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.

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 Memories of cinemagoing and film experience: An introduction

2017 ◽  
Vol 10 (1) ◽  
pp. 3-16 ◽  
Author(s):  
Annette Kuhn ◽  
Daniel Biltereyst ◽  
Philippe Meers
Keyword(s):  
Collective Memory ◽  
Film Studies ◽  
Memory Studies ◽  
Special Issue ◽  
Methodological Issues ◽  
The Past ◽  
Historical Film ◽  
Film Experience ◽  
Future Work ◽  
The Relationship

Over the past two decades, the relationship between cinema and memory has been the object of increasing academic attention, with growing interest in film and cinema as repositories for representing, shaping, (re)creating or indexing forms of individual and collective memory. This Special Issue on memory and the experience of cinemagoing centres on the perspective of cinema users and audiences, focusing on memories of films, cinema and cinemagoing from three continents and over five decades of the twentieth century. This introduction considers the relationship between memory studies and film studies, sets out an overview of the origins of, and recent and current shifts and trends within, research and scholarship at the interface between historical film audiences, the cinemagoing experience and memory; and presents the articles and reviews which follow within this frame. It considers some of the methodological issues raised by research in these areas and concludes by looking at some of the challenges facing future work in the field.

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.

Epilogue

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Analytical Framework ◽  
Technological Innovations ◽  
Book Production ◽  
Film Production ◽  
Text Production ◽  
Look Back ◽  
Key Concepts ◽  
Digital Film

This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices. This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft. The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.

The Chinese Communist Party and International Affairs: A Field Report on New Historical Sources and Old Research Problems

1990 ◽  
Vol 122 ◽  
pp. 258-272 ◽  
Author(s):  
Michael H. Hunt ◽  
Odd Arne Westad
Keyword(s):  
Communist Party ◽  
Foreign Relations ◽  
Chinese Communist Party ◽  
Research Strategy ◽  
International Affairs ◽  
Historical Sources ◽  
The Past ◽  
Research Problems ◽  
The Chinese Communist Party ◽  
Field Report

Conditions for research on the foreign relations of the Chinese Communist Party (CCP) have changed dramatically over the past decade in ways that deserve underscoring as well as applauding. Those changes now make possible a more wide-ranging research strategy one that includes inner-Party documents, memoirs from abroad range of prominent Party personalities, and articles and books based on privileged access to archives and interviews with individual leaders. These kinds of materials can today be set alongside those long-time staples of research, the contemporary Party press and the selected works of Party leaders.Thus armed with greater evidence than ever before, the students of the CCP can now advance towards a broader and deeper understanding of the Party's foreign relations. Certainly, there is nothing equivalent in fullness or ease of access to the U.S. Department of State's documentary series, and the likelihood of being able to walk into the Central Party Archives in Beijing to ask for documents 30 years old or even older as one can do at the Public Records Office in London is still but a hopeful glimmer in the scholar's eye. But compared to the extremely limited opportunities of the past, a new era is here. This survey is intended to draw attention to new sources and old problems in the study of the CCP's international relations, and to serve as a guide for those interested in moving into that field of research.This report is based on impressions and materials collected in China during the spring and summer of 1989.

scholarly journals Peer Holm Jorgensen’s work, The Missing History: Based on the True Story of Dewa Soeradjana

2021 ◽  
Vol 4 (1) ◽  
pp. 109-120
Author(s):  
I Ketut Ardhana
Keyword(s):  
Minority Groups ◽  
Historical Period ◽  
New Order ◽  
Contemporary History ◽  
Historical Sources ◽  
History Writing ◽  
Reform Era ◽  
True Story ◽  
Majority Group ◽  
The Times

This article was originally a paper when the author was asked to discuss Peer Holm Jorgensen’s work, The Missing History: Based on the True Story of Dewa Soeradjana, which was organized by the Bali Study Center-Udayana University in collaboration with Bentara Budaya. The title given by the author in connection with the discussion of the contents of the book is assesing the Witness of a Person in History Before the Events of September 30, 1965. It should be noted that until now, the development of Indonesian historiography is still far from the expectation of writing a complete and comprehensive history. This is because in addition to the limited historical sources available relating to the periods made in the writing of Indonesian history itself, such as between the classical historical period, modern history and contemporary history which entered into the realm of cultural studies as the post-modern era. The existence of gaps between these periods, especially in the post-revolutionary period, seems to be caused by the spirit of the times that developed after the end of the New Order era, where there was a demand for a forward total history writing. This means that there is now a demand for an open history writing, without any cover-up, so that Indonesian society in general and historians (professional historians), history enthusiasts, amateur historians, and students will be able to fully understand the history of their nation. The hope that this demand will get a chance, now that the New Order regime which ruled for more than 32 years in a centralized and authoritarian manner has ended. The hopes include the need to represent studies related to the demands of the reform era which want transparency, accountability, openness and provide defense to minority groups, and marginalized people as a result of policies that benefit the majority group. This condition gave the majority group an opportunity to legitimize its power, various strategies are carried out so that it was hoped that it would not provide opportunities for political groups or opponents to defend themselves.

scholarly journals Historia i metoda. O książce Piotra Witka "Andrzej Wajda jako historyk. Metodologiczne studium z historii wizualnej", Lublin 2016, ss. 712

2018 ◽  
Vol 39 ◽  
pp. 165-172
Author(s):  
Aleksandra Idczak
Keyword(s):  
Film Studies ◽  
Methodological Study ◽  
Historical Sources ◽  
Main Concept ◽  
The Past ◽  
Feature Films ◽  
Andrzej Wajda ◽  
Broad Interest ◽  
Shed Light ◽  
Visual History

HISTORY AND METHOD. ON PIOTR WITEK’S BOOK ANDRZEJ WAJDA AS A HISTORIAN. METHODOLOGICAL STUDY OF VISUAL HISTORY, LUBLIN 2016, 712 PP.The review aims to shed light on the methodological concepts proposed in Piotr Witek’s book, and consider the possibility of applying them to the film studies. The reviewer highlights the book’s main concept, which is depicting Andrzej Wajda as a historian and treating his artistic works feature films, documentaries and TV Theatre as historical sources. This approach bases on visual history. In the paper the reviewer talks over the broadening of the frames of historiography done by Witek, and justifies this gesture as a well based on methodological roots of poststructuralism. Witek shows a broad interest in Wajda’s ways of understanding history, his philosophical assumptions, and the issue of artistics tools used in Wajda’s works about the past events. Apart from the reliable analysis of Wajda’s films, discussed book endeavor to build a conceptual platform, on which history and film studies might meet. Unfortunately, it turns out that the latter is dominated in Witek’s methodological concept.

PENAL SERVITUDE (KATORGA) AND EXILE IN 60 - 70TH YEARS OF THE 19TH CENTURY. GENERAL CRIMINAL LAWS AND REGULATIONS ON POLITICAL EXILES

2021 ◽  
pp. 55-65
Author(s):  
Aleksei S. Gulin ◽  
Keyword(s):  
19Th Century ◽  
Legal Regulation ◽  
Reform Era ◽  
Legal Norms ◽  
The Past ◽  
Reform Period ◽  
Legislative Regulation ◽  
The Times ◽  
The 19Th Century ◽  
Laws And Regulations

The article considers an issue of legislative regulation of political penal servitude and exile to Siberia on the example of the post-reform period in the 60–70s of the 19th century. in the dichotomy of general criminal laws and rules about political exiles. The author proves in the article that the interpretation of the Siberian exile by the past and present historians of the forms and methods of legal regulation, the prevailing views and assessments by researchers of the legal norms value are far from the realities of the times of political penal servitude and exile in the post-reform era.

scholarly journals Architectural space of Jan Rybkowski’s Warszawska premiera and Aleksander Ford’s Młodość Chopina. The film vision of 19th-century cities in the times of socialist realism

2019 ◽  
Vol 22 (31) ◽  
pp. 5-12
Author(s):  
Piotr Kurpiewski
Keyword(s):  
19Th Century ◽  
Socialist Realism ◽  
Architectural Space ◽  
The Past ◽  
Film Images ◽  
Historical Accuracy ◽  
Historical Films ◽  
Similar Character ◽  
Architectural Principles ◽  
The Times

Two Polish historical films set in 19th-century cities were created. The paper analyzes film images of Warsaw, Paris and Vienna. For the needs of Warszawska premiera [Warsaw Première] and especially Młodość Chopina [Youth of Chopin] impressive sets of 19th-century cities were built in an atelier in Łódź. The author presents the main architectural principles behind these visions and points to the problems faced by the artists who wanted to create a credible and convincing illusion of the past. The films of socialist realism are today a peculiar souvenir of the Stalinist culture with its brazen propaganda message. It is, however, worth noting that the staging and decorations in the films depicting the past were created with great historical accuracy and some of the solutions applied during the production of Warsaw Première and Youth of Chopin were a great hint for later films of a similar character.

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