FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2913666253> ?p ?o ?g. }

• W2913666253 startingPage "130" @default.
• W2913666253 abstract "WRITING HISTORY IN FILM William Guynn New York: Routledge, 2006, 225 pp. Reviewed by Michael Meneghetti It is a risky business to write seriously about the William Guynn reminds us. Until fairly recently, professional historians have offered mostly negative judgments on the cinema's capacity to accurately and legitimately render histories. Lacking traditional historiography's overt argumentation and erudition, the film has often been dismissed for its tenuous connection to fact, costume drama being the typical term of disparagement for such films. Over the past decade several book-length studies have tried to redress this no longer tenable characterization of filmmaking. Rather than emphasize a particular film's relation to existing written accounts of events, recent has tended to look at the film as a certain type of relationship to the past, or a distinct mediation of our ties to past reality. Understanding the precise nature of this mediation has been augmented by our growing awareness of representation, its forms, and the various means at the medium's disposal for making meaningful histories. Writing History in Film returns to this occasionally treacherous terrain to offer a cross-disciplinary understanding of what constitutes in film. In my anticipation, or pre-reading, of the book's subject matter, I expected yet another defense of history on film in terms of its utility to those spectators who receive it in specific cultural and contexts. Guynn, however, has a fundamentally different project in mind. The aim of his study is only to defend the film but also to construct a framework within which to judge approaches to representations in film. Guynn is uncommonly forthright in his desire to judge the seriousness of the film's intentions, and he insists upon distinguishing between historical spectacles like those of Cecil B. De Mille and what he clearly considers the more serious work of a Rossellini or an Eisenstein. The grounds for making such distinctions and the criteria for judging what he calls the validity of representations in film are the principal theoretical concerns of his study. Over the course of five chapters, Guynn elaborates this theory by appealing to the of philosophers of history, rhetorical studies, narratology, and semiology. The result is a multidisciplinary perspective on the philosophical commitments historians make to the past and to the public they address, and the basic structures of meaning and techniques of they deploy. After a brief summary and refutation of the academic historian's skepticism about history in film, Guynn addresses the central problem of all narratives: how are these stories to be distinguished from fictional stories? If history is indeed a of a particular kind, what accounts for its particularity? Guynn draws upon the philosophy of history to examine the fundamentally narrative character of historiography and its seemingly paradoxical epistemological claims. Constructing an account of the causal development of events through time, he tells us, is a precondition for understanding; and to recount the past in this manner is to create plots and a story. Historiography, however, retains its particularity in the following way: although fictive plots may enjoy a relative freedom of invention, a representation of the past...adheres to a principle of fidelity and credibility. Of course, the line is frequently blurred, insofar as the historian is obliged to imagine a past that s/he has not necessarily experienced, while the novelist may in turn make precise reference to concrete details and real events. Nonetheless, although history and fiction are both species of the genus story, Guynn insists that the former can be defined in terms of its distinct discursive posture and the constraints of veracity on its tale-telling. …" @default.
• W2913666253 created "2019-02-21" @default.
• W2913666253 creator A5009838165 @default.
• W2913666253 date "2007-10-01" @default.
• W2913666253 modified "2023-09-23" @default.
• W2913666253 title "Writing History in Film" @default.
• W2913666253 hasPublicationYear "2007" @default.
• W2913666253 type Work @default.
• W2913666253 sameAs 2913666253 @default.
• W2913666253 citedByCount "0" @default.
• W2913666253 crossrefType "journal-article" @default.
• W2913666253 hasAuthorship W2913666253A5009838165 @default.
• W2913666253 hasConcept C107038049 @default.
• W2913666253 hasConcept C124952713 @default.
• W2913666253 hasConcept C142362112 @default.
• W2913666253 hasConcept C144024400 @default.
• W2913666253 hasConcept C166957645 @default.
• W2913666253 hasConcept C170494952 @default.
• W2913666253 hasConcept C17744445 @default.
• W2913666253 hasConcept C199033989 @default.
• W2913666253 hasConcept C199539241 @default.
• W2913666253 hasConcept C2776515129 @default.
• W2913666253 hasConcept C29595303 @default.
• W2913666253 hasConcept C29598333 @default.
• W2913666253 hasConcept C519580073 @default.
• W2913666253 hasConcept C52119013 @default.
• W2913666253 hasConcept C554936623 @default.
• W2913666253 hasConcept C68389820 @default.
• W2913666253 hasConcept C95457728 @default.
• W2913666253 hasConceptScore W2913666253C107038049 @default.
• W2913666253 hasConceptScore W2913666253C124952713 @default.
• W2913666253 hasConceptScore W2913666253C142362112 @default.
• W2913666253 hasConceptScore W2913666253C144024400 @default.
• W2913666253 hasConceptScore W2913666253C166957645 @default.
• W2913666253 hasConceptScore W2913666253C170494952 @default.
• W2913666253 hasConceptScore W2913666253C17744445 @default.
• W2913666253 hasConceptScore W2913666253C199033989 @default.
• W2913666253 hasConceptScore W2913666253C199539241 @default.
• W2913666253 hasConceptScore W2913666253C2776515129 @default.
• W2913666253 hasConceptScore W2913666253C29595303 @default.
• W2913666253 hasConceptScore W2913666253C29598333 @default.
• W2913666253 hasConceptScore W2913666253C519580073 @default.
• W2913666253 hasConceptScore W2913666253C52119013 @default.
• W2913666253 hasConceptScore W2913666253C554936623 @default.
• W2913666253 hasConceptScore W2913666253C68389820 @default.
• W2913666253 hasConceptScore W2913666253C95457728 @default.
• W2913666253 hasIssue "2" @default.
• W2913666253 hasLocation W29136662531 @default.
• W2913666253 hasOpenAccess W2913666253 @default.
• W2913666253 hasPrimaryLocation W29136662531 @default.
• W2913666253 hasRelatedWork W1526664050 @default.
• W2913666253 hasRelatedWork W2031399952 @default.
• W2913666253 hasRelatedWork W2052990381 @default.
• W2913666253 hasRelatedWork W2084709351 @default.
• W2913666253 hasRelatedWork W2089864657 @default.
• W2913666253 hasRelatedWork W2119042293 @default.
• W2913666253 hasRelatedWork W2125625076 @default.
• W2913666253 hasRelatedWork W2133989256 @default.
• W2913666253 hasRelatedWork W2146908556 @default.
• W2913666253 hasRelatedWork W2318077533 @default.
• W2913666253 hasRelatedWork W2321638806 @default.
• W2913666253 hasRelatedWork W2328566778 @default.
• W2913666253 hasRelatedWork W2330034658 @default.
• W2913666253 hasRelatedWork W2498519736 @default.
• W2913666253 hasRelatedWork W295399458 @default.
• W2913666253 hasRelatedWork W2971266623 @default.
• W2913666253 hasRelatedWork W3184202858 @default.
• W2913666253 hasRelatedWork W171631215 @default.
• W2913666253 hasRelatedWork W2210676360 @default.
• W2913666253 hasRelatedWork W229043384 @default.
• W2913666253 hasVolume "16" @default.
• W2913666253 isParatext "false" @default.
• W2913666253 isRetracted "false" @default.
• W2913666253 magId "2913666253" @default.
• W2913666253 workType "article" @default.