Revisioning History: Film and the Construction of a New PastRobert A. Rosenstone Princeton University Press, 1995 - 255 頁 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. |
內容
Introduction | 3 |
CONTESTING HISTORY | 15 |
Distant Voices Still Lives THE FAMILY IS A DANGEROUS PLACE MEMORY GENDER AND THE IMAGE OF THE WORKING CLASS | 17 |
The Home and the World THE INVENTION OF MODERNITY IN COLONIAL INDIA | 44 |
Eijanaika JAPANESE MODERNIZATION AND THE CARNIVAL OF TIME | 64 |
The Night of the Shooting Stars FASCISM RESISTANCE AND THE LIBERATION OF ITALY | 77 |
VISIONING HISTORY | 89 |
Hiroshima Mon Amour YOU MUST REMEMBER THIS | 91 |
REVISIONING HISTORY | 137 |
Repentance STALINIST TERROR AND THE REALISM OF SURREALISM | 139 |
Hitler A Film from Germany CINEMA HISTORY AND STRUCTURES OF FEELING | 155 |
From the Pole to the Equator A VISION OF A WORDLESS PAST | 174 |
Walker and Mississippi Burning POSTMODERNISM VERSUS ILLUSIONIST NARRATIVE | 188 |
Walker THE DRAMATIC FILM AS POSTMODERN HISTORY | 202 |
Notes | 215 |
List of Contributors | 243 |
Memories of Underdevelopment BOURGEOIS CONSCIOUSNESSREVOLUTIONARY CONTEXT | 102 |
The Moderns ART FORGERY AND A POSTMODERN NARRATIVE OF MODERNISM | 115 |
Radio Bikini MAKING AND UNMAKING NUCLEAR MYTHOLOGY | 128 |
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