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History written with lightning: Film...

Anderson, Steven Franklin.

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History written with lightning: Film, television and experimental historiography.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	History written with lightning: Film, television and experimental historiography./
作者:	Anderson, Steven Franklin.
面頁冊數:	304 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 1600.
Contained By:	Dissertation Abstracts International63-05A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3054704
ISBN:	0493699198

History written with lightning: Film, television and experimental historiography.
Anderson, Steven Franklin.

History written with lightning: Film, television and experimental historiography. - 304 p.

Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 1600.

Thesis (Ph.D.)--University of Southern California, 2001.

This project explores some of the ways history is imagined, represented and remembered through various experimental and non-traditional forms of visual historiography. The dissertation considers discursive strategies and content of a wide range of marginalized historical texts drawn from American popular culture and the Euro-American avant-garde. Integrating theory, historical research, and textual criticism, the author argues for a more inclusive definition of visual history and the value of works which directly engage issues of historical epistemology. In an era when both history and memory are frequently characterized as being at an end, this thesis unravels traditional conceptions of film and history in order to illuminate the dynamic, though often contradictory, processes of historical signification and reception.

ISBN: 0493699198Subjects--Topical Terms:

854529
Cinema.

History written with lightning: Film, television and experimental historiography.
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502 $a Thesis (Ph.D.)--University of Southern California, 2001.
520 $a This project explores some of the ways history is imagined, represented and remembered through various experimental and non-traditional forms of visual historiography. The dissertation considers discursive strategies and content of a wide range of marginalized historical texts drawn from American popular culture and the Euro-American avant-garde. Integrating theory, historical research, and textual criticism, the author argues for a more inclusive definition of visual history and the value of works which directly engage issues of historical epistemology. In an era when both history and memory are frequently characterized as being at an end, this thesis unravels traditional conceptions of film and history in order to illuminate the dynamic, though often contradictory, processes of historical signification and reception.
520 $a In this dissertation, the inclusion of a disparate array of cultural texts erodes the high/low and margin/center relations of commercial and experimental cinema, emphasizing works which challenge the conventions of historiography and/or the cultural negotiation of the past. The author argues that the primary aspiration of history films need not be simply the production of naturalistic representations or the visualization of written history but the creation of a context in which viewers may simultaneously interrogate the past and its conditions of understanding. Certain historiographical works thus manage to construct a relationship with the past which operates in and through the tension between discursive relativity and a certain kind of “truth claim.” In exploring the ways in which various film and video texts have negotiated this tension, the author focuses on moments when history becomes instrumentalized, forged into counter-narratives or simply re-remembered in ways that are politically or socially useful.
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