Introduction

2019 ◽  
pp. 1-20
Author(s):  
Gustavo Procopio Furtado
Keyword(s):  
Documentary Film ◽  
Film Studies ◽  
Literal Sense ◽  
The Past ◽  
The Future ◽  
Film Archives ◽  
Point Of Departure

The introduction offers an overview of the documentary in contemporary Brazil and discusses the significance of archive concepts for the documentary in general and for Brazilian documentaries in particular. The archive has been undervalued as a heuristic concept in documentary film studies, which have tended to discuss it only in the literal sense of film archives and to speak of repurposed footage. The documentary, however, has an inherent affinity with the concept of the archive that becomes crucial in the work of many filmmakers. Taking Eduardo Coutinho’s Cabra marcado para morrer (Man Marked For Death/Twenty Years Later, 1964–1985) as a point of departure, the introduction argues that the documentary has a Janus-faced relationship with the archive, at once producing lasting records for the future and de-archiving materials from the past, returning what was hidden and stored away to the present.

Storytelling Means Dissolving Relations

2019 ◽  
pp. 88-99
Author(s):  
Alexander Kluge
Keyword(s):  
The Real ◽  
Literal Sense ◽  
The Past ◽  
The World ◽  
The Future ◽  
Real Phenomenon ◽  
Alexander Kluge

This chapter explores the dialogue between Piero Salabè and Alexander Kluge wherein they talked about Kluge's book Tür an Tür mit einem anderen Leben (Next Door to Another Life, 2006). Kluge claims that there are always two aspects to sadness: it isolates, but it can also bring people in contact with one another. Sadness and crying are capable of dissolving hardened relations. When asked whether he believes in progress, Kluge answered that he does not believe in linear progress because for him “the past is always coming at us from the future.” Instead, he believes in circular movement like those in whirlpools. The concept of enlightenment must begin with the real phenomenon that time does not actually pass. Kluge says that “we must continue to tell stories about problems in the world, and with storytelling we must also push back against these problems that people fail to respect.” Storytelling means dissolving in the literal sense of “analyzing.” Kluge believes that this is the great, unfinished project of enlightenment. Salabè and Kluge also discusses the individual's capacity for differentiation.

The Garden in the Machine: Two American Avant-Garde Films and the Nineteenth-Century Visual Arts

Prospects ◽  
1997 ◽  
Vol 22 ◽  
pp. 239-262
Author(s):  
Scott MacDonald
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
Film Studies ◽  
Avant Garde ◽  
The Past ◽  
Academic Fields ◽  
The Future ◽  
Historical Periods ◽  
Logical Extension ◽  
As If

One of the primary reasons I became interested in film studies was the seeming open-endedness of the field. Cinema was new, I reasoned, and would continue to be new, unlike other academic fields, and particularly those devoted to historical periods: as a scholar and a teacher, I would face the future, endlessly enthralled and energized by the transformation of the potential into the actual. That my development as a film scholar/teacher increasingly involved me in avant-garde film seemed quite natural — a logical extension of the attraction of film studies in general: Avant-garde film was the newest of the new, the sharpest edge of the present as it sliced into the promise of the future. Scholars in some fields may empathize with the attitude I describe, but scholars in all fields will smile at its self-defeating implications: of course, I can see now how typically American my assumptions were — as if one could maintain the excitement of youth merely by refusing to acknowledge the past! Obviously, film studies, like any other discipline, is only a field once its history takes, or is given, a recognizable shape.

Back to the future – a journey from current education reforms to reformations in the past

2020 ◽  
pp. 275-288
Author(s):  
Yvette Weiss
Keyword(s):  
Mathematics Education ◽  
History Of Mathematics ◽  
Education Reforms ◽  
The Past ◽  
Causal Connections ◽  
The Future ◽  
History Of ◽  
19Th And 20Th Century ◽  
The University ◽  
Point Of Departure

Learning from history does not automatically mean that history prevents us from repeating mistakes. We cannot see what happens in the future, even with the most profound knowledge of the past. Although it is not possible to make such causal connections, the study of structural components, which recur and make up patterns, can certainly contribute to sharpening political judgement. How can the teaching of the history of mathematics education then help to support an understanding of possible courses of individual actions without indoctrination through the political or even ideologically influenced production of time references? The paper presents the concept of a lecture course in mathematics education, held at the University of Mainz. We take as a point of departure the everyday experience of our prospective mathematics teacher with various current education reforms and present seemingly similar processes during former reforms. Here we limit ourselves to reforms during the 19th and 20th century.

scholarly journals Past music, future music: Technology and music institutions in the 20th century

New Sound ◽  
2016 ◽  
pp. 53-64
Author(s):  
Marija Maglov
Keyword(s):  
20Th Century ◽  
New Technologies ◽  
Music Technology ◽  
New Music ◽  
Music Practice ◽  
The Past ◽  
Pierre Boulez ◽  
The Future ◽  
Progressive Technology ◽  
Point Of Departure

In his text Technology and the Composer Pierre Boulez writes about new technologies that emerged in the 20th century, primarily created for the purposes of music recording and reproduction, but also established as a means of innovation in electronic and electro-acoustic music practice. Boulez points to two directions where technology and music are in question: conservative historicism and progressive technology, enabling the development of new music material and innovation. By using Boulez's text(s) as a point of departure, the author considers the roles those new technologies had in the development of some musical institutions and questions how institutionalized discourse molds ideas on the roles music technology should have. The aim of the paper is to discuss how the music of the past was 'conserved' and how the music of the future was created in particular types of music institutions thanks to new technological possibilities.

scholarly journals Dossier on Govan Young : Exploring children's historical consciousness through film and archaeology

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Stephen T. Driscoll ◽  
Catherine Doherty ◽  
Mia Perry
Keyword(s):  
Learning Outcomes ◽  
Film Studies ◽  
Historical Consciousness ◽  
Medieval History ◽  
The Past ◽  
The Future ◽  
Film Making

Govan Young (2017) is a 30-minute documentary in which schoolchildren from Glasgow learn of the area's important but largely unknown medieval history. This dossier brings together four essays that reflect on the film from various academic perspectives – film studies, archaeology and education – to explore how schoolchildren might learn about the past, and develop a historical consciousness, by participating in film-making projects. The dossier also reflects on how educators can learn from those whom they are supposedly teaching, thereby highlighting that experimental pedagogical projects often bring unexpected learning outcomes into being. Consequently, educators must resist the pressures to predict the outcomes of projects, and must strive to keep the future open-ended.

Disorienting the Past, Cripping the Future in Adam Elliot’s Claymation

Animation ◽  
2017 ◽  
Vol 12 (2) ◽  
pp. 123-137
Author(s):  
Slava Greenberg
Keyword(s):  
Film Studies ◽  
People With Disabilities ◽  
Film Noir ◽  
Black And White ◽  
Home Videos ◽  
The Past ◽  
Bodily Experiences ◽  
The Future ◽  
The Disabled ◽  
Definition Of

Acclaimed Australian animator Adam Elliot dedicated his career to illustrating the experiences of people with disabilities. Elliot’s first trilogy – Uncle (1996), Cousin (1999) and Brother (2000) – is a black and white claymation accompanied by narration reminiscing beloved family members with disabilities. The article intersects disability studies, phenomenology and film studies in an analysis of the disabled body in Elliot’s claymations and the crip ethics they may evoke in spectators. The author argues that Elliot’s clayographies disorient the past by yearning for it and crip the future by criticizing the marginalization of people with disabilities, and focusing on the desire for life ‘out-of-line’. The hybridity of the trilogy is an infusion of documentary ‘domestic ethnography’ or home videos, centering familial ‘others’ with fictional film-noir that allows entrance into the dark realm of recollection. The viewers are offered bodily experiences that emphasize the body’s vulnerability and perishability, presented not in a tragic or inspirational fashion, but as inseparable from human existence. By conjuring these oppositional cinematic styles and genres in clay, disability is represented as the definition of the human experience through an ethical remembrance.

Marching Forward, Marching in Circles: A History of Problems and Dilemmas in Teacher Preparation

2017 ◽  
Vol 69 (4) ◽  
pp. 330-340 ◽  
Author(s):  
Jack Schneider
Keyword(s):  
Teacher Preparation ◽  
Early Republic ◽  
The Other ◽  
The Past ◽  
The Future ◽  
History Of ◽  
Point Of Departure ◽  
Positive Results ◽  
Over Time ◽  
Original Point

This essay tracks the history of teacher preparation, from its origins in the early republic to the present. In so doing, it tells two stories. The first is a story about problems—a linear story in which problems are discovered, potential solutions are generated, and positive results are achieved. It moves from the past to the future and from the old to the new. The other story is about dilemmas. And because dilemmas cannot be solved, the passage of time leads back to the original point of departure. Solutions are tried and discarded, but as the past is forgotten, they eventually are embraced again. In telling these two stories, the essay proceeds chronologically, highlighting improvements in teacher preparation practice over time. That relatively linear chronology, however, is organized into four periods, which reveal not a march of progress, but an unmindful return to the once-maligned practices of the past.

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