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History --- Film --- Motion pictures and history --- Historical films --- History and criticism --- Motion pictures and history. --- History and criticism. --- #SBIB:309H1326 --- film --- geschiedenis --- film en geschiedenis --- historische films --- documentaires --- historische documentaires --- 791.43 --- 791.43-24 --- 791.43-24 Historische films --- Historische films --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- History and motion pictures --- Moving-pictures and history --- Historical films - History and criticism

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In Revisioning History thirteen historians from around the world look at the historical film on its own terms, not as it compares to written history but as a unique way of recounting the past. How does film construct a historical world? What are the rules, codes, and strategies by which it brings the past to life? What does that historical construction mean to us? In grappling with these questions, each contributor looks at an example of New History cinema. Different from Hollywood costume dramas or documentary films, these films are serious efforts to come to grips with the past; they have often grown out of nations engaged in an intense quest for historical connections, such as India, Cuba, Japan, and Germany. The volume begins with an introduction by Robert Rosenstone. Part I, "Contesting History," comprises essays by Geoff Eley (on the film Distant Voices, Still Lives), Nicholas B. Dirks (The Home and the World), Thomas Kierstead and Deidre Lynch (Eijanaika), and Pierre Sorlin (Night of the Shooting Stars). Contributing to Part II, "Visioning History," are Michael S. Roth (Hiroshima Mon Amour), John Mraz (Memories of Underdevelopment), Min Soo Kang (The Moderns) and Clayton R. Koppes (Radio Bikini). Part III, "Revisioning History" contains essays by Denise J. Youngblood (Repentance), Rudy Koshar (Hitler: A Film from Germany), Rosenstone (Walker), Sumiko Higashi (Walker and Mississippi Burning), and Daniel Sipe (From the Pole to the Equator).

Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- #SBIB:309H1328 --- Films met een ideologische en spiegelfunctie --- #SBIB:309H1329 --- History and motion pictures --- Moving-pictures and history --- History --- Films met een informatieve functie (met inbegrip van de documentaire film) --- Motion pictures and history. --- Cinéma et histoire --- Animal Farm. --- Another Country. --- Barry Lyndon. --- Casablanca. --- Gilda. --- Heart of Spain. --- Holiday Camp. --- Kind of Loving. --- Last Tango in Paris. --- Life Is Sweet. --- Madonna and Child. --- Masterpiece Theater. --- Night of the Shooting Stars. --- One Way or Another. --- Other Francisco. --- Rain Man. --- Rybakov. --- Sid and Nancy. --- Star Trek. --- Three Daughters. --- Trip. --- Triumph of the Will. --- Vengeance Is Mine. --- White Mischief. --- Yojimbo. --- paisan. --- the Bodyguard.

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Can filmed history measure up to written history? What happens to history when it is recorded in images, rather than words? Can images convey ideas and information that lie beyond words? Taking on these timely questions, Robert Rosenstone pioneers a new direction in the relationship between history and film. Rosenstone moves beyond traditional approaches, which examine the history of film as art and industry, or view films as texts reflecting their specific cultural contexts. This essay collection makes a radical venture into the investigation of a new concern: how a visual medium, subject to the conventions of drama and fiction, might be used as a serious vehicle for thinking about our relationship with the past.Rosenstone looks at history films in a way that forces us to reconceptualize what we mean by "history." He explores the innovative strategies of films made in Africa, Latin America, Germany, and other parts of the world. He journeys into the history of film in a wide range of cultures, and expertly traces the contours of the postmodern historical film. In essays on specific films, including Reds, JFK, and Sans Soleil, he considers such issues as the relationship between fact and film and the documentary as visionary truth.Theorists have for some time been calling our attention to the epistemological and literary limitations of traditional history. The first sustained defense of film as a way of thinking historically, this book takes us beyond those limitations.

791.43 --- #SBIB:309H1326 --- #SBIB:309H1329 --- #SBIB:93H1 --- #SBIB:AANKOOP --- #SBIB:309H521 --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Films met een informatieve functie (met inbegrip van de documentaire film) --- Geschiedwetenschap. Hulpwetenschappen van de geschiedenis --- Audiovisuele communicatie: inhoudsanalyse: onderzoekingen --- #A9801H --- Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Robert A. Rosenstone --- film en geschiedenis --- Historical films --- Motion pictures and history --- History and motion pictures --- Moving-pictures and history --- History --- History and criticism --- film --- filmgeschiedenis --- Film --- Motion pictures and history. --- History and criticism. --- Cinéma et histoire --- Films historiques --- Histoire et critique --- Historical films - History and criticism

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Reed, John.

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Bohemianism --- Revolutionaries --- Journalists --- Communists --- History --- Biography --- Biography --- Biography --- Reed, John,