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.
Spanish inquisitors in the film, had provoked debate and protest.6 38 Axel Bangert et al. The specific concerns of such films may go some way towards explaining why the Basque version of heritage cinema did not reach as wide an international audience as the British cycle. Akelarre, La conquista de albania and Fuego eterno played at various international film festivals, but their reception centred on their country of origin, where their value was often contested by Basque audiences who may
for a larger culture or nation that is politically unrealised, as in Basque cinema. Or, as the Danish case illustrates, heritage cinema can be used to celebrate national icons, from heroes of the resistance against the Nazi occupation to post-war figures of progress and success. Finally, a strongly transnational dimension is apparent in the German context, from films about the Second World War – which invariably also have to negotiate pan-European memory of the event – to the growing cultural
was probably her partner’s left-wing inclinations, as Jordà observes in one scene: ‘It was better being a single mother than the widow of an executed man.’ As Luisa Passerini argues: ‘Certain forms of oblivion point to a lack of identity or to an effort to cover up some of its components.’34 In the early post-war years, a connection to anyone executed by Franco’s regime was cause for stigmatization, imprisonment or even execution. In order Silence and Memory in Contemporary Spain 59 to protect
social division. Understanding the emotional discourses of a film can create a more critical spectator and a more nuanced understanding of the past. Through an ‘emotional reading’ of the films, we can see that the recent Irish cinema is marked by identifiable formal characteristics, and is open to meaningful historical engagement. 154 Jennie M. Carlsten Emotional readings What do I mean by an emotional reading? It is generally difficult for film studies to even talk about emotion. There has,
scholarly attention. Our historical understanding is not something which exists independently of artistry, imagination, emotion and individual experience, but is shaped by these. Landy notes that ‘Cinema offers both a sensory and a cerebral alternative to thinking about the uses of the past.’39 Attempts to understand history on film – on its own terms – requires exploration of the affective, the corporeal and the emotional. 14 Jennie M. Carlsten and Fearghal McGarry 6. Attention to the