European Cinema and Intertextuality: History, Memory and - download pdf or read online

By E. Mazierska

ISBN-10: 023057954X

ISBN-13: 9780230579545

Ecu Cinema and Intertextuality bargains an unique and up to date method of the illustration of history via movie. It presents an interpretation of a couple of function movies representing the most important occasions and personalities from European historical past within the 20th century. This comprises the second one global struggle, Armenian Genocide, anti-Semitic assaults in Poland after the second one international conflict, ecu terrorism of the Nineteen Seventies, and the tip of communism. movies mentioned contain ?loge de l'amour and keenness via Jean-Luc Godard, Ararat by way of Atom Egoyan, The Baader Meinhof advanced through Uli Edel, Moonlighting via Jerzy Skolimowski, 12:08 East of Bucharest via Corneliu Porumboiu and Kawasaki Rose by way of Jan Hrebejk.

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One was offered by Karl Marx, who began ‘The Eighteenth Brumaire of Louis Bonaparte’ with these words, later repeated by many authors: ‘Hegel remarks somewhere that all the great events and characters of world history occur, so to speak, twice. He forgot to add: the first time as tragedy, the second as farce. Introduction: Is the Past a Foreign Country? 21 Caussidière in place of Danton, Louis Blanc in place of Robespierre, the Montagne of 1848–51 in place of the Montagne of 1793–5, the Nephew in place of the Uncle’ (Marx 1973: 146).

For the same reason, I avoid films labelled ‘avant-garde’ or ‘experimental’, although some of my examples, such as the films by Jean-Luc Godard and Atom Egoyan, divert from mainstream cinema. Equally, some of the popular films considered here use the means associated with the avant-garde. I will also devote much attention to Polish history, as much on account on my familiarity with Polish history and cinema, as due to the importance of Poland in changing European history of the past 20 years or so.

This is because Germany played a crucial role in shaping the history of Europe in the twentieth century and, hence, learning its history is a required condition to grasp European history as a whole. To use Nora’s language, there are many Introduction: Is the Past a Foreign Country? 19 sites of memory in contemporary Germany which enter into productive relations with the histories of other nations and places. German’s ability to transform memory into art is reflected in the long and beautiful words used in this language to describe the work of memory, such as Geschichtsaufarbeitung and Vergangengenheitsbewältigung.

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European Cinema and Intertextuality: History, Memory and Politics by E. Mazierska


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