Filming Nana: Some Dilemmas of Oral History on Film
In: Frontiers: a journal of women studies, Band 19, Heft 3, S. 190
ISSN: 1536-0334
862835 Ergebnisse
Sortierung:
In: Frontiers: a journal of women studies, Band 19, Heft 3, S. 190
ISSN: 1536-0334
ISSN: 0177-2236
ISSN: 0177-221X
There has been a significant increase in the number of history programmes and documentary films about history shown on television since the 1990s. This is due to technological and institutional changes in international television but also to the wider commodification of history. The new technological means and approaches have also provided new opportunities for filmmakers in the field of history documentaries. In this article, we are interested in the role of history in television and documentary filmmaking in general, and in how developments in television and documentary filmmaking have affected the nature of historical documents on television. We are particularly interested in the relationship between history documentaries and academic historical research. What do these changes mean from the point of view of both academics and filmmakers? We approach the question from the standpoints of media practice and the concepts of truth and history culture. As a case study, we focus on the documentary film A Man from the Congo River (2010), directed by one of the writers. ; Peer reviewed
BASE
"Examines the cinematic and cultural discourse surrounding work, the worker, organized labor, and the working class in 20th century America, and how these films are not merely products of their times, but also producers of ideological stances concerning the status of capitalism, class struggle, and democracy in America. Themes include: reform and revolution in affecting change"--Provided by publisher
In: Theory and research in social education, Band 46, Heft 4, S. 642-648
ISSN: 2163-1654
In: Feminist media studies, Band 16, Heft 4, S. 746-748
ISSN: 1471-5902
In: Theory and research in social education, Band 38, Heft 4, S. 647-650
ISSN: 2163-1654
In: Social studies: a periodical for teachers and administrators, Band 96, Heft 2, S. 61-67
ISSN: 2152-405X
In: Presidential studies quarterly, Band 25, Heft 1, S. 154-155
ISSN: 0360-4918
In: Redescriptions: yearbook of political thought, conceptual history and feminist theory, Band 11, S. 203-218
ISSN: 1238-8025
In: http://hdl.handle.net/11427/17956
Includes bibliography and filmography. ; The South African film industry, like the rest of the country, has gone through a very difficult and trying time over the last century and has been faced with enormous challenges since 1994. South Africa is still in a process of transition and the turbulent era of Apartheid is still vivid in our memories and our collective national identity. What is especially exciting about studying the history of the South African film industry, is that it was through film, television and the media at large, that we witnessed the evolution of this history. On a microscopic scale, the history of the film industry, is that of the country, and many of the effects of Apartheid that are being experienced in South Africa today, are likewise being experienced by the film industry. Thus by seeking to understand the historical relationship between film and politics in South Africa, we are enabled to comprehend and contextualise the circumstances that have determined film's socio-political, economic and cultural place in society today. It was with this intention that I began to investigate the documentary film industry in South Africa. My particular interest was in the development of an independent, progressive documentary film movement that tentatively originated in the late nineteen fifties and established itself in the late seventies and eighties as a major force in the resistance movement. Concentrating on organisations such as the International Defense and Aid Fund to Southern Africa (IDAF), Video News Services/ Afravision, and the Community Video Education Trust (CVET), as well as many individual anti-Apartheid filmmakers, the focus of this paper and documentary film, Redefining the Griot, is thus limited to an analysis of the history of socio-political documentary filmmaking in South Africa, in particular, the anti-Apartheid film and video movement that emerged both in reaction to the ideologically-specific and restrictive State control of media, film and eventually television, and as a cultural weapon in the liberation struggle. Understanding this history enables valuable insight into the nature of the documentary film and video-making industry today - one that is still considered emergent in terms of having a homogeneous national identity.
BASE
Die Inspiration zu dieser Arbeit wurde durch Godards inflationär zitierten Satz "Man muss keine politischen Filme machen, sondern Filme politisch machen" ausgelöst.Ich möchte mich in dieser Arbeit mit Fragen und Überlegungen beschäftigen, die mir als Filmemacher neue Möglichkeiten geben, Filme politisch zu machen.
BASE