“It came from me” – Māori representation in Ramai Te Miha Hayward’s authorship

<p>Addressing the critical question of authorship in historical film, this thesis considers Ramai Te Miha Hayward’s works dealing with Māori and Pākehā intercultural representations. During a time when Māori in film were severely underrepresented, Te Miha Hayward prioritised Māori perspectives in The Arts of Maori Children (1962) and Eel History was a Mystery (1968), subversively critiquing the continuation of assimilationist integration policy. These contributions, and Te Miha Hayward’s extensive interviews and unpublished manuscripts, shed light on the change in intercultural representations between Rewi’s Last Stand (1940) and To Love a Maori (1972), feature films that entail romance narratives. Te Miha Hayward’s positionality is key to each chapter’s methodology, locating her voice in extensive primary and secondary materials. This work challenges the debate around film’s value as a source of history, engaging at an intersection of disciplines. The analysis of Rewi’s Last Stand interprets its narrative text and Te Miha Hayward’s paratextual discussion through mana wāhine and kaupapa Māori theories. Such interpretation looks beyond the finished text, to Te Miha Hayward’s affirmation of its historical relevance. Connecting her work with the social realism genre, To Love a Maori’s dual narrative speaks to Māori and Pākehā audiences in different ways, further criticizing assimilation and Pākehā discrimination towards Māori. Navigating the issues of authorial ambiguity is central to locating Te Miha Hayward’s voice, thereby illuminating her authorship. Hence, I argue her contribution to Māori representation in film demonstrates her self-determination as a filmmaker.</p>

“It came from me” – Māori representation in Ramai Te Miha Hayward’s authorship

<p>Addressing the critical question of authorship in historical film, this thesis considers Ramai Te Miha Hayward’s works dealing with Māori and Pākehā intercultural representations. During a time when Māori in film were severely underrepresented, Te Miha Hayward prioritised Māori perspectives in The Arts of Maori Children (1962) and Eel History was a Mystery (1968), subversively critiquing the continuation of assimilationist integration policy. These contributions, and Te Miha Hayward’s extensive interviews and unpublished manuscripts, shed light on the change in intercultural representations between Rewi’s Last Stand (1940) and To Love a Maori (1972), feature films that entail romance narratives. Te Miha Hayward’s positionality is key to each chapter’s methodology, locating her voice in extensive primary and secondary materials. This work challenges the debate around film’s value as a source of history, engaging at an intersection of disciplines. The analysis of Rewi’s Last Stand interprets its narrative text and Te Miha Hayward’s paratextual discussion through mana wāhine and kaupapa Māori theories. Such interpretation looks beyond the finished text, to Te Miha Hayward’s affirmation of its historical relevance. Connecting her work with the social realism genre, To Love a Maori’s dual narrative speaks to Māori and Pākehā audiences in different ways, further criticizing assimilation and Pākehā discrimination towards Māori. Navigating the issues of authorial ambiguity is central to locating Te Miha Hayward’s voice, thereby illuminating her authorship. Hence, I argue her contribution to Māori representation in film demonstrates her self-determination as a filmmaker.</p>

The Moldovan film Balada haiducească (Outlaw Ballad): the Phenomenon of Innovation through Tradition

The polemical character of the paper is explained by the need to reconsider the generative factors in the configuration of the new cinematic wave of the “thaw” era. Unlike the popular postulate, the author launches the novel conception: the change in the face of Soviet cinema is entirely due to the ideational-aesthetic performances of the most ideologized genre of historical film, the historical-revolutionary one. Namely in the films, dedicated to the Russian revolution, there happened a reversal of values of the existential equations: “man – history”, “individual – collective”, “general – human-soviet”. Appealing to the generous virtualities of the mythical-archetypal analysis, we specified the change of the vector of cinematographic knowledge in the Balada haiducească/Outlaw Ballad by updating the patterns of the mythical-folkloric complex as the millennial censorship of the nation. Assigning the inspired cinematographic work both to the context of the “thaw” era and to that of the exponential Balkan genre – the film with outlaws, the singularity of the local discourse inscribed in the identity grid of the neo-romantic type was stated

Enjoy FFD

From the subject Fundamentals of Fashion Design (FFD), first year first term of the Degree in Fashion Industry Management of the UDC we aspire the enjoyment of the student is an effective tool to achieve the established competencies. With a profile that approaches to studies from a business vision, the subjects working under the design world need an impulse to catch their attention and interest, handling in the importance of the coherence between thought and design deepening the importance of coherence between thoughts and design. In the first three editions of the degree the role game has been used as a strategy to promote their commitment, so entitled Ferrol Fashion Show, Premier and Gala, group activities have been proposed to guaranteed it. They consisted of assuming the role of a fashion company that deals with the launch of a collection or a historical film, or the design of a virtual gala. They developed works hybridizing individual activities, for the construction of a personal booklet, and group commissions to achieve a final presentation, as a large collective event extended by all the physical or virtual spaces, which became the main objective and milestone of the course. The process has been tested useful and effective, in order to achieve the planned objectives.

same way you became Cesar."

In this essay, we debate the image of the Roman Empire represented in films produced by mainstream Hollywood cinema, whose Jewish-Christian ideological matrix placed Rome as the image of evil instead of an excellent idea in the North American version. In contrast, we will analyze Fellini's film Satyricon, which, distanced from the conventions of the historical film produced during the Cold War, created a dreamlike image of Rome and its Empire. Secondly, we will see the historical context of Petronius' work situated at the end of the reign of Emperor Nero. At the time, diversified sexuality presented man's power as a phallic power, which penetrates and rapes as a supremacy strategy. The Emperor is an actor-governor employing wiles and violence to reach the throne and maintain himself there. Petronius portrays the emergence of a new female sensuality whose morals oscillated between Vestal's virginal purity, the wife's pudititas, and sexual bestiality. At the same time, Fellini's film recreates the cultural environment of the classical world shaped by literature and the image of the city of Rome as Cosmopolis or Anthopolis. The ambiguous characters move freely and incessantly through the corners of the Roman Empire. The struggle for power and the representations of pagan religiosity show human beings surrendered to their cunning as a strategy for survival and overcoming existential evils. In conclusion, we will see that both works, Petronius' Satyrica and Fellini's Satyricon, present themselves with their independent and intertwined narratives, composing the account of a journey like the Odyssey, metaphor of the incompleteness of human life and the impermanence of the sexual pleasure and the transience of power.

Liat Steir-Livny, Remaking Holocaust Memory: Documentary Cinema by Third-Generation Survivors in Israel. Syracuse: Syracuse University Press, 2019. 376 pp.

This chapter assesses Liat Steir-Livny's Remaking Holocaust Memory (2019). This book is the first comprehensive English-language study of the Israeli Third-Generation engagement with the history of the Shoah in documentary films. In analyzing “how Third-Generation documentaries provide new ideas and concepts to commemorate and preserve the memory for future generations,” Steir-Livny contrasts Third-Generation documentary films with the works of second-generation directors and explores an extensive number of films in five key areas. These key areas include the role of gender; the changing attitudes toward Germany; the use and exploration of historical film footage in Third-Generation documentary films; the function of testimonies that feature in Third-Generation documentaries “in more complex ways”; and the representation of perpetrators and bystanders in Third-Generation films. Throughout her study, Steir-Livny discusses the documentaries against the background of documentary film theories, on the one hand, and Israeli/Zionist Holocaust memory, on the other.

“Self-testimony of a Past Present”: Reuses of Historical Film Documents

Has the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich “Fritz” Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the “Hindenburg disaster.” This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image.