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Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- Historical films --- Motion pictures and history. --- Films historiques --- Cinéma et histoire --- History and criticism. --- Histoire et critique --- United States --- History and criticism

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Obwohl Alain Resnais (1922?2014) zu den bekanntesten "Autorenfilmern" seiner Generation zählt, scheint er doch einer autorenzentrierten Annäherung an sein Werk zu trotzen. So unterschiedlich sind seine Filme über einen Zeitraum von fast sieben Jahrzehnten hinweg.0Alain Resnais selbst bezeichnet Film als eine Form der "bricolage", eine Bastelei, die verschiedenste Dinge und vorgefundene Materialien miteinander vermischt und etwas Neues daraus entstehen lässt. Auch wenn er sich in den letzten Jahren seines Filmschaffens dem Boulevardtheater und der Operette zugewandt hat, bleibt sein Name mit einer Reihe von tief in der traumatischen Geschichte des 20. Jahrhunderts verwurzelten Filmen wie "Nuit et brouillard" (1955) oder "Hiroshima mon amour" (1959) verbunden. Ab den 1980er Jahren beginnt er mit einem festen Ensemble von Schauspielern zu arbeiten, deren Gesichter zu Markenzeichen der dem Boulevardtheater verpflichteten "Comédie Resnais" geworden sind. Was jedoch alle seine Filme prägt, ist die nonchalante Ununterscheidbarkeit, wenn es um Hochkultur und Populärkultur geht. Resnais schert sich nicht um Genrekonventionen, daher vermögen seine Filme das Publikum gleichzeitig zu unterhalten und zu irritieren.

Cinéma --- Histoire au cinéma. --- History in motion pictures. --- Motion picture producers and directors --- Motion picture producers and directors. --- Motion pictures --- Motion pictures. --- Producteurs et réalisateurs de cinéma --- Histoire --- History --- Resnais, Alain, --- France.

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History --- Historiography. --- History in motion pictures. --- History in literature. --- History in popular culture. --- Histoire --- Historiographie --- Histoire au cinéma --- Histoire dans la littérature --- Histoire dans la culture populaire --- Philosophy. --- Philosophie --- Histoire au cinéma --- Histoire dans la littérature --- Littérature et histoire --- Cinéma et histoire --- Représentations sociales --- Literature and history. --- Motion pictures and history. --- Social representations. --- Historiography --- Littérature et histoire. --- Cinéma et histoire. --- Représentations sociales. --- Historiographie. --- Littérature et histoire. --- Cinéma et histoire. --- Représentations sociales.

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History as a science --- World history --- Cinéma et histoire --- Evenementen (Geschiedenis) --- Event history analysis --- Faits (Histoire) --- Faits historiques --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Histoire événementielle --- Motion pictures and history --- Traumatisme historique --- Événement --- Événement (Histoire) --- Événement historique --- Événementiel --- Événements --- History --- Photography in historiography --- Histoire --- Photographie en historiographie --- Histoire universelle --- Methodology --- Pictorial works --- Sources --- Evaluation --- Méthodologie --- Ouvrages illustrés --- Kunsttheorie ; visuele beelden als historisch materiaal --- Fotografie ; in historiografie --- Iconografie ; iconologie --- 7.01 --- Kunst ; theorie, filosofie, esthetica --- Méthodologie --- Ouvrages illustrés --- Pictorial works. --- Evaluation.

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In the aftermath of the Holocaust, the Rodney King beating, the O.J. Simpson trial, what is to count as history, and how can it be recounted? 'The Persistence of History' is an anthology of essays from major film scholars and historians which focuses on a radical contemporary challenge to historical representation in film. This challenge is brought about by what the collection terms "the modernist event"--novel historical occurrences unthinkable before the 20th century and raised to visibility, if not intelligibility, through the mass mediations of film and television. Contributors to 'The Persistence of History' look at how moving image has not only challenged, but completely altered, traditional modes of historical thought and representation. Exploring a range of film and video texts, from 'The Ten Commandments' to the Rodney King video, from the projected work of documentarian Errol Morris to Oliver Stone's 'JFK' and Steven Spielberg's'Schindler's List', the volume asks what are the appropriate forms of media for making the incoherence and fragmentation of contemporary history intelligible and meaningful? At a moment when History is said to be at an "end," why are more people than ever fascinated by "the historical"--defined as the possibility of being "in" a historical event that is documented, validated, if not invented, through mass media simply by viewing it? By focusing on the relationship between historical events and historiography, the essays in 'The Persistence of History' address this question as well as such issues as 'ennui' and boredom, national identity, violence, and the "ownership" of history. Contributors: Robert Burgoyne, Thomas Elsaesser, Sumiko Higashi, Bill Nichols, Patrice Petro, Dana Polan, Shawn Rosenheim, Robert Rosenstone, Janet Staiger, Frank Tomasulo, Hayden White, Denise Youngblood.

Motion pictures and history. --- Television and history. --- World history --- Film --- Mass communications --- Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- Televisie en geschiedenis --- Television and history --- Télévision et histoire --- #SBIB:309H1320 --- History and television --- History and motion pictures --- Moving-pictures and history --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Cinéma et histoire --- Télévision et histoire --- History --- Cinéma et histoire. --- Télévision et histoire. --- Cinéma et histoire. --- Télévision et histoire.