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History on Film/film on History by Robert A. Rosenstone Pdf
Fictional films tell true historical stories... Film and History is a compelling and unique overview of the cinema and its relationship with history, ranging from the ancient world to the modern day. This is the first book of its kind to offer such a broad historical and theoretical portrayal of the rapidly-growing sub field of history and film. Rosenstone introduces the varieties, types and traditions of historical films made worldwide and sets this against the changing ways in which historians and other public critics debate the portrayal of history in modern film.
On the History of Film Style by David Bordwell Pdf
Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change.
Historical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.
The History on Film Reader by Marnie Hughes-Warrington Pdf
Offers readers an introduction to just under 30 critical and representative writings on the relationship between film and history. These writings represent a combination of insights from film theory, cultural studies, historiography, the history of cinema, and, film promotion and reception.
The ability to view recorded moving pictures has had a major impact on human culture since the development of the necessary technologies over a century ago. For most of this time people have gone to the movies to be entertained and perhaps edified, but in the meantime television, the videocassette recorder (VCR), the digital versatile disk (DVD) player, the personal computer (desktop and laptop), the internet and other technologies have made watching moving pictures possible at home, in the classroom and just about anywhere else. Today, moving images are everywhere in our culture. Every day, moving picture cameras record millions of hours of activity, human and otherwise, all over the world: your cell phone makes a little video of your friends at a party; the surveillance camera at the bank keeps on eye on customers; journalists’ shoulder-carried cameras record the latest from the war zone; and across the world film artists work on all kinds of movies, from low-budget independent projects to the next big-budget Hollywood blockbuster. Moving pictures have had a great influence on human culture, and this book focuses on using moving images as historical evidence. Studying history means examining evidence from the past to understand, interpret and present what has happened in different times and places. We talk and write about what we have learned, hoping to establish credibility both for what we have determined to be the facts and for whatever meaning or significance we may attach to our reconstruction of the past. Studying history is a scientific process, involving a fairly set methodology. We tend to favor written sources, and we have tended to favor writing as a means of presenting our views of the past. But historians also use all kinds of other documents and artifacts in their work of interpreting the past, including moving pictures.
History on Film/film on History by Robert A. Rosenstone Pdf
Fictional films tell true historical stories... Film and History is a compelling and unique overview of the cinema and its relationship with history, ranging from the ancient world to the modern day. This is the first book of its kind to offer such a broad historical and theoretical portrayal of the rapidly-growing sub field of history and film. Rosenstone introduces the varieties, types and traditions of historical films made worldwide and sets this against the changing ways in which historians and other public critics debate the portrayal of history in modern film.
Approaching Recent World History Through Film by Scott C.M. Bailey Pdf
Approaching Recent World History Through Film: Context, Analysis, and Research explores the relationships between twentieth-century world history and film by providing analysis of a diverse range of films organized by global history topics, including war and conflict, decolonization, political economy, and long-distance travel. This insightful text describes how to analyze films as original historical sources and how to carry out research projects using films. The text provides guidance on the types of world history films, their conventions, and how to analyze the historical arguments in movies. Scott C.M. Bailey incorporates in-depth discussions of the historical content and context of a wide range of international films connected with important twentieth-century global history topics. The book also offers many prompts for discussion, historical timelines, and suggestions for further reading and viewing, as well as instructions on how to construct research papers and projects which employ the use of films as historical sources. This book will be of interest to students in world history and film history courses.
The Routledge Companion to Film History by William Guynn Pdf
The Routledge Companion to Film History is an indispensable guide for anyone studying film history for the first time. The approach taken presents a substantial and readable overview of the field and provides students with a tool of reference that will be valuable throughout their studies. The volume is divided into two parts. The first is a set of eleven essays that approaches film history around the following themes: History of the moving image Film as art and popular culture Production process Evolution of sound Alternative modes: experimental, documentary, animation Cultural difference Film’s relationship to history The second is a critical dictionary that explains concepts, summarizes debates in film studies, defines technical terms, describes major periods and movements, and discusses historical situations and the film industry. The volume as a whole is designed as an active system of cross-references: readers of the essays are referred to dictionary entries (and vice versa) and both provide short bibliographies that encourage readers to investigate topics.
A Short History of Film, Third Edition by Wheeler Winston Dixon,Gwendolyn Audrey Foster Pdf
With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.
Rosenstone investigates how a visual medium, subject to conventions of drama and fiction, might be used as a serious vehicle for thinking about our relationship with the past. Employing such films as Reds, JFK, and Sans Soleil, he considers issues like the rapport between fact and film and the documentary as visionary truth.
Although precise definitions have not been agreed on, historical cinema tends to cut across existing genre categories and establishes an intimidatingly large group of films. In recent years, a lively body of work has developed around historical cinema, much of it proposing valuable new ways to consider the relationship between cinematic and historical representation. However, only a small proportion of this writing has paid attention to the issue of genre. In order to counter this omission, this book combines a critical analysis of the Hollywood historical film with an examination of its generic dimensions and a history of its development since the silent period. Historical Film: A Critical Introduction is concerned not simply with the formal properties of the films at hand, but also the ways in which they have been promoted, interpreted and discussed in relation to their engagement with the past.
Author : Thomas S. Freeman,David L. Smith Publisher : Springer Nature Page : 336 pages File Size : 46,6 Mb Release : 2019-10-14 Category : History ISBN : 9783319894089
Biography and History in Film by Thomas S. Freeman,David L. Smith Pdf
The essays in this volume seek to analyze biographical films as representations of historical individuals and the times in which they lived. To do this, contributors examine the context in which certain biographical films were made, including the state of knowledge about their subjects at that moment, and what these films reveal about the values and purposes of those who created them. This is an original approach to biographical (as opposed to historical) films and one that has so far played little part in the growing literature on historical films. The films discussed here date from the 1920s to the 2010s, and deal with males and females in periods ranging from the Middle Ages to the end of the twentieth century. In the process, the book discusses how biographical films reflect changing attitudes towards issues such as race, gender and sexuality, and examines the influence of these films on popular perceptions of the past. The introduction analyses the nature of biographical films as a genre: it compares and contrasts the nature of biography on film with written biographies, and considers their relationship with the discipline of history. As the first collection of essays on this popular but understudied genre, this book will be of interest to historians as well as those in film and cultural studies.
World War II, Film, and History by John Whiteclay Chambers II,David Culbert Pdf
The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."
