Suchergebnisse

In order to "construct" a national narrative, unsettling moments of Turkish history have been disavowed by the official discourse in Turkey. As a consequence, uneasy and therefore repressed knowledge of the past, which has not been appropriated as a part of the official discourse on national history, is finding its existence in cinematic representations. Along with the mainstream films in which the official discourses on history resonate, the growing interest in representing the past in cinema in Turkey has also resulted in the emergence of a new political cinema. This thesis argues that, unlike mainstream historical films which employ conventional narration strategies and propose that they are reinstalling the missing pieces in the national historical narrative, new political cinema in Turkey adopts an experimental form and remarks that history remains elusive and incomplete. By examining two recent films of the new political cinema in Turkey, Sonbahar / Autumn ( Özcan Alper, 2008) and Bulutları Beklerken / Waiting for the Clouds(Yeşim Ustaoğlu, 2004) this thesis suggests that new political films attempt to revise history and its narration by using cinematic means in an unprecedented way. And they incite their viewers to reflect on historical thinking and their relationship with it. ; Ulusal bir anlatı "oluşturma" süreci içerisinde, Türk tarihinin çalkantılı anları ülkedeki resmi söylem tarafından inkar ediliyor. Bunun sonucu olarak, ulusun "şanlı" tarihinin içinde bir türlü uydurulamayan ve bu yüzden bastırılan tarihsel olaylar sinema temsilleri olarak geri dönüyorlar. Türkiye'de giderek büyüyen geçmişi temsil etme eğilimi resmi ideolojinin tarih üzerindeki söylemlerini tekrar eden ana akım filmlerin yanı sıra, yeni bir politik sinemanın oluşması ile sonuçladı. Bu tez, konvansiyonel anlatım stratejilerini benimseyen ve tarihin eksik parçalarını yerlerine geri koyarak onu tamamlama iddiasında olan ana akım tarihsel filmlerin aksine, Türkiye'deki yeni politik sinemanın deneysel bir biçim oluşturmaya çalışarak tarihin muğlak ve tamamlanamayan bir olgu olduğunu önü sürdüğünü savunuyor. Türkiye'deki yeni politik sinemanın iki örneği olarak Bulutları Beklerken (Yeşimustaoğlu, 2004) ve Sonbahar (Özcan Alper, 2009) filmlerini inceleyen, bu tez, yeni politik filmlerin sinemanın anlatım araçlarını alışılmışın dışında bir biçimde kullanarak, hem tarihi hem de onun temsil edilme biçimini yeniden yazdığını ortaya koyma amacı güdüyor. Bu yolla, bu filmler hem tarihsel düşüncenin kendisini hem de bizlerin bu düşünce ile kurduğu ilişkiyi tekrar gözden geçirmeye teşvik ediyor.

Dieser Film ist eine Historikerfalle. Denn er lädt mit geradezu offenen Armen dazu ein, seine Historizität zu untersuchen, und hat doch mit Geschichte so viel oder so wenig zu tun wie ein Film über die Meuterei auf der Bounty - allerdings mit der entscheidenden Differenz, dass uns Nazideutschland weit näher liegt als der Alltag britischer Seeleute im 18. Jahrhundert. In dieser Ambivalenz zwischen Geschichte als Erzählung und tatsächlichem Geschehen der Vergangenheit, dem sich Historiker mit unterschiedlichsten Fragen und wissenschaftlichen Methoden widmen, bewegen sich "Der Untergang" und seine Rezeption. Bei einer Preview auf dem Historikertag in Kiel waren die Meinungen geteilt. Einer der großen alten NS-Forscher, Hermann Graml vom Institut für Zeitgeschichte in München, beurteilte den Film als "ganz hervorragend"; nie habe ein Spielfilm mehr "Einsicht in das Wesen dieses Regimes" vermittelt. Der Kölner Zeithistoriker Jost Dülffer empfand den "Untergang" dagegen als "Tabubruch", der die letzten Tage in Hitlers Bunker als "eine Art Opfergang" inszeniere. Hans Mommsen, der Doyen der NS-Historiker, merkte an, dass mit dem Bemühen, Hitler so lebensgetreu wie möglich darzustellen, noch keine sinnvolle historische Aussage gemacht sei. Einhellig wurde jedoch die Detailgenauigkeit des Films hervorgehoben.

This article compares entanglements between activist demands and policy in the Spanish and Swedish film industries using a critical frames approach. Considering contextual factors such as domestic discourse on film policy and resistance against gender equality, the comparison is based on deep insider knowledge aiming to deepen the understanding of feminist activism and its relation to policy in the two countries. In both Spain and Sweden, activists have demanded equality in the film sector since the seventies. Today, both countries feature gender equality measures and vivid feminist organizations. Based on current equality policies, reports from the Swedish and Spanish Film Institutes, documents from feminist filmmakers' associations and interviews with activists, the article shows that feminist activists oscillate between strategically converging their demands to policy and criticizing reforms. Furthermore, policy echoes activists' arguments but are less informed by ideas about structural inequalities. Activists in both Spain and Sweden stand up for the gender equality measures which have been implemented, but the Spanish activists are more prone to simultaneously voice criticism against the reforms..

AbstractThis paper offers a history of the creation and development of film societies in India from 1947 to 1980. Members of the film society movement consisted of important Indian film directors such as Satyajit Ray, Ritwik Ghatak, Shyam Benegal, Basu Chatterji, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalkrishnan, and Mrinal Sen, as well as film enthusiasts, numbering about 100,000 by 1980. The movement, confined though it was to members who considered themselves film aficionados, was propelled by debates similar to those that animated left-oriented cultural movements which originated in late colonial India, namely, the Progressive Writers Association in 1936, and the Indian People's Theatre Association in 1942. By looking at the film society movement as an early and sustained attempt at civil-social organization in postcolonial India, this paper highlights the two distinct definitions of 'good cinema'—from an aesthetically sophisticated product to a radical political text—that were debated during the time of the movement.

The Scene of the Mass Crime takes up the unwritten history of the peculiar yet highly visible form of war crimes trials. These trials are the first and continuing site of the interface of law, history and film. From Nuremberg to the contemporary trials in Cambodia, film, in particular, has been crucial both as evidence of atrocity and as the means of publicizing the proceedings. But what does film bring to justice? Can law successfully address war crimes, atrocities, genocide? What do the trials actually show? What form of justice is done, and how does it relate to ordinary courts.

The Scene of the Mass Crime takes up the unwritten history of the peculiar yet highly visible form of war crimes trials. These trials are the first and continuing site of the interface of law, history and film. From Nuremberg to the contemporary trials in Cambodia, film, in particular, has been crucial both as evidence of atrocity and as the means of publicizing the proceedings. But what does film bring to justice? Can law successfully address war crimes, atrocities, genocide? What do the trials actually show? What form of justice is done, and how does it relate to ordinary courts and proceedings? What lessons can be drawn from this history for the very topical political issue of filming civil and criminal trials? This book takes up the diversity and complexity of these idiosyncratic and, in strict terms, generally extra-legal medial situations. Drawing on a fascinating diversity of public trials and filmic responses, from the Trial of the Gang of Four to the Gacaca local courts of Rwanda to the filmic symbolism of 9-11, from Soviet era show trials to Nazi People's Courts leading international scholars address the theatrical, political, filmic and symbolic importance of show trials in making history, legitimating regimes and, most surprising of all, in attempting to heal trauma through law and through film. These essays will be of considerable interest to those working on international criminal law, transitional justice, genocide studies, and the relationship between law and film. ; https://larc.cardozo.yu.edu/faculty-edited/1013/thumbnail.jpg

This essay—part academic paper, part interview, part personal reflection—uses The Otherness Archive (OA) as a starting point to explore the possibilities and limitations in creating a transmasculine film archive. Founded by London-based trans artist Sweatmother, the OA is the first open-access online archive of transmasculine moving image. Open to institutional resources but skeptical of existing historiographic methods and archival structures, the OA aims to create a new transmasc film history, one based on mutual aid and community support—by transmasc people for transmasc people.
Sweatmother refers to the transmasculine community whose work they intend to preserve and showcase as a group of "friends." I contend that referring to the transmasc community at large as "friends" enables a collapse of past and present, local and global, which in turn allows the OA to dream belonging otherwise—and start a conversation about gender variance across media, genre, space, and time.