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25 Remote Warehouse Film and Television- History and Criticism

Other titles in the Princeton Studies in Culture/Power/History series:

Revisioning History: Film and the Construction of a New Past (Princeton Studies in Culture/Power/History)

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Revisioning History: Film and the Construction of a New Past (Princeton Studies in Culture/Power/History) Cover

 

Synopses & Reviews

Publisher Comments:

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.

The volume begins with an introduction by Robert Rosenstone. Part I, "Contesting History," comprises essays by Geoff Eley (on the film Distant Voices, Still Lives), Nicholas B. Dirks (The Home and the World), Thomas Kierstead and Deidre Lynch (Eijanaika), and Pierre Sorlin (Night of the Shooting Stars). Contributing to Part II, "Visioning History," are Michael S. Roth (Hiroshima Mon Amour), John Mraz (Memories of Underdevelopment), Min Soo Kang (The Moderns) and Clayton R. Koppes (Radio Bikini). Part III, "Revisioning History" contains essays by Denise J. Youngblood (Repentance), Rudy Koshar (Hitler: A Film from Germany), Rosenstone (Walker), Sumiko Higashi (Walker and Mississippi Burning), and Daniel Sipe (From the Pole to the Equator).

Synopsis:

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.

The volume begins with an introduction by Robert Rosenstone. Part I, "Contesting History," comprises essays by Geoff Eley (on the film Distant Voices, Still Lives), Nicholas B. Dirks (The Home and the World), Thomas Kierstead and Deidre Lynch (Eijanaika), and Pierre Sorlin (Night of the Shooting Stars). Contributing to Part II, "Visioning History," are Michael S. Roth (Hiroshima Mon Amour), John Mraz (Memories of Underdevelopment), Min Soo Kang (The Moderns) and Clayton R. Koppes (Radio Bikini). Part III, "Revisioning History" contains essays by Denise J. Youngblood (Repentance), Rudy Koshar (Hitler: A Film from Germany), Rosenstone (Walker), Sumiko Higashi (Walker and Mississippi Burning), and Daniel Sipe (From the Pole to the Equator).

Description:

Includes bibliographical references (p. [215]-241) and index.

Table of Contents

Acknowledgments
Introduction3
1Distant Voices, Still Lives: The Family Is a Dangerous Place: Memory, Gender, and the Image of the working Class17
2The Home and the World: The Invention of Modernity in Colonial India44
3Eijanaika: Japanese Modernization and the Carnival of Time64
4The Night of the Shooting Stars: Fascism, Resistance, and the Liberation of Italy77
5Hiroshima Mon Amour: You Must Remember This91
6Memories of Underdevelopment: Bourgeois Consciousness/Revolutionary Context102
7The Moderns: Art, Forgery, and a Postmodern Narrative of Modernism115
8Radio Bikini: Making and Unmaking Nuclear Mythology128
9Repentance: Stalinist Terror and the Realism of Surrealism139
10Hitler: A Film from Germany: Cinema, History, and Structures of Feeling155
11From the Pole to the Equator: A Vision of a Worldless Past174
12Walker and Mississippi Burning: Postmodernism Versus Illusionist Narrative188
13Walker: The Dramatic Film as (Postmodern) History202
Notes215
List of Contributors243
Film Credits247
Index249

Product Details

ISBN:
9780691025346
Subtitle:
Film and the Construction of a New Past
Editor:
Rosenstone, Robert A.
Editor:
Rosenstone, Robert A.
Author:
Rosenstone, Robert A.
Publisher:
Princeton University Press
Location:
Princeton, N.J. :
Subject:
Film - General
Subject:
Film - History & Criticism
Subject:
Motion pictures and history
Subject:
Film & Video - History & Criticism
Subject:
American history
Subject:
European History
Subject:
Film Studies
Subject:
Film and Television-History and Criticism
Copyright:
Edition Description:
Trade paper
Series:
Princeton Studies in Culture/Power/History Paperback
Series Volume:
no. 1994-865
Publication Date:
December 1994
Binding:
Paperback
Grade Level:
College/higher education:
Language:
English
Illustrations:
13 halftones
Pages:
264
Dimensions:
9 x 6 in 14 oz

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Related Subjects

Arts and Entertainment » Film and Television » Film History and Theory
Arts and Entertainment » Film and Television » History and Criticism
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Children's » General
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History and Social Science » World History » Historiography

Revisioning History: Film and the Construction of a New Past (Princeton Studies in Culture/Power/History) New Trade Paper
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Product details 264 pages Princeton University Press - English 9780691025346 Reviews:
"Synopsis" by , 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.

The volume begins with an introduction by Robert Rosenstone. Part I, "Contesting History," comprises essays by Geoff Eley (on the film Distant Voices, Still Lives), Nicholas B. Dirks (The Home and the World), Thomas Kierstead and Deidre Lynch (Eijanaika), and Pierre Sorlin (Night of the Shooting Stars). Contributing to Part II, "Visioning History," are Michael S. Roth (Hiroshima Mon Amour), John Mraz (Memories of Underdevelopment), Min Soo Kang (The Moderns) and Clayton R. Koppes (Radio Bikini). Part III, "Revisioning History" contains essays by Denise J. Youngblood (Repentance), Rudy Koshar (Hitler: A Film from Germany), Rosenstone (Walker), Sumiko Higashi (Walker and Mississippi Burning), and Daniel Sipe (From the Pole to the Equator).

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