to understand women's active participation in their own social subordination. It proposes that women's well-documented exclusion from politics, and the systematic exemption of their collective and individual activity in matters of social organization and politics, should be taken into greater consideration by theorists of cinema.
41
Lechowicz, Lech. "Photography and film. From the historical problematic of intermedial relations." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 11 (2016): 73–120. http://dx.doi.org/10.16926/ep.2016.11.03.
Full text
42
Daniellou, Simon. "Historical films about the Korean Empire." 1895, no. 69 (April 1, 2013): 209–13. http://dx.doi.org/10.4000/1895.4651.
Full text
43
Qodirov, Behzod Bahodirovich. "HISTORICAL STAGES OF UZBEK ART FILMS." Theoretical & Applied Science 73, no. 05 (May 30, 2019): 453–56. http://dx.doi.org/10.15863/tas.2019.05.73.68.
Full text
44
Kurbangalieva, Alina Olegovna, and Lilia Valievna Nasyrova. "LENI RIEFENSTAHL'S FILMS AS HISTORICAL SOURCES." Young Scholars Journal, no. 4-5 (2021): 28–31. http://dx.doi.org/10.29013/ysj-21-4.5-28-31.
Full text
45
Amacher, Korine, and Eric Aunoble. "Introduction : Divided Memories, Shared Memories, Poland, Russia, Ukraine: History mirrored in Literature and Cinema." Connexe : les espaces postcommunistes en question(s) 5 (October 23, 2020): 2–9. http://dx.doi.org/10.5077/journals/connexe.2019.e247.
Full textAbstract:
In 2017, general-interest magazines illustrated the centenary of the Russian Revolution with stills from Eisenstein’s October [Октябрь] (1927). One strikingly showed soldiers rushing across a square to represent the storming of the Winter Palace by Bolshevik fighters on 7 November 1917. In reality, the actual assault was slow and even laborious. But for Western audiences, this film sequence has become an archive image, a piece of history. This type of substitution of artistic representation for historical reality conflicts with the positive construction of our knowledge of the past. Indeed, historians long refused to include literature and films in their historical research, as well as art in general, which has been mainly analysed from an aesthetic point of view.
46
Rusinova, Elena A., and Elizaveta M. Khabchuk. "The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 74–84. http://dx.doi.org/10.17816/vgik10274-84.
Full textAbstract:
The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.
47
Escobar, Paz. "El sur del Sur: cronotopías identitarias de la Patagonia en el cine argentino contemporáneo." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 346–83. http://dx.doi.org/10.5195/ct/2017.258.
Full textAbstract:
This paper proposes a work of interpretation, from a textual and contextual analysis, of ten Argentinian films in which the Patagonian territory is re-presented: : La película del rey (C. Sorín, 1986); Gerónima (R. Tosso, 1986); Guerreros y cautivas (E. Cozarinsky, 1989); La nave de los locos (R. Willicher, 1994); Caballos salvajes (M. Piñeyro, 1995); Flores amarillas en la ventana (V. Ruiz, 1996), El viento se llevó lo qué (A. Agresti, 1998); Mundo Grúa (P. Trapero, 1999); Invierno mala vida (G. Cramer, 1999) e Historias mínimas (C. Sorín, 2002). Intertextual relations, whose meanings struggle to impose themselves, will be identified. A more precise idea of the cultural, social and historical dimension of a set of films will thus emerge. The general hypothesis is that the films show signs of the kind of experiences that the epochal neoliberal mutation molds in the subjects’ bodies end subjectivities. Mostly a representation of a “for export” Patagonia appears, with an exotic nature or an enigmatic immensity for contemplation or transitory adventure. This misconception shows at a symbolic level changes that the neoliberalism produced in all Latin America, but which in the south of the south finds specific coordinates and stereotypes.
48
Matuchniak-Mystkowska, Anna. "Prisoner-of-war stories in the movies (the case of Andrzej Munk’s Eroica)." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 55–76. http://dx.doi.org/10.18778/0208-600x.73.04.
Full textAbstract:
This paper analyses Polish feature films which deal with the subject of POW camps during World War II, especially the so-called oflags (German: Offizierslager), i.e. Wehrmacht camps for officers. In Poland, nearly 200 feature films about World War II and the Nazi occupation were made in 1945–1999, with only eight raising the topic of POW camps. Eroica directed by Andrzej Munk is one of the first examples, and the best-known one. It depicts the social world of the oflags in a grotesque and ironic light, which was acclaimed by film experts but criticised by historians. The theoretical and methodological approach used in the sociology of art and in historical sociology can be invoked to analyse all the elements of the communication system: the creator, the work, and the audience in their social and historical context. The sociological analysis presented here only concerns the content of the film (the juxtaposition of “the truth of time” and “the truth of the screen”) and its social reception among different categories of viewers, each with their specific competences. The theoretical concepts developed by S. Ossowski, A. Kłoskowska, P. Francastel, E. Panofsky and P. Bourdieu are used here, alongside historical and sociological analyses of POW camps (D. Kisielewicz, A. Matuchniak-Mystkowska). The paper presents a certain research idea and describes methods that can be used to pursue it.
49
Hansen, Per H., and Anne Magnussen. "Making Sense of Business and Community in Hollywood Films, 1928–2016." Business History Review 92, no. 2 (2018): 307–37. http://dx.doi.org/10.1017/s000768051800003x.
Full textAbstract:
We analyze how Hollywood films from 1928 to 2016 represented business within a broad historical and business context. We argue that the films actively contributed to audiences’ sensemaking processes and to how different groups perceived the role of business in society. We advance the idea that films provided cultural blueprints to be used by viewers for their own understanding, identification, and practices in relation to business in its historical context, particularly during periods of uncertainty, crisis, and instability when many films addressed deeper societal concerns about the role of business.
50
Schenk, Dietmar. "Noten und Akten." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (November 25, 2020): 72–85. http://dx.doi.org/10.1515/qufiab-2020-0007.
Full textAbstract:
AbstractHistorical archives are institutions holding historical sources, in particular deeds and files, that is to say records created in the past for administrative and legal purposes. Today, historical archives are responsible for preserving administrative documents that will become sources of history in the future. This paper reviews the connection – and disconnection – between archives of this type and musicology. In the field of music-historical research, it is most common to use music libraries and other special music collections, particularly to examine original manuscripts of musical compositions. Music historians have focused less on archival sources, though these are increasingly valued thanks to the influence of cultural history. On the other hand, historians dealing with general history have been little interested in the history of the arts and, particularly, in music history, instead focusing mainly on political, social and economic issues. Archivists have shared these preferences. By contrast, this article presents examples of the potential of archival sources for music-historical research, and shows that Archival Science contributes to the management of written cultural heritage in the field of music as well.