This study guide is intended to provide a starting point for those seeking to use film as a source. It is aimed at those who want to use film and moving image as the basis for research and offers ...advice on research methods, theory and methodology, archival work and film-based analysis.
This volume addresses the relation of trauma to transnational modern mass media. The first of its kind, Trauma and Cinema: Cross-Cultural Explorations provides ten essays which explore the ways ...trauma works itself out as media — in images in (and as) film, photography, and video — in global cultural flows. The focus of our volume on the matrix of trauma, visual media and modernity seeks to engage and go beyond current tendencies in trauma studies. The book discusses how trauma presented in the media spills over national boundaries and can be found in images across divergent cultures in Africa, Asia, Australia, Europe and America. From the Holocaust to the Chinese Cultural Revolution, from Taiwan’s colonial experience to the catastrophe of Hiroshima, from attempted annihilation of Australian Aborigines to attempted reconciliation in South Africa, these essays offer the reader a plethora of images of trauma for comparison and contrast.
<!CDATA
Almost all remnants of culture--past and present--degrade over time, whether sculpture or scrolls, painting or papyrus, books or clay tablets. Perhaps no major cultural record dissolves more ...rapidly than film, arguably the predominant medium of the twentieth century.
Given the fragility of early nitrate film, much has already been lost. The fragments that remain--whether complete prints of theatrical releases or scraps of everyday life captured by Thomas Edison--only hint at what has disappeared. More recently, archives have been flooded with so much material that they lack the funds to properly preserve it all. Both situations raise questions about how film archives shape our understanding of history and culture.
Janna Jones provides a stunning, tour-de-force analysis of the major assumptions and paradigmatic shifts about history, cinema, and the moving image archive, one that we ignore at our peril in the midst of the overwhelming rush toward digitization. No student of film, twentieth-century history, or archiving and preservation can afford to miss The Past Is a Moving Picture
>
Film Histories Paul Grainge, Mark Jancovich, Sharon Monteith
01/2007
eBook
A wide-ranging introduction to film history, this anthology covers the history of film from 1895 to the present day. The book is arranged chronologically, and each chapter contains an introduction by ...the editors on the key developments within the period, followed by a classic piece of historical research about that period. Various types of film history are undertaken in the articles, so that students can become familiar with different types of film historical research. For example, topics include the history of audiences; exhibition; marketing; censorship; aesthetic history; political history; and historical reception studies. The book is therefore designed to provide students with a narrative history spine while simultaneously introducing them to different approaches to the study and research of film history. Concentrating on the plurality of the ‘historical turn’ in film studies, this book demonstrates that film history is, and should be, about more than simply key films, directors and movements. Key features
*Contains a preface that explains the structure and organisation of the book
*Chapter introductions provide a chronological sense of international developments
*Includes key articles of film history that illustrate differences in methodological approach, and which are devoted both to America and to a wide range of non-American contexts.
Considering film as historical research entails thinking of it not just as a historical source or a kind of popularised presentation of history, but as a tool of production by which unique historical ...insights can be gained. Though film is widely regarded as a legitimate source material of historical scholarship, it is seldom employed as such. Siegfried Kracauer's investigation of the popular rise of Nazism in German society and Marc Ferro's study of Russian revolutionary history are among the pioneering works in this field. The presentation of history in film is at the very least discussed among historians as a serious option to aid the dissemination of historical insights into the classroom and the larger public realm. Increasing numbers of historical journals have started providing space for film reviews. Renowned historians like Robert Rosenstone and Natalie Zemon Davis have also participated in the production of historical films and published their reflections on the experience of this involvement. But, to think of film as a medium of historical research still seems to be a very odd idea for the overwhelming majority of historians..
Considering film as historical research entails thinking of it not just as a historical source or a kind of popularised presentation of history, but as a tool of production by which unique historical ...insights can be gained. Though film is widely regarded as a legitimate source material of historical scholarship, it is seldom employed as such. Siegfried Kracauer's investigation of the popular rise of Nazism in German society and Marc Ferro's study of Russian revolutionary history are among the pioneering works in this field. The presentation of history in film is at the very least discussed among historians as a serious option to aid the dissemination of historical insights into the classroom and the larger public realm. Increasing numbers of historical journals have started providing space for film reviews. Renowned historians like Robert Rosenstone and Natalie Zemon Davis have also participated in the production of historical films and published their reflections on the experience of this involvement. But, to think of film as a medium of historical research still seems to be a very odd idea for the overwhelming majority of historians..
