The Experts below are selected from a list of 25068 Experts worldwide ranked by ideXlab platform
Maria Repoussi - One of the best experts on this subject based on the ideXlab platform.
-
something was wrong with the movie formal analysis of Historical Films and the development of Historical literacy habia algo fuera de lugar en la pelicula analisis formal de las peliculas historicas y desarrollo de la alfabetizacion historica
2020Co-Authors: Maria Mavrommati, Maria RepoussiAbstract:Historical film literacy has been defined as a set of skills that will ‘empower students to look at movies set in the past critically as Historical documents’. In the present paper we aim to explor...
-
something was wrong with the movie formal analysis of Historical Films and the development of Historical literacy
2020Co-Authors: Maria Mavrommati, Maria RepoussiAbstract:espanolLa alfabetizacion historica se ha definido como un conjunto de competencias que ‘habilitan a los estudiantes para ver de manera critica las peliculas ambientadas en el pasado como documentos historicos’. El objetivo de este articulo es explorar las posibilidades de aumentar estas competencias a traves del desarrollo de un modelo para la educacion historica que incorpora un elemento de analisis formal al estudio de peliculas historicas en el aula. Despues intentamos aportar una presentacion general de estas competencias basada en los hallazgos preliminares de los estudios sobre este campo. Basandonos en las criticas de cine redactadas por estudiantes como un analisis historico usado por el modelo presentado, concluimos que se desarrollan tres tipos de competencias relacionadas con la educacion historica: competencias relacionadas con conceptos de razonamiento historico, competencias relacionadas con la interpretacion del lenguaje cinematografico y convenciones como formas para construir significados historicos y competencias relacionadas con el analisis de los procesos de la construccion de Historia y memoria EnglishHistorical film literacy has been defined as a set of skills that will ‘empower students to look at movies set in the past critically as Historical documents’. In the present paper we aim to explore the possibilities of advancing these skills through the development of a model for history education that adds an element of formal analysis to the analysis of Historical Films in the classroom. Next, we attempt to provide an overview of these skills based on preliminary research findings from the field. Based on students’ film reviews written as Historical film analyses which made use of the model presented, we conclude that three types of skills related to history education are developed: skills related to Historical thinking concepts, skills related to the interpretation of the cinematic language and conventions as ways to construct Historical meanings and skills related to analysing the processes of constructing history and memory.
Maria Mavrommati - One of the best experts on this subject based on the ideXlab platform.
-
something was wrong with the movie formal analysis of Historical Films and the development of Historical literacy habia algo fuera de lugar en la pelicula analisis formal de las peliculas historicas y desarrollo de la alfabetizacion historica
2020Co-Authors: Maria Mavrommati, Maria RepoussiAbstract:Historical film literacy has been defined as a set of skills that will ‘empower students to look at movies set in the past critically as Historical documents’. In the present paper we aim to explor...
-
something was wrong with the movie formal analysis of Historical Films and the development of Historical literacy
2020Co-Authors: Maria Mavrommati, Maria RepoussiAbstract:espanolLa alfabetizacion historica se ha definido como un conjunto de competencias que ‘habilitan a los estudiantes para ver de manera critica las peliculas ambientadas en el pasado como documentos historicos’. El objetivo de este articulo es explorar las posibilidades de aumentar estas competencias a traves del desarrollo de un modelo para la educacion historica que incorpora un elemento de analisis formal al estudio de peliculas historicas en el aula. Despues intentamos aportar una presentacion general de estas competencias basada en los hallazgos preliminares de los estudios sobre este campo. Basandonos en las criticas de cine redactadas por estudiantes como un analisis historico usado por el modelo presentado, concluimos que se desarrollan tres tipos de competencias relacionadas con la educacion historica: competencias relacionadas con conceptos de razonamiento historico, competencias relacionadas con la interpretacion del lenguaje cinematografico y convenciones como formas para construir significados historicos y competencias relacionadas con el analisis de los procesos de la construccion de Historia y memoria EnglishHistorical film literacy has been defined as a set of skills that will ‘empower students to look at movies set in the past critically as Historical documents’. In the present paper we aim to explore the possibilities of advancing these skills through the development of a model for history education that adds an element of formal analysis to the analysis of Historical Films in the classroom. Next, we attempt to provide an overview of these skills based on preliminary research findings from the field. Based on students’ film reviews written as Historical film analyses which made use of the model presented, we conclude that three types of skills related to history education are developed: skills related to Historical thinking concepts, skills related to the interpretation of the cinematic language and conventions as ways to construct Historical meanings and skills related to analysing the processes of constructing history and memory.
Shlikhar Tetyana - One of the best experts on this subject based on the ideXlab platform.
-
Between History and Memory: Cultural War in Contemporary Russian and Ukrainian Cinema
2020Co-Authors: Shlikhar TetyanaAbstract:Any approach to the past tailors our perception of the present, which is in turn inevitably elusive and unstable. The present is a site of contestation between memory and history, as well as a site for recounting the distant past by reflecting it through the prism of the present. The transition from the Soviet Union to independent states in 1991 triggered tensions within these newly created nation-states, with the collective and individual past being given a range of new interpretations. The connection between memory and identity obtained a renewed force. Russian ideologists have often considered Ukraine as an inalienable part of Russia; the disintegration of the Soviet Union implied only a formal separation in a common Russian worldview. Meanwhile, the new national policy of Ukraine was frequently oriented towards independence and closer cooperation with the European Union. Contrasting memories about the past contributed to the tension between the two Slavic peoples, which, paradoxically, turned out to be productive in terms of self-definition of Russians and Ukrainians. In this context, contemporary Russian and Ukrainian Historical Films aim to capture a past that is immediately relevant to the needs of the ever-changing present. Three issues—the location of filmmakers’ loyalties (evident in content and technique, as well as suggested by patterns of funding and shooting location); Historical emphases; and neglect of Historical facts with emphasis on others—are the focus of attention in this research. The dissertation examines the ways in which Historical film is used by state authorities to construct cultural identities, wherein contemporary Films generate discourses that make history a site of contestation, most frequently (but not exclusively) between Ukrainian nationalism and Russian imperial ambitions. The research resides at the intersection of three fields: memory as a custodial practice, with film as a lieu de mémoire; the Russian imperial project; and the formation of specific ideologies about the shared past
John Costley - One of the best experts on this subject based on the ideXlab platform.
-
Cinema, Memory, and the Russian State: Representation of the Past in Contemporary Russian Film
2020Co-Authors: John CostleyAbstract:The collapse of the Soviet Union brought about massive changes throughout Russia, leaving its economy and film industry devasted. Furthermore, the end of the Soviet Union meant the end of Soviet identity and its sites of memory. A new Russian identity emerged that has discarded some and modified other sites of memory. The sites of memory examined in this Independent Study include the history of the Russian Orthodox Church, Medieval Russia, the Russian Civil War, and the Second World War. The regrowth of the Russian film industry since 2000 has renewed focus on sites of memory. These sites of memory in film have changed through state patronage of the film industry after the fall of the USSR. This system of patronage works through the financing of Films, which involve government funds, support from partially state-owned television channels, and artists friendly to the Russian government. These Historical Films promote a quasi-official remembrance of the past that emphasizes Russian greatness, Russian Orthodoxy, anti-western sentiments, and strong leadership in these sites of memory
Daphne Barakerez - One of the best experts on this subject based on the ideXlab platform.
-
the law of Historical Films in the aftermath of jenin jenin
2007Co-Authors: Daphne BarakerezAbstract:Filmmaking and the narration of history have been engaged in a complex relationship ever since the early days of filmmaking. Many Films tell stories unfolding in previous times or about actual Historical events, and their narration of history is often criticized as inaccurate, fictitious, or even intentionally misleading. When a highly publicized film suggests a controversial narrative of a certain chapter in history, a debate usually follows in the public arena, be it as part of the ongoing intellectual discourse or even in a political context. At times, however, the public debate is translated into legal terms. The article focuses on the difficulties confronting the attempt to apply legal regulation to Historical Films argued to be false—either by using private law causes of action, such as defamation and infringement of privacy, or by recourse to administrative censorship powers. The recent and highly controversial film Jenin, Jenin by the Israeli-Palestinian actor and filmmaker Muhammad Bakri, which professed to tell the story of residents of the Jenin refugee camp during an Israeli military operation, is used as a case study. In general, the courts insist on avoiding decisions on Historical facts even when dealing with serious arguments about distortions in specific Films. The article supports this judicial policy on the grounds that courts and governments should refrain from restraining freedom of speech based on arguments of truth and falsity. Yet, it also points to the inevitable disadvantages of this viewpoint given that the marketplace of ideas, particularly in the debate around realistic film making, is controlled by actors who have the power to shape collective memory.