Heritage film Research Papers - Academia.edu (original) (raw)

- by Annabelle Doherty
- •
- French Cinema, Adaptation (Film Studies), Heritage film, Jean-Pierre Jeunet
- by David Roche
- •
- Adaptation, Jane Austen, Film Adaptation, Film Aesthetics

This chapter argues that Ken Russell's film 'The Lair of the White Worm' (1988), adapted from the Bram Stoker novel, is conceived as a camp subversion of the conventions of the British heritage film, which was a dominant genre of 1980s film production in the UK. In updating his adaptation of the novel to the 1980s, Russell opens up a number of interesting Neo-Victorian perspectives on Stoker's original. A close reading of the film's modes of adaptation, its choice of actors and acting styles, its characterization, costuming, and set design all reveal a complex and subversive attitude to both the Victorian past and contemporary revaluations of it.

- by Christophe Van Eecke
- •
- Heritage film, Bram Stoker, Ken Russell, Neo-Victorianism

Ken Russell's film Gothic (1986) dramatises one of the key foundational myths of nineteenth-century British literature: the night at the Villa Diodati when Mary Shelley allegedly had the initial idea for her novel Frankenstein (1818). While the film can be enjoyed as a costumed horror film, this article argues that it is in fact an intricate response to the heritage film genre and to heritage tourism within the cultural and political context of Britain in the 1980s. Russell's film subverts heritage film conventions and mobilises early film techniques and forms of entertainment from the late Victorian era to comment upon the recuperation of Victorian culture in the heritage industry of the 1980s. To make clear how the film achieves this, four key aspects are analysed: the parallels between the film's structure and a funhouse ride; the film's use of the tableau vivant; the film's engagement with nineteenth-century celebrity cults; and the film's representation of heritage tourism. Taken together, these elements introduce a complex reflexivity in the film that allows the attentive viewer to enjoy it on several levels at once, both as a heritage horror film and as a neo-Victorian critique of the cultural forces that seek to revive the Victorian in a contemporary context.

The 3rd edition of MEMORY! International Film Heritage Festival took place from May 29 to June 7, 2015 reaching an attendance level of 15 000 spectators, with represents an increase of 25% compared to previous main edition in June 2014.
54 classics from around the worlds around the year’s theme WOMEN were presented in Yangon, most of them never released in the country.
International Guests of Honors highlighted the festival in Myanmar, in particular actresses Catherine Deneuve and Michelle Yeoh, Cheng Pei Pei and Marrie Lee, Daw Swe Zin Htaik, Daw Khin Thida Htun and Daw Nwe Nwe San and several international directors Olivier Assayas, Lana Gogoberidze and Salomé Alexi and Myanmar director Daw Thin Thin Yu.
International delegations from America, Europe and Asia took part actively to the festival.

- by Séverine Wemaere
- •
- Early Cinema, Asian Film, Film History, Hindi Cinema

O aproximar de fim do milénio desencadeou uma profusão de narrativas obcecadas pela ameaça apocalíptica de uma era que se extinguia, enquanto Outras histórias enfatizavam, paralelamente a este discurso e num momento de dinamismo e desenraizamento extremos, uma fixação nas relíquias do passado, de que é representativa a expansão da "indústria do património".
O presente ensaio, vencedor do 1º Prémio de Ensaio Literário Fernando de Mello Moser e Edições Cosmos, explora retratos contemporâneos da época vitoriana traçados por duas obras literárias e duas obras fílmicas produzidas entre o final da década de 1960 e o princípio do século XXI: The French Lieutenant's Woman, de John Fowles, Possession: A Romance, de A.S. Byatt, e respectivas adaptações cinematográficas, realizadas por Karel Reisz e Neil Labute.

- by Ana Cristina Mendes
- •
- Harold Pinter, John Fowles, Heritage film, A. S. Byatt

Pop culture portrayals of medieval and early modern monarchs are rife with tension between authenticity and modern mores, producing anachronisms such as a feminist Queen Isabel (in RTVE's Isabel) and a lesbian Queen Christina (in The Girl King). This book examines these anachronisms as a dialogue between premodern and postmodern ideas about gender and sexuality, raising questions of intertemporality, the interpretation of history, and the dangers of presentism. Covering a range of famous and lesser-known European monarchs on screen, from Elizabeth I to Muhammad XII of Granada, this book addresses how the lives of powerful women and men have been mythologized in order to appeal to today's audiences. The contributors interrogate exactly what is at stake in these portrayals; namely, our understanding of premodern rulers, the gender and sexual ideologies they navigated, and those that we navigate today.

- by Elena (Ellie) Woodacre and +1
- •
- Gender Studies, Film Studies, Film Analysis, Gender and Sexuality
- by Maria Chalkou
- •
- History and Memory, Cosmopolitanism, Greek Cinema, Heritage film

U Hrvatskoj trenutno ne postoji neovisna institucija čija je osnovna funkcija briga o hrvatskoj audiovizualnoj baštini, a ne postoji ni jedinstveni pravni okvir koji bi riješio složenu situaciju u pitanjima audiovizualne baštine, zbog čega se audiovizualna djela tretiraju kao arhivski dokumenti unutar Hrvatskog državnog arhiva. Osnivanje stručnog tijela koje bi donosilo strategije za korištenje, vrednovanje i prezentaciju audiovizualne baštine, izmjene na razini zakonodavstva te registar imatelja i stvaratelja audiovizualnog gradiva nužni su ukoliko želimo vrijedna djela iz audiovizualne baštine ponovno učiniti dijelom kulturne svakodnevice. Vjerojatno najznačajniji datum u suvremenoj hrvatskoj kinematografiji je 1. siječnja 2008. godine kada je temeljem Zakona o audiovizualnim djelatnostima (NN 76/07) odlukom Vlade RH osnovan Hrvatski audiovizualni centar te je kroz njega uspostavljen suvremeni model suradnje audiovizualnog sektora na realizaciji i promociji audiovizualnih djela. Ukratko, osnivanjem popularnog HAVC-a riješeno je pitanje proizvodnje kinematografskih djela, nečega što će jednom postati audiovizualna baština. Navedeni Zakon se čak u članku 35. Zaštita i očuvanje audiovizualne baštine odnosi prema audiovizualnoj baštini navodeći da: " Vlasnici i drugi imatelji audiovizualnih djela i drugog filmskog gradiva od povijesnoga, umjetničkog, kulturnog i znanstvenog značenja ili od značenja za razvoj kinematografije dužni su poduzimati trajne mjere za njihovu zaštitu i očuvanje. Audiovizualna djela i drugo filmsko gradivo iz stavka 1. ovoga članka štite se kao kulturno dobro i na njih se primjenjuju propisi o zaštiti i očuvanju kulturnih dobara i arhivskoga gradiva. " Što je audiovizualna baština? Prema ranije navedenom članku audiovizualna baština bila bi " audiovizualna djela i drugo filmsko gradivo od povijesnoga, umjetničkog, kulturnog i znanstvenog značenja ili od značenja za razvoj kinematografije ". Prema definiciji Društva za zaštitu i razvoj baštine jednako tako pod ovim pojmom možemo podrazumijevati informacije odnosno snimke koje bilježe sliku i zvuk na nosačima raznih formata: filmovima, magnetoskopskim vrpcama, videokasetama (analognim i digitalnim) te digitalnim video diskovima, a koje imaju kulturnu, povijesnu, programsku, marketinšku, znanstvenu i druge vrijednosti što je širi pojam od onog štokoji obično imamo u mislima kad razgovaramo o filmskoj baštini. Koju god definiciju odabrali, naše razmišljanje nas dovodi do dva osnovna problema, kao prvo vidljivosti ili mogućnosti pristupa tim PAGE 7

- by Mladen Burić
- •
- Cultural Policy, Heritage film

Through the cinematic experience of heritage films' historical reconstitutions, audiences may acquire a vivid cultural memory of prior eras, where the powerful corporeal effect of the cinematographic language stimulates a lived sensation of the past. Yet the recreations of heritage cinema are, at times, refracted through the lens of auteurism, impacting the historical realism and effect of authenticity and in the case of adaptations transforming the original source text. This article considers key French heritage films to depict the July Monarchy in France, investigating how different auteurs influence the films' sensual audiovisual recreations and consequently spectators' filmic experience. Former new wave auteur Claude Chabrol's adaptation Madame Bovary (1991) and its recreation of 1830-1840s France is compared and contrasted with later-generation auteur Jean-Paul Rappeneau's Le Hussard sur le toit/The Horseman on the Roof (1995) and younger-generation auteur Catherine Breillat's Une vieille maîtresse/The Last Mistress (2007), exploring history via their unique authorial aesthetics and ideologies. The depiction of (semi-)fictional historical figures during events of the July Monarchy is analysed, in the films' portraits of past landscapes, focusing on the intimate settings of courtship, weddings, marriage, and adultery during the reign of Louis Philippe I. The article examines the adaptation of Chabrol's vision of Gustave Flaubert's canonical 1857 work, together with Rappeneau's interpretation of Jean Giono's 1951 novel and Breillat's recreation of Barbey d'Aurevilly's 1851 text. It explores the cinematic cultural memory of the past potentially acquired by spectators through the embodied experience of each auteur's powerful heritage adaptation.

- by Annabelle Doherty
- •
- French Cinema, Film Adaptation, Historical Films, Adaptation (Film Studies)

- by Karl C . Alvestad
- •
- Sociology, Gender Studies, Film Studies, Film Analysis
- by Annabelle Doherty
- •
- French Cinema, Film Adaptation, Historical Films, Biopic

This is a report and critical analysis of a conference organised by Michael Samuel (University of Leeds) on behalf of the White Rose Network on European film, heritage, and identity. The event was held at the University of Leeds on 30th of September 2016. Subsequently, this report was published in issue 13 of the Alphaville Journal of Film and Screen Media.

- by Daniel Clarke
- •
- Cultural Geography, Film Studies, Television Studies, Heritage Studies

MEMORY! International Film Festival Yangon 7th edition.
Myanmar Script Fund 4th edition - MEMORY! Journalism & Culture 3rd edition
Summary review of the 2019 Programs after key events November 2019, in Yangon (Myanmar).
Iconic Actresses Isabelle Huppert (France) and Grance Swe Zin Htaik (Myanmar), Patrons of 2019 programs.
Among the distinguished Guests of MEMORY! sinc its inception Catherine Deneuve (France) and Grace Swe Zin Htaik (Myanmar) Director Tran Anh Hung (Vietnam), Actress Tran Nu Yen Khe (Vietnam), Director Claude Mourieras (France), Animation Director Eléa Gobbé-Mévellec (France), Director Darlene Johnson (Australia), French Actress Clothilde Coureau, Taiwanese filmmaker Tsai Ming-liang, Leading actor Lee Kang Sheng, Director Tan Pin Pin (Singapore), Director Midi Z (Taiwan), Director Rithy Panh (Cambodia); Director Eddie Cahyono (Indonesia), Directors Michel Hazanavicius & Olivier Assayas (France), Actress Cheng Pei Pei (China), Actress Michelle Yeoh (Malaysia), Actor Wyne (Myanmar), Actress Phway Phway (Myanmar), Directors Pascale Ferran, Davy Chou, Régis Wargnier (France) and many others...

- by Séverine Wemaere
- •
- Heritage film, Film Festivals, Burma Myanmar, Independent Cinema
- by Matilda Mroz
- •
- Film Studies, Film Analysis, Affect (Cultural Theory), Heritage film

La construcción estética del sujeto popular en el documental "Mimbre" (1957) de Sergio Bravo. Luis Horta, UNIVERSIDAD DE CHILE Resumen. En el marco de los estudios del cine chileno, que sitúan la representación del sujeto popular como epicentro de un trabajo estético de indagación, este artículo busca analizar las operaciones cinematográficas y estéticas que emplea el cineasta Sergio Bravo en su documental "Mimbre" (1957), en el cual trata de establecer un lenguaje asociado a una idea de identidad local. El análisis de la obra nos indica un contrapunto entre sujeto popular y vanguardias artísticas. Toma como motivo central la cotidianeidad del artesano Alfredo Manzano, "Manzanito", planteando una subversión visual a la idea de realidad chilena propuesta por el cine del periodo. Como conclusión, el trabajo de Sergio Bravo no solo resulta rupturista en la forma, sino en la conciencia política del rol de las imágenes en un proceso que asume la construcción de un lenguaje propio en un periodo que evidencia aperturas hacia el arte popular. Palabras clave: Cine chileno; Documental; Sergio Bravo; Mimbre; Manzanito; Arte Popular. Abstract. In the framework of the Chilean cinema studies, which place the representation of the popular subject as the epicenter of an aesthetic investigation work, this article seeks to analyze the cinematographic and aesthetic operations that the filmmaker Sergio Bravo uses in his documentary "Mimbre" (1957), in which he tries to establish a language associated with an idea of local identity. The analysis of the work indicates a counterpoint between popular subject and artistic avant-garde. It takes as a central motif the daily life of the artisan Alfredo Manzano, "Manzanito", posing a visual subversion to the idea of Chilean reality proposed by the cinema of the period. In conclusion, Sergio Bravo's work is not only disruptive in form, but also in the political conscience of the role of images in a process that assumes the construction of a language of its own in a period that shows openness towards popular art.

- by Luis Horta
- •
- Documentary Film, Heritage film, Cine Chileno, Chilean Film
- by Giacomo Boitani
- •
- Film Studies, European Cinema, Heritage film

Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of his output. His films span a wide range of genres in art house and mainstream cinema alike, from the heritage film to neo-noir. Working with... more

- by Deborah Allison
- •
- Religion, Philosophy, Film Studies, Genre studies
- by Deborah Tudor
- •
- Visual Studies, Film History, British Cinema (Film Studies), Heritage film