Search

In the present article, L'Arbre de Guernica (Fernando Arrabal, 1975) is analysed. The aim of this paper is to study the suitability of an experimental film as a representation of the past. In the first part, I analyse its aesthetics, following the research developed by authors such as González, Monreal or Sánchez, who have studied Arrabal's Panic Theatre. The goal of this subchapter is to apply the traits of his theatre to his cinema – which has been scarcely studied—, in order to conclude whether his films can also be considered as part of his panic creations or not. In this part, the concept of the 'Panic Ceremony' will be crucial to understand the logic of the film. The second part delves into historical film studies. Following the works of post-modern historians such as Rosenstone, White or Ferro, I study if the film works not only as a panic film, but also as a valuable experimental historical film. I conclude that L'Arbre de Guernica can be understood as a panic creation, in which the Panic Ceremony is crucial for its representation of the past, thus successfully working as an experimental historical film. [ABSTRACT FROM AUTHOR]

In the foreword to Architecture, Film, and the In-between: Spatio-Cinematic Betwixt, Mark Foster Gage opines that the architectural discipline has reached an ideological and creative “wall”. Devoid of a dominant ideological force in architecture to subvert or rebel against, and competing for the attention of an increasingly overstimulated public, he asserts that modern architecture lacks a taboo, set of building materials, language, or style that is revolutionary enough to make people pay attention to innovative design. However, Gage and the book’s editors Vahid Vahdat and James F. Kerestes suggest that the future is not entirely bleak: one simply needs to look inside the liminal spaces—whether between literal walls or academic disciplines—to find meaningful and engaging solutions. The central organising theme of this collection is “the betwixt”, a concept first coined by the Scottish cultural anthropologist, Victor Turner. Originally used as a term to explicate his theory of liminality, particularly as used to describe rites of passage within different cultural systems, the editors and contributors of this volume find numerous challenging and insightful ways of applying “the betwixt” to both architectural and cinematic design.

Copyright of Abant Journal of Cultural Studies is the property of Abant Journal of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historical film – a film genre supported in the Cold War era – has re-emerged in the 21st century in Eastern European cinemas, its success signalled by popularity, dedicated state financing funds or political support. This article frames the phenomenon within the Assmannian model of three communicative generations, suggested to be interlinked on the level of both the creative staff and the audience of Eastern European historical films. Based on box-office data of the Lumiere Database of the European Audiovisual Observatory, and research referring to further elements of canonization, it is argued that titles such as Polish Katyn (2007), Romanian Aferim! (2015) or Hungarian Bet on Revenge (2016) – the first majority production historical films to achieve significant audience, and, consequently, critical success in their domestic markets in the 21st century – signal a successful collective memory-work process. While in the major Polish market this may be inscribed within the three communicative generations of the victims, the forgetters and the mourners doing memory-work – possibly processing collective traumatization too –, the two small national examples fall outside the validity of the Assmannian model. In order to somewhat refine this apparent opposition between 21st century Eastern European major and small national collective memory-work through historical films, further examples from the Polish, Hungarian and Romanian top lists are examined. Poetic-medial features – the actualization of “trauma narratives” (Alexander 2012) or of postmodern irony, the employment of cinematic and/or televisual visuality – seem to facilitate collective memory-work differently for major and small national domestic audiences, activating or not their belonging to the three communicative generations with respect to the historical events represented in the films.

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay argues that Sanjay Leela Bhansali's 2018 Bollywood historical film Padmaavat is part of a wider media-informational atmospherics of contemporary Hindu pride and Islamophobia, drawing on advertised energies of disaffection and ethnological stereotyping around the figure of the Muslim. In the process, it constructs a "double shift" Orientalist prism of race perception to view a splendid "Aryan" Hindu past as well as a dark interval of Islamic rule in India marked by a Semitic, Turko-Arabic pathology. The film is part of an overall Hindu nationalist project of constructing a moral memory (contra history) in the era of the digital image that can not only reinvent the past, but also re-texture and re-canvas it, making purported pictures of a glorious Hindu bygone appearing as not just nove, but also tactile and sensuous. [ABSTRACT FROM AUTHOR]

In film scholarship, historical film has been identified as a form that portrays events and experiences that took place in the past. By building on Caruth's concept of indirect representation, however, this article identifies a new historical film form that is not necessarily set in the past, but engages with questions regarding history, memory and historical representation. It conceptualizes this new form of 'historical essay film', and by analysing Voice of My Father, argues that rather than manifesting a desire to represent traumatic events directly, historical essay films refrain from the presumption that the medium of film can represent the reality of past events. To this end, they engage with past traumas indirectly through narratives that are set in the present day. The study further contends that the main thrust of historical essay films is to probe the discursive fields in which certain moments of the past are fixed, narrated and become predominant while others remain overlooked and unaccounted for. The article concludes with the claim that, as a consequence of their unconventional formal structures, historical essay films diminish the temporal distance between the past, present and future while also opening up new possibilities for rethinking what historical representation means. [ABSTRACT FROM AUTHOR]

Copyright of Res Historica is the property of Maria Curie-Sklodowska University in Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The long, rich history of Francophone cinematic culture has been largely absent from the pages of French Historical Studies. The current issue offers a corrective by initiating dialogue between historians and film studies specialists, and this introduction lays a groundwork by briefly sketching intellectual and cultural contexts for the articles that follow. Brett Bowles, Christian Delage, and Thibault Guichard examine films that recover voices silenced by abuses of state power or antistate terror, adding to existing work on how visual media preserves evidence of violence and so broadening our understanding of how history is constituted. Vanessa Brutsche engages a rich literature on how cinematic fictions represent the past with an article that explains how two popular films of the 1970s married historical "truths" with contemporary cultural referents to reappraise the French past and challenge illusions of progress. Kamel Ben Ouanès and Patricia Caillé's overview of Tunisian cinema explores its complex relationship to state, civil society, and an international "Third Cinema" while reminding us how much Francophone cinema has become transnational in contexts of production and subject matter alike. [ABSTRACT FROM AUTHOR]

The text refers to the part of the performances of TVP's Fact Stage (2006-2010), devoted to the Stalinist period, as well as to its journalistic and scholarly reception. In no small part, it is a polemic with the position and reasoning expressed in Mariusz Mazur's article TV Theater: Fact Stage - a specific vision of history. On such historical politics polemically. The author points to the need to interpret the phenomenon of Fact Stage as it really was, to understand its genesis, social conditions and cultural context. However, he rejects the method of contrasting the works in question with the abstract and normative postulates formulated by Mazur. Finally, the article points to the religious (morality play and passion play) sources of the conception of Fact Stage performances. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Analogue photography takes on additional characteristics and functions as it is transmediated in such 21st century Hungarian--e.g. small national, and Eastern European--film historical examples like Post Mortem (Péter Bergendy, 2020) or Natural Light (Dénes Nagy, 2021). The examination of the transmedial media representation, or simply the transmediation (Lars Elleström) of the oldest electronicmechanic visual medium, analogue photography, shall guide the comparative analysis--meant to assess photography's features as an apparatus of/for culturally mediating collective traumas within the confines of historical feature filmic narratives, and also in the context of modelling communicative generations in their relationship(s) to identify-crafting collective crises. The aim is to demonstrate that contemporary Eastern European, and more specifically Hungarian filmmakers who belong to a third generation of "memory restorers" (Aleida Assmann) when faced with the First or the Second World War present interesting epistemic constructions on the collective past and offered for common remembrance in the context of the cinematic feature film. The main proposal that the present paper makes as a theoretical argument concerning the multifaceted process of transmediation--in this case the narrative feature filmic transmediation of the apparatus of analogue photography--is that the examined two films, Post Mortem and Natural Light, may be conceived of as post-digital age meta-exercises on the role of analogue photography in constructing cultural memories of often collectively traumatic happenings. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to the examination of the artistic image of Mr. Boris Godunov in Russian literature and cinematography. The author analyzes the prosaic and dramatic historical works of the XIX-XXI centuries, as well as feature films and historical series. The analysis was based on the idea of the guilt / innocence of Boris Godunov in the murder of the young Tsarevich Dmitry. This prince was the heir to the Russian throne. As a result of the study, conclusions were drawn about the determining influence on the ideological position of the authors of works of art and films from the point of view of the court historian Karamzin. This view was a reflection of the official ideology of the Romanov dynasty. For the Romanovs, Godunov was a political intriguer and a ruthless infanticide. This opinion prevailed in Russian historiography for more than three hundred years. Despite the emergence of new scientific studies that refute the official point of view on the issue of the murder of Tsarevich Dmitry, the historical myth of the cruel and bloodthirsty Tsar Boris continues to exist in the Russian cultural tradition. This myth is reflected in numerous literary works about Godunov and the Time of Troubles. Authors of historical novels and short stories, tragedies and ballads, films and television films consider Godunov a professional politician. But for them he is a killer. An exception is the novel of the representative of emigrant literature, Henri Trois, completely rehabilitating Godunov as a ruler and as a person.

In this article, I discuss two contemporary films that exemplify the use of the western genre for historical reassessments in varied national contexts: Tracker (2010, dir. Ian Sharp, New Zealand/UK) and Black '47 (2018, dir. Lance Daly, Ireland). The two films employ similar plot structures, based on the motif of pursuit. In Tracker, set in the aftermath of the Boer wars, a former Boer fighter, now in New Zealand, searches for an assimilated Māori sailor who has been accused of killing a British soldier. In Black '47, set in Ireland at the time of the Great Famine, an Irishman who served in the British colonial army in the Middle East strives to take revenge on the landowner responsible for the death of his relatives. A mission is organized to prevent him, led by an alienated veteran of the colonial wars. Tracker and Black '47 show that as a result of colonization various directions of mobility emerged that triggered reinventions of predefined identities within the colonizer/colonized binary. In the two films under discussion, the use of the western helps to address the problem of identity construction by exploring the experience of liminality as a factor behind the dissolution of colonial cultural hierarchies. The protagonists of Tracker and Black '47 embody the kind of mobility that signifies lasting displacement, seen as a larger syndrome of the era of colonial empires. [ABSTRACT FROM AUTHOR]

Article proposes to look at the last decade (1980–1989) of DEFA film production, still not been much discussed in scholarship, through the lens of the work of Rainer Simon (b. 1941), arguably one of DEFA's last auteurists (although the auteurist label does not fit DEFA comfortably). Simon's later movies, after the censoring of his Gegenwartsfilm (film of the present) Jadup und Boel (1980/1988), reworked the genre of historical film in new ways, via a politics of fantasy. The difficulty of defining these films' genres is tied to its lack of defined address or alternative public sphere within the GDR. [ABSTRACT FROM AUTHOR]

Copyright of Parlamento Studijos is the property of Parlamento Studijos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Die Wannseekonferenz (1984) portrays the Wannsee Conference of 20 January 1942, where Reinhard Heydrich chaired a meeting of Germany's ministers to co-ordinate the "Final Solution." Produced by the public television network Bayerische Rundfunk (BR), Die Wannseekonferenz is neither mere entertainment nor a dry, unsubtle didactic film. Instead, it portrays history in a compelling and disturbing manner. The West German press, however, panned the film, which gained critical acclaim abroad. This article discusses its negative reception within the context of the 1980s television and memory landscapes through a grounding in archival sources. [ABSTRACT FROM AUTHOR]

After 1989, a new trend in historical films appeared in Polish cinema, with a settlement character. The female perspective interested, among others, Wojciech Smarzowski, the creator of such period pieces as Rose (2011) and Volhynia (2016). In the first film, the director refers to the tragic history of Masuria, while Volhynia deals with a complicated Polish-Ukrainian relationship. For Smarzowski, the story of a man, an individual thrown into the vortex of war, becomes the core of the films discussed in this article. Using the example of the title character Rose and Zosia Głowacka from Volhynia, the director focuses on the hardships of femininity and motherhood during the geopolitical turmoil. This time, it is not the well-known heroes who constitute the plot axis but the “nameless” women who have been called upon by history after more than half a century. [ABSTRACT FROM AUTHOR]

The article analyses the representation of historical and current issues in fiction and documentary cinematography. The author outlines the general complexity of the historical genre, often accompanied by criticism of the society, power structures, and institutions of the church. A dramaturgy analysis of films, as well as expressive directing and camera means and techniques, sound direction have been carried out. Special attention is paid to the analysis of methods of gathering information in documentary films: observation, working with documents, interviews, etc., inherent in the work of a TV reporter. The participatory and poetic modes of documentary are examined in detail. It was revealed that documentary films are more independent than fiction films, primarily from the budget issues and critical acclaim, therefore a store of issues covered in documentary films is much wider. The documentary cinematography is also richer by expressive means. The authors of modern historical drama create documentary-style films, unjustifiably transforming films from feature ones into a chronicle displaying a series of changing facts from the plot of the script. Suggestions have been made to revise the principles of work on the historical genre, enabling to reach a new level of development of feature films. [ABSTRACT FROM AUTHOR]

Anne Sewitsky's biopic Sonja (Sonja: The White Swan) (2018) is an example of authorial intervention that prioritizes a character-centred narrative rather than historical context. The article focuses on the musical score and the contemporary pop songs that contribute to building the psychological–emotional portrait of Norwegian-born Sonja Henie, champion figure skater and Hollywood star. In Sewitsky's narrative strategy, non-diegetic music, sometimes deployed anachronistically, is used both to comment on the protagonist's motivations and behaviour and to express her inner states of mind. By foregrounding Henie's psyche through music, the film balances her negative and positive sides and presents her as complex and sometimes contradictory individual. [ABSTRACT FROM AUTHOR]

Copyright of Boletín del Museo Chileno de Arte Precolombino is the property of Museo Chileno de Arte Precolombino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1895 the Edison short, THE EXECUTION OF MARY, QUEEN OF SCOTS (USA 1895) staged a fully “fleshed out” historical beheading on film. By putting members and flesh onto otherwise mental images of historical figures, the film showcased the new medium’s ability to combine the distinct elements of visualizing history and appealing to the human body.

The pursuit of authenticity is film’s dominant mode of historical representation. For the overwhelming majority of historical film makers and audiences, authenticity signifies a realistic historical experience, an effective suspension of temporal-spatial disbelief. Authenticity, as the engine of mainstream historical filmmaking, has three chief functions: as an aesthetic strategy, a reception discourse and a marketing discourse.

According to Roland Barthes, archetypical myths and folktales were used in the past to order chaos and gain insight into life. At present, it is mostly the media that represent certain ideologies and therefore directly or indirectly “give an insight” into the lives of the citizens of that society. Therefore, this article will focus on the role of the archetypical representation of the hero archetype in short films; and how this ideological representation “gives one an insight” into the society in which these films were created. The case studies selected for this article are three short films set against the backdrop of the Anglo-Boer War: Commando (2009), Bloedson (2013) and Adventures of the Boer War (2011–2014). The author uses narrative analysis combined with open-ended interviews conducted with the creators of the selected short films to analyse their intention to construct the hero archetype in a specific way. At the end of the article her argument is that these three case studies use avant-garde techniques to challenge the traditional way that the Boer hero is represented in Anglo-Boer War films. Through representing this archetypical hero in a different way, the filmmakers are demonstrating to us how South-African society has changed since the fall of Apartheid, although one does see in popular culture that some white Afrikaner are still yearning for their so-called “age of innocence”.

Manikarnika: The Queen of Jhansi is a recently released Indian historical biopic of Rani Lakshmi Bai. Through historical re-imagining, the film renders several potential social and political issues, which are topical and timely in contemporary India. The present article attempts to examine the topicality of the film. First, it discusses how it rekindles the female heroic tradition of India, which has been overshadowed due to the patriarchal mindset and historiography. Secondly, it explores how, through cinematic liberties, issues like gauraksha, Hindutva, and patriotism have been propagated. Thirdly, it argues how by foregrounding Dalits and Muslims, the film attempts to neutralise extremist Hindu prejudices, dominant in the hyper-nationalist climate of India. The article concludes that by recreating a crucial historical epoch and a legend, the film attempts to reinstate a secular heritage of India's heroic tradition to rekindle nationalistic and patriotic sensibility among the contemporary masses. [ABSTRACT FROM AUTHOR]

Copyright of Lubelski Rocznik Pedagogiczny is the property of Maria Curie-Sklodowska University in Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Krotoa-Eva, servant-cum-translator-cum-diplomat, instrumental in the dealings between the Dutch and the Khoi at the Cape in the 1600s, is a woman whose story has been (re)constructed countless times. Through sparse historical documentation, she has been described as a drunk, traitor, bad mother, thief, ungrateful primitive, shrewd mediator and most recently a heroic foremother of Afrikaans-speaking South Africans. This article tracks these representations, paying particular attention to the 2017 South African-made film Krotoa, and situates this latter representation within theoretical discussions of nationalism and cinema, women in the national heritage narrative and the historic film as a vehicle to express, in its own way, the emotions, trauma and systems of the past still relevant today. We argue that the filmmakers' attempt to tell the story of Krotoa, while masterfully crafted, artful and poignant, succumbs in the end to a weak nation-building epilogue that does little justice to the nuances of power, oppression and perseverance foundational to Krotoa's life story. [ABSTRACT FROM AUTHOR]

Copyright of Ondokuz Mayis University Journal of Education is the property of Ondokuz Mayis University Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study, "Surveyeffects of historical films on the academic achievement of students in history lesson " the third area of Qom was in fifth grade.The main purpose of it was to determine the efficacy of screening on their academic achievement is compared to the lecture.The population is students in the fifth grade.The number of them 1200 in 93-92 year .60 students were selected by multistage sampling method.The method of research, , quasi-experimental on 2 groups was tested.The reliability of the test, the test-retest method was used. The Rate of it is 85 percent.To answer the questions,of t- test was used.Surveyeffects of historical films have had an impact on student achievement.

Responding to several recent interventions in adaptation studies that have argued for history-as-adaptation, this article develops a sustained examination of how page-to-screen adaptations may be understood as structured and interpreted in ways analogous to the historical film. Considering the relationship between historical screen texts and the historical novel, including the many novel-to-film adaptations of such stories, the article identifies a distinct subset of adaptations in which artworks and literary works are engaged as the 'source' for fictional and semi-fictional narratives that ostensibly address the circumstances of their creation. Re-purposing the term 'origin story' to characterize these stories, the works of historical novelist Tracy Chevalier are posited as examples of this creative adaptive practice. In addition, this article argues for the trope of 'bringing-to-life' and the associated domain of re-enactment as key modes, deeply resonant since the earliest phases of cinema technology, for figuring both the page-to-screen adaptation and historical film. Finally, the 2015 historical biopic and adaptation Trumbo and its relationship to a range of sources are examined in the light of ideas proposed in this article. [ABSTRACT FROM AUTHOR]

Drawing on Stephen Prince's concept of "perceptual realism"' to examine the use of computer-generated images in two megahit Korean blockbuster films of 2014, The Admiral: Roaring Currents and Ode to My Father, this article underlines these films' impression of reality as the nexus of the complex intersections between Korea's national history and identity, and the industrial and aesthetic transnationality of Korean popular cinema. [ABSTRACT FROM AUTHOR]

The melancholic hero in a nostalgic world forms the dominant element of artistry in Jiří Menzel's films from the beginning of his work in the 1960s to the present time. The theme of this study is the analysis of melancholic elements, focusing on the director's last two films, in which he utilises similar stylistic and narrative practises as in his earlier work, but also a significant change in style occurs in the construction of the nostalgic world and the protagonist's character. The melancholy hero abandons the security of the alternative nostalgia and is confronted with the dangerous outside world ultimately to come across self-reflection. These changes profoundly disrupt the functionality of the director's artistry; the films were panned by both critics and viewers. The conclusion of the study will be based on the analysis of chosen elements that generate melancholic and nostalgic emotion (construction of a melancholic character, structure of an idyllic chronotope, the style of the film) to capture the allegorical function of melancholy in the structure of an artwork which symptomatically portrays social and existential states. [ABSTRACT FROM AUTHOR]

The science of history due to its attraction and narrative nature has been taken into consideration by the most popular and influential media, the Movies and TV broadcast, with the purpose of making stories and attracting audiences. This vast in audiences has been created a mutual cooperation between the history and the media to render the true history to people. The way of happening on this cooperation is important and for the historian, honesty and loyalty of film makers to the true history, is necessary.The most challenging issue of current research is the extent of loyalty of 1991s and 2001s film makers in representation the era of Reza Shah the same as the true history without any censorship.The present study examined the comparative analysis to validate the two series to show that the historical information presented in these two series about historical figures in terms of behavior and actions in the desired historical setting is in compliance with historical source.The finding suggest that filmmakers in illustration of the history in this period and the representation of its characters have been faithful. sometimes we are faced with exaggeration or reticence and in order to attract more audience some figures are glorified and some are devalued.

In contrast to the internationally celebrated New Romanian Cinema, Aferim! (Radu Jude, 2015), set in the distant past, invokes the historical filmmaking tradition as represented by Sergiu Nicolaescu's historical epics, including references to the literary adaptations of the socialist era La moara cu Noroc / The Mill of Good Luck (Victor Iliu, 1957) and Moromeții / The Moromete Family (Stere Gulea, 1987). The article identifies notions of Romanian identity in relation to changing ideas of nationalism to show how Aferim! uses representations of violence as a means of illuminating and interrogating romantic-heroic visions of the history of the nation and encouraging national self-knowledge. [ABSTRACT FROM AUTHOR]

The article discusses Piotr Kurpiewski's book Historia na ekranie Polski Ludowej [History on the screen of Polish People's Republic]. Kurpiewski uses the concept of the politics of history to show the relationship between Polish postwar films and their political context. He examines the production process of individual films from the moment of their making to the moment(s) of their reception. From this point of view the historical film becomes one of the main ideological instruments, serving to legitimize the then sociopolitical regime. [ABSTRACT FROM AUTHOR]

The cinematographic film, mainly the historical one, is without a doubt a historical document worth taking into consideration especially by the totalitarian regimes that are constantly looking for a good image. the use of the historical cinematographic film to support historiographical and political positions during the years of the totalitarian communist regime is not a surprising fact, especially since similar phenomena are present in other European totalitarian countries of the 20th century. the consequences are, however, extremely damaging to historiography and to the public in general, even if in its essence the approach is based on the historical truth which once again provides credibility to the regime. It is an example of how the historical past can be used to manipulate the interests of a political present in an authoritarian/totalitarian regime. At the same time, it is an appeal to leave history in the hands of the professionals, that is, to historians, and not to use history for political reasons. [ABSTRACT FROM AUTHOR]

This article evaluates The Fatal Encounter (Yŏngnin 逆鱗) as a historical film. Drawing on the work of Robert A. Rosenstone and Robert Brent Toplin, it asks whether or not the film offers a historical interpretation and examines its use of artistic license. It concludes the film is a work of history that engages with historical sources and data, offers a narrative interpretation, and engages in what Rosenstone has termed "true invention." The exercise of dramatic license is acceptable for a film of this type, the big-budget blockbuster, and it remains in the realm of history, unlike works of "faction" such as Roaring Currents (Myŏngnyang) or costume dramas such as Zhang Yimou's Hero. The article compares The Fatal Encounter to Roaring Currents in order to highlight the differences between a historical film and a work of faction apart from the films' respective merits as works of art. Within the limitations of its format, The Fatal Encounter presents a reasonably authentic view of its historical setting and offers an interpretation that includes aspects of history not typically presented in popular works of Korean history. [ABSTRACT FROM AUTHOR]

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)