scholarly journals “New Drama” in the Context of the Historical Film

2018 ◽  
Vol 10 (2) ◽  
pp. 142-151
Author(s):  
Lydia V Kuzmina
Keyword(s):  
Historical Event ◽  
The Past ◽  
Cultural Phenomenon ◽  
Historical Film ◽  
Historical Films ◽  
Russian Cinema ◽  
Social Theater ◽  
New Drama ◽  
Philosophical Understanding ◽  
The Revolution

The article is devoted to the cultural phenomenon of the "new drama", which since its the beginning of the 2000s up to present day has a significant impact on the Russian cinema. The authors of the trend, first of all, are close to the theme of contemporaneity. However, while seeking for a holistic, philosophical understanding of time, they turn to the past. One of the most important historical films that appeared in the circle of the "new drama" were the TV-series The Diary of the Murderer (2002) by Kirill Serebrennikov, staged according to the scenario of the famous playwrights of the post -Vampilov wave Nina Sadur, Elena Gremina, Mikhail Ugarov. The creators of the picture offered their understanding of the revolution: they believe that this historical event was a diabolical game in which the notions of humanity and morality were destroyed. Kirill Serebrennikov masterfully presented their idea, using the techniques of postmodernist deconstruction: playing with the usual cultural cliches, particularly cinema (the heroic image of the commissar and the like), the director opens up a different sense of images and events behind them. Another important problem that the authors of the series are exploring is the fate of the intelligentsia and its ability to withstand the catastrophe of the revolution. They come to the sad conclusion that the educated people were too weak and too far from understanding what was happening to resist the morale of the lumpen manifested in the revolution. This understanding of history to some extent determined the approach of the "new drama" to the theme of contemporaneity. Particularly, the ideologists of the trend and the creators of the Theater.doc Elena Gremina and Mikhail Ugarov believe that a modern social theater and cinema will help the cultural layer to soberly look at reality, understand the psychology of the crowd and all the dangers associated with it.

Historical Film

2016 ◽  
Author(s):  
John Trafton
Keyword(s):  
National Identity ◽  
Film Studies ◽  
Historical Memory ◽  
Interesting Case ◽  
Theoretical Frameworks ◽  
The Past ◽  
Historical Film ◽  
Historical Films ◽  
Successive Generations ◽  
Hayden White

From the advent of cinema to the present day, history has been brought to life on screen in many striking ways that have advanced motion picture technology and forged new relationships between viewers and the historical past. Historical films offer a privileged site for scholars of cinema, media, history, and many other disciplines to interrogate a nation’s relationship with the past. How cinema engages with the past, whether recent or distant, provides interesting case studies for how successive generations renegotiate cultural memory and understandings of how the past shapes the present. Historical films can bring into relief hidden or competing histories that either challenge or compliment prevailing narratives and authoritative accounts of the past, asking the viewer to consider the present as being shaped by multiple histories, rather than by one history. Historical films also suggest new ways of understanding the past, and, as a consequence, they also present new ways of understanding the present. Lastly, historical films can perform thought experiments about the past, deliberately departing from the historical print record in order to pose a different set of questions about a nation’s relationship with history. As such, historical films have garnered a tremendous level of scholarly interest, covering a broad range of research foci and subjects that are very useful in expanding discourses on national identity and historical memory. This article seeks to provide academics with ample resources and theoretical frameworks for conducting research on historical films or incorporating aspects of historical film studies into other disciplines. Starting with a general overview and scholarly approaches to historical films, the seminal works of Hayden White, Robert Rosenstone, and Vivian Sobchack are considered alongside newer approaches and scholarly journals, offering the scholar with an array of methodologies for bridging film studies to other fields. The article then examines in greater detail texts and studies concerned with a variety of questions and subissues pertaining to historical film studies—first with how film engages with memory (historical, cultural, personal, and national), then how historical films either interrogate or compound notions of national identity, and then how these ideas are explored in a variety of national and regional contexts. Next, the article turns toward the issues that stem from the scholarly approaches: how historical films can be used as a teaching tool, issues of genre and subgenre taxonomy, and how films themselves act as moments in history. Lastly, the article considers notions of authorship in historical cinema. Since many historical films are helmed by world-renowned filmmakers, the article ends with a section that explores repeated directorial engagements with history as a strong component of auteur cinema.

Voices from the Past – Recent Nordic Historical Films

2015 ◽  
pp. 47-58
Author(s):  
Gunnar Iversen
Keyword(s):  
Subject Matter ◽  
Nordic Countries ◽  
The Past ◽  
Feature Films ◽  
Historical Film ◽  
Historical Films ◽  
Nordic Cinema

Nordic cinema since the 2000s has turned to history to a greater degree than before, employing historical subject matter and settings to entertain, show off costumes and tell stories, but also to contribute with images and sounds to what historian Robert A. Rosenstone calls ‘that larger History . . . that web of connections to the past that holds a culture together, that tells us not only where we have been but also suggests where we are going’. This chapter discusses the connections to the past made by the genre of the historical film. By historical film I mean films that create stories that take place in the past and not the present. The main questions are: How do Nordic filmmakers interpret and construct Nordic history? How do Nordic filmmakers engage with the past? And, what constitutes history for current filmmakers in the Nordic countries? I discuss four different feature films, from four different countries, in order to show the scope of the new Nordic historical film and different varieties of engagement with the past.

scholarly journals MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI

2019 ◽  
Vol 3 (1) ◽  
pp. 33
Author(s):  
Luqman Abdul Hakim
Keyword(s):  
Film Studies ◽  
Film Production ◽  
Historical Sources ◽  
Reform Era ◽  
The Past ◽  
Historical Film ◽  
Historical Films ◽  
Research Problems ◽  
The Times ◽  
Digital Film

In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.

Contemporary Russian cinema and its world contexts

2019 ◽  
Vol 11 (1) ◽  
pp. 38-47
Author(s):  
Olga K. Reisen
Keyword(s):  
Magical Realism ◽  
Franco Regime ◽  
Quarter Century ◽  
New Developments ◽  
Spanish Cinema ◽  
The Past ◽  
World Cinema ◽  
Political Freedoms ◽  
Russian Cinema ◽  
New Drama

The author of the essay examines the main trends in contemporary Russian cinema, correlating them with similar manifestations in world cinema and, simultaneously, tracing the origins of these phenomena to the Soviet cinematic past. Thus, the essays section devoted to the analysis of manifestations of the Aesopian language in cinema, reveals models of the use of metaphors, symbolic allusions, etc., observed in the cinema of the socialist countries or in Spanish cinema under the Franco regime - as ways of countering censorship bans. In this context, it should be noted that these trends became firmly established in the cultures of the mentioned countries and have been preserved in them after the acquisition of political freedoms. The section entitled Utopian Realism vs New Sociality analyses the technique of combining slice-of-life approach with the magic tale canon, opened by American director Frank Capra and screenwriter Robert Riskin in the 1930s, known as utopian realism and widely employed in the Russian cinema of the past quarter century, in particular in the stage-to-screen trend of the New Drama. The essay also looks at forms and methods of the trend of magical realism typical of the turning points in the historical development of different countries and here exemplified by the cultures of Latin America and the Russian cinema of the 1990s. Further, the author analyses the adaptation of Hollywood genre clichs for Russian blockbusters, as well as a more frank representation of social realities in the context of new developments in the sphere of economy.

The Application of Computers to Ship Operations

1972 ◽  
Vol 25 (2) ◽  
pp. 192-192
Keyword(s):  
Operations Research ◽  
Digital Computer ◽  
Traffic Congestion ◽  
Research Unit ◽  
Recent Experience ◽  
Progressive Reduction ◽  
Cargo Handling ◽  
The Past ◽  
Navigational Systems ◽  
The Revolution

A symposium on The Application of Computers to Ship Operations was held at the Department of Navigation, Liverpool Polytechnic, on 1, 2 and 3 March 1971.The symposium was introduced by the Head of the Department, Captain F. L. Main, who briefly reviewed the revolution in world shipping over the past twenty years involving great increases in tonnage, speed of vessels and traffic congestion, accompanied by a progressive reduction in manning scales. This had been made possible by automation and one of its logical consequences was the use of computers both at sea and in port administration. The aim of the symposium was to explore the potential of the digital computer in these fields, to define its possible limitations and to emphasize the need of adequate training for the personnel involved.Of the nine papers presented, four more directly concerned with the application of computers to navigational systems are printed below. Other papers dealt with the application of computers to cargo handling, ships' accountancy and port administration with particular reference to the recent experience of the Mersey Docks and Harbour Board. Captain Holder and Captain Jones are both in the Marine Operations Research Unit at the Liverpool Polytechnic.

Selma and the Place of Fiction in Historical Films

2018 ◽  
Vol 142 (1) ◽  
pp. 91-123
Author(s):  
Jeffrey Knapp
Keyword(s):  
Civil Rights ◽  
Civil Rights Movement ◽  
Voting Rights ◽  
Voting Rights Act ◽  
Hybrid Nature ◽  
Historical Film ◽  
Self Defense ◽  
Historical Films ◽  
Moral Certainty ◽  
Historical Reenactments

Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.

The Formulation of the Declaration of Rights

1974 ◽  
Vol 17 (2) ◽  
pp. 265-279 ◽  
Author(s):  
Robert J. Frankle
Keyword(s):  
Common People ◽  
English Revolution ◽  
The Past ◽  
The Common ◽  
The Revolution

After a period of comparative neglect, historians are re-examining the English Revolution of 1688 with revived interest and revised interpretation. In the past few decades numerous works have carefully re-investigated and often reinterpreted the roles played by such disparate groups as the Whigs, die nobility, the common people, and die urban mob, as well as by such leading individuals as die Earl of Sunderland, James II, and William of Orange. They have broadened our perspective of the Revolution by placing it in die wider context of European affairs and have persuasively demonstrated that die replacement of James II by William and Mary was justified most frequently and effectively not by John Locke's Two Treatises of Government, which was indeed composed prior to 1688, but by mat old relic from James I's reign, divine right of kings.

scholarly journals Modern Historical Film: Genre and Dramaturgic Features

2021 ◽  
pp. 41-48
Author(s):  
O. O. Kosachova
Keyword(s):  
Human Rights ◽  
Historical Context ◽  
Mirror Image ◽  
Academic Disciplines ◽  
Practical Significance ◽  
Historical Drama ◽  
Happy Ending ◽  
Empirical Basis ◽  
Historical Film ◽  
Historical Films

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.

scholarly journals Two Anatolys and One “Angelica”: On the History of the “Southwestern Literary School”

Literary Fact ◽  
2021 ◽  
pp. 280-313
Author(s):  
Alena L. Yavorskaya ◽  
Andrei B. Ustinov
Keyword(s):  
Radical Change ◽  
Cultural Phenomenon ◽  
Cultural Life ◽  
History Of ◽  
The Subject ◽  
Viktor Shklovsky ◽  
Creative Life ◽  
The Revolution

The subject of the paper is the cultural life of Odessa in the 1910s, and the reconstruction of Anatoly Gamma’s biography, who was 21 when he died in the fall of 1918. His creative life was very short, and appeared to be almost a literary hoax. However, Gamma’s poetry reflected a radical change in the artistic paradigm after the Revolution of 1917. Here the authors reprint all the existing Gamma’s poems published in 1917–18 in the Odessa periodicals. After the tragic death of another Odessa poet Anatoly Fioletov at the age of 21, Gamma’s name happened to appear in obituaries dedicated to both poets. One of those memorial articles entitled “On Two Anatolys (Anatoly Gamma, Anatoly Fioletov)” was published in the Kharkov magazine “Muses” under the nom de plume “Angelica d’Éspré,” which the authors decipher in this essay. Most importantly, being associated with Anatoly Fioletov, Eduard Bagritsky and other Odessa poets, Gamma became a part of a cultural phenomenon that was called by Viktor Shklovsky in 1932 the “Southwestern Literary School.”

scholarly journals Le calendrier révolutionnaire de 1793 ou les quatre saisons de la République

2021 ◽  
Vol 48 (1) ◽  
pp. 45-53
Author(s):  
Paweł Matyaszewski
Keyword(s):  
Laws Of Nature ◽  
New Order ◽  
Natural Cycle ◽  
The Past ◽  
The Republic ◽  
The Universe ◽  
New Time ◽  
The Revolution

The authors of the revolutionary calendar, in particular Gilbert Romme and Fabre d’Églantine not only want to put the past behind by implicating a new time and new order but also try to prove the relation between history and nature using the example of the events of the Revolution and their compliance with the laws of the universe. They introduce an innovative nomenclature in order to specify the names of particular days and months but they do not change the natural four-season model of division. The goal of the presented idea is to enrich the natural cycle with a new content expressing the spirit and the objectives of the Republic while following the laws of nature.

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