Film, History and Memory
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Using an interdisciplinary approach, Film, History and Memory broadens the focus from 'history', the study of past events, to 'memory', the processes – individual, generational, collective or state-driven – by which meanings are attached to the past.
what could be better than a tiny band of celluloid which constituted, in the words of Matuszewski, ‘not only a proof of history but a fragment of history itself’? It can be seen that Matuszewski had an essentially positivist attitude towards cinema: film was much more that a mirror of reality to him, it was reality itself. Matuszewski’s call for the large-scale storage of footage for research purposes fell on deaf ears. Film archives were not established before the 1930s, and, for many years,
cooperation one might expect from the European Union or Council of Europe and which might be seen to reach its cinematic nadir in the much maligned ‘Europudding’, a form of filmmaking that is the product of pan-European compromise, and which itself has a particular penchant for overblown historical dramas (Enemy at the Gates, Jean-Jacques Annaud, 2001; Joyeux Noël, Henri 4, Jo Baier, 2010)? How do the imperatives of national heritage culture interact with, enhance or resist those of the
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become the vehicle for Mateo’s memory, which also allows for its incorporation into the broader collective memory of the Civil War. Ironically, after David’s death, these roles are reversed. Mateo transcribes his grandchild’s story to give to Clara, who needs to know more about her boyfriend, an act which serves also to preserve David’s memory. Towards the end of the film, both women become involved in an investigation initiated secretly by David into the potential historical significance of an
where the older medium 130 Nike Jung encourages a sensual visuality and evokes particular histories. This use might help either to access body memories – for a Chilean audience of a certain age or generation – or to allow for a different way of relating to history. Notes 1. Raul Hilberg, ‘I Was Not There’, B. Lang (ed.), Writing and the Holocaust (New York: Holmes & Meier, 1998), p. 25. 2. See Karl Schoonover, Brutal Vision: The Neorealist Body in Postwar Italian Cinema (Minneapolis: