scholarly journals Modeling and Perceiving

2021 ◽  
pp. 75-114
Author(s):  
Rasmus Greiner
Keyword(s):  
Film Theory ◽  
Theoretical Concept ◽  
Special Relation ◽  
The Third ◽  
Mise En Scene ◽  
Historical Films ◽  
Historical World

AbstractThe aim of this chapter is to develop a theory of how filmic figurations are already fused with conceptions of history during the mise-en-scène process, and thereby enable historical experiences. The first section will therefore examine the theoretical concept of figuration and the special relation between cinematic illusion and historical reference. The second section analyzes the strategies used by historical films to create filmic spaces and model an internally consistent, temporally arranged historical world. Building on this, the third section proposes that, for historical films, the film theory concept of mise-en-scène should be supplemented by a concept of mise-en-histoire: the imaginative referentialization of the historical worlds constructed by a film.

Friedrich Rainer, National Socialism, and Postwar Europe: The Historical World of an Austrian Nazi

1999 ◽  
Vol 30 ◽  
pp. 103-126
Author(s):  
Maurice Williams
Keyword(s):  
National Socialism ◽  
Third Reich ◽  
Major Party ◽  
The Third ◽  
Party Positions ◽  
Postwar Europe ◽  
Adriatic Coast ◽  
The Third Reich ◽  
Keen Observer ◽  
Historical World

Friedrich Rainer (1903-50?) personified the semiautonomous chieftain who served the Third Reich so well. Born in Carinthia, he worked his way into major party positions in Austria and then, after the Anschluss, moved into crucial posts in the Ostmark. After leading the party in Salzburg, he highlighted his Nazi career by serving as Gauleiter of his native province. Simultaneously he governed the occupied regions in northern Slovenia (Carniola) and later added a role as Hitler's deputy on the Adriatic coast (Istria, Trieste, and environs). He was extremely ambitious, well connected in party circles, a capable administrator, a pronounced Pan-German, and a Hitler loyalist to the end. He also revealed himself as a keen observer of his surroundings, an active propagandist, and an able politician. In short, as a leader of consequence in the Third Reich, he did not differ much from other key Nazi lieutenants.

scholarly journals THE CONCEPT OF PANGAWINAN IN THE MUSIC PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHANIN LUHAK NAN TIGO MINANGKABAU

2017 ◽  
Vol 2 (2) ◽  
pp. 333
Author(s):  
Andar Indra Sastra ◽  
Od.M. Anwar ◽  
Mohd Nazir Ibrahim
Keyword(s):  
Music Performance ◽  
Theoretical Concept ◽  
The Third ◽  
Philosophical Basis ◽  
The Creation

This article discusses the concept of Pangawinan in the performance of talempong Renjeang Anam Salabuhan in Luhak Nan Tigo Minangkabau. As a concept, there are two different understandings of pangawinan, namely: (1) pangawinan with a small ‘p’, which is the philosophical basis for the formation of a pair of talempong as a musical system – implemented through the methods lipek duo and dipatukakan (doubling and interchanging); (2) Pangawinan with a capital ‘P’, which is used to refer to a pair of talempong, Pangawinan – Paningkah duo. As a musical system, talempong renjeang consists of three pairs of talempong instruments, known as the talempong Jantan, talempong Paningkah or Paningkah Satu, and talempong Pangawinan or Paningkah Duo. This research employed a theoretical concept based on the philosophy tali tigo sapilin, tungku nan tigo sajarangan – a three-way pattern; a trilogy of reasoning in the Minangkabau community. The formation of the three-way pattern begins with a two-way or bipolar pattern, and the third position emerges as a counterbalance to create harmony. The main data were collected through observations, interviews, and documentations. The findings show that the concept of pangawinan in the performance of talempong renjeang anam salabuhan functions to provide a certainty in the creation of the talempong melody (guguah) in order to achieve raso batalun (aesthetical pleasure).Keywords: Indonesia, Luhak Nan Tigo, Minangkabau, pangawinan, talempong renjeang anam salabuhanCite as: Sastra, A.I., Anwar, Od.M.  Ibrahim, M.N. (2017). The concept of Pangawinan in the music performance of Talempong Renjeang Anam Salabuhanin Luhak Nan Tigo Minangkabau. Journal of Nusantara Studies, 2(2), 333-347.

scholarly journals Immersion and Empathy

2021 ◽  
pp. 115-149
Author(s):  
Rasmus Greiner
Keyword(s):  
Embodied Perception ◽  
The Third ◽  
Film Experience ◽  
Historical References ◽  
Historical World

AbstractThe aim of this chapter is to investigate histospheres as multi-immersive perceptual spaces that not only model a historical world but also profoundly influence our conceptions and interpretations of history. In this context, the first section examines the role of aesthetically modeled atmospheres and the moods they evoke. The second section builds on this examination by considering filmic space. Filmic atmospheres and spatial figurations of movement bring us physically and mentally closer to the action of the film. Another potent mechanism of perspectivation is film characters, and so the third section focuses on imaginative empathy with the characters who inhabit a film’s historical world. In combination with film experience as a mode of embodied perception, this inner perspective provokes interpretations and evaluations that we can extend to the filmic depiction’s historical references.

scholarly journals Audiovisual History

2021 ◽  
pp. 37-47
Author(s):  
Rasmus Greiner
Keyword(s):  
The Third ◽  
Historical Film ◽  
History Of ◽  
Expressive Dimension ◽  
And Function ◽  
Visual History ◽  
Historical World ◽  
Film Sound

AbstractThe aim of this chapter is to consider relevant theories of visual and audio history whose ontologies a histosphere absorbs and elaborates. The first section surveys the relatively new field of visual history. It argues that a histosphere creates not just disparate images but a visual sphere in which history is brought to life. Research into audio history is an even newer and less developed field. The second section therefore sketches the outlines of an audio history of film and examines the aesthetics and function of film sound, understood as an equally important expressive dimension of histospheres. The two aspects are brought together in the third section: The fusion of sound and vision makes the historical film not just a model of a historical world, but a form of perception in its own right.

scholarly journals Experience and Remembering

2021 ◽  
pp. 151-181
Author(s):  
Rasmus Greiner
Keyword(s):  
Physical Reality ◽  
The Third ◽  
Personal Experiences ◽  
Deja Vu ◽  
Déjà Vu ◽  
Historical World

AbstractThis chapter shows that forms of experience and memory are not mere effects but constitutive processes of histospheres. Accordingly, the first section explores the complex interrelationship between film, body, and memory. It argues that embodied memories make it possible to experience a film’s historical world as a physical reality, and add a bodily experiential dimension to the mise-en-histoire. Building on these considerations, the second section combines them with theories of media-generated memories: Histospheres draw not just on existing embodied memories and conceptions of history, but are actively involved in producing personal experiences with identity-forging potential. The third section examines the workings of reminiscence triggers, whereby filmic figurations link the film’s historical world to the spectator’s embodied memories and produce a kind of déjà vu effect.

Habermas and the public sphere: Rethinking a key theoretical concept

2021 ◽  
pp. 136843102098322
Author(s):  
Patrick O’Mahony
Keyword(s):  
Public Sphere ◽  
Social Theory ◽  
Communication Theory ◽  
Theoretical Concept ◽  
The Public ◽  
The Third ◽  
The Public Sphere ◽  
The One ◽  
Recent Account ◽  
Theory Of Democracy

The challenge of realizing the democratic power of publics through public sphere remains acute but not hopeless. While claiming that Habermas communicative social theory offers a way forward in spite of a productive but constraining turn towards a modified social liberal frame, nonetheless three limitations of the theory are identified. The first bears on the insufficiency of the sociological evolutionist description of society relevant to the public sphere drawn from classical sociological accounts of differentiation and integration. The second identifies learning theoretical limitations of the normative interactionist, proceduralist account of democracy and democratization potentials. And the third observes on the disconnection between the theory of communicative reasoning from, on the one hand, the critique of pathologies of reasoning, and, on the other, from its implications for lifeworld rationalization. These identified limitations are intended to provide new impetus to radically rethink the public sphere as intrinsic to solving contemporary problems of democracy that Habermas’s more recent account of deliberative theory, with the public sphere merely supplementary, cannot fully do. Yet, with Habermas, this should be on the basis of advancing the communication theory of democracy.

scholarly journals Film/History/Experience

2021 ◽  
pp. 49-73
Author(s):  
Rasmus Greiner
Keyword(s):  
Direct Contact ◽  
Film History ◽  
Phenomenological Theory ◽  
Historical Experience ◽  
The Third ◽  
Historical Film ◽  
Cinematic Experience ◽  
Film Experience ◽  
Film Perception ◽  
Historical World

AbstractThis chapter describes the interactions and intersections between film experience and historical experience. The first section introduces the phenomenological theories underpinning the notion of film experience and applies them to the historical film. Focusing on concepts of embodied film perception, it discusses the spectator’s impression of making direct contact with a film’s historical world. This imaginary contact with history bears similarities to Frank R. Ankersmit’s theory of historical experience, which is examined in the second section. The interconnections between Ankersmit’s concept and Vivian Sobchack’s phenomenological theory of film experience are considered in greater depth in the third section. The aim is to develop a concept of histospheres in which sensuous and cognitive perceptions are fused into a unified cinematic experience of history.

Three Sequences

Sergio Leone ◽  
2020 ◽  
pp. 101-120
Author(s):  
Christian Uva
Keyword(s):  
Film Theory ◽  
The Political ◽  
Sergei Eisenstein ◽  
Political Perspective ◽  
Mise En Scene ◽  
Visual Construction ◽  
Unique Style

This chapter focuses on Leone’s aesthetic and cinematic language. In order to highlight the continuity and evolution of the director’s eye, it deconstructs and analyzes three famous sequences from The Good, the Bad and the Ugly (1966), Duck, You Sucker! (1971), and Once Upon a Time in America (1984). The analysis of composition, mise-en-scène, and cinematography unveils the political and ethical symbolism of Leone’s cinema. It also references film theory (Sergei Eisenstein, among others) and critical contributions on Leone’s works tracing out the visual construction of his political perspective, and demonstrating the continuity and evolution of his unique style.

Autocratic Monarchy: Yu. F. Samarin’s Theoretical Concept and Historic Reality

2019 ◽  
Vol 54 ◽  
pp. 156-166
Author(s):  
Galina V. Talina
Keyword(s):  
19Th Century ◽  
Scientific Research ◽  
Theoretical Concept ◽  
National History ◽  
The Third ◽  
15Th Century ◽  
The 19Th Century

The article describes Yu. F. Samarin’s interpretation of Russian autocracy evolution in the period from the last third of the 15th century and till the 60s–70s years of the 19th century, from the reign of Ivan the Third till the reign and reforms of Alexander the Second. For the present analysis of the well-known Slavophile’s views the author has used act materials, modern interpretation by our historians of the process of Russian monarchy transformation and the scientific research materials of the author of this article. Special attention in paid to the role of Peter the First in the national history, his infringement of inheritance succession of the throne and consequences of the innovations introduced by him. According to Samarin, that model of autocracy became an obstacle for the transition from the autocratic monarchy to the constitutional one in the middle of the 19th century, but did not contradict the role of Russia as the stronghold of the Slavic-Orthodox world.

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