History Of Movies Research Articles

Influence of Music Psychology on the Consistency of Mood in Movies: A Review of Historical Works and Empirical Research

This study takes music and its corresponding psychological effects in the historical movie works as the research object, sorts out the internal connection between the musical form factors of the movie and the audience's psychology, and then analyzes the tense psychological emotions and their musical psychological aspects through movie examples, explores the sound factors and their psychological contrast effects, and finally reveals the impact of changes in proper melody on psychological outcomes. Research has found that the loudness of sound is closely related to emotional fluctuations, as well as the psychological responses brought by different types of music in dynamic and static movie scenes. When creating the sound of movie and television works, unique loudness designs for language and sound effects often bring unexpected results. The sounds in movies are all compound sounds, different from the direct physiological stimulation of pure tones on the auditory system. The tone cognition of compound sounds not only includes physiological reactions but also brings specific psychological effects. The psychological perception brought about by changes in sound frequency is different from the psychological impacts of loudness, and the psychological outcomes related to frequency are mainly attached to music and musicalized sound in creation. The rhythm, frequency, and emphasis of sound can more effectively and accurately guide the audience to realize the spatiotemporal transformation in the movie, providing them with a better viewing experience. The connection between "real" and "nonreal" scenes in historical movies usually involves high-frequency instruments and significant changes in the rhythm of the music. These self-explanatory psychological suggestive methods, combined with symbolic music, can create a specific "hypnotic" effect on the whole, bringing a combination of natural and virtual psychological effects to the audience.

A Critical Appraisal of The Role of Retribution in Aníkúlápó: The Movie

This study examines Aníkúlápó, a Yoruba historical movie, to elucidate cultural perspectives on retributive justice. The study is grounded in the Yoruba worldview, which frames retribution as essential for restoring cosmic and social equilibrium when moral norms are violated. The data analysis used textual analysis of Aníkúlápó’s narrative depictions of crime and punishment as insights into traditional Yoruba principles of retributive justice. The findings reveal that the movie accurately portrays customary public punishment processes in precolonial Yoruba society aimed at communal justice and harmony. Beliefs in supernatural forces dispensing divine retribution are also authentically represented. While punishments seek to deter crime and rehabilitate offenders, scholarly critiques note occasional unfairness and excess. Overall, the analysis of the movie illuminates the pivotal role of retribution in Yoruba's cultural identity and moral philosophy. The key themes in the study relate to retribution's links to cosmic balance, supernatural dimensions, and functions as deterrence and rehabilitation. By situating the analysis of Aníkúlápó within scholarship on African jurisprudence, the study elucidates Yoruba perspectives on fate, choice, proportionality, and pragmatism when responding to moral complexities and wrongdoing. This study contributes original humanistic insight into indigenous African philosophies of social harmony beyond punitive justice. This study recommends comparing diverse narratives and contemporary attitudes to enrich the understanding retribution's nuanced cultural significance.

Its name suggests it belongs here: The power of a community namesake in decreasing founding rates during industry emergence

This study investigates the power of a community namesake, defined as an organization named after the geographic community, in discouraging potential entrants from entering the local market during industry emergence. I argue that the presence of a community namesake is likely to make potential entrants anticipate stronger competition, because they tend to believe that the local membership proudly claimed by the namesake may drive community stakeholders to reciprocate the namesake with disproportionally more resources. During industry emergence, when there lacks objective information on competitive intensity, the presence of a community namesake can be a sufficient cue of a high local entry barrier that deters potential entrants, resulting in lower founding rates during the post-namesake period at the level of communities. I further predict that the namesakes’ symbolic power should vary depending on their material forms. Material forms that corroborate (i.e. through purpose-built buildings) or make salient (i.e. through visually prominent architectures) the namesakes’ claimed local membership should decrease founding rates to a higher degree. The analysis of the emergence of historical movie theaters in Chicago communities, 1905–1927, provides empirical support to the theorizing.

ASPECTS OF HISTORICAL ROMANIAN DRAMATURGY DURING THE COMMUNIST TOTALITARIAN REGIME

An insight that can greatly help us in our understanding of Romanian history during the era of the Communist totalitarian regime, is without a doubt provided by the historical dramaturgy of the period. During those years, a large number of historical plays were written and directed. It is for this very reason that historical theatre cannot be ignored by any historian interested in how the social representation of the past was constructed in the context of the four decades in which Romania was held in the grip of Communist ideology. There is an obvious parallel between the evolution of Romanian literature during the period in question (including dramaturgy) and Romanian historiography. In the latter field, changes that occurred during the 1960s and 1970s have been highlighted over the last two decades by Lucian Boia1. An analysis of literary criticism and writings reveals similar characteristics and developments in that field. Moreover, the literary genre of historical theatre can be closely linked to the rise of nationalism within the political discourse of the Communist regime, so it should not come as any surprise that the number of historical themes had been growing steadily since the mid-1960s. In a manner similar to other cultural policies of the time, the ideological twists and turns of Romanian Communism can be found in the evolution of historical theatre. Indeed, the closest comparison that can be made is with the historical cinematography of the time, which was better known and more popular than the dramaturgy of the era, through its themes, subjects and artistic approaches. However, while the historical movies of the era are still available today and indeed are frequently broadcast on Romanian TV, the historical plays of the time are available to the modern researcher only in specialized books in which they had been collected before 1989, in the volumes of literary criticism from the Communist period, or in the collective memory of witnesses. Nevertheless, a study of the impact of theatre under the conditions of communist totalitarianism is essential in order to be able to properly understand the effects of the regime’s propaganda, its evolution in terms of ideological orientation, and how it contributed to the crystallization of social representations of the past. This research study is merely a first step. The themes of the historical plays written and produced during the Communist regime are closely correlated with its historiographical writings. Ideas such as the antiquity of the Romanian nation, its persistency, the permanent nature of the defence of its statehood, and the aspiration toward unity are all now emerging. One theme highlighted during the 1970s is that of ‘heroism’, also present in the propaganda of the time. This theme channels us towards a better understanding of the role and attributes of the leader, thus becoming one of the main themes of Romanian historical dramaturgy within a very short time. While a long line of voivodes and heroes appeared on the stage, and via this medium through history, they became in fact the moving parts of a bigger mechanism that would ultimately become the personality cult of Nicolae Ceaușescu.

An Integrated PCA-DAEGCN Model for Movie Recommendation in the Social Internet of Things

With the development of the Social Internet of Things (SIoT) and mobile technologies in recent years, movie recommendation systems have become popular in online movie recommendation that users may like to watch based on their historical movie viewing data monitored by the SIoT. This technology can bring considerable profits to online movie providers and has attracted the attention of a large number of related scholars. However, previous movie recommendation models based on autoencoders have insufficient model learning ability due to their defective features. Due to the errors in users’ operation, the user’s movie rating data will have some errors. The previous models cannot deal with this corrupted information, which leads to the degradation of their generalization performance. Presently, graph convolutional networks have made full progress in many fields, and they can outperform traditional methods. Therefore, in this work, we introduce a principal component analysis and denoising autoencoder integrated graph convolutional networks (PCA-DAEGCNs) for movie recommendation in the SIoT. The PCA-DAEGCN model uses the network structure of the graph autoencoder to obtain effective hidden features and, subsequently, uses denoising autoencoders to handle small changes in the feedback information. Finally, the captured hidden features of users and movies are used to derive the finally predicted scores. Comprehensive experiments show that the proposed PCA-DAEGCN is able to obtain far better efficiency than many comparative models.

영화 속의 역사, 역사 속의 영화:

This article attempts to examine a French documentary film directed by Alain Resnais in 1956, Night and Fog, and especially the historical context in which it was produced and accepted. The film was a typical historical movie in that it dealt the Nazi concentration camps in the 1930s and 1940s and showed the holocaust in World War II, and that it conveyed their history to the younger generations: it has been released on the TV public channels or for the secondary education in France for decades. And the film was born in the midst of growing memories of the deportation by enacting national memorial day of the deportation, establishing a memorial of the martyrs of the deportation, and publishing a collection of the deportation survivors’ testimonies. A rumor that this film was out of the nomination for the Cannes International Film Festival under the pressure of the West German Embassy gave rise to a great dispute and anger in French society in April 1956, thereby showing that the anti-German sentiment was still strong among the French. But the censorship taking issue with a scene that revealed the kepi of a French gendarme who guarded the camp at Pithiviers, was not highlighted by the press, thereby signifying that memories of ‘the collaboration by the Vichy regime’ were still suppressed. Since the 1980s when all the other memories were overwhelmed by memories of the holocaust, the film came to the fore as a pioneering holocaust movie. Although its title, “Night and Fog” implied the suppression of Resistance rather than the holocaust, and even the word “jew” hardly appeared in its narration, it can fall within the category of the holocaust film because it properly preserved and conveyed the essential images of the holocaust. (Dongduk Women’s University / greve@hanmail.net)

THE REPRESENTATION OF OTTOMAN COURT TEXTILES IN CINEMATOGRAPHIC NARRATIVE: FERZAN ÖZPETEK’S HAREM SUARE

Cinema benefits from design tools in many respects in the creation of both the representation and the reality. Making an interior design with textile design tools is closely related to the expression in cinema. The compatibility of each design object with the location and the content of a movie is important in terms of the fact that they will be presented to the audience. Especially in historical movies, textile objects are expected to reflect the reality. Textile and cinema, which contain different dynamics, are different from the other disciplines in semantic and technical terms. These two disciplines, which have a visual aesthetic in them, continuously improve in the historical process and contribute to the transformation of one another. This study in which the combination of textile and cinema in the creation of an interior design is discussed in design and time together, deals with the place of textile objects in the creation of the interior atmosphere and the movie image. Within the scope of this research, the relationship between textile and cinema has been analyzed through the images, places and characters presented to the audience in the movie Harem Suare (1999).

Trendy Monsters: The Nazis, the Perpetrator Turn, and Popular Culture

Trendy Monsters: The Nazis, the Perpetrator Turn, and Popular Culture

The Long Civil War: New Explorations of America's Enduring Conflict ed. by John David Smith and Raymond Arsenault

Reviewed by: The Long Civil War: New Explorations of America's Enduring Conflict ed. by John David Smith and Raymond Arsenault Lawrence Kreiser (bio) The Long Civil War: New Explorations of America's Enduring Conflict. Edited by John David Smith and Raymond Arsenault. (Lexington: University Press of Kentucky, 2021. Pp. 246. $40.00 cloth) The introduction to this collection of ten essays is worth the cover price alone, for its insightful discussion on the "Long Civil War." John David Smith and Raymond Arsenault argue that, well into the twentieth century, scholars attempted to almost buttonhole the fighting that raged between 1861 and 1865 into a tight chronological and thematic focus. The postwar ended when the nation's [End Page 332] calendar flipped to 1878, and the struggle for civil rights culminated with the ratification of the Fourteenth Amendment. Only relatively recently, however, have historians recognized that the Civil War continues to define American society. That is not a cause for dismay, as if the war is too complex and contradictory to fully understand. Rather, The Long Civil War offers the opportunity for a more nuanced understanding of twenty-first-century Americans as a nation and people. According to Smith and Arsenault, the volume's essays demonstrate how "the Civil War and its wide-ranging consequences and implications remain a yardstick that can be used to measure the American experience. The essays illustrate how historians can accommodate and integrate ambiguity, selective memory, and the power of myths and symbols in their assessments of the war's geographic, temporal, and thematic importance" (pp.12–13). The persistence of antebellum questions on race into the Civil War and beyond is the focus of the first two essays. Daniel Kilbride writes on the interchange between American missionary work and imperial ambitions in Liberia and today's Nigeria. Stanley Harrold argues that the abolition lobby reached its greatest success when proslavery congressmen most aggressively attempted to counter it during the late 1830s and early 1840s. Paul Cimbala and Diane Miller Sommerville analyze the influence of the Civil War on individual participants in the next two essays. Cimbala details the motivations and expectations of Union officers in the Veteran Reserve Corps, while Sommerville demonstrates that the changing rhetoric of "political suicide," especially in the South, provided contemporaries a new framework for understanding the war's severity. Biographical essays on Emory Upton, a Union officer, and Ulrich Bonnell Phillips, a well-known southern historian, are the next two contributions. James Hedtke argues that Upton's writings on military science survived his own death through self-violence and influenced the development of the modern American military. John David Smith details the connections between Phillips's service as a nonmilitary [End Page 333] staff officer at Camp Gordon, Georgia, a segregated military base during World War I, and his academic writings. The ongoing controversies over historical memory form the basis for the last four essays. James Horton and Lois Horton write on the changing perceptions of Abraham Lincoln among Black Americans, and Stephen Whitfield on the continuing resonance of the Confederacy among many white southerners. During the mid-twentieth century, the legacy of the war on the presidency of Dwight Eisenhower, and the nostalgic—and commercial—portrayal of the blue and gray in the historical movies of Walt Disney are discussed by, respectively, Michael Birkner and Raymond Arsenault. The Long Civil War is a pleasure to read. The essays highlight continuing ways to understand the influence of the nation's most critical domestic crisis, as well as new avenues for innovative scholarship. Lawrence Kreiser LAWRENCE KREISER, JR. teaches history at Stillman College. He is the author of Marketing the Blue and Gray: Newspaper Advertising and the Civil War (2019) and coeditor of The Civil War and Popular Culture: Memory and Meaning (2014). Copyright © 2021 Kentucky Historical Society

At the Nexus of cinema, city and memory: Resisting the demolition of Istanbul's historical Emek movie theatre

Emek was the oldest surviving movie theatre in Istanbul when it was demolished in 2013 so that a shopping mall could be built in its place, spawning a persistent civic resistance. Sitting at the juxtaposition of the vibrant literatures on urban studies, film studies, and memory studies, the article demonstrates that emotions, evoked by memories, have a part in triggering urban resistance, adding to the flourishing literature on how emotions inspire and sustain activism. Specifically, it provides ethnographic evidence for the presence of a positive link between place attachment and willingness to engage in place-protective behaviour, stressing the role played by memories in this regard. Focusing on a historical movie theatre, on the other hand, also reveals the complex spatiality of cinematic experience, stressing the importance of social relations and vicinity of the theatre (the street in particular) in this specific context. A final set of contributions derived from the case of Emek relates to the notions of “failure” and “sustainability of activism” given that the resistance to Emek's demolition is characterised by its resilience and persistence as well as a determination to “resist to forget”, despite the failure, practices of emotional reflexivity playing a key role in this respect.

An Examination of Historical Literacy Perceptions of Social Studies Preservice Teachers in Terms of Various Variables

The aim of this study is to determine the historical literacy perception levels of social studies preservice teachers and to examine them in terms of various variables. In this framework, the survey model, one of the quantitative research methods, was used in the research. The sample of this study consisted of 134 social studies preservice teachers studying at the faculty of education of a state university in the 2019-2020 academic year. The data in the study were collected with the "Historical Literacy Perception Scale" developed by Uluçay (2019), after obtaining the necessary permissions. The data obtained from the scale were analyzed using the statistical package program.
 
 Considering the results obtained from the study, it was concluded that the social studies preservice teachers in the sample had high levels of historical literacy perception. In addition, their perception levels increased according to the variables of mother's education level and frequency of watching historical movies. On the other hand, their perceptions did not change / differ according to the variables such as grade level, gender, father's education level, tendency to read history books, to follow historical publications and competence of the teachers. Considering the results of the research in general, it can be said that the preservice teachers benefited sufficiently from their university and pre-university education in terms of historical literacy skills.

Writing History with Lightning: Cinematic Representations of Nineteenth-Century America ed. by Matthew Christopher Hulbert and John C. Inscoe

Reviewed by: Writing History with Lightning: Cinematic Representations of Nineteenth-Century America ed. by Matthew Christopher Hulbert and John C. Inscoe David B. Sachsman Writing History with Lightning: Cinematic Representations of Nineteenth-Century America. Edited by Matthew Christopher Hulbert and John C. Inscoe. Baton Rouge: Louisiana State University Press, 2019. ISBN 978-0-8071-7046-5. 352 pp., cloth, $55.00. Writing History with Lightning: Cinematic Representations of Nineteenth-Century America presents an intriguing puzzle. With all the possible feature films to choose from, why were these movies selected? The decision to replace some of the "usual suspects," such as Gone with the Wind (1939) and The Red Badge of Courage (1951) with films such as Bright Leaf (1951) and Mandingo (1975) certainly raises questions (6). If editors Christopher Hulbert and John C. Inscoe's "intent is to explore how America's love affair with cinema has shaped collective understandings of an entire century's worth of history," why did they choose films that had little influence on contemporary views of the nineteenth century? (4). Why include an essay, for example, on two films about Andrew Jackson, The Gorgeous Hussy (1936) and The President's Lady (1953), about which the author, John Marszalek, writes, "a film can be lacking in historical accuracy and still have a major impact if it draws large audiences and much attention from the media. Such was not the case with these two films" (56). In the end, the choice of films can be justified only by the quality of the essays themselves. And here the editors are supported by their authors, who in almost all cases bring something new to the discussion of which films best represent the American past—both the era they describe and the time period in which they were produced. The Andrew Jackson essay, for example, is definitely worth reading for what it tells us about the film industry. The book is organized chronologically by historical events through the nineteenth century, beginning with The Far Horizons (1955), the story of Lewis and Clark, and ending with Daughters of the Dust (1991), in which an African American family of the Gullah, or Geechee tradition prepares to leave its home in the Sea Islands for the mainland in 1902. Given this structure, the chapter on Quentin [End Page 239] Tarantino's The Hateful Eight (2015), for example, precedes the chapter that compares the depictions of George Armstrong Custer in They Died with Their Boots On (1941) and Little Big Man (1970). This makes it difficult to view the book as a history of film, since most of the authors bring twenty-first-century views to their discussions of the time periods in which their films were actually made as well as the historical era depicted. A number of authors make it clear that some of these films say more about the era in which they were produced than they do about the nineteenth century. But did these films play a greater role in shaping our popular culture and our knowledge of the nineteenth century than the actual history itself did? Do our images of the frontier or the Civil War come from the movies or from history books? The Birth of a Nation (1915) clearly influenced its viewers, and the images of the Civil War period in Gone with the Wind (1939) are with us still. But some of the films discussed in this volume had little or no influence on their audiences, and some, like Mandingo, are best left forgotten. In the end, this book reminds us that "not all historical movies are created equal" and that there are as many trivial movies about nineteenth-century American history as there are films that have affected our knowledge and popular culture (3). Writing History with Lightning will interest historians and film buffs alike. That its choice of films is new and different and that it discusses bad movies as well as good ones make the book attractive for its own sake. Finally, most of the individual essays are excellent and worth reading on their own. All factors considered, this collection is a valuable contribution to both the history of the nineteenth century and...

НЕОИМПЕРСКИЙ ЛЕЙТМОТИВ В ИСТОРИЧЕСКИХ РОССИЙСКИХ ФИЛЬМАХ 2000–2010-х гг. И ФЕНОМЕН КИНЕМАТОГРАФИЧЕСКОЙ ПРАВОСЛАВНОЙ ПРОПОВЕДИ

During the last two decades, the topic of imperial consciousness and the ideological construction of a neo-imperial approach to contemporary Russian history within the narrative of post-Soviet “neo-imperialism” has been increasingly revived in Russian cinema. It has not much about developing the idea of Great Russia with a highest world mission. There are hardly more Slavophile motives here than Westernisers’ ones. The new historical movies shot mainly by the Russian state or Church request construct a parable about a great supranational historical empire, which unites all ethnic groups, peoples, and religions under the rule of the Russian Tsar / Emperor / Patriarch. For Soviet times, the Communist Party or its leader usually plays the role of the monarch, while the role of civil religion can be played by political ideology. The modern Patriarchate of the Russian Orthodox Church disseminates the idea of imperialism as a basis of the Orthodox media cinematographic preaching. This type of preaching, along with Christian preaching on the Internet, social networks, and video games, has become increasingly used by Orthodox clergymen and church organisations. Here Russian Orthodox Church follows the Roman Catholics and Protestants, who currently use media sermon as an important part of their homiletics. From priests to clergy of the highest rank, such as Metropolitan Hilarion (Alfeev) of Volokolamsk or Metropolitan Tikhon (Shevkunov) of Pskov and Porkhovsk, more and more men of cloth begin to attract audience by their performance in offline and online video blogs, by online streams of their sermons in the digital space and finally, by shooting films, both documentaries and feature films. The main components of the neo-imperial narrative in the modern ideologised cinematographic preaching are the following: 1) constructing the parable of the great supranational historical empire (pre-Mongol Rus, Horde, Russian Principality, Russian Tsardom, Russian Empire, finally, the Soviet Union); 2) emphasising the great role of political leader, prince / tsar / emperor / general secretary / president; 3) resorting to preposterous synthesis of incompatible ideals of the Russian Empire and the Soviet Union; 4) spreading anti-historicism, anachronism, including linguistic, substituting historical fantasy for the history of the Russian Orthodox Church; 5) elevating the current national ideology to the status of national archetype, with searching and successful finding of “eternal” geopolitical enemies and friends of Russia; 6) re-considering Orthodoxy as a glamour “export product” for the West. The Cinematographic Orthodoxy depicted in imperial propaganda films has little in common with the history of the Russian Orthodox Church and the ideal of Orthodox Christian morality. Under the pen of scriptwriters and film directors who create their mass products by the order of the current Russian state or Patriarchate, Orthodox Christianity becomes a social and media construct that must exists solely for the blessing and support of the state power, as well as for the entertainment of the mass audience. Therefore, we must stress that such a preaching does not achieve its goals, as it does not preach Jesus Christ’s teaching, spirituality and a way for soul salvation and improvement.

Quantitative and qualitative assessment of VOCs emitted from cellulose acetate movie films by PTR-ToF-MS

• PTR-ToF-MS was used for the first time for real-time full qualitative and quantitative detection of VOCs released by 41 historical movie films on a cellulose acetate base. • Around 100 different organic ions were attributed to VOCs emitted from films. • Acetic acid, acetaldehyde, acetone, butanol, DMF, formic acid, methanol, propanoic acid dominated the VOC mixture composition. • Over 41 films, acetic acid was the most abundant VOC for 27 films reels, butanol for 6, DMF for 3, formic acid for 2, acetaldehyde for 2, acetone for 1. Cellulose acetate (CA) has been widely used since the second half of the 20th century as a transparent support for photographs and movie films in order to replace the flammable cellulose nitrate. Over time, hydrolysis occurs and the deacetylation of the CA produces acetic acid (AA), a well-known phenomenon in film archives, the so-called “vinegar syndrome”. However, beside AA, other off-gassing compounds may be present, and very few studies have been devoted to their quantitative and qualitative assessment. Proton Transfer Reaction “Time-of-Flight” Mass Spectrometer (PTR-ToF-MS) combines high sensitivity with high mass resolution for real-time detection of multiple Volatile Organic Compounds (VOCs). This technique was used to evaluate the air composition from 41 films dated from the second half of the 20th century, which showed different degradation levels (ranked using A-D strips®: level 0–1.5). More than 100 VOCs were detected, and their distribution was different from one film to another. AA was the most abundant VOC in 27 film cans. In others, it was either N,N dimethylformamide (DMF), butanol, acetaldehyde, acetone or formic acid. This study shows that PTR-MS is a powerful tool to monitor in real-time, and non-invasively, objects degradation in a museum environment via the quantitative and qualitative analysis of their VOCs emissions, and that this can be used for hierarchical cluster analysis classification.

The Role of Proto-Forms in the Emergence of Historic Movie Theaters in Chicago Communities: 1896-1962

We develop a novel concept of proto-form to understand the “pre- birth” processes of organizational form emergence, which take place between the discovery of a technological or social novelty and the eventual emergence of organizational forms dedicated to exploiting this novelty. We define a proto-form as a provisional organizational form that arises when entrepreneurs and enthusiasts experiment with possible applications of a novelty by using preexisting organizational forms as a basis. Proto-forms are a key step in the emergence of dedicated organizational forms, because they provide audiences with initial understandings of the novelty’s socio-cultural meanings. We theorize that the cultural status of proto-forms can affect how quickly dedicated forms with either similar or dissimilar cultural status emerge in geographic communities. Using data on all historic movie-showing venues in Chicago, Illinois, 1896-1962, we predicted and found that the proliferation of proto-forms with low cultural status in a community accelerated the emergence of dedicated organizational forms with low cultural status and delayed the emergence of dedicated forms with high cultural status. We predicted the opposite for the proliferation of proto-forms with high cultural status and found partial support to this prediction. These results provide initial evidence for the important role of proto-forms in understanding the emergence of new organizational forms.

Unlocking multiple histories of amateur media: from micro- to macro-histories

Over the last century, amateur media has evolved from representing somewhat marginal practices into becoming a pervasive force in today’s mainstream media culture. Without doubt it has become a crucial and defining feature of our everyday lives, with producing and sharing personal, informal audiovisual content now routine. Video cameras – whether standalone or embedded in communication devices like smartphones – have become instrumental in building rich visual family archives. These born-digital sources add to the already plentiful home-movie archives built on a century of film and video productions, which are now gradually being digitized. Ideally a history of home movies should be able to chart how people presented their lives in certain ways at particular moments in time, and how technological, economic, social and cultural factors influenced these choices. As such, amateur media has moved from the periphery of theoretical approaches and gained a far more visible role in media studies, including media history.

Igra Lole Montez u dramskom viđenju Todora Manojlovića

Lola Montes (Marie Dolores Eliza Rosanna Gilbert) is a dominant heroin of Todor Manojlović's drama Fascinated king: historical movie in seven pictures with intermezzo. Manojlović is one of the many writers who have dedicated a piece to the fatal Lola Montes, whose dance adorned stages of the European cities. Having a great faith on authentic historical data, our playwright has created a drama portrait of the Spanish dancer who seduced Bavarian king Ludwig I and became his mistress and the very important political figure. It has been shown, on adequate examples, that the game and adventure are, without a doubt, the essential components of the Manojlović's drama character. Special research attention is given to the symbol of Lola's Spanish dance. Manojlović's Lola Montes is seductive, with great temper, coquettish, cunning, stunning young woman, the bearer of the new political ideas and a cause of many confrontations. The aged and fascinated king Ludwig I gives this woman a palace, title of countess and eventually he is forced to abdicate. The very important segment of this paper is given to the precise analysis of the scene where Lola Montes and king Ludwig are completely ignore the reality and leave their minds to the fairy-tale game and enjoy in the imaginary roles. The way of Todor Manojlović portraying the femme fatale has also been analyzed.

The ‘invention’ of FIFA history: João Havelange’s election to FIFA presidency as a historic event

ABSTRACTIn 1974, the Brazilian sports official João Havelange was elected FIFA’s president in a two-round election, defeating the incumbent Stanley Rous. The upset, often attributed to a successful alliance with Asia, the Middle East and Africa, what at the time was referred to as the Third World – surprised observers everywhere. Here, the election can be analysed as a historically relevant event of social significance. It can be thought of as a political window by means of which the international dynamic of a specific moment in the Cold War can be perceived, especially the limitations and potentialities of the agency available to periphery countries at that time. In this article, I intend to discuss the narratives that forged the history of FIFA, which take this political ‘event’ as a key in the institution’s own historical transformation. The sources analysed will be mainly FIFA official histories, such as the FIFA News, FIFA historical books and movies about the history of FIFA.

No City for Young Boys: The Hate U Give, When They See Us and African American Youth

Contradictions between precious ideals and social realities are often handled by locating the problems of inequality in a limited setting, so that the rest of social life will not be disturbed. Racial inequality in America, starting with slavery, is concretely expressed in the troubled relations between agencies of social control, like the police, and racial minority communities. Two recent movies, The Hate U Give and When They See Us, deal with issues of extreme injustice in contacts between African American young men and the police who patrol their communities. The history of movies and real events shows these issues recurring. In spite of efforts to mend the difficult relationship, many recent scandals have raised alarms for the continuation of progress in race relations. Police shootings of unarmed young men and wrongful convictions of innocent young men have led to the “Black Lives Matter” movement and a recent outpouring of movies of protest by African American moviemakers.

MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI

In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.