scholarly journals Representation Features of Historical Truth in Fiction and Documentary Cinematography, TV Reporter’s Skills

2021 ◽  
Vol 17 (4) ◽  
Keyword(s):  
Truth In Fiction ◽  
Historical Truth

The Guatemalan Genocide Through Indigenous Mayan Literature Twenty Years After the Peace Accords: Rigoberta Menchú, Humberto Ak´Abal and Victor Montejo

2017 ◽  
Vol 7 (1) ◽  
pp. 31
Author(s):  
David Caballero Mariscal
Keyword(s):  
Social Exclusion ◽  
Dark Period ◽  
Social Situation ◽  
Point Of View ◽  
Contemporary History ◽  
Rigoberta Menchu ◽  
Testimonial Literature ◽  
History Of ◽  
Peace Accords ◽  
Historical Truth

Guatemala experienced a cruel genocide in the early eighties, in the context of a repressive Conflict. Due to the different governments´ repressive policies, this terrible social situation was little known abroad, and even in the own country. Just after the Peace Accords, several organisms worked to uncover the historical truth. In any case, we cannot forget that testimonial literature is a privileged mean to know this dark period of the contemporary history of Guatemala. This genre is particularly relevant, because the main writers are originally Mayans, and have directly suffered both repression and social exclusion due to ethnic reasons. Rigoberta Menchú, Unmberto Ak´abal and Víctor Montejo represent a new and original point of view in the measure in which they describe feelings and situations from the perspective of those who experience them personally. Testimonial literature or the Testimonio becomes an ethnographic document that allows us to know not just a period but a people who have suffered from repression and exclusion for centuries.

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

Statistical Data as a Source of Information on the Great Patriotic War

2020 ◽  
Vol 27 (6) ◽  
pp. 105-113
Author(s):  
T. G. Nekhaeva
Keyword(s):  
World War Ii ◽  
Information Sources ◽  
Statistical Data ◽  
Logical Structure ◽  
The Body ◽  
Information Warfare ◽  
Great Patriotic War ◽  
Historical Truth ◽  
Great Victory

The article examines publication of statistical data commemorating the anniversaries of the USSR Victory in the Great Patriotic War as the most important information sources for an objective analysis of historical events. The reason for writing this article was the release of the statistical handbook of Rosstat, dedicated to the 75th anniversary of the Great Victory. In the introduction, the author argues the current urgency of issues addressed in the article caused by information warfare aimed at distorting the historical truth about the role of our country in the anti-Hitler coalition and the defeat of fascism in the World War II. The body of the article describes the concept and content of the anniversary edition. An important point of the article is the analysis of data sources used in the preparation of the handbook. The author reviews the anniversary handbook structure that includes a preface and the following sections: Population, Economic, Living conditions, Mobilization of population, Partisan movement, Evacuation during the war, Casualties and losses during the war, Military memorials and cemeteries, State awards, References. It is noted that the handbook maintains the tradition of previous statistical publications dedicated to the anniversaries of the Great Victory. Lastly, the author substantiates the novelty of data presented in the anniversary handbook and the logical structure of statistical materials in it. The author draws conclusions about the paramount importance of, and need to continue popularization of data on the great exploits of the Soviet people during the war and to introduce new statistical information into scientific circulation, which is causing further comprehension of primary information sources about the Great Patriotic War of 1941-1945.

Grassroots Archive Collection at CDRCSL

2021 ◽  
pp. 107780042110146
Author(s):  
Yunxiang Yan ◽  
Tian Li ◽  
Yanjie Huang
Keyword(s):  
Social Sciences ◽  
Qualitative Research ◽  
Case Studies ◽  
Social Life ◽  
Primary Sources ◽  
Primary Data ◽  
Social Sciences And Humanities ◽  
Special Collection ◽  
Historical Truth ◽  
Written Materials

This article aims to introduce the value of grassroots archives at the Center for Data and Research on Contemporary Social Life (CDRCSL) at Fudan University for qualitative research in social sciences and humanities. This special collection includes written materials on various aspects of social life that are left outside the official archive system. We first introduce the types and features of the grassroots archives collection and then briefly review the values of these primary sources, illustrated by two examples. We conclude with brief discussion on some case studies based on the primary data from the CDRCSL collection and our reflection on the tension between the protection of subject privacy and preservation of historical truth.

Babylon Berlin: Media, Spectacle, and History

2020 ◽  
Vol 53 (4) ◽  
pp. 835-854
Author(s):  
Veronika Fuechtner ◽  
Paul Lerner
Keyword(s):  
The United States ◽  
Public Television ◽  
Public Funds ◽  
Mad Men ◽  
Media Spectacle ◽  
Streaming Service ◽  
Police Detective ◽  
Historical Truth ◽  
Tom Tykwer ◽  
Nazi Era

Babylon Berlin (henceforth BB) premiered in Germany on the pay channel Sky TV in October 2017 and in the United States on the streaming service Netflix in January 2018. It is based on Volker Kutscher's series of crime novels set in late Weimar Republic and early Nazi-era Berlin. At its center are the lives and investigations of the laconic and tormented police detective Gereon Rath and his charismatic and irrepressible assistant Charlotte (Lotte) Ritter. In anticipation of the series premiere on public television, marathon screenings took place in 150 cinemas across Germany, where audience members dressed up in 1920s fashion and enjoyed a Currywurst break. Its viewership in the Federal Republic was topped only by the global fantasy behemoth Game of Thrones. The series is clearly modeled on American series such as Mad Men (2007–2015) and The Wire (2002–2008) as it unfolds a complex web of characters and subplots with loving attention to the history and fashions of the time. Indeed, this collaboration of seasoned directors Tom Tykwer, Achim von Borries, and Henk Handloegten is the most expensive German TV series to date. The fact that BB premiered on pay TV while having been largely produced with public funds drew some ire. German reviewers questioned both the circumstances of its production and its creative ambition. While Der Spiegel called it “a masterpiece,” one much debated blog review went so far as to call it “pure crap,” which neither reflected historical truth nor carried artistic merit. Many critics faulted the series for trading in postcard clichés and creating a 1920s “Berlin Disneyland.” The weekly Die Zeit complained that there was a little too much cute dialect, such as “icke” and “kiek ma,” which made the critic sometimes feel like wiping the dirt makeup off the proletarian faces. (And indeed, one of the numerous intertexts of this series are Heinrich Zille's unflinching depictions of proletarian misery.)

From the Bronze Soldier to the “Bloody Marshal”: Monument Wars and Russia’s Aesthetic Vulnerability in Estonia and the Czech Republic

2021 ◽  
pp. 088832542110438
Author(s):  
Aliaksei Kazharski ◽  
Andrey Makarychev
Keyword(s):  
Czech Republic ◽  
Case Studies ◽  
Historical Narratives ◽  
Politics Of Memory ◽  
The Czech Republic ◽  
Soviet Occupation ◽  
Historical Monuments ◽  
Historical Truth ◽  
Zero Sum ◽  
Inherent Ambiguity

The article analyzes historical monuments as instruments of Russia’s attempts to impose its aesthetic hegemony in the post-Communist world. Drawing on case studies from the Czech Republic and Estonia, it argues that this hegemony is precarious and vulnerable due to inability to deal with the inherent ambiguity and complexity of historical events and figures. The Russian approach regards historical truth in absolute terms and is underpinned by a zero-sum game understanding of historical narratives. It does not tolerate a multiplicity of perspectives on history and has no appreciation for postmodernist deconstruction of historical symbols. This conflicts with a more diverse, reflexive and inclusive politics of memory as an intrinsic element of cityscapes of Prague and Tallinn where some of the controversial monuments connected with the Soviet occupation have been removed. Russia’s reaction to these changes reveals an inherently vulnerable nature of its aesthetic hegemony which is deeply dependent on recognition of the absolute nature of its historical truth that the monuments are supposed to embody.

Le Benevole. Riflessioni su storia e letteratura

2009 ◽  
pp. 93-109
Author(s):  
Pierre-Emmanuel Dauzat
Keyword(s):  
Key Words ◽  
Greek Tragedy ◽  
European Countries ◽  
History And Literature ◽  
Historical Truth ◽  
The Relationship ◽  
New Phase ◽  
Looking Back

- In Les Bienveillantes. Reflections on History and Literature Pierre-Emmanuel Dauzat discusses the relationship between history and literature on the Shoah, in particular through an analysis of Jonathan Littells highly successful novel, published initially in France and translated in other European countries. Looking back at earlier books on the same theme that failed to attract any attention, he concludes that Littells novel marks a new phase, with the Shoah seen through the person of the «executioner». Morbid or voyeuristic insistence on violence, like instrumental use of music or Greek tragedy, risks reducing the Shoah yet again to a commonplace, without respect for the historical truth and hence for the memory of the victims.Key words: Literature, Nazism, Shoah, witnesses.Parole chiave: Letteratura, nazismo, Shoah, testimoni.

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