7 WHY HISTORICAL FILM MATTERS

2021 ◽  
pp. 133-146
Author(s):  
Kellie Carter Jackson
Keyword(s):  
Historical Film

The Historical Film as "A Double-Type Genre" Some Methodological Remarks on the "(Dis)Utility" of Genological Theories in Reflections on the Historical Film

2011 ◽  
Vol 66 (2) ◽  
Author(s):  
Piotr Witek
Keyword(s):  
Historical Film

Film historyczny jako "gatunek dwojakiego rodzaju". Kilka uwag metodologicznych o "(nie)użyteczności" teorii genologicznej w refleksji o filmie historycznym

1927: The Apotheosis of the French Historical Film?

Film History ◽  
2005 ◽  
Vol 17 (2-3) ◽  
pp. 334-351 ◽  
Author(s):  
Laurent Véray
Keyword(s):  
Historical Film

Selma and the Place of Fiction in Historical Films

2018 ◽  
Vol 142 (1) ◽  
pp. 91-123
Author(s):  
Jeffrey Knapp
Keyword(s):  
Civil Rights ◽  
Civil Rights Movement ◽  
Voting Rights ◽  
Voting Rights Act ◽  
Hybrid Nature ◽  
Historical Film ◽  
Self Defense ◽  
Historical Films ◽  
Moral Certainty ◽  
Historical Reenactments

Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.

"Julius Caesar" and the Historical Film

1972 ◽  
Vol 61 (2) ◽  
pp. 230
Author(s):  
Seymour H. Sargent
Keyword(s):  
Julius Caesar ◽  
Historical Film

scholarly journals Modern Historical Film: Genre and Dramaturgic Features

2021 ◽  
pp. 41-48
Author(s):  
O. O. Kosachova
Keyword(s):  
Human Rights ◽  
Historical Context ◽  
Mirror Image ◽  
Academic Disciplines ◽  
Practical Significance ◽  
Historical Drama ◽  
Happy Ending ◽  
Empirical Basis ◽  
Historical Film ◽  
Historical Films

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.

Historical Film/Historical Thought

2003 ◽  
Vol 48 (1) ◽  
pp. 10-22 ◽  
Author(s):  
ROBERT A. ROSENSTONE
Keyword(s):  
Historical Film ◽  
Historical Thought

Assioma 5: A Scientific, Mystical, Historical Film

2009 ◽  
pp. 229-238
Author(s):  
Adolfo Zilli ◽  
Elisa Cargnel
Keyword(s):  
Historical Film

Bertrand Russell in Bollyworld

2019 ◽  
pp. 199-228
Author(s):  
Raminder Kaur
Keyword(s):  
Linear Equations ◽  
Bertrand Russell ◽  
Popular Cinema ◽  
Historical Film ◽  
The Pacific ◽  
History Of ◽  
The 1960S ◽  
The One ◽  
The Cold War ◽  
Jawaharlal Nehru

The chapter considers the scope of film to act as what is described as a ‘docu-drama-ment’ for conveying affective engagements with political history. It does so with a focus on unique incidents in the history of Indian popular cinema with the example of the film, Aman (Mohan Kumar, 1967). The discussion centers on the cameo appearance of a British philosopher, Bertrand Russell, in the film along with phantasmal invocations of Indian anti-nuclear weapons protagonists such as India’s first prime minister, Jawaharlal Nehru, and reproductions of the 1945 atomic attack in Hiroshima and subsequent nuclear tests in the Pacific. The chapter considers how the film may be viewed in terms of a ‘corporeal compound lens’ on the political vicissitudes of the 1960s. With such an approach – on the one hand to do with the assemblage of a historical film, and on the other, to do with the way this intersects with compound lines of reflexive reception – the author shows how the ‘docu-drama-ment’ moves away from linear equations of the filmic signifier with the signified - or the film and the represented - to one that revels in affective residues and resonances that are a constitutive force in socio-political realities of the Cold War era. 

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