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Contested interpretations of the past in Polish, Russian, and Ukrainian film : screen as battlefield
\"Questions of collective identity and nationhood dominate the memory debate in both the high and popular cultures of postsocialist Russia, Poland and Ukraine. Often the \"Soviet\" and \"Russian\" identity are reconstructed as identical; others remember the Soviet regime as an anonymous supranational \"Empire\", in which both Russian and non-Russian national cultures were destroyed. At the heart of this \"empire talk\" is a series of questions pivoting on the opposition between constructed 'ethnic' and \"imperial\" identities. Did ethnic Russians constitute the core group who implemented the Soviet Terror, e.g. the mass murders of the Poles in Katyn and the Ukrainians in the Holodomor? Or were Russians themselves victims of a faceless totalitarianism? The papers in this volume explore the divergent and conflicting ways in which the Soviet regime is remembered and re-imagined in contemporary Russian, Polish and Ukrainian cinema and media.\"--Page 4 of cover.
Book
Contested Interpretations of the Past in Polish, Russian, and Ukrainian Film
Questions of collective identity and nationhood dominate the memory debate in both the high and popular cultures of postsocialist Russia, Poland and Ukraine. Often the 'Soviet' and 'Russian' identity are reconstructed as identical; others remember the Soviet regime as an anonymous supranational 'Empire', in which both Russian and non-Russian national cultures were destroyed. At the heart of this 'empire talk' is a series of questions pivoting on the opposition between constructed 'ethnic' and 'imperial' identities. Did ethnic Russians constitute the core group who implemented the Soviet Terror, e.g. the mass murders of the Poles in Katyn and the Ukrainians in the Holodomor? Or were Russians themselves victims of a faceless totalitarianism? The papers in this volume explore the divergent and conflicting ways in which the Soviet regime is remembered and re-imagined in contemporary Russian, Polish and Ukrainian cinema and media.
eBook
Postwall German cinema
Since the fall of the Berlin Wall, there has been a proliferation of German historical films. These productions have earned prestigious awards and scored at box offices both at home and abroad, where they count among the most popular German films of all time. Suddenly, however, a significant departure has been made from the country's prominent cinematic take on history: the radical style, content, and politics of the New German Cinema. With in-depth analyses of the major trends and films, this book represents a comprehensive assessment of the historical film in postwall Germany. Challenging previous paradigms, it takes account of a postwall cinema of retro-flection as a complex engagement with various historiographical forms and, above all, with film history itself.
eBook
Making History Move
Making History Move: Five Principles of the Historical Film builds upon decades of scholarship investigating history in visual culture by proposing a methodology of five principles to analyze history in moving images in the digital age. It charts a path to understanding the form of history with the most significant impact on public perceptions of the past. The book develops insights across these fields, including philosophical considerations of film and history, to clarify the form and function of history in moving images. It addresses the implications of the historical film on public historical consciousness, presenting criteria to engage and assess the truth status of depictions of the past. Each chapter offers a detailed aspect of this methodology for analyzing history in moving images. Together, they propose five principles to organize past and future scholarship in this vital, interdisciplinary field of study.
eBook
Heritage Film Audiences
The concept of 'heritage cinema' is now firmly established as an
influential - as well as much-debated and contested - critical
framework for the discussion of period or historical representation
in film, most prominently with reference to British heritage and
'post-heritage' film successes since the 1980s, but also to
comparable examples from Europe, North America and beyond. These
successes have ranged from Merchant Ivory's A Room with a
View , Maurice , Howards End and The
Remains of the Day , via Jane Austen adaptations such as Ang
Lee's Sense and Sensibility to post-heritage adaptations
such as Sally Potter's Orlando . Yet the very idea of the
heritage film has rested on untested assumptions about its
audiences.
This book breaks significant new ground in the scholarship on
contemporary period films, and makes a distinctive new contribution
to the growing field of film-audience studies, by presenting the
first empirically based study of the audiences for quality period
films. Monk engages directly with two highly contrasting sections
of these audiences, surveyed in the UK in the late 1990s, to
explore their identities, their wider patterns of film taste, and
above all their attitudes and pleasures - in relation to the period
films they enjoy, and on issues central to debates around the
heritage film, literary adaptation and cultural value - with
illuminating and unpredicted results.
eBook
Figuring the past
This innovative analysis of period film presents a new way to examine the ways in which contemporary cinema recreates the historical past. Exploring the relationship between visual motifs and cultural representation, Figuring the Past is a selection of detailed case studies that explore three key figures—the house, the tableau, and the letter. Belen Vidal proposes a new aesthetic framework for the study of period film, looking at a number of important auteurs in the genre, including James Ivory, Martin Scorsese, and Jane Campion. This handsomely illustrated book seeks to position this popular but often understudied genre in its proper place within the academic discipline of cinema studies.
eBook