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Motion pictures and history --- Historical films --- Documentary films --- Cinéma et histoire --- Films historiques --- Documentaires --- History and criticism --- Histoire et critique --- Histoire --- --Historien --- --Expression --- --Écriture --- --Cinéma --- --History and criticism --- Cinéma et histoire --- Historical films - History and criticism --- Historien --- Expression --- Écriture --- Cinéma --- Acqui 2006

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In Unspeakable Histories, William Guynn focuses on the sensation of encountering past events through film. Film is capable, he argues, of triggering moments of heightened awareness in which the barrier between the past and the present can fall and the reality of the past we thought lost can be momentarily rediscovered in its material being. In his readings of seven exceptional works depicting twentieth century atrocities, Guynn explores the emotional resonance that still adheres to traumatic historical events. Guynn considers dimensions of experience that historiography leaves untouched. Yaël Hersonski's A Film Unfinished (2010) deconstructs scenes from the Nazi propaganda film Das Ghetto through the testimony of ghetto survivors. Andrzej Wajda's Katyn (2007) revivifies the murder of the Polish officer corps (in which Wajda's father perished) by Stalin's security forces during the Second World War. Andrei Konchalovsky's Siberiade (1979) reimagines the turbulent history of the Soviet Union from the perspective of an isolated Siberian village. Larissa Shepitko's The Ascent (1977) evokes the existential drama Soviet partisans faced during the Nazi occupation. Patricio Guzmán's Nostalgia for the Light (2011) examines the vestiges of human experience, including the scattered remains of Pinochet's victims, alive in the aridity of the Atacama Desert. Rithy Panh's S-21 (2003) reawakens events of the Cambodian genocide through dramatic confrontation with some of its executioners, and Joshua Oppenheimer's The Act of Killing (2012) films the perpetrators of the Indonesian genocide as they restage scenes of killings and torture. Inspired by the work of Walter Benjamin, Frank Ankersmit, Joseph Mali, and Simon Schama, Guynn argues that the film medium, more immediate than language, is capable of restoring the affective dimension of historical experience, rooted in the deepest reaches of our minds.

film --- filmtheorie --- geweld --- trauma --- twintigste eeuw --- eenentwintigste eeuw --- film en geschiedenis --- holocaust --- Hersonski Yaël --- Wajda Andrzej --- Konchalovsky Andrei --- Shepitko Larisa --- Guzman Patricio --- Panh Rithy --- Oppenheimer Joshua --- 791.41 --- Historical films --- Psychic trauma in motion pictures. --- Catastrophical, The, in motion pictures. --- Films historiques --- Traumatisme psychique --- Atrocités --- History and criticism. --- Histoire et critique --- Au cinéma --- Histoire et critique. --- Au cinéma. --- Motion pictures

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Considered by critics to be Stanley Kubrick's masterpiece, Barry Lyndon has suffered from scholarly and popular neglect. Maria Pramaggiore argues that one key reason that this film remains unappreciated, even by Kubrick aficionados, is that its transnational and intermedial contexts have not been fully explored. Taking a novel approach, she looks at the film from a transnational perspective -- as a foreign production shot in Ireland and an adaptation of a British novel by an American director about an Irish subject. Pramaggiore argues that, in Barry Lyndon, Kubrick develops his richest philoso

Barry Lyndon (Motion picture) --- Historical films --- History and criticism. --- Thackeray, William Makepeace, --- Thackeray, William Makepeace --- Thackeray, W.M. --- Titmarsh, Michael Angelo --- Fitz-Boodle --- Pendennis, Arthur --- Sakkare --- Wagstaff, Theophile --- Yellowplush, Charles James --- Ireland --- In motion pictures. --- Films historiques --- Histoire et critique. --- Film adaptations. --- Barry Lyndon (film) --- Irlande --- Au cinéma. --- Au cinéma.

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Historical films --- Revolutions in motion pictures --- Films historiques --- Révolutions au cinéma --- History and criticism --- Histoire et critique --- sous la direction de Marc Ferro ; textes de Christian Delage et Béatrice Fleury-Vilatte --- film --- filmgeschiedenis --- politiek --- Duitsland --- Frankrijk --- Italië --- Spanje --- Portugal --- Sovjet-Unie --- China --- Verenigde Staten --- Latijns-Amerika --- Japan --- Turkije --- Iran --- Afrika --- Indonesië --- Filippijnen --- Vietnam --- revolutie --- ideologie --- islam --- Polen --- Rusland --- India --- 791.43 --- 791.41 --- Révolutions au cinéma --- Motion pictures

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Films --- Films cinématographiques --- Geschiedenis --- Histoire --- Motion pictures and history --- Cinéma et histoire --- Motion pictures --- Social aspects --- History --- #SBIB:309H1320 --- film --- geschiedenis --- film en geschiedenis --- Antonioni Michelangelo --- Renoir Jean --- holocaust --- 791.41 --- -Motion pictures --- -Cinema --- Feature films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- History and criticism --- History. --- Social aspects. --- -De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Cinéma et histoire --- Motion pictures - Social aspects --- Motion pictures - History --- CINEMA --- CINEMA ET HISTOIRE --- FILMS HISTORIQUES --- HISTOIRE ET CRITIQUE --- HISTORIOGRAPHIE