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1
Nadel, Alan. "What Makes Films Historical??" Film Quarterly 62, n. 3 (2009): 76–80. http://dx.doi.org/10.1525/fq.2009.62.3.76.
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Schultz, Jaime. "The Truth about Historical Sport Films". Journal of Sport History 41, n. 1 (1 aprile 2014): 29–45. http://dx.doi.org/10.5406/jsporthistory.41.1.29.
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Abstract This article analyzes three new-millennial historical sports films that deal with racial desegregation and integration in the United States: Remember the Titans (2000), Glory Road (2006), and The Express (2008). Specifically, it attends to the ways in which filmmakers play fast and loose with history when it comes to chronology, characters, and past events. The intent is not to focus on micromistakes but rather to consider those inaccuracies most germane to the larger “truths” in these films. Ultimately, the author contends that historical sport films tend to depict racism as a relic of the past and freight sports figures with an excessive sense of responsibility for ostensible racial progress.
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Youngmee Hwang. "Typology of the Genre of Korean Historical Films: Focusing on Lee Joon-ik’s Historical films". Film Studies ll, n. 68 (giugno 2016): 287–312. http://dx.doi.org/10.17947/kfa..68.201606.010.
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Hakim, Luqman Abdul. "MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI". SASDAYA: Gadjah Mada Journal of Humanities 3, n. 1 (28 febbraio 2019): 33. http://dx.doi.org/10.22146/sasdayajournal.43885.
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In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.
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Golovnev, Ivan A. "Archival Ethnographic Films as a Historical Source". Herald of an archivist, n. 3 (2018): 692–703. http://dx.doi.org/10.28995/2073-0101-2018-3-692-703.
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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.
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Daniellou, Simon. "Historical films about the Korean Empire". 1895, n. 69 (1 aprile 2013): 209–13. http://dx.doi.org/10.4000/1895.4651.
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Kurbangalieva, Alina Olegovna, e Lilia Valievna Nasyrova. "LENI RIEFENSTAHL'S FILMS AS HISTORICAL SOURCES". Young Scholars Journal, n. 4-5 (2021): 28–31. http://dx.doi.org/10.29013/ysj-21-4.5-28-31.
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Qodirov, Behzod Bahodirovich. "HISTORICAL STAGES OF UZBEK ART FILMS". Theoretical & Applied Science 73, n. 05 (30 maggio 2019): 453–56. http://dx.doi.org/10.15863/tas.2019.05.73.68.
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Sorlin, Pierre. "Historical Films as Tools for Historians". Film & History: An Interdisciplinary Journal of Film and Television Studies 18, n. 1 (febbraio 1988): 2–15. http://dx.doi.org/10.1353/flm.1988.a402699.
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kim, joohyun. "Reflection on the Fourth Stage of Historical Consciousness in Korean Independent Documentary Films: Dynamics of Societal Conflict and Integration". Korean Society of Human and Nature 5, n. 1 (30 giugno 2024): 109–43. http://dx.doi.org/10.54913/hn.2024.5.1.109.
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This paper aims to redefine Korean independent documentary films as historical documentaries and explore their historical consciousness. To achieve this, Agnes Heller’s theory of historical consciousness stages was applied, and various independent documentary works were analyzed, classified by era, theme, and style, to meticulously delineate the historical consciousness of Korean independent documentary films into four stages. In the first stage, ‘General History’was transformed into ‘People’s History’, while the second stage reexamined ‘Grassroots History.’The significance of ‘Reflective Self and Historical Interpretation’was sought in the third stage, and the meaning of ‘Historical Participation and Action from Below’was found in the fourth stage. Through this process, the identity of Korean independent documentary films was further expanded into historical documentaries, laying the groundwork for diverse historical discussions. Consequently, Korean independent documentary films now offer opportunities for deeper understanding and exploration of historical aspects.
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Sīmanis, Dāvis. "DISCURSIVE DIVERGENCES BETWEEN FILM MEDIUM AND HISTORICAL SCIENCE". Culture Crossroads 7 (14 novembre 2022): 205–12. http://dx.doi.org/10.55877/cc.vol7.241.
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Representation of history is the most powerful formative factor of historical insights in society in the 20th and 21st century. Currently, there have been a number of films in production which interpret Latvian history, thus raising the profile of issues relating to the portrayal of the history of the cinema. This article conceptualises the discursive differences between historical research and historical films in order to create a basis for further studies of historical films and their adequacy for the research perspective. This article also outlines the historical features of the cinema, as well as the possibility of an alternative historical narrative: a hybridised form of a historical account created by film.
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Supalla, Ted. "Making historical sign language materials accessible". Sign Transcription and Database Storage of Sign Information 4, n. 1-2 (31 dicembre 2001): 285–97. http://dx.doi.org/10.1075/sll.4.1-2.20sup.
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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.
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Supalla, Ted. "Making historical sign language materials accessible". Sign Transcription and Database Storage of Sign Information 4, n. 1-2 (31 dicembre 2001): 285–97. http://dx.doi.org/10.1075/sll.4.12.20sup.
Testo completoAbstract (sommario):
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.
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Weston, Rowland. "Introducing Theoretical Issues Through Popular Historical Films". Teaching History: A Journal of Methods 35, n. 2 (1 settembre 2010): 92–102. http://dx.doi.org/10.33043/th.35.2.92-102.
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Having enjoyed (or endured) linguistic and cultural turns, we historians are now faced with a "pictorial turn."1 As a number of commentators and practitioners in the rapidly burgeoning sub-discipline of "history and film" have observed, we now inhabit a post-literate society in which the majority of people gain historical information from movies and television.2 After teaching courses on historical film for seven years, I am convinced that popular historical films (Hollywood) provide an effective means of not only engaging (sometimes reluctant) students with the past but also of demonstrating key elements of all historical knowledge and its representational modes.3 These are professionally-central historiographical and theoretical concerns that are difficult to broach without a degree of abstraction usually beyond the experience and interest of most undergraduates. I now teach a first-year course "History on Film" that coheres around a study of films illustrative of themes, processes, events, and personalities in late medieval and early modern Western Civilization. The following discussion outlines the introductory class in this course and its connection with later teaching themes and strategies. It shows how popular historical films provide a uniquely effective means whereby students can acquire "high-order [historical] skills."4 In all my teaching, I take care to construct the initial class in a course as a miniature version of the entire course. I outline the content and model the skills that I expect students to acquire throughout the semester. In many ways, the rest of the course provides reinforcement, elaboration, and practice in these themes, skills, and content.
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Sklar, Robert. "Historical Films: Scofflaws and the Historian-Cop". Reviews in American History 25, n. 2 (1997): 346–50. http://dx.doi.org/10.1353/rah.1997.0058.
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Changsong, Nam Wang, e Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s". GATR Global Journal of Business Social Sciences Review 2, n. 1 (13 gennaio 2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).
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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre
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Kyjovská, Kateřina. "Historical Feature Films Analysis Examples for Teaching History Lessons". Civilia 7, n. 2 (15 dicembre 2016): 26–37. http://dx.doi.org/10.5507/civ.2016.013.
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Orban, Clara. "Contextualizing History in Hungarian Films of the New Millennium". Hungarian Cultural Studies 6 (12 gennaio 2014): 40–50. http://dx.doi.org/10.5195/ahea.2013.111.
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Hungarian films produced after the year 2000 build on the historical reality of the fall of communism and anticipate, or come to terms with, entry into the European Union. This article will explore six films that deal with history through multiple perspectives to dramatize the dynamic between historical events and human responses to them. These films reference history, or efface it, as a way of problematizing the relationship between human behavior and history. Colossal Sensation [Világszám – Dodó és Naftalin] (2005) and Children of Glory [Szabadság, szerelem] (2006), for example, examine Hungarians’ moments of defiance during the 1956 uprising but shape historical events to fit human constructs. Contemporary history provides satire of rising capitalism in The District! [Nyócker!] (2005) whose plot weaves historical figures into a modern rendition of Romeo and Juliette. Miracle in Krakow [Csoda Krakkóban] (2004) also presents a book as its central metaphor, and, like The District!, the book allows some of history’s uglier moments to be erased. Béla Tarr’s Werkmeister Harmonies [Werkmeister harmóniák] (2000) and Nimród Antal’s Control [Kontroll] (2003), films without overt historical markers, provide allegorical visions of societal unrest that can be read as allusions to millennial concerns.
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Yenter, Timothy. "Historical Knowledge as Self-Understanding in the Films of Whit Stillman". Film and Philosophy 26 (2022): 69–84. http://dx.doi.org/10.5840/filmphil2021111813.
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Whit Stillman’s films depict characters attempting to gain relevant knowledge of their historical situation so that they can shape their lives. Through an analysis of scenes from each of Stillman’s films, this essay demonstrates that historical knowledge is presented as a kind of self-understanding in the films. That historical knowledge is useful for gaining control over one’s future as well as for properly evaluating one’s life reveals a philosophically interesting approach to self-knowledge. Stillman’s complex approach of layering contexts further suggests an elusive account of the self.
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Kosachova, O. "Historical Themes in Fiction and Documentary Cinematography: Comparative Analysis". Culture of Ukraine, n. 79 (23 marzo 2023): 46–59. http://dx.doi.org/10.31516/2410-5325.079.05.
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The purpose of this article to investigate the peculiarities of the representation of historical transformations in fiction and documentary cinematography, to reveal the artistic potential of cinema in the coverage of historical issues.
The methodology. The main methods of cognition were used: socio-communicative, axiological, culturological approaches, figurative-stylistic analysis and structural-functional method, art history approach combined with morphological analysis, hermeneutic approach. The specified methods contributed to the in-depth study of fiction and documentary films aimed at the coverage of historical or current events.
The results. In the course of the study, it was found that the line between documentary and fiction films is extremely thin, especially when the films claim to cover historical events or real figures. Despite the fact that fiction cinema is realized thanks to the play of actors, and documentary cinema is realized thanks to the shooting of real participants in the events, the means of expression of both types of cinematography are similar. One of the results of the analysis was the conclusion that documentary cinema uses a greater number of expressive means than fiction films. This is due to the fact that the directors of fiction films strive to document the aesthetics of the film, and the directors of the documentary, on the contrary, to strengthen the artistic component. Historical themes combine documentary and fiction films, while the aesthetics of documentary films is more diverse.
The scientific novelty of the research. In this research for the first time, we investigated the historical transformations in fiction and documentary cinematography from the point of view of cultural meanings and aesthetic foundations of both types of cinema, and also analyzed the potential of cinematography to reveal hot and controversial topics on the example of contemporary cinema works.
The practical significance of the article. The presented research can be used by filmmakers in both the field of fiction and documentary cinema in order to create an objective, unbiased and artistically valuable screen product. In addition, the conducted analysis can be useful in teaching professional courses in the specialty 021 “Audiovisual art and production”.
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Rosenbaum, Jonathan. "Historical Meditations in Two Films by John Gianvito". Film Quarterly 62, n. 2 (2008): 26–32. http://dx.doi.org/10.1525/fq.2008.62.2.26.
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Abstract A comparative essay on two feature-length, hybrid films directed by John Gianvito, The Mad Songs of Fernanda Hussein (2001), which concerns the irreparable effects of the 1991 Gulf War, and Profit Motive and the Whispering Wind (2007), a meditation on the grave sites of American activists.
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Tei, Dugba Ransford, e Lawrence Baffoe-Arthur. "Teaching History using Feature Films: The Ghanaian Experience". Journal of Education, Management and Development Studies 2, n. 2 (4 luglio 2022): 40–48. http://dx.doi.org/10.52631/jemds.v2i2.94.
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This study examines the experiences of lecturers in using feature films to teach history in the University of Cape Coast. The study specifically sought to find out the availability of historical feature films for teaching history, the criteria regarding how historical feature films are used by lecturers in teaching history and the effects of historical feature films on teaching history. The study employed descriptive research design. In all, four (4) lecturers formed the sample size for the study. The instrument used to collect data was semi-structured interview guide. The study found out that the University did not have a film library where lecturers could visit to access films for teaching. It was also revealed that most history lecturers in the university followed a wide range of guidelines whenever they use films to teach. Lastly, it was revealed that feature films usage had positive effects on the teaching and learning of history. Based on the results, it was suggested that there is the need for all stakeholders in the various universities to contribute in putting measures in place to ensure that there is the establishment of film libraries where lecturers could visit to access films for their instructional practices.
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Cufurovic, Mirela. "Popular Imagination Versus Historical Reality". Public History Review 25 (27 dicembre 2018): 1–16. http://dx.doi.org/10.5130/phrj.v25i0.6157.
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Historical films have been subject to controversy and criticism within the discipline of history upon the rise of popular interest in new and innovative forms of historical representation. The five to seven years between the release of Gladiator (2000) and Rome (2005-2007) saw an upsurge of historical films focusing on the ‘epic’: the spectacular, monumental and immersive periods of history that exude a mix of historical reality and speculative fiction. This paper argues that it is not historical accuracy or film as historical evidence that matters, but the historical questions and debates that film raises for its audience and the historical profession regarding the past it presents and its implication on history. Such questions and debates base themselves around the extent to which filmmakers are able to interpret history through images and what kind of historical understandings it hopes to achieve. This paper analyses the complexity of public history through a comparative study of reviews on five online message boards, such as IMBD, Amazon, TV.com and Metacritic, relating to HBO’s Rome – chosen due to its unique ability of igniting historiographical debate by presenting history as an accident, thus allowing audiences to question and reinterpret the outcome of historical events.
KEYWORDSHBO; Rome; Film; Historiography; Public History; Popular Imagination
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Francombe, M. H. "Historical perspective of oriented and epitaxial thin films". Journal of Vacuum Science & Technology A: Vacuum, Surfaces, and Films 12, n. 4 (luglio 1994): 928–35. http://dx.doi.org/10.1116/1.579070.
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Haryanto, Dwi. "FILM BIOPIK DAN POLITIK IDENTITAS: Kontestasi Keragaman Ideologi dalam Teks Sinema Indonesia Pasca Rezim Soeharto". Capture : Jurnal Seni Media Rekam 10, n. 1 (15 gennaio 2019): 56. http://dx.doi.org/10.33153/capture.v10i1.2196.
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<p>This article examines the textuality relationship between the historical facts of biography and the narrative structure of films that present figures who during the New Order regime were alienated from Indonesian historiography. Some films such as <em>GIE, Soegija, Sang Kiai, Soekarno, </em>and<em> Jenderal Sudirman</em> were able to deconstruct the meaning of historical films produced by the New Order regime which was dominated by Suharto's image. The emergence of biopic films that narrate characters with plurality of identity are deconstructive characters and reflect the antithesis of filmmakers on national film products in the era of Soeharto regime. In the New Order era, historical epic films were identical to the hegemony of the military struggle which reduced the narrative of civil society, such as <em>kiai</em> and <em>santri</em> and other minority groups. Actually, in the context of historical facts they also had great contribution in the era of nation formation through ethnic nationalism and civic nationalism. The Indonesianism discourse reflected in the hidden meanings of biopic films studied represent the plurality of ideologies and identity political formation in popular culture products.</p>
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Ayesma, Pamela, Kurniawati e Nurzengky Ibrahim. "FILM SEJARAH DALAM PEMBELAJARAN SEJARAH DI SMA". Jurnal Pendidikan Sejarah 10, n. 2 (17 ottobre 2022): 131–47. http://dx.doi.org/10.21009/jps.102.03.
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This study aims to find out about (1) the use of historical films as a source and alternative media in learning history (2) the responses of teachers and students when using film media in learning history. (3) Obstacles faced by teachers in utilizing historical films in learning activities. This research was conducted at SMA Negeri 12 Tangerang Selatan. This study uses descriptive qualitative methods, observation data collection techniques, and interviewing informants, namely students who follow history learning with historical film media and subject teachers who use historical film media. The results of this study indicate that: The implementation of history learning with film media at SMA Negeri 12 Tangerang Selatan has been well utilized by history teachers. (1) The use of films helps students understand historical stories, do assignments, foster students' interest in history lessons, and build students' imaginations with the art created by films. But the use of historical films as media must also be considered by the teacher because not all students have high imaginations, a deeper explanation is needed and the creativity of the teacher in creating learning media including films. (2) In the use of film media as learning media, some obstacles are felt by teachers when teaching, namely the adjustment of historical films with historical material, the duration of historical films that are not by the learning time, and the state of school infrastructure.
Penelitian ini bertujuan untuk mengetahui tentang (1) Penggunaan film sejarah sebagai sumber dan media alternatif dalam pembelajaran sejarah (2) tanggapan guru dan siswa ketika menggunakan media film dalam pembelajaran sejarah. (3) Kendala yang di hadapi oleh guru dalam memanfaatkan film sejarah dalam kegiatan pembelajaran. Penelitian ini di lakukan di SMA Negeri 12 Tangerang Selatan. Penelitian ini menggunakan metode deskriptif kualitatif, teknik pengumpulan data observasi, wawancara informan yaitu siswa yang mengikuti pembelajaran sejarah dengan media film sejarah dan guru mata pelajaran yang menggunakan media film sejarah. Hasil penelitian ini menunjukkan bahwa: Pelaksanaan pembelajaran sejarah dengan media film di SMA Negeri 12 Tangerang Selatan telah dimanfaatkan baik oleh guru sejarah. (1) Penggunaan film sangat membantu siswa memahami cerita sejarah, mengerjakan tugas, menumbuhkan ketertarikan siswa dengan pelajaran sejarah, dan membangun imajinasi siswa dengan seni yang diciptakan film. Tetapi penggunaan film sejarah sebagai media juga harus diperhatikan oleh guru, karena tidak semua siswa memiliki imajinasi yang tinggi maka diperlukan Penjelasan lebih dalam dan kreativitas guru menciptakan media pembelajaran termasuk film. (2) Dalam pemanfaatan media film sebagai media pembelajaran, juga terdapat kendala yang dirasakan oleh guru saat mengajar yaitu penyesuaian film sejarah dengan materi sejarah, durasi film sejarah yang tidak sesuai dengan waktu pembelajaran, dan keadaan sarana prasarana sekolah.
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Hansen, Per H., e Anne Magnussen. "Making Sense of Business and Community in Hollywood Films, 1928–2016". Business History Review 92, n. 2 (2018): 307–37. http://dx.doi.org/10.1017/s000768051800003x.
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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.
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Hoang Thi, Nga, e Maria Zakharova. "FEATURE FILM AS A SECONDARY SOURCE IN HISTORICAL LEARNING". Journal of Science Social Science 63, n. 7 (luglio 2018): 82–88. http://dx.doi.org/10.18173/2354-1067.2018-0053.
Testo completoAbstract (sommario):
A true account of history depends on how reliable the source of the accounts is, and how correct facts about the event are. Primarily, historical accounts are built on what people narrate about particular incidents and events. However, people are motivated differently to give facts or fictitious accounts about a particular event. In the feature films, most story plots have been developed along the common narration in the mainstream media. Others have been altered to ensure that the films are entertaining and meet the expectations of the target audience. However, some of the incidents may or may not have occurred as shown in these movies. This topic explains the ever changing facts about the Vietnam War as shown in the films. It explains how some of the facts have been changed, some of the myths have been developed to be believed as facts and how fiction has changed history.
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Mukusheva, Nazira Rahmanovna. "Reflection of Historical Time in Kazakh Documentaries". Ethnic Culture 4, n. 2 (27 giugno 2022): 17–20. http://dx.doi.org/10.31483/r-101536.
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The article deals with the unity of the national cultural heritage and historical time in Kazakh documentary films. The purpose of the article is to analyze the features of the use of time in the depiction of the spiritual world, national customs and traditions in the films of documentary film masters OrazAbishev, BakhytGafu-Kaiyrbekov and others. Based on the formal stylistic method, the significance of historical time in documentary films is explored. The author, considering the unity of the national cultural heritage and historical time in the Kazakh documentary, concludes that in the Kazakh documentary film, the reflection of the unity of the national cultural heritage and historical time has gone through several stages of formation, and was closely connected with the social, political phenomena taking place in the country. In conclusion, the stages of the formation of Kazakh documentary cinema are listed from the point of view of reflecting historical time and it is argued that: 1) the first stage is associated with the establishment of Soviet power in Kazakhstan, with the ideology and politics of socialism (1927–1930); 2) the second stage is connected with the reflection of people's memory and history on the documentary film screen in the conditions of the political, social atmosphere of Kazakhstan in the 1960s (1960–1970); 3) the third stage reflects the processes of returning to the origins of national consciousness, people's historical memory (1990–2020).
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Ingram, Susan. "Berlin". Space and Culture 17, n. 4 (novembre 2014): 366–78. http://dx.doi.org/10.1177/1206331214543867.
Testo completoAbstract (sommario):
Historical films about Hitler and Nazi Germany are perennially popular both within and beyond the academy. However, even in films not set in, or in any way involving, Nazi Berlin but rather only filmed on location in the city, material memories of the city’s fascist spaces can be shown to exert their influence. In comparing the eerily similar geo-aesthetic styles of two relatively obscure, relatively recent science fiction action films—Kurt Wimmer’s Equilibrium (2002) and Karen Kusama’s Aeon Flux (2005)—this contribution seeks to understand how the historically inflected spatial dimension of its urban imaginary has translated into a discernibly dark and spectacularly gendered film style.
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Michelson, Annette. "The Kinetic Icon in the Work of Mourning". October 169 (agosto 2019): 87–104. http://dx.doi.org/10.1162/octo_a_00361.
Testo completoAbstract (sommario):
Among Dziga Vertov's films, Three Songs of Lenin is unique in its immediate and enduring approval within the Soviet Union. The film was commissioned for the tenth anniversary of Lenin's death and made extensive use of archival material documenting Lenin's political trajectory and his funeral. Annette Michelson offers a reading of the film's political function within the historical situation of the USSR in the 1930s, claiming that the register and scale of Three Songs of Lenin make the film a “kinetic icon” for the deceased leader. Michelson discusses similarities between religious icons and films, particularly the way in which death haunts both, and she examines the way in which the film's emphasis on the role of the female mourner enables it to transform document into monument.
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Kirsanova, Anna V. "FILMS OF ESCHATOLOGICAL CATASTROPHISM AS CULTURAL ARTIFACTS OF THEIR TIME: CONSIDERATION IN HISTORICAL DYNAMICS". Articult, n. 3 (2022): 67–86. http://dx.doi.org/10.28995/2227-6165-2022-3-67-86.
Testo completoAbstract (sommario):
This article is devoted to the identification and research on films of “eschatological catastrophism”, their evolution and features. The concepts of “catastrophism” and “eschatology” and their relationship are indicated, and on this basis the author's concept of “eschatological catastrophism” in cinema and its attributive signs are revealed. The methodology used in this article includes the analysis and synthesis of films, considering the historical dynamics and their relationship with the socio-cultural context of the era. The study covers films produced in the USA, France, Italy, China, and Canada and other countries. The general trends in the development of eschatological catastrophism films, the factors that determined the rise of these films, are reflected. This research explains the reasons behind the popularity of catastrophe films in a particular period, and using the method of sociocultural observation, the philosophy of films and the dynamics of changes in the semantic context of eschatological catastrophism in the period from 1910-2020 are tracked. The possible reasons for the demand for the secular apocalypse films at the intersection of the XX-XXI centuries are discussed.
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Xinlin Gao, Mingyue Sun. "A Comparative Study on the Aesthetics of Chinese and Russian War-themed Movies from the Perspective of Big Data". Journal of Electrical Systems 20, n. 2 (4 aprile 2024): 761–69. http://dx.doi.org/10.52783/jes.1232.
Testo completoAbstract (sommario):
As an important component of national cinema, war-themed movies represent the strength of the national film industry and modern technology. From a historical perspective, Chinese war-themed films have been influenced by the aesthetics of Soviet cinema. This paper begins by exploring the historical origins and development of Chinese and Russian war-themed mainstream films, and conducts an aesthetic comparison from the aspects of ideological consciousness, humanistic reflection, new paradigms, and application of network big data technology. It elucidates the spiritual aspirations of Chinese and Russian war-themed films and grasps the development direction of such films in China.
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Yakubov, Sadirjan Bakievich. "Cultural Relationship of Uzbekistan and Germany (In Historical Aspect)". International Journal of Multicultural and Multireligious Understanding 8, n. 4 (3 aprile 2021): 156. http://dx.doi.org/10.18415/ijmmu.v8i4.2563.
Testo completoAbstract (sommario):
This article is devoted to analyzing cultural relationship of Uzbekistan and Germany in historical aspect. The enrichment and flourishing of art is facilitated by acquaintance and mutual exchange of the achievements of national cultures. Periodicals make a worthy contribution to the implementation of contacts and cooperation. The traditions of organizing events were formed in the 60s and 70s of the last century. Many Uzbek films have gained great popularity abroad. The number of short films has increased significantly. Thousands of German spectators applauded songs performed by People’s Artist Botir Zokirov in 1967.
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Kosicki, Piotr H. "Forests, Families, and Films". East European Politics and Societies: and Cultures 29, n. 4 (16 settembre 2015): 730–60. http://dx.doi.org/10.1177/0888325415594670.
Testo completoAbstract (sommario):
Taking theoretical cues from the respective works of Jan and Aleida Assmann and Dan Diner, this article has two fundamentally linked goals: to historicize Polish cultural memory of Katyń, emplotting it within a narrative arc encompassing the seven decades separating 1943 from 2015; and to identify individual and collective agency within the history of Polish memory of Katyń. Certainly, the word “Katyń” exists variously as toponym, as metonym, as rallying cry. Yet the historical narratives anchored in that word are the outcomes of actions taken by concrete actors—individuals, states, social movements, international institutions. Although this article takes seriously the many theoretical frameworks undergirding the academic study of collective memory, its principal focus is the balance of historical contingency and structure that has constituted discrete, identifiable episodes of both commemorating and forgetting.
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Makhasi, Ghifari Yuristiadhi Masyhari. "Citra Kepahlawanan dalam Film-Film Berlatar Sejarah Pada Layar Lebar Indonesia Pasca-Runtuhnya Rezim Soeharto (Studi Kasus Film Soegija, Habibie-Ainun, dan Hadrotussyaikh Sang Kiai)". Diplomatika: Jurnal Kearsipan Terapan 2, n. 1 (22 novembre 2018): 54. http://dx.doi.org/10.22146/diplomatika.39768.
Testo completoAbstract (sommario):
In Indonesia, film as a popular media developed significantly with the presence of films in various genres, one of which is historical film. Post-reform, various historical films emerged that were not previously discovered during the New Order era. As is known, historical films in the New Order era were dominated by Soeharto as an actor, these historical films seemed to voice that there were many other heroes who also had contributions to Indonesia. These films then seem to want to show the self (keakuan) and nationalism possessed by these figures. This research wants to show the contestation of the self (keakuan) and nationalism of three films: Soegija, Habibie-Ainun, and Hadrotusyaikh the Kiai. This research is a qualitative descriptive study with a phenomenological approach.Di Indonesia, film sebagai media populer berkembang cukup signifikan dengan hadirnya film dalam berbagai genre, salah satunya film sejarah. Pasca reformasi, muncul berbagai film sejarah yang sebelumnya tidak ditemukan pada masa Orde Baru. Sebagaimana diketahui, film-film kesejarahan di masa Orde Baru lebih didominasi Soeharto sebagai aktor, film-film sejarah ini seakan ingin menyuarakan bahwa ada banyak sosok pahlawan lain yang juga memiliki kontribusi untuk Indonesia. Film-film ini kemudian terkesan ingin menunjukkan keakuan dan nasionalisme yang dimiliki oleh sosok-sosok tersebut. Penelitian ini ingin menunjukkan kontestasi keakuan dan nasionalisme dari tiga film: Soegija, Habibie-Ainun, dan Hadrotusyaikh Sang Kiai. Penelitian ini adalah penelitian deskriptif kualitatif dengan pendekatan fenomenologis.
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Knapp, Jeffrey. "Selma and the Place of Fiction in Historical Films". Representations 142, n. 1 (2018): 91–123. http://dx.doi.org/10.1525/rep.2018.142.1.91.
Testo completoAbstract (sommario):
Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.
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Oh, Jae-Eun, Yuet Kai Chan e Cedric van Eenoo. "Cultural Identity and Historical Nostalgia in Animated Film". IAFOR Journal of Cultural Studies 8, n. 1 (5 luglio 2023): 29–46. http://dx.doi.org/10.22492/ijcs.8.1.02.
Testo completoAbstract (sommario):
This article examines the aspects and implications of nostalgia and historical nostalgia in animated films, based on the case study of the 2001 Hong Kong animation My Life As McDull, directed by Toe Yuen. The investigation includes three components: a discussion around the notion of historical nostalgia, a survey of professional animators with the audience’s expectations and its perception of animated films, and an analysis of the mechanisms the movie utilizes to address the concepts of shared memory, local culture and sense of identity. The paper establishes connections between the animation’s visual elements, the notion of positive memory, and their socio-cultural implications. The results present data findings, as well as an analysis of the cinematic effects of conceptual and aesthetical processes to induce nostalgia through storytelling, concluding with their cultural and social resonance.
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Hume, Ivor Noël, e Henry M. Miller. "Ivor Noël Hume: Historical Archaeologist". Public Historian 33, n. 1 (2011): 9–32. http://dx.doi.org/10.1525/tph.2011.33.1.9.
Testo completoAbstract (sommario):
Abstract Ivor Noël Hume is one of the founders of historical archaeology in North America and has long championed the integration of documentary and archaeological evidence for understanding the past. As the chief archaeologist at Colonial Williamsburg for three decades, he directed numerous excavations and literally wrote the book on colonial artifacts. Committed to sharing research findings with the public, he led the way through varied publications and films and developed the first major exhibits about colonial archaeology in the United States. His most well-known project is the exploration and exhibition of the early seventeenth-century Virginia settlement of Martin's Hundred.
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de Vargas, Ferran. "Rituals Within Walls: Thinking Post-War Japan’s History through Cinematic Allegories of Everyday Life". Film-Philosophy 27, n. 3 (ottobre 2023): 507–30. http://dx.doi.org/10.3366/film.2023.0244.
Testo completoAbstract (sommario):
Between the mid-1960s and the early 1970s, the quotidian dimension took political centrality in Japan thanks to the leading role of the New Left movement and its ideology. This went hand in hand with an appreciation of the philosophical approaches of Marxist intellectuals such as Jun Tosaka and Gorō Hani, who saw the quotidian as a fundamental space for historical transformation. We know how Tosaka and Hani developed an everyday-centred philosophy of history through their writings, but we know little about how formats other than the written word – such as cinema – contributed to thinking historical reality from the same ideological approach. To address this gap in our understanding, this article analyses the intersection of two highly representative films with Tosaka and Hani’s historical thought: Secrets Within Walls ( Kabe no naka no himegoto, Kōji Wakamatsu, 1965) and Ceremonies ( Gishiki, Nagisa Ōshima, 1971). These films’ cinematic allegorisation of post-war Japan’s everyday relationships was a way to reflect on the political character of that period.
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Balandina, N. P. "Ettore Scola. Historical and Family Chronicles of the 1980s". Art & Culture Studies, n. 3 (settembre 2023): 124–57. http://dx.doi.org/10.51678/2226-0072-2023-3-124-157.
Testo completoAbstract (sommario):
The article explores the language and themes of the films made by Italian film director Ettore Scola in the 1980s. The author of the article considers this period of Ettore Scola’s career in the context of the general evolution of his cinematography and the development of Italian cinema — movement from early Italian-style comedies to historical frescoes and parables of elusive time. Scola’s films not only reflect the social, political and cultural changes in the Apennine Peninsula in the last three decades of the 20th century, but also address universal, philosophical themes. These melancholic stories often contain a warning of danger and a reminder of responsibility for our actions which can lead to irreparable consequences. In 1983, the director made one of his best and most famous films, Ballando, ballando, in which the characters do not speak a word. Presenting a Parisian ballroom as a model of history, Scola argues that the value of a person’s private life is undeniable, and that it is he, the hero emerging from the elements of everyday life — funny, absurd, and contradictory, but able to hope in spite of unbearable circumstances — who is its main protagonist. In The Family (1986), this model is a flat in Rome, where the protagonist’s family has lived for decades. Finally, Skola’s What Time Is It? (1989) develops the findings from his previous films, but unlike them, it does not present a group portrait in an interior setting against the backdrop of the 20th century but a dialogue between two characters — father and son — taking place during a city walk on a single day. However, this chamber family chronicle is also imbued with reflections on the relationship between an “ordinary” man and the time of big history.
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Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features". Culture of Ukraine, n. 71 (2 aprile 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.
Testo completoAbstract (sommario):
The aim of the article is to explore of genre and dramaturgic features of a modern historical film.
The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out.
The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film.
Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society.
We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multigenre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.).
The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others.
The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema.
Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience.
The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.
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박종수. "The Historical Changes and Characteristics of Korean Religious Films". Korean Journal of Arts Studies ll, n. 13 (giugno 2016): 197–218. http://dx.doi.org/10.20976/kjas.2016..13.009.
Testo completo
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Alvaray, Luisela. "Claiming the past: Venezuelan historical films and public politics". Cultural Dynamics 25, n. 3 (6 settembre 2013): 291–306. http://dx.doi.org/10.1177/0921374013499703.
Testo completo
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Elsaesser, Thomas, e Michael Wedel. "Defining DEFA's Historical Imaginary: The Films of Konrad Wolf". New German Critique, n. 82 (2001): 3. http://dx.doi.org/10.2307/3137408.
Testo completo
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Williams, Melanie. "Gendering history on screen: women filmmakers and historical films". Feminist Media Studies 19, n. 6 (2 agosto 2019): 910–11. http://dx.doi.org/10.1080/14680777.2019.1648097.
Testo completo
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Conti, C., I. Aliatis, C. Colombo, M. Greco, E. Possenti, M. Realini, C. Castiglioni e G. Zerbi. "μ‐Raman mapping to study calcium oxalate historical films". Journal of Raman Spectroscopy 43, n. 11 (31 agosto 2012): 1604–11. http://dx.doi.org/10.1002/jrs.4072.
Testo completo
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Lysova, Natalia Aleksandrovna. "Representation of image of the past in modern Russian historical fiction films". Философия и культура, n. 2 (febbraio 2020): 12–26. http://dx.doi.org/10.7256/2454-0757.2020.2.32256.
Testo completoAbstract (sommario):
This article examines the problems of representation of images of the past in modern historical fiction film and TV series. The relevance of the topic is substantiated by current popularity of this genre of cinematography among audience. The younger generation refers to the historical fiction films as an easy-to-grasp source of information on the historical facts, events, processes and personalities. However, such trend carries a threat of disorientation of mass audience regarding the historical past. The article analyzes the concept of “image”, “artistic image”, “image of the past” and their specific features in the context of the subject of research. Attention is turned to complexity of interrelation of the concept of “historical film” and the introduced into mass media terminology stable lexical construct “pseudohistorical film”. The combination of two approaches became the foundation for this research: culturological approach allowed viewing the degree of representation of images of the mast in historical fiction cinematography; while multifaceted nature of the subject of research and versatility of theoretical and empirical materials suggest referring to interdisciplinary approach. Based on the analysis of modern historical fiction feature films and TV series, the author highlights the criteria that allows assessing the adequacy of image of the past and historical reality depicted on the screen. Such criteria include: veracity of reconstruction of material culture of a specific historical period; events and occurrences, social and historical processes of the reproduced historical time; accuracy of interpretation of mentality of a particular cultural-historical period; original view of the film creators upon history; original understanding and interpretation of historical processes, events and phenomena, etc. Within the framework of this article, emphasis is made on the first two criteria.
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Barr, Burlin. "Raoul Peck's Lumumba and Lumumba: La mort du prophète: On Cultural Amnesia and Historical Erasure". African Studies Review 54, n. 1 (aprile 2011): 85–116. http://dx.doi.org/10.1353/arw.2011.0006.
Testo completoAbstract (sommario):
Abstract:This article examines two films by Raoul Peck—Lumumba: La mort du prophèle (1992) and Lumumba (2000) that offer vastly divergent methods for remembering, memorializing, and meditating on the life and death of Patrice Lumumba. Peck succeeds in creating films that do more than preserve or resuscitate a historical record. The earlier film in particular performs analytic historical work as it delves into the conflicted historical record in which Lumumba is remembered. Peck uses an experimental and confrontational approach to reveal the ongoing forms of cultural censorship that have attempted to erase Lumumba and his legacy.
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Wang, Xinan. "Historical costumes in films of the Wuxia genre: origins and interpretation". Философия и культура, n. 6 (giugno 2024): 219–26. http://dx.doi.org/10.7256/2454-0757.2024.6.70826.
Testo completoAbstract (sommario):
The object of the study is a screen costume in cinema as an element of the visual and artistic-figurative system of a Chinese film in the genre of "wuxia". The subject of the study is the problem of the formation of historical costume in the films of Wuxia, the historical and cultural origins of the costume and the peculiarities of interpretation in various films of Wuxia. Such issues as the degree of study of the topic under consideration and a number of paintings from the late 1970s to the 1980s are analyzed. The analysis of the works reveals the specifics of the costume in Wuxia films, its relationship with traditional Chinese theater. Special attention is paid to the analysis of examples of the use of color in a costume as an expression of personality, social status and other characteristics of a character. The questions about the methods of displaying gender identity in a suit were raised. The methodology of the research consists in using a systematic approach at the intersection of art criticism, aesthetics, art practice, painting, film studies and film criticism. A systematic method, a historical and cultural method, and a system-structural analysis are used, which made it possible to consider the costumes of the characters as an integral part of the artistic concept of films by Chinese directors. The work provides a comprehensive study of the screen costume as a visual and expressive means, which helps to create a film image in the context of an artistic and imaginative solution to the subject-spatial environment of a Chinese film using the example of the Wuxia genre. For the first time, the historical and cultural origins of the costume are established at the stage of formation of the genre in cinema. The interpretive techniques and principles of Chinese directors in the use of costume in Wuxia films of the late 1970s - 1980s are revealed. The interpretation of the costume in the works of various Wuxia film directors is largely consistent with the traditional principles of the Beijing Opera. The hero's costume is perceived as an important means of communication with the viewer, visualization of the social status, clan affiliation, personality and emotional experiences of the heroes. Chinese directors of Wuxia films generally adhere to realism in the depiction of costumes of a number of socially labeled characters: a warrior (for example, a samurai), a monk, etc. Weapons make up the most important part of the character's costume, the type of weapon is also clearly consistent with his image, expressing primarily the social status of the hero.