Tesi sul tema "Historical films"
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1
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.
Testo completo
2
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.
Testo completo
3
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.
Testo completoAbstract (sommario):
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.
4
Bisson, Vincent J. 1984. "Historical Film Reception: An Ethnographic Focus beyond Entertainment". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.
Testo completoAbstract (sommario):
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
5
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.
Testo completo
6
Mitchell, Louisa Jo. "Disrupting heritage cinema : the historical films of South Korea". Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22590/.
Testo completoAbstract (sommario):
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.
7
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.
Testo completoAbstract (sommario):
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.
8
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.
Testo completo
9
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.
Testo completoAbstract (sommario):
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.
10
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.
Testo completoAbstract (sommario):
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.
11
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.
Testo completo
12
Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.
Testo completoAbstract (sommario):
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.
13
Ferrero-Regis, Tiziana. "Public history, private memories: Historical imagination in the new Italian cinema 1988-1999". Thesis, Griffith Univeristy, 2003. https://eprints.qut.edu.au/92669/1/My%20PhD.pdf.
Testo completoAbstract (sommario):
The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal.
The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience.
Thus the thesis follows a methodologic approach that positions texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectarors have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is beacause film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii).
Within this framework, the thesis proposes a project that understands history films with the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.
14
Cerecina, Ivan. "Historical Assemblages: Montage in the Films of Nicole Vedrès, Alain Resnais and Chris Marker, 1947-1957". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20931.
Testo completoAbstract (sommario):
This thesis examines montage in the early films of Nicole Vedrès, Alain Resnais, and Chris Marker, identifying its central importance as an aesthetic and historiographical method in a corpus of films directed over the course of a decade in post-war France. It explores their common artistic influences, personal ties, and shared aesthetic preoccupations in developing a poetics of montage in this period, one that privileges the assemblage of shots as a means of expressing a temporal flux between historical phenomena and the cinematic image. With the trio’s montage-centric filmmaking out of step with post-war French criticism’s embrace of a realist aesthetic of mise-en-scène, this thesis instead traces points of commonality between their work and inter-war practices of montage in the plastic arts, literature and cinema, particularly those associated with surrealism. Vedrès, Resnais and Marker adapt this modernist, avant-garde heritage of heterodox assembly to their own, reflexive historiographical method, with the novel correspondences created through cinematic montage used to reflect upon the itinerary of images over time when examined from a future vantage point. Walter Benjamin’s work on the historical legibility of images, theorising the emergence of a consubstantial relationship of past to present produced by montage, offers a useful conceptual framework for understanding the temporal complexities of these filmmakers’ historical assemblages. Bringing together images that range from archival photographs and footage, reproductions of artworks, and contemporary travel footage, Vedrès, Resnais and Marker suggest the deeper, often non-chronological historical resonances that link images of other times and places with a later moment of assemblage. Montage thus emerges in their work as a historiographical method that expresses new, critical relations between their post-war present and broader currents of cultural, aesthetic and political history, bringing to the surface the subterranean correspondences between images of the past and contemporary phenomena of the French Fourth Republic. Their films engage with the escalating tensions of the Cold War, French colonialism, the traumas of WWII and France’s attendant restructuring of its social and cultural fabric in terms of their more profound and lasting links to earlier 20th century history, staking a claim on the deeply unstable contours of post-war France as it grapples with its after-effects of the recent past. Vedrès, Resnais and Marker’s films of this period thus instantiate a model of image-based, cine-historical discourse on the present, in which the intellectual collisions of montage make available an archaeological vision of the contemporary moment as being built on the ceaselessly mutable foundations of the past.
15
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.
Testo completoAbstract (sommario):
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.
16
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.
Testo completo
17
Dux, Sally L. "Richard Attenborough and the British cinema: an historical analysis of the British films directed by Richard Attenborough". Thesis, Open University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495992.
Testo completo
18
Melchers, Alma Louise Sophia. "Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first century". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14340.
Testo completoAbstract (sommario):
Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.
19
Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
Testo completoAbstract (sommario):
This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
20
Finnane, Gabrielle. "Second nature : artifice and history in film". Thesis, View thesis View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/28326.
Testo completoAbstract (sommario):
The thesis comprises a screen play for a one hour film and dissertation examining artistic issues in the intersection of biography and history in fictional films. The aim was firstly to broaden the definition of what is involved in filming historical fictions, in terms of how both characters and historical settings are conceived. Secondly the work explores the artifice of historical representation on the screen through case studies of films which are experiments in filming history and biography. Thirdly both the screenplay and the dissertation consider the implication of fictions which deal with minor historical figures. Primarily the thesis elucidates conceptions of historical artiface in the cinema advanced by films themselves, films which had either a paradigmatic or an idiosyncratic role in the development of certain artistic practices. Films, like works of written fiction, have in many respects invented new meanings for, and associations with, the past. The thesis concludes that the different conceptions of historical artiface embodied in fictional films have implications for our sense of the past.
21
Finnane, Gabrielle. "Second nature : artifice and history in film /". View thesis View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.115616/index.html.
Testo completo
22
Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.
Testo completoAbstract (sommario):
From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.
23
Hubber, Duncan. "Diegetic wounds : the representation of individual and collective trauma in found footage horror films". Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/179533.
Testo completoAbstract (sommario):
The type of horror film known as “found footage” was prominent in the 2000s and early 2010s. The term refers to films that aim to scare their audience, and which are primarily shot diegetically, with handheld and surveillance cameras that exist within the world of the film. The thesis identifies conceptual, aesthetic, and thematic links between found footage horror films and psychological trauma theory. For example, in each film the premise of the characters and viewers finding footage of a frightening event evokes the victim’s belated recollection of a traumatic experience. Additionally, the often-frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the trauma victim in the wake of their experience. Finally, the experience and effect of trauma on society is a recurring theme of found footage horror films. By examining 14 films, this thesis aims to answer the question: how do found footage horror films represent the relationship between individual and collective trauma? It theorises that individual trauma is conveyed through the films’ point-of-view (POV) aesthetic, while collective trauma is conveyed through their narrative themes. The thesis groups the films into four categories, each of which addresses a different aspect of trauma theory. Firstly, Remote found footage horror films, such as The Blair Witch Project (Myrick and Sánchez 1999), are examined as depictions of national historical traumas. Secondly, Urban found footage horror films, such as Cloverfield (Reeves 2008), are read as depictions of contemporary global traumas. Thirdly, Domestic found footage horror films, such as Paranormal Activity (Peli 2009), are framed as depictions of systemic domestic trauma. Fourthly, Perpetrator found footage horror films, such as Man Bites Dog (Belvaux, Bonzel and Poelvoorde 1992), are examined as depictions of perpetrator trauma. The thesis disputes the claim made by numerous critics and theorists that found footage horror films do not constitute a subgenre, but merely a cinematographic style or marketing gimmick. By demonstrating their aesthetic and thematic consistency, and the manifold ways that found footage horror can be read as representing trauma, the thesis argues that the films constitute a specific subgenre of horror cinema. The thesis makes significant contributions to knowledge by identifying, testing and demonstrating links between horror film theory, genre theory, spectator theory, and psychological and collective trauma theory. It conducts a broad survey of a recent subgenre of horror films that has, thus far, only received sporadic and insubstantial academic attention. It also presents an original theory that explains the psychological and sociological subtext of the subgenre, and the cultural insights that the films provide.Doctor of Philosophy
24
O'Donnell, David O'Donnell, e n/a. "Re-staging history : historiographic drama from New Zealand and Australia". University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
Testo completoAbstract (sommario):
Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
25
Jooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
Testo completoAbstract (sommario):
Thesis (MA)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
26
Quinn, James Mark Vaughan. "The British historical film, 1930-1990". Thesis, Sheffield Hallam University, 2000. http://shura.shu.ac.uk/3188/.
Testo completoAbstract (sommario):
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.
27
Böhm, Michal. "Historické kořeny minimalistického filmu". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-262707.
Testo completoAbstract (sommario):
Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century.
Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether.
The aim of this work is to analyze those historical cinema tendencies that bear most resemblance to the modern style of minimalism. I consider these films (and styles) to be the most predetermenative to the style of minimalism: Italian neorealism, spiritual work of Ozu and Bresson, experimental structural movies, the cinematic masterpiece Jean Dielman, 23 Commerce Quay, 1080 Brussels from Chantal Akerman and Antonionis movies with their narative structure.
28
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.
Testo completoAbstract (sommario):
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.
29
Poláček, Vít. "Historický film a historiografie". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-202804.
Testo completoAbstract (sommario):
Michael Haneke´s The White Ribbon, Bertrand Bonello´s L´Apollonide, The Girl with a Pearl earring by Peter Webber or The Silence of Joan by Philippe Ramos are European arthouse films, which could be seen as films based on history or historical events. In compare with mainstream films all these authors draws inspiration from changes in historiography in last fifty years to make their fictional worlds more credible. Except of concrete descriptions of their methods the thesis includes also the reflection of the audience perception of films based on historical events or the willingness of the audience to believe the presented image of history.
30
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.
Testo completoAbstract (sommario):
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.
31
Kalandrová, Pavlína. "Historický film v současné evropské kine matografii z producentského hlediska". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-155930.
Testo completoAbstract (sommario):
Historic film genre serves here as a model example of a demanding film project in contemporary European cinematography. We want to explore the problems of development and financing of historic films. The basis of the research is the idea that historic films are mostly producer projects because of their commercial potential.
The genre of historic film is explained here from two different points of view: Film theory and film history. The concept of European cinematographic work and the ways of financing European co-production films are shortly presented. Further we describe what a producer follows and influences during his work on a historic film. The gained knowledge is then applied on five case studies. Reflections of the film producers form a part of these studies.
The result of the research is the statement that the quality and artistic value of a film go across the film genres just as the producer's or the director's approach to a film project do. To shoot arthouse oriented historic films is more risky from the commercial point of view. At the same time only in this way the film will be unique, can survive for decades and can really be successful all over the world.
32
Alabarda, Yusuf, e Rafal Lisowiec. "The private military firms: historical evolution and industry analysis". Monterey California. Naval Postgraduate School, 2007. http://hdl.handle.net/10945/10231.
Testo completoAbstract (sommario):
MBA Professional ReportSoldiers 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.
33
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.
Testo completoAbstract (sommario):
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.
34
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.
Testo completo
35
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.
Testo completo
36
Ersson, Elin. "Janus ala Cuba : Filmiska gestaltningar av den kubanska revolutionen". Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21119.
Testo completoAbstract (sommario):
Denna uppsats undersöker hur samma historiska händelse kan ha olika betydelser i film. Idag är människor mer benägna att se en film om en historisk händelse än att läsa en historiebok, och detta innebär att vi måste lära oss att förstå de konventioner som används för att placera historia på film. Historiefilmen kan sägas besitta en palimpsestisk historiskt medvetenhet där lager av fakta och myt smälter samman, hellre än att skiljas åt. Men för att en historisk händelse ska passa in i filmens tidsram måste den bearbetas och detta resulterar i att vissa människor, händelser och rörelser prioriteras, medan andra utesluts. Därför undersöker denna uppsats vad som lagts till / uteslutits och effekterna på sammanhanget och trovärdighet, hur filmen hävdar sin autenticitet, och hur upphovsmannen påverkar trovärdigheten. Analysresultaten av två filmer om den kubanska revolutionen, visar att beroende på vilken del av den historisk händelsen som skildras, skapar filmerna helt olika berättelser med olika budskap. Medan filmen Che-Argentinaren (2008) fungerar som en hyllning av gerillanledaren Che Guevara som Kubas frälsare, visar en vänsterideologi och uttrycker USA förakt, skildrar däremot den andra filmen The Lost City (2005) revolutionens baksida. Den visar en högerideologi, familjevärderingar och USA som frihetens och drömmarnas land. Båda filmerna använder sig av liknande stilistiska strategier för att uppnå illusionen av autenticitet, och filmernas upphovsmän påverkar filmernas trovärdighet i olika grad. Vad jag i uppsatsen till sist menar är att historiefilmen inte bör tas som sanning, utan har en viktig roll som intresseväckare, som förhoppningsvis leder till att åskådaren blir intresserad av att söka sig mer kunskap.This paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event.
37
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.
Testo completoAbstract (sommario):
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.
38
Elliott, Eric Scott. "Historical Accuracy and the IRA Over 70 Years of Cinema". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/23.
Testo completoAbstract (sommario):
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.
39
Kierstead, Joshua Anthony. "Noir of the past: anatomy of the historical film noir". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5791.
Testo completoAbstract (sommario):
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.
40
Taormina, Mary Frances. "A Social Historical Exploration of the Popularity of "The Rockford Files"". W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625491.
Testo completo
41
Butler, Christopher. "Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity". Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4648.
Testo completoAbstract (sommario):
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.
42
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.
Testo completoAbstract (sommario):
Orientador: Fernão Pessoa RamosDissertação (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
Mestre em Multimeios
43
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.
Testo completo
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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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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.
Testo completoAbstract (sommario):
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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Bales, Brittany. "Viewing History Through a Lens: The Influence of Film on Historical Consciousness". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3688.
Testo completoAbstract (sommario):
This thesis presents an interdisciplinary study of the significance of contemporary film in our understandings of gender, race, and sexuality in Georgian England. I argue that while films set in this period may lack the subtleties and depth of the realities that make up the Georgian era, they are still valuable in informing current discussions concerning race, gender, and sexuality. By examining such films, we learn not only more about the Georgian period and how it is presented and understood by contemporary audiences, but these films tell us much about our own biases, attitudes, and society.
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Duncan, Rosemary. "Projecting Ireland : the historical consciousness of Irish film in the 1990's". Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17615.
Testo completoAbstract (sommario):
Bibliography: pages 112-114.In the following dissertation, I have undertaken to explore the very wide-ranging yet largely unexplored territory of Irish cinema. I have confined my study to the 1990s (other than a brief overview of the Irish film industry in my Introduction) in an attempt to express the revolutionary global success that all aspects of Irish culture have experienced in this decade. The central point, which I reiterate throughout the dissertation, is that, while Irish filmmakers are increasingly concerned with defining "Irishness" for themselves and the world, they inevitably encounter much confusion and ambivalence, and are often criticised for it. For this reason, I have uncovered many ambiguities in the films I have watched, which defy strict categorisation, other than in terms of their settings, which I describe in terms of "war-torn Belfast", modern Dublin and "the rural idyll". Nonetheless, I have divided the essay into three main sections, other than the Introduction and Conclusion, which themselves contain subsections, and which encompass the major themes which recur in Irish films. Section Two is a broad study of those films which deal with the political violence, known as the Troubles, that defines Northern Ireland. This includes a stereotyped American portrayals as well as a more recent IRA bias, beginning with Neil Jordan's attempt to put a new version of history on film in Michael Collins. The conclusion I come to is that filmmakers are ultimately trying to provide a balanced view of the situation and one that condemns violence. Section Three deals with the intertwined themes of women, family, sexuality and the Catholic Church. The traditional conservatism in Ireland is outlined before I show how recent films reflect the changes in moral attitudes and the new freedoms of sexuality that the younger generation is experiencing. Lastly I look at the special situation of women in the North, where they and their families are the long-suffering victims of the violence. Section Four continues the theme of the changes which are sweeping over "Modern Ireland", largely due to its opening-up to outside influences, particularly those of America. The dichotomies of this newly-modernised society are still evident, as I discuss in the section on the historical importance of land, which is expressed not only in the "rural idyll" films, but in those which deal with the move to the urban lure and squalor of Dublin. Finally I look at how the traditional and mythical still exist in modern Ireland, and how the combination of these aspects of the past and present is shown to suggest a positive way into the future.
49
Umphrey, Olivia. "From screen to page : Japanese film as a historical document, 1931-1959 /". [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.
Testo completo
50
Van, Vuuren Lauren. "The Great Dance : myth, history and identity in documentary film representation of the Bushmen, 1925-2000". Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/22171.
Testo completoAbstract (sommario):
This thesis utilises a sample of major documentary films on the Bushmen of Southern Africa as primary sources in investigating change over time in the interpretation and visualisation of Bushmen peoples over seventy-five years from 1925 to 2000. The primary sources of this thesis are seven documentary films on the subject of Bushmen people in southern Africa. These films are as follows The Bushmen (1925), made by the Denver African Expedition to southern Africa; the BBC film Lost World of Kalahari (1956) by Laurens van der Post; The Hunters (1958) by John Marshall; the 1974 National Geographic Society film Bushmen of the Kalahari; John Marshall's 1980 film N!ai: The Story of a !Kung Woman; and the South African films People of the Great Sandface (1984) by Paul John Myburgh and The Great Dance (2000) by Craig and Damon Foster. All of these films reflect, to varying degrees, a complex interplay between generic images of Bushmen as pristine primitives and the visible evidence of many Bushmen peoples rapid decline into poverty in Southern Africa, a process which had been ongoing throughout the twentieth century. The aim of the thesis has been to explore the utilisation of film as a primary source for historical research, but focussing specifically on a subject related to the southern African historical context. The films under analysis have been critically appraised as evidence of the values and attitudes of the people and period that have produced them, and for evidence about the Bushmen at the time of filming. Furthermore, each film has been considered as a film in history, for how it influences academic or popular discourses on the Bushmen, and finally as filmic 'historiography' that communicates historical knowledge. This thesis, then, utilises a knowledge and understanding of film language, as well as the history and development of documentary film, to assess and consider the way in which knowledge is communicated through the medium of film. This study has attempted to investigate the popular and academic indictment of documentary film as progenitor and/ or reinforcing agent of crude, reified mythologies about Bushmen culture in southern Africa. It is shown here that the way major documentary films have interpreted and positioned Bushmen people reveals the degree to which documentary films are acute reflections of their historical contexts, particularly in relation to the complicated webs of discourse that define popular and academic responses to particular subjects, such as 'Bushmen', at particular historical moments. Critical, visually literate analysis of documentaries can reveal the patterns of these discourses, which in turn reflect layers of ideology that change over time. A secondary finding of this thesis has been that documentary film might constitute a source of oral history for historians, when the subjects of a documentary film express ideas and attitudes that reflect self-identity. It is proposed that the approach to analysis of documentary film that has been utilised throughout this study is a means of 'extracting' the oral testimony from its ideological positioning within the world of the film. The historian might evaluate the usefulness of a subject's oral testimony in relation to the ideological orientation of the film as a whole, to decide whether it is worthwhile being considered as das Ding an sich or should be seen purely as a reflection of values and attitudes of the filmmaker, or something in between. It is shown in this thesis that documentary film constitutes an important archive of oral testimony for historians who are properly versed in reading film language.