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Second nature : artifice and history in filmFinnane, Gabrielle, University of Western Sydney, Faculty of Visual and Performing Arts January 1996 (has links)
The thesis comprises a screen play for a one hour film and dissertation examining artistic issues in the intersection of biography and history in fictional films. The aim was firstly to broaden the definition of what is involved in filming historical fictions, in terms of how both characters and historical settings are conceived. Secondly the work explores the artifice of historical representation on the screen through case studies of films which are experiments in filming history and biography. Thirdly both the screenplay and the dissertation consider the implication of fictions which deal with minor historical figures. Primarily the thesis elucidates conceptions of historical artiface in the cinema advanced by films themselves, films which had either a paradigmatic or an idiosyncratic role in the development of certain artistic practices. Films, like works of written fiction, have in many respects invented new meanings for, and associations with, the past. The thesis concludes that the different conceptions of historical artiface embodied in fictional films have implications for our sense of the past. / Master of Arts (Hons)
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(Re)presenting the past historiographical and theoretical implications of the historical docudrama /McKeown, Luke Daniel. January 2008 (has links)
Thesis (M.A. History)--University of Waikato, 2008. / Title from PDF cover (viewed August 26, 2008) Includes bibliographical references (p. 105-114)
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Cultural value in historical pastiche : reclaiming the past as modern 'parody' and postmodern 'pastiche' in The hours and Marie Antoinette /Robinson, Timothy Michael. January 2008 (has links)
Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 78-80). Also available via the World Wide Web.
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Upstairs, downstairs: locating Gosford Park within the critical and cultural context of British (heritage) cinema /MacKinnon, Matthew D. January 1900 (has links)
Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 83-87). Also available in electronic format on the Internet.
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Film som läromedel : En undersökning om elevers attityder till film i historieunder-visningenLindberg, Victor January 2018 (has links)
The purpose of this bachelor thesis is to examine upper secondary students’ attitudes towards historical feature films and documentaries as teaching materials in history education. A survey was cunducted with 133 students. The students were asked for advantages and disadvantages with films and documentaries, what knowledge they might gain from watching, and the films trustworthiness as a teaching aid. The result shows that the students generally are positive towards the usage of film in history education and consider films to be a good complement to other teaching methods, especially documentaries. They are considered more trustworthy than feature films, despite being regarded as a more tedious genre. On the other hand, both feature films and documentaries are said to increase an interest in history. The knowledge mentioned by the students are primarely factual knowledge. However, a few answers indicate that film also can help develop students historical literacy, visualise historical events, and time periods. Students’ trust for the feature films’ nar-rative and the documentaries’ objectivity are quite high. Paradoxically, the majority of the stu-dents claim to question whether the films’ content is historically correct or not.
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Second nature : artifice and history in film /Finnane, Gabrielle. January 1996 (has links)
Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1996. / Includes bibliography.
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Historical Film and the Assassination of President Lincoln: The Prisoner of Shark Island (1936) and The Lincoln Conspiracy (1977)Savarino, Malia Dorothy January 2002 (has links)
Indiana University-Purdue University (IUPUI)
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Historical Film Reception: An Ethnographic Focus beyond EntertainmentBisson, Vincent J., 1984- 06 1900 (has links)
xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Drawing upon theories from folkloristics, history, and audience studies, this thesis
analyzes historical films, their reception, and the importance of history and film in
everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric
perspective may contribute to and strengthen the study ofhistorical films by emphasizing
the attributes of narrative and belief at the vernacular level of reception. With an
ethnographic and qualitative focus on the informal, common, and everyday film viewing
habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function
and reception of historical films. This study also re-examines the formal aspects of
historical films in relation to historical re-construction, the definition and categorization
of such films, their reception, their function beyond entertainment, and the need for an
integration of new research in both audience studies and folklore studies. / Committee in Charge:
Dr. Daniel Wojcik, Chair;
Dr. Jeffrey Hanes;
Dr. Bish Sen
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Persepolis and Waltz with Bashir, an alternative perspective on the Middle East, a mirror for the WestUnknown Date (has links)
This project presents a three-level analysis of Persepolis and Waltz with Bashir to elucidate the way these films deconstruct the image of the Middle East that the dominant Western media perpetuate. The thesis demonstrates that the combination of highly expressive and easily understandable animated form with an autobiographical storyline that endows the films with attractive authenticity, personification and intimacy, creates a palatable setting for the intellectual texts. Further, this project discloses the ways representation gives rise to stereotypes and illustrates how the films articulate an alternative to the dichotomous perception of West versus Middle East. The movies impersonate a unique, subjective insight into the past, emphasizing that history is an ongoing, non-linear process that depends on where and who is narrating it, and to whom. Understanding that public memory is shaped by media content, the thesis asserts the necessity for more cultural texts that deconstruct the norm and eliminate bias. / by Kristyna Dzmuranova. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.
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Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incidentJooste, Rina 12 1900 (has links)
Thesis (MA)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the
story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and
Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught
up in the disorganized machine of war. Johan van der Mescht, a South African Defence
Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa
People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der
Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a
Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982.
The main focus of the dissertation is to provide an analysis of representing history
through film, with reference to Captor and Captive. It explores the manner in which
history can be represented through the medium of film and add value to historical text, as
well as historical text adding value to film, and how the two mediums can supplement
each other. In this instance, Captor and Captive was produced first and the research
conducted was used to inform the dissertation. It briefly discusses the history of
documentary film within South Africa; the reality of producing documentary films
reflecting on Captor and Captive and the theoretical principles involved in the craft of
documentary filmmaking.
The dissertation further provides details of the capture of Van der Mescht and his
experience as a POW in Angola, against the backdrop of the Border War that waged
between 1966 and 1989 in South West Africa (SWA) and Angola. The political
landscape and various forces at work within southern Africa during the period of Van der
Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s
captor Ashipala, and the liberation movement SWAPO. With independence in 1990,
South West Africa became Namibia and will be referred to as such for the purpose of the
dissertation. Mention will be made of other POWs during the Border War, providing a
brief comparative analysis of their respective experiences. / AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the
story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52-
minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee
soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid
Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die
Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in
Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die
uitruiling het by Checkpoint Charlie in Berlyn plaasgevind.
Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis
aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive.
Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese
teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse
waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die
verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die
verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in
Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre
rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die
vervaardiging daarvan.
Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy
ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van
die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing
en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word
bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der
Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n
lid was, word ook bespreek. Suidwes Afrika verander sy naam met
onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word
daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes
gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge
van die onderskeie krygsgevangenes word kortliks ondersoek.
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