Suchergebnisse

Includes bibliographical references (leaves 254-269). ; Terrence Malick is a unique director in contemporary film, an enigmatic and resolutely independent filmmaker who operates successfully within the studio system of Hollywood. His unusual career - which includes a twenty-year 'sabbatical' during which he appeared to have dropped out of the industry altogether - has produced comparatively little in the way of academic research, though there has been increased activity since the release of The Thin Red Line in 1998. The title - 'Seeking the Other Shore' - provides a thematic approach to the central exploration of the thesis: myth and history in Malick's films. As I argue in the introduction, Malick's characters constantly seek new shores within historical realities, but in so doing they imagine returns to mythic spaces that are either in the past or unattainable in the present. The films themselves provoke us to reconsider particular myths and their historical context. The Introduction includes a brief synopsis of Malick's career and a critical overview of both journalistic and academic writing. A major feature of his films - their intertextuality, from poetry and novels to visual art and music - is also introduced as it plays an important part in all the subsequent chapters. With the release of The New World (2005), I argue that the two recent films should be seen not only as continuing the major themes of historical reality and mythic quest in his 1970s films (Badlands, 1973, and Days of Heaven, 1978), but also as expanding those themes to include colonial encounters with strangeness which underpin the emergence of America as a modem cultural and political entity. Chapter One sets out the historical and mythic terrain upon which all of Malick's films are built, particularly America's nineteenth-century, post-independence character, the idea that America is a nation constantly seeking to renew itself but is never able to outrun the terrors of its previous incarnation, the sins of its fathers. In the section, 'Manufacturing Myth' I use definitions by Claude Levi-Strauss and Richard Slotkin to begin the conversation between history and myth, finding that myth is constructed, laid claim to, and used continuously, and whose claims and uses are inevitably contested. Myths based in history, are, in Richard White's words, "historical creations", and it is this ideological tension between myth and history that one finds in Malick's films. History provides the context for explorations of America's mythic character, myths of innocence, renewal, ambition, and robust individualism. Chapters Two through Five examine the feature films in chronological order. Badlands is discussed in terms of its hybrid genre (drawing on the western and the road movie), before I investigate Holly and Kit's "competing fantasies"- their different views of their adventure and the land through which they travel. Days of Heaven represents a complex examination of the Turnerian myth of the frontier and its transformation at the turn of the twentieth century. Malick's use of period photography is observed as is the influence of American literary naturalism. However, a more significant discussion emerges around the art of Edward Hopper and his modernist interpretation of America coming to terms with its twentieth-century character. The analysis in this section includes Badlands, and illuminates the influence of Hopper on both early films. The Thin Red Line poses something of a problem as it appears to depart from the first two films and The New World, which follows eight years later. As a combat film, it is part of a fairly well-defined and fiercely debated genre, while it's largely male cast and multiple voiceovers differ from the single adolescent female voiceovers of Holly and Linda. However, it challenges the norms of the combat genre in significant ways, particularly in its balancing of personal experience (Malick's screenplay is a subtle adaptation of James Jones's war novels) with historical context (the viewer is alerted, as one rarely is in this genre, to the world outside of the battle). In The New World, Captain John Smith literally seeks the other shore and, like Private Witt in the previous film, encounters a division within himself. In reaffirming the mythic romance between Smith and Pocahontas, Malick opposes the ambition of Enlightenment discovery (m the turbulent heart of Smith) with the sure sense of humanity's relationship with nature (m the calm spirit of Pocahontas). Once again, the film's historical context is the bedrock for its examination of myth, though as the revelatory conclusion, shows, Malick reaches for more spiritual meaning than affirming or revising the historical record. The four feature films that constitute Malick's directorial career thus far are all concerned with fundamental American myths; however, they are also unusual interpretations these myths. Young girls narrate the stories of violent men possessed by the possibilities of a frontier that has passed while young men struggle to come to terms with the extreme violence of battle and the overwhelming strangeness of their surroundings, no matter how 'right' the cause. These are myths born out of history and rendered as cinematic revelations by Terrence Malick.

My dissertation examines representations of the subjugated and wounded body in Irish visual and literary culture in order to expand the concept of "Occupied Ireland." Working off the nationalist slogan "Ireland unfree will never be at peace," I explore the theme of an un-free and restless Ireland in its standard meaning as a nation still partially under British rule, but also in the sense of an Ireland occupied by patriarchal traditionalism and conservative clericalism. In films from the last two decades that foreground the subjugated bodies of their male and female protagonists are historiographies of post-partition Ireland that use, subvert and explode traditional visual and cinematic codes. In reading these film, I argue that the coexistence of two states in Ireland, each of which disavows the presence of the other, has shaped cultural conceptions of historical time, religious practice and national identity on both sides of the border. This affects which histories are officially acknowledged in culture and which ones remain illicit glimpses into the mechanics of an oppressive state power. ; Across four chapters I move from a thematic analysis of partition along national, religious, political and gender lines to a study of fragmentation in a given text as an aesthetic strategy for cracking open official history to an onslaught of occluded voices. Each chapter looks at representations of the body at different politically significant moments in Irish history (the abortion referendum, the protests for political status in the H-Blocks and Armagh Gaol, the Hunger Strike and the wave of economic and cultural transformation that supposedly swept 1960s Ireland). I conclude by placing the subjugated Irish body in the context of cultural bodies from other postcolonial nations, arguing that analyses of individual postcolonial cultures are most productive when used comparatively. An understanding of the dynamics of official lies and unacknowledged histories in Irish culture can contribute to a global perspective on how visual and literary culture speaks to colonial and postcolonial power and can help dissolve the historical boundaries between colonial and postcolonial as well as the geographical distinctions between "western" and "non-western" and the "developing" and the "developed" worlds. ; Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3197. ; Adviser: Robert P. Stam. ; Thesis (Ph.D.)--New York University, 2004.

This article gives an insight into the industrialization and colonization processes of northern Scandinavia. Urbanization due to industrialization is a vital part of the perspective, and brings us into an industrial mega system in Swedish Lapland in the late nineteenth century based on iron ore export. It was to be connected to the industrial centre of Europe, especially the Ruhrgebiet of Germany, and paved the way for a new kind of urban development in peripheral Europe – the industrial network town. The history and foundation of the Norwegian harbour town Narvik is vital for gaining insight into this mega system. By studying Narvik we can envisage particularities of, and similarities and differences between Norway and Sweden when it comes to their urban economic foundations, urban development/planning regimes, and the relations between the municipalities, the modern nation states and the dominating companies. Even the development of a uniquely Scandinavian identity connected with the labour movement and the development of a post-war social democrat order visibly results from the new industries. Thus the common Swedish-Norwegian figure of the rallar – something like navvy or construction worker – has a significant place in this study, and the use of the figure in addition to later processes of memory creation, both within the Norwegian and Swedish labour movements, is addressed. URL: https://www.upjs.sk/filozoficka-fakulta/katedra-historie/10984/

Reviews the cooperation between the Social Democratic & Green Parties during the Swedish election of 2002. 2 Tables, 5 References.

Abstract
The article reviews the documentary film diptych The Labudović Reels by film-maker Mila Turajlić. Based on her archival work at the Filmske Novosti production company, Turajlić discovers the legacy of hitherto unknown cinematographer Stevan Labudović. Both films are hybrid documentaries that combine archive footage with interview-style documentary, and both focus on two intertwined thematic cycles – Labudović's coverage of the Algerian war of independence (1959–1961) and the first summit of the Non-Aligned Movement (1960–1961). Conceptually, Turajlić's films engage thought-provoking matrixes, among them Pierre Nora's lieux de memoire and, more especially, Walter Benjamin's reflections on historical progress. This review finds that the implementation of the latter blurs the boundary between the critique of the idea of progress and historical relativism, which leads to the confusing presence of mutually exclusive voices in Turajlić's film, one calling for the reappropriation of the past, and another calling that same past into question.

Since the turn of the 1980–90s the Swedish society has undergone fundamental changes. It has altered the vector of the socioeconomic development. The social democrats have lost their position as the dominant party. They changed the course of the governmental policy from social-state to liberal one that was taken over and strengthened by the government of center-right parties after their victory in the 2006 and 2010 general elections. The social democrats have found themselves in the unprecedented since 1917 long opposition. All of this means that, despite keeping predominance of the institutional-redistributive principle of social policy, the former model of societal development has in essence consigned to history.

The history of industrial films - an orphan genre of twentieth-century cinema composed of government-produced and industrially sponsored movies that sought to achieve the goals of their sponsors, rather than the creative artists involved - seems to have left no trace in filmic cultural discourse. At its height the industrial film industry employed thousands, produced several trade journals and festival circuits, engaged with giants of twentieth-century industry like Shell and AT & T, and featured the talents of iconic actors and directors such as Buster Keaton, John Grierson and Alain Resnais. This is the first full-length book, anthology, and annotated bibliography to analyse the industrial film and its remarkable history. Exploring the potential of the industrial film to uncover renewed and unexplored areas of media studies, this remarkable volume brings together renowned scholars such as Rick Prelinger and Thomas Elsaesser in a discussion of the radical potential and new possibilities in considering the history of this unexplored corporate medium.