Welcome to Scribd, the world's digital library. Read, publish, and share books and documents. See more
Download
Standard view
Full view
of .
Look up keyword
Like this
1Activity
0 of .
Results for:
No results containing your search query
P. 1
Film and Culture Memory 2013 HC's

Film and Culture Memory 2013 HC's

Ratings: (0)|Views: 23|Likes:
Published by asefehe
a course at uva..
a course at uva..

More info:

Published by: asefehe on Dec 14, 2013
Copyright:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less

05/03/2014

pdf

text

original

 
Film and Cultural Memory - 2013 - HC2
 
1
Film & Cultural Memory
 
Week 2: Historical representation
 
1
How can we represent traumatic history in (mainstream) feature films ?
 
-What are the strategies ?
 
 –
 
Audiovisual manner
 
 –
 
Dramatic manner
 
‘It is precisely the task of film to add movement, colour, sound, and drama to the past’
(Rosenstone, p. 37)
 
2
Conventions for the mainstream historical feature films
(
Hollywood tradition
)
 
 
To tell the past as a STORY
 
 
Story of individuals
 
 
One complete narrative
 
 
Personalization - identification – emotion
 
 
Look of the past
 
 
To show history as a process
 
3
‘[...] for the director of the dramatic film, who must create a past that fits within the demands, practices and traditions of both visual media and the dramatic form, this means having to go beyond constituting facts out of traces of evidence found in books or archives and tot begin inventing some of them.’ (Rosenstone, p. 38)
 
4
INVENTION
 
 
Staging of the past
 
 
Compression and condensation
 
 
Displacement
 
 
Alteration
 
 
Dialogue
 
5
Criteria for
good
 historical feature films?
Rosenstone: ‘how the historical film relates to, comments upon reflects and/or critiques the already existing body of data, arguments, and debates about the topic at hand.’
 
!
 Importance of the metaphorical, symbolical and poetic force of film
 
(and not the rational scientific)
 
6
 
Film and Cultural Memory - 2013 - HC2
 
2
The force of the film
 Hotel Rwanda
is altogether its capability to give a metaphoric structure to what occurred in 1994. In concentrating on Paul Rusesabagina, the manager of the famous Belgian hotel
Hôtel des Mille Collines,
 the film achieves the showing of at least four things: 1) heroism of the individuals who won over brutality;
 
2) the indistinctive effect of the 1994 slaughters upon all the population of Rwanda;
 
3) the fact that survival was largely also a matter of chance; 4) the indifference of the world, especially the white Western World.
 (Nzabatsinda)
 
7
- Epistemological aspect -
 
The task of the historian:
Just the facts
 To construct a coherent narrative based on facts
 
-
narrative is regarded as a neutral container of historical fact’
 
-
Language (‘natural or ordinary language’) is neutral
 
-
 
Historical reality must be objective and is based on the collection of facts (H. White)
 
8
Hayden White: fiction
 
Postmodernism: epistemological crisis
 
!
 various narratives can co-exist.
 
!
 Historiography is challenged
 
 
historical emplotment
 
 
(implicit) interpretation
 
 
(implicit) influence on meaning
 
9
Limits ? – Ethical aspect -
 
‘Can these events be responsibly emplotted in any of the modes, symbols, plot types, and genres our culture provides for “making sense” of such extreme events in our past?’
 
‘Are there any limits on the
kind
of story that can responsibly be told about these phenomena?’
 
‘do they [the natures of Nazism and the Final Solution] set limits on the uses that can be made of them by writers of fiction or poetry?
 
(H. White)
 
10
Danger:
 
 
Emplotment defines what is part of the story
 
 
Relativization, distorsion and denial
 
11
 
Film and Cultural Memory - 2013 - HC3 14-12-13 1
Film and Cultural Memory
Week 3
The Limits of representation
1
The “unrepresentability” debate
 
Central in the Humanities
 
Jean-François LYOTARD (
 Le Différend 
, 1983)
!
 Auschwitz is compared to an earthquake of sufficient power to destroy the instruments which could measure its magnitude.
2
Theodor ADORNO
 
« To write poetry after  Auschwitz is barbaric »
 
(
 Negative Dialectics,
1949)
3
Adorno
- Problem of “transfiguration” : when the unthinkable is transformed into something acceptable. - Problem of “ aesthetical pleasure”
4
Miriam HANSEN
Schindler’s List
is not
Shoah
 »)
 
Public Memory / Reception
 
4 points of critics on
Schindler’s List:
 – 
 
« Culture industry »  – 
 
Problem of
narrative
 – 
 
Question of
cinematic subjectivity
 – 
 
Question of
representation
5
 
Lanzmann:
 – 
 
‘Taboo of representation’  – 
 
Schindler’s List
is obscene
 
Hansen:
 
 – 
 
Binary opposition: “Showing or not showing?”
6

You're Reading a Free Preview

Download
scribd
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->