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Au-delà de la figure du cinéaste engagé qui interpelle le public par son œuvre, cet ouvrage s'intéresse à la culture de l'engagement qui se déploie dans un espace extra-filmique. À travers des exemples tirés de contextes géographiques distincts (États-Unis, France, Espagne, Afrique du Sud, etc.), les auteurs démontrent que la politisation des films est souvent précédée par une prise de position des réalisateurs et des acteurs. La culture de l'engagement est liée à l'action collective permise par les films qui se laissent instrumentaliser à des fins politiques. Les festivals de cinéma sont ainsi des lieux de réflexion et de protestation, où l'artiste rencontre le militant dans un espace de mobilisation collective. Cet ouvrage dessine les contours historiques de cette culture cinématographique engagée ; il évoque les crises historiques qui appellent des actes de création. Du franquisme à l'apartheid, de la ségrégation raciale aux indignés, le cinéma absorbe les tensions sociales qu'il transcende dans un art de l'engagement. Étudiés en lien avec leurs conditions de production et de réception, les films considérés dans cet ouvrage démontrent que le cinéma demeure un lieu de résistance à la fabrique du consentement. Ils s'inscrivent dans un rapport de force avec le cinéma dominant, dont ils interrogent les normes en montrant les luttes des oubliés de l'histoire.

Motion pictures - Political aspects --- Motion pictures - Social aspects --- Motion picture producers and directors - Political activity --- Film Radio Television --- engagement --- cinéma --- histoire et cinéma --- documentaire

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Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- Presidenten in de film --- Presidents in motion pictures --- Présidents au cinéma --- Motion pictures --- Historical films --- Présidents --- Cinéma et politique --- Films historiques --- Political aspects --- History and criticism --- Au cinéma --- Histoire et critique --- United States --- Au cinéma. --- Histoire et critique. --- Présidents --- Cinéma et politique --- Au cinéma.

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In the aftermath of the Holocaust, the Rodney King beating, the O.J. Simpson trial, what is to count as history, and how can it be recounted? 'The Persistence of History' is an anthology of essays from major film scholars and historians which focuses on a radical contemporary challenge to historical representation in film. This challenge is brought about by what the collection terms "the modernist event"--novel historical occurrences unthinkable before the 20th century and raised to visibility, if not intelligibility, through the mass mediations of film and television. Contributors to 'The Persistence of History' look at how moving image has not only challenged, but completely altered, traditional modes of historical thought and representation. Exploring a range of film and video texts, from 'The Ten Commandments' to the Rodney King video, from the projected work of documentarian Errol Morris to Oliver Stone's 'JFK' and Steven Spielberg's'Schindler's List', the volume asks what are the appropriate forms of media for making the incoherence and fragmentation of contemporary history intelligible and meaningful? At a moment when History is said to be at an "end," why are more people than ever fascinated by "the historical"--defined as the possibility of being "in" a historical event that is documented, validated, if not invented, through mass media simply by viewing it? By focusing on the relationship between historical events and historiography, the essays in 'The Persistence of History' address this question as well as such issues as 'ennui' and boredom, national identity, violence, and the "ownership" of history. Contributors: Robert Burgoyne, Thomas Elsaesser, Sumiko Higashi, Bill Nichols, Patrice Petro, Dana Polan, Shawn Rosenheim, Robert Rosenstone, Janet Staiger, Frank Tomasulo, Hayden White, Denise Youngblood.

Motion pictures and history. --- Television and history. --- World history --- Film --- Mass communications --- Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- Televisie en geschiedenis --- Television and history --- Télévision et histoire --- #SBIB:309H1320 --- History and television --- History and motion pictures --- Moving-pictures and history --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Cinéma et histoire --- Télévision et histoire --- History --- Cinéma et histoire. --- Télévision et histoire.

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Abraham Lincoln (Film) --- Abraham Lincoln (Motion picture) --- Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- Nixon (Film) --- Nixon (Motion picture) --- Presidenten in de film --- Presidents in motion pictures --- Présidents au cinéma --- Tennessee Johnson (Film) --- Tennessee Johnson (Motion picture) --- Thirteen Days (Film) --- Thirteen Days (Motion picture) --- Wilson (Film) --- Wilson (Motion picture) --- Motion pictures --- Historical films --- Political aspects --- History and criticism --- History and motion pictures --- Moving-pictures and history --- History --- United States --- Griffith, David Wark --- Criticism and interpretation --- Stone, Oliver --- Motion pictures - Political aspects - United States --- Historical films - United States - History and criticism

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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).

Cinéma et histoire --- Film en geschiedenis --- Histoire au cinéma --- Histoire et cinéma --- Motion pictures and history --- #SBIB:309H1328 --- Films met een ideologische en spiegelfunctie --- #SBIB:309H1329 --- History and motion pictures --- Moving-pictures and history --- History --- Films met een informatieve functie (met inbegrip van de documentaire film) --- Motion pictures and history. --- Cinéma et histoire --- Animal Farm. --- Another Country. --- Barry Lyndon. --- Casablanca. --- Gilda. --- Heart of Spain. --- Holiday Camp. --- Kind of Loving. --- Last Tango in Paris. --- Life Is Sweet. --- Madonna and Child. --- Masterpiece Theater. --- Night of the Shooting Stars. --- One Way or Another. --- Other Francisco. --- Rain Man. --- Rybakov. --- Sid and Nancy. --- Star Trek. --- Three Daughters. --- Trip. --- Triumph of the Will. --- Vengeance Is Mine. --- White Mischief. --- Yojimbo. --- paisan. --- the Bodyguard.