Sirvi Märksõna "ajaloolised filmid" järgi

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Poetics of adaptation and point of view: literary and documentary sources of the historical-biographical film
(2019-05-16) Kangur, Katrin; Grishakova, Marina, juhendaja; Lothe, Jakob, juhendaja; Tartu Ülikool. Humanitaarteaduste ja kunstide valdkond
Teine maailmasõda on andnud ainest tuhandetele ajaloolistele filmidele, mis erinevates žanrites ja erinevatest vaatenurkadest lähtuvalt vormivad meie ajaloomälu. Tänapäeval moodustavad nii eluloofilmid kui ajaloolised filmid märkimisväärse osa sellest pagasist, mis mõjutab publiku arusaamist, kuidas ajaloolised sündmused aset leidsid. Kuitahes palju erinevaid ajalootõlgendusi kaasaegses kultuuriruumis ka ei esine, paneb miski ajaloolise ja biograafilise filmi puhul vaataja lähenema sellele teisiti kui väljamõeldud süžeel põhinevale mängufilmile. Doktoritöö “Adaptatsiooni ja vaatepunkti poeetika: ajaloolis-biograafilise filmiteose kirjanduslikud ja dokumentaalsed allikad” keskendub ajaloolis-biograafiliste draamafilmide kui filmimuganduste uurimisele. Tuginedes kolmele näitele, Roman Polanski holokaustiteemalisele filmile “Pianist” (2002), Max Fäberböcki Teise maailmasõja lõpusündmustest jutustavale “Naine Berliinis” (2008) ning Jan Troelli kirjanikuportreele Knut Hamsunist (“Hamsun” (1996)), on doktoritöös tähelepanu all milliseid eetilisi ja filmitehnilisi väljakutseid (auto)biograafiliste tekstide filmikeelde ümberpanek filmitegijatele esitab ning kuidas sellised filmid vaataja jaoks toimivad kui adaptsioonid: lisaks ajaloolisele tõepärasusele, on nende filmide juures oluline peategelase isik, tema lugu, kogemus ja nägemus sündmustest. Kuigi ajaloolis-biograafilised filmid ja (auto)biograafiad moodustavad olulise osa meie ajalooteadmiste kujunemisest, on nende filmiadaptsioone seni vähe uuritud. Ometi peegeldavad need filmitekstid keerulisi valikuid, mida filmitegijad peavad langetama, püüdes filmitekstis edasi anda niihästi autobiograafilise jutustuse “mina”, kui ka esitada “tõetruult” ajaloosündmusi.
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Politics of history on the screen: unveiling the continuity of myths in Polish state-endorsed cinema
(Tartu Ülikool, 2024) Harmash, Anna; Piekarska-Duraj, Łucja, juhendaja; Gibson, Catherine, juhendaja; Tartu Ülikool. Sotsiaalteaduste valdkond; Tartu Ülikool. Johan Skytte poliitikauuringute instituut
This thesis examines cinematic portrayals of the Warsaw Uprising in historical fiction films endorsed by two ideologically divergent regimes: the Polish United Workers’ Party (PZPR) and the Law and Justice Party (PiS). Both regimes advanced conflicting memory of Polish history, tailoring the discourses to align with their respective ideological agendas by focalizing or silencing some pages of history. However, through a comparative analysis of films endorsed by the regimes, this thesis argues that the PZPR and PiS followed the same template in constructing their memory narratives that framed Poland as a nation of exceptional heroism and martyrdom, and justified an uncritical approach to politics of history. This thesis analyzes cinematic narratives presented in films about the Warsaw Uprising—a traumatic historical event that was marked by “blank spots” in the official memory during the People’s Republic of Poland but became an widely commemorated and glorified event, emblematic of Polish collective identity under PiS-led politics of history. A cinematic discourse analysis of six state-endorsed productions (five feature films and one episode from a popular television series released between the 1950s-1970s and the 2010s) was conducted to identify, decode, and interpret memory narratives and depictions of heroism using elements of the dominant Polish myth. The interpretation of the cinematic renderings of the Uprising relied on concepts of collective identity, national myths and schematic narrative templates, and considered the ideological, social and political contexts in which the films were produced. The research demonstrates that, while introducing some critical reflections and “remembering” the Uprising differently, the state-enforsed films produced under both regimes build their narratives on the dominant myth of Poland being “Christ Among Nations”. Ultimately, this thesis seeks to understand why seemingly ideologically divergent political regimes deploy similar narrative strategies.
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Tallinna kinostuudio filmimata stsenaariumiprojektid "Prohvet Maltsvet" ja "Ümera jõel"
(Tartu Ülikool, 2012) Kotta, Kristel; Tamm, Marek, juhendaja; Luisk, Ülle, juhendaja; Tartu Ülikool
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The memory politics of becoming European: Estonian subaltern narrative in the film In The Crosswind (2014)
(Tartu Ülikooli Euroopa kolledž, 2015) Solohub, Olena; Pääbi, Heiko, juhendaja
This thesis aims to analyze Estonian historical art film In the Crosswind (2014) as a product of cultural memory, which represents the national trauma of Soviet deportations in 1941-1949. The film is analyzed in a broader social and political framework of the European collective memory divide over the history of the Second World War and its aftermath. The thesis argues that In the Crosswind can be considered as attempt of Estonia as one of Eastern European states to promote their subaltern narrative of Stalinist crimes and victimization and achieve recognition among “Old” Europeans, which is part of their ‘politics of becoming European’. This thesis uses a multidisciplinary approach, which is based on a theory of memory studies, trauma theory and cultural media studies and attempts to analyze, how the Estonian national trauma of deportations is represented and constructed in the film, so it would find acceptance and recognition among the foreign audience. This thesis analyzes the cinematic techniques and iconography, used in the film to narrate the story of deportations trauma. As the film is analyzed not only as a work of art, but in a broader socio-political context, the thesis employs method of visual Critical Discourse Analysis, combined with iconographic, narrative and intertextual analysis. In the Crosswind can be considered as a successfully constructed trauma representation, which attempts to challenge the dominant memory discourse of communist crimes in Europe and promote Estonian national narrative of deportation trauma. Through the means of prosthetic memory, the film has a potential to influence the foreign audience and contribute to the construction of transnational memory of Stalinist crimes. It would be an overstatement to say that this goal is achieved with one film, but it is definitely a case of contribution to the Eastern European memory politics of ‘becoming European’.
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The use of cultural memory in reinforcing contemporary russian patriotism on the example of film Stalingrad (2013)
(Tartu Ülikooli Euroopa Kolledž, 2014) Roop, Laura; Pääbo, Heiko, juhendaja; Blobaum, Robert, juhendaja; Tartu Ülikool. Euroopa Kolledž