Search

Magistrsko delo z naslovom Produkcijski izzivi snemanja vojno zgodovinskega filma navaja in opisuje pogoste težave, ki se lahko pojavijo pri ustvarjanju filmov iz vojnega in zgodovinskega žanra. Skozi opisovanje postopkov izdelave filma iz tega žanra je na praktičnih primerih prikazano, kako se proces filmske produkcije dodatno oteži zaradi elementov, ki so specifični tema dvema žanroma. Vojni film ima kot zelo specifičen in prepoznaven tip filma obilico vsebinskih dodatkov, ki ga ločijo od ostalih zvrsti in pogosto dopolnjuje ali gradi svojo strukturo s pomočjo vizualno atraktivnih elementov. Podobno specifičen je tudi zgodovinski film, ki ima za svojo glavno značilnost, da se vsebinsko odvija v preteklem času in pričakovanja gledalcev za vizualni presežek so lahko še večja kot pri vojnem filmu. Za najboljši prikaz zahtevnosti izzivov je bilo potrebno najprej na pregleden način opisati postopke filmske produkcije s poudarkom na fazah, ki bodo najbolj na udaru od izdelavi filma iz teh žanrov. Pri eksperimentalnem delu pa je bila izvedena celotna produkcija vojno zgodovinskega filma, da so se lahko zabeležile vse težave in edinstveni izzivi, ki so specifični za vojni in zgodovinski žanr filma. Ugotovljeno je bilo, da snemanje filma iz vojno zgodovinskega žanra predstavlja precej večji izvedbeni izziv, kot če bi bil podoben filmski projekt postavljen v okvirje drugačnega žanra. Med ugotovitvami se je izkazala nuja po obsežnem načrtovanju zaradi zahtevnosti izvedbenih faz ter tudi zaradi specifik pri prikazovanju zgodovinske avtentičnosti v zgodbi. To velja predvsem pri pisanju zgodbe v pred produkcijski fazi ter pri zagotavljanju kostumov, rekvizitov, lokacij in množico drugih zgodovinsko avtentičnih detajlov v produkcijski fazi. Slednje smo reševali s povezovanjem z društvi, ki se ukvarjajo s zgodovinskimi uprizoritvami, ter preko njih reševali problematiko zgodovinske avtentičnosti. Dejavniki, kot so množične scene in uporaba pirotehnike, pa so povečevali zahtevnost izvedbe v produkcijski fazi z vidika prikazovanja vojnih prizorov v zgodbi. Tega smo se lotili predvsem s podrobnim načrtovanjem v čim večjem detajlu. Večkrat je nastala tudi situacija, ko je prišlo do združitve vseh najzahtevnejših elementov izvedbe zgodovinskega ter vojnega filma pri snemanju enega sklopa, kar je povečalo in zapletlo produkcijski proces. The master's thesis entitled Production Challenges of Filming a War History Film lists and describes the common difficulties that can arise in making films from the war and history genre. Through the description of the processes of making a film from this genre, practical examples show how the process of film production is further complicated due to elements that are specific to these two genres. War film, as a very specific and recognizable type of film, has an abundance of content that sets it apart from other genres and often complements or builds its structure with the help of visually attractive elements. Similarly specific are historical films, which have as their main feature that they take place in the past and viewers' expectations for a unique visual presentation can be even higher than in a war film. To best illustrate the complexity of these challenges, it was first necessary to describe film production processes of with an emphasis on the stages that will be most affected by the production of a film from these genres. In the experimental portion however, a complete historical war movie was made, so that all the problems and unique challenges specific to the war and historical genre of the film could be noted. It has been found that making a film from a war-historical genre poses a much greater production challenge than a film from a different genre would. Among the findings is the need for extensive planning due to the complexity of the implementation phases and due to the need for historical accuracy in the story. This becomes important when writing a story in the pre-production phase and providing costumes, props, locations, and a host of other historically authentic details in the production phase. We solved the latter by co-operating with association that deal with historical performances, and through them, we solved the problem of historical authenticity. Factors such as mass scenes and the use of pyrotechnics, also presented a major factor in increasing the complexity of the overall production. This was in regards to depicting war scenes in the story. We tackled this mainly with a great deal of planning in as much detail as possible. There were also several situation when all the most demanding elements of a historical and war film combined in a single scene, which increased and complicated the production process.

Diploma thesis The relation between Media Depiction and Historical Truth on the example of Historical Motion Picture and Television Series deals with the relationship between official historiography and contemporary historical film or TV series. The work is based on a theoretical framework, which postulates Robert A. Rosenstone in several publications, especially in the book History on Film/Film on History. The American historian and film theorist is one of the most prominent supporters of the view that historical film must be seriously perceived not only as a historical artifact but also as a medium conveying the depiction of the past. Qualitative analysis was performed in the work of movies Masaryk, Lidice and the miniseries Hořící keř. In the first part of the work, they were compared with an institutionally recognized version of the past - specifically with secondary school textbooks with the approval clause of the Ministry of Education, Youth and Sports of the Czech Republic. In the following part, the film inventions were examined according to the theory of Rosenstone and finally according to the theory of fictional worlds according to the linguist Lubomír Doležel. The thesis aims to answer the hypotheses that state that the Czech historical film in historical key events coincides with the...

A survey of the representation of Caligula in cinema and television.

Bu çalışmada, 1923-1960 yılları arasında Türk sinemasında çevrilmiş Osmanlı tarihi temalı filmler Türkiye'de yaşanan sosyal ve siyasi gelişmeler göz önünde bulundurularak değerlendirilmiştir. İlk olarak tarih ve sinema ilişkisi üzerinde durularak tarihsel filmler açıklanmaya çalışılmış, bazı tarihçilerin sinema hakkındaki görüşlerine yer verilmiştir. Daha sonra, 1950 yılına kadar Osmanlı tarihine olan yaklaşımın yeni kurulan cumhuriyet rejiminin de etkisiyle olumsuz yönde olduğu, bu tarihe kadar çekilen filmlerle ortaya konmuştur. 1950'den sonra ise iktidarın el değiştirmesiyle birlikte bakış açısında yaşanan değişim, sinemada da yer bulmuş, Osmanlı tarihini ele alan birçok tarihsel film çekilmiştir. Bu filmler çalışmanın son bölümünde incelenmiş, Türk sinemasında Osmanlı tarihi algısının olumlu anlamda değiştiği gözlemlenmiştir. Çalışmanın sonucunda ülkede yaşanan siyasi gelişmelerin sinemaya da yansıdığı gerçeği ortaya çıkmaktadır. Sinema, yaşanan gelişmeleri etkileyebilir veya onlardan etkilenebilir. Toplumları etkileme gücü yüksek olduğu için de iktidarların her zaman ilgilendiği bir sanat dalıdır. In this study, Ottoman history themed films in the Turkish cinema between 1923 and 1960 years were evaluated considering the social and political developments in Turkey.Firstly, historical films were tried to be explained by focusing on history and cinema relation, and the views of some historians about cinema were included. Later on It is revealed with movies that filmed until 1950 year that approach of the Ottoman history were negatived by affected new republican regime. After 1950, paradigm of history changed with alternation of power. It also impressed cinema and many Ottoman history themed film created. These films were examined in the last part of the study and it was observed that the perception of Ottoman history changed in Turkish cinema with a positive meaning.As a result of the work, it is emerged that the political developments in the country are reflected the cinema. Cinema can influence living developments or be affected by them. It will continue to be a art that governments are always interested in because it has a high power to influence societies. 124

This article deals with the benefits of using cognitive theory in documentary film studies. The article deals with general aspects of cognitive theory in humanities and social science, however the main focus is on the role of narrative, visual style and emotional dimensions of different types of documentaries. Dealing with cognitive theories of film and media and with memory studies, the article analyses how a cognitive approach to documentaries can increase our understanding of how documentaries influence us on a cognitive and emotional level and contribute to the forming of our social and cultural imagination. The article analyses case studies of documentaries dealing with climate change and the environment and documentaries dealing with social history.

The main objectives of this diploma thesis are to describe and analyze character of the Roman Emperor Nero, the last member of Iulo-Claudian dynasty, in the historical film, which was made as a part of a series about Roman history. The first part deals with history of the Roman Empire since Gaius Octavius`s arrival to Rome in 44 BC till death of the Emperor Claudius in 55 AD. The second part gives a description of the character Emperor Nero of the Roman Empire. It is believed that it was he who had the whole city of Rome burnt. Other parts of this thesis show analysis of the film Nero, císař římský. Imperium: Nerone (TV film) 2004. It is a comparison of his character from literary to theatrical sources. The last part describes a didactic use of the film. There is a presentation of a model lesson that was created and taught in practice by the author herself. Key words Agrippina History classes Film Historical film Film Imperium: Nerone The Iulo-Claudian dynasty Nero Principate

El cine de Hollywood ha dado un testimonio informal de las guerras, particularmente de la Segunda Guerra Mundial. Saving Private Ryan (Steven Spielberg, 1998) rompió el modelo naturalista y romántico del subgénero. Se basó en el testimonio de los veteranos de guerra y se orientó no hacia el desarrollo de una operación bélica, sino a la reproducción hiperrealista del combate y la cotidianidad de la guerra. Dio forma audiovisual a una memoria y experiencia individuales, las del veterano, que habitualmente no habían tenido cabida en el relato institucional de la guerra o en su reflejo cinematográfico anterior. Este artículo presenta un análisis estilístico de su secuencia más aplaudida por su efecto y valor artístico: el desembarco en la playa de Omaha. Atiende a la descripción de sus recursos de planificación, sonido y montaje. Muestra que, a través del recurso a técnicas estilísticas expresivas formuladas por S. M. Eisenstein, la secuencia busca introducir al espectador en el combate, hacerle participar de las sensaciones y razonamientos del soldado -en este caso el capitán Miller-, y lograr así su inmersión en la acción bélica, su compromiso con él y la comprensión del origen de su trauma. Para ello se ha recurrido a una vía de análisis inspirada en el proceso metodológico que S. M. Eisenstein empleaba en dos de sus artículos para explicar el valor del planteamiento estilístico de El acorazado Potemkin (1925) a sus detractores. Consiste en la descripción del esquema expresivo que configura el diseño de planos y fragmentos de montaje y su comparación con los que los preceden o suceden. Mediante esta metodología dialéctica, se describe el estilo general de la secuencia y sus pretensiones expresivas, así como se localizan momentos de contraste y ruptura que acusan su servicio a un motivo emocional: traducir el trauma del combatiente. Hollywood cinema has given informal testimony to war, particularly World War II. Saving Private Ryan, a 1998 war film directed by Steven Spielberg, broke the naturalist and romantic model of this sub-genre. Based on the testimony of veterans, it is not a film about the development of a military operation; instead, it is a hyperealistic reproduction of combat and the daily rigors war. It gives audiovisual form to the individual memory and experience of veterans, who were not usually part of the institutional account of the war and its earlier portrayals on the silver screen. This paper offers a stylistic analysis of the sequence in Saving Private Ryan that is most applauded for its effect and artistic value: the D-Day landing on Omaha Beach. It describes the resources used in its planning, sound and editing. It shows how the expressive stylistic techniques shaped by S.M. Eisenstein are used to involve the film's audience in the fighting and in the feelings and reasoning of the soldier; in this case, Captain Miller. In the end, it manages to immerse the audience in the war, securing its commitment to the soldier, and enabling it to understand the source of his trauma. The analysis uses the method S.M. Eisenstein employed in two of his articles to convince his detractors of the value of the stylistic approach used in Battleship Potemkin (1925). It consists of a description of the expressive scheme behind the design of the shots and the fragments in the montage, and a comparison to those that precede or follow them. The overall style of the sequence and its expressive intentions are explained by way of this dialectical method, which also is used to pinpoint the moments of contrast and rupture that serve an emotional motive; namely, to translate the soldier's ordeal. O cinema de Hollywood tem dado testemunho informal das guerras, particularmente da Segunda Guerra Mundial. Saving Private Ryan (Steven Spielberg, 1998) rompeu com o modelo naturalista e romântico do subgénero. Baseou-se no depoimento dos veteranos de guerra e orientou-se não em direção do desenvolvimento de uma operação bélica, mas sim da produção hiper-realista do combate e da cotidianidade da guerra. Deu forma audiovisual a uma memória e experiéncia individuais, as do veterano, que habitualmente não tinham tido espaço no relato institucional da guerra ou em seu reflexo cinematográfico anterior. Este artigo apresenta uma análise estilística de sua sequéncia mais aplaudida por seu efeito e valor artístico: o desembarque na praia de Omaha. Atende à descrição de seus recursos de planificação, som e montagem. Mostra que, por meio do recurso a técnicas estilísticas expressivas formuladas por S. M. Eisenstein, a sequéncia busca introduzir o espectador no combate, fazé-lo participar das sensações e raciocínios do soldado -nesse caso o capitão Miller-, e conseguir assim sua imersão na ação bélica, seu compromisso com ele e a compreensão da origem de sua trama. Para isso, recorreu-se a uma via de análise inspirada no processo metodológico que S. M. Eisenstein empregava em dois de seus artigos para explicar o valor do pensamento estilístico de O Encouraçado Potemkin (1925) a seus detratores. Consiste na descrição do esquema expressivo que configura o desenho de planos e fragmentos de montagem e sua comparação com os que os precedem ou sucedem. Mediante essa metodologia dialética, descreve-se o estilo geral da sequência e suas pretensões expressivas, bem como se localizam momentos de contraste e ruptura que acusam seu serviço de um motivo emocional: traduzir o trauma do combatente.

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.

Ziel der Untersuchung ist es, Filmpolitikern, Filmtheoretikern und Filmpraktikern spezielle Informationen über das Verhältnis Jugendlicher zum Spielfilm zu vermitteln. Behandelt werden die Häufigkeit des Filmbesuchs, die Rezeption ausgewählter Spielfilme aus der DDR, der UdSSR, der CSSR und Polen sowie aus den USA und Determinanten für Filmbesuch und Filmbewertung. Das Interesse Jugendlicher an Filmen wird differenziert nach Abenteuerfilmen, utopischen Filmen, Kriminalfilmen, Gegenwartsfilmen, historischen Filmen, Filmkomödien und Musikfilmen analysiert. Im folgenden werden ausgewählte Motive für die Rezeption von Gegenwartsfilmen diskutiert. Abschließend wird das Rezeptionsverhalten in bezug auf ausgewählte DEFA-Spielfilme und Spielfilme aus den USA vergleichend untersucht. (ICE)