Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.003.0011
- Subject:
- Film, Television and Radio, Film
In this chapter, I explore the development El santo de la espada, a film that represented ten years in the life of José de San Martín, founding father of Argentina. I also touch on the film’s casting ...
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In this chapter, I explore the development El santo de la espada, a film that represented ten years in the life of José de San Martín, founding father of Argentina. I also touch on the film’s casting and reception and analyze the film as a historical and war film.Less
In this chapter, I explore the development El santo de la espada, a film that represented ten years in the life of José de San Martín, founding father of Argentina. I also touch on the film’s casting and reception and analyze the film as a historical and war film.
Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.003.0013
- Subject:
- Film, Television and Radio, Film
This chapter is dedicated to the pre-production and close analysis of Bajo el signo de la patria which centres on the life of Argentine founding father Manuel Belgrano. I contend that, responding to ...
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This chapter is dedicated to the pre-production and close analysis of Bajo el signo de la patria which centres on the life of Argentine founding father Manuel Belgrano. I contend that, responding to Argentina’s tumultuous times in the early 1970s, the film is an anti-war war film in which the high cost of conflict is emphasized.Less
This chapter is dedicated to the pre-production and close analysis of Bajo el signo de la patria which centres on the life of Argentine founding father Manuel Belgrano. I contend that, responding to Argentina’s tumultuous times in the early 1970s, the film is an anti-war war film in which the high cost of conflict is emphasized.
Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.003.0012
- Subject:
- Film, Television and Radio, Film
I trace the development of Güemes’ bio-pic from its pre-production to its release. Particular attention is paid to its popular and critical reception. I analyse the film as a historical biopic and ...
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I trace the development of Güemes’ bio-pic from its pre-production to its release. Particular attention is paid to its popular and critical reception. I analyse the film as a historical biopic and epic that engaged with the concerns among Argentines of the early 1970s. I emphasise Güemes’ representation as a martyred hero along with the role of women in the independence process.Less
I trace the development of Güemes’ bio-pic from its pre-production to its release. Particular attention is paid to its popular and critical reception. I analyse the film as a historical biopic and epic that engaged with the concerns among Argentines of the early 1970s. I emphasise Güemes’ representation as a martyred hero along with the role of women in the independence process.
Terence McSweeney
- Published in print:
- 2014
- Published Online:
- May 2017
- ISBN:
- 9780748693092
- eISBN:
- 9781474408547
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748693092.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter interrogates historical films made in the new millennium by the American film industry and argues that they may be able to reflect broader cultural trends which become encoded in their ...
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This chapter interrogates historical films made in the new millennium by the American film industry and argues that they may be able to reflect broader cultural trends which become encoded in their narratives. It offers a detailed analysis of 300, King Arthur, Kingdom of Heaven, The Alamoand The Eagle.Less
This chapter interrogates historical films made in the new millennium by the American film industry and argues that they may be able to reflect broader cultural trends which become encoded in their narratives. It offers a detailed analysis of 300, King Arthur, Kingdom of Heaven, The Alamoand The Eagle.
J.E. Smyth
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039645
- eISBN:
- 9781626740136
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039645.001.0001
- Subject:
- Film, Television and Radio, Film
Between 1944 and 1977, director Fred Zinnemann made a surprising number of historical films about the rise and resistance to fascism, the Spanish Civil War and Second World War, the Cold War, and the ...
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Between 1944 and 1977, director Fred Zinnemann made a surprising number of historical films about the rise and resistance to fascism, the Spanish Civil War and Second World War, the Cold War, and the post-war impact on Europe and America. Yet in contrast with many European and American filmmakers, Zinnemann's documentation of the Resistance was completely at odds with Charles de Gaulle's view of an elite, French-dominated, nationwide movement against Nazi oppression born in 1940, and the prevailing conservative historiography which excluded the roles of women and communists. While his film narratives often explored the contexts and histories of “resistance,” Zinnemann's career in Hollywood and its critical legacy followed a similar creative trajectory, and this book explores his confrontations with Hollywood genre conventions, the studio system, and critics. Based on extensive archival research in the director's papers, Fred Zinnemann and the Cinema of Resistance engages Zinnemann's self-conscious visual and textual interventions in the wider historiography of the Resistance and its post-war aftermath. In particular, the book will explore his research, script and editing notes for The Seventh Cross (1944), The Search (1948), High Noon (1952), From Here to Eternity (1953), The Nun's Story (1959), Behold a Pale Horse (1964), Day of the Jackal (1973), and Julia (1977), and will make a case for Zinnemann as a significant historian of the anti-fascist resistance and the defining conflicts of the twentieth century.Less
Between 1944 and 1977, director Fred Zinnemann made a surprising number of historical films about the rise and resistance to fascism, the Spanish Civil War and Second World War, the Cold War, and the post-war impact on Europe and America. Yet in contrast with many European and American filmmakers, Zinnemann's documentation of the Resistance was completely at odds with Charles de Gaulle's view of an elite, French-dominated, nationwide movement against Nazi oppression born in 1940, and the prevailing conservative historiography which excluded the roles of women and communists. While his film narratives often explored the contexts and histories of “resistance,” Zinnemann's career in Hollywood and its critical legacy followed a similar creative trajectory, and this book explores his confrontations with Hollywood genre conventions, the studio system, and critics. Based on extensive archival research in the director's papers, Fred Zinnemann and the Cinema of Resistance engages Zinnemann's self-conscious visual and textual interventions in the wider historiography of the Resistance and its post-war aftermath. In particular, the book will explore his research, script and editing notes for The Seventh Cross (1944), The Search (1948), High Noon (1952), From Here to Eternity (1953), The Nun's Story (1959), Behold a Pale Horse (1964), Day of the Jackal (1973), and Julia (1977), and will make a case for Zinnemann as a significant historian of the anti-fascist resistance and the defining conflicts of the twentieth century.
Ian Scott
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474413817
- eISBN:
- 9781474430456
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474413817.003.0010
- Subject:
- Film, Television and Radio, Film
As well as its discussion of American history and cinematic temporality Schopp's work on Tarantino is connected directly to Chapter Nine, Ian Scott's analysis of Steven Spielberg's Lincoln, by the ...
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As well as its discussion of American history and cinematic temporality Schopp's work on Tarantino is connected directly to Chapter Nine, Ian Scott's analysis of Steven Spielberg's Lincoln, by the presence of the enigmatic president in both of their narratives: while of course, Abraham Lincoln plays a central role in Spielberg’s Lincoln, the historical figure of Lincoln plays a peripheral but important figure in Quentin Tarantino's The Hateful Eight through the repeated appearance of Major Marquis Warren’s (Samuel L. Jackson) letter which he claims to have received from Lincoln himself. Ian Scott's analysis of Spielberg’s film reads Lincoln as one of the most resonant and culturally important historical films of the new millennium and explores how far it might resonate with the tempestuous political climate of the ‘War on Terror’ era. It was around the time of the production of Lincoln that several commentators began to talk of an 'Obama Cinema' (see J. Hoberman 2012 and Izo, 2014) and despite being set more than one hundred and fifty years before, Spielberg’s Lincoln was released at American cinemas in the same week that President Barrack Obama was elected for his second term of office. Scott offers a range of vibrant and compelling perspectives on the film: reading it as a challenge to traditional notions of the biopic, as a treatise on historical and cinematic time, but most importantly connecting it to cinematic depictions of the iconic president from D.W Griffith’s Abraham Lincoln (1930), through John Ford’s Young Mr Lincoln (1939) even to the allohistorical fantasy 'mashup' of Abraham Lincoln: Vampire Hunter (2012).Less
As well as its discussion of American history and cinematic temporality Schopp's work on Tarantino is connected directly to Chapter Nine, Ian Scott's analysis of Steven Spielberg's Lincoln, by the presence of the enigmatic president in both of their narratives: while of course, Abraham Lincoln plays a central role in Spielberg’s Lincoln, the historical figure of Lincoln plays a peripheral but important figure in Quentin Tarantino's The Hateful Eight through the repeated appearance of Major Marquis Warren’s (Samuel L. Jackson) letter which he claims to have received from Lincoln himself. Ian Scott's analysis of Spielberg’s film reads Lincoln as one of the most resonant and culturally important historical films of the new millennium and explores how far it might resonate with the tempestuous political climate of the ‘War on Terror’ era. It was around the time of the production of Lincoln that several commentators began to talk of an 'Obama Cinema' (see J. Hoberman 2012 and Izo, 2014) and despite being set more than one hundred and fifty years before, Spielberg’s Lincoln was released at American cinemas in the same week that President Barrack Obama was elected for his second term of office. Scott offers a range of vibrant and compelling perspectives on the film: reading it as a challenge to traditional notions of the biopic, as a treatise on historical and cinematic time, but most importantly connecting it to cinematic depictions of the iconic president from D.W Griffith’s Abraham Lincoln (1930), through John Ford’s Young Mr Lincoln (1939) even to the allohistorical fantasy 'mashup' of Abraham Lincoln: Vampire Hunter (2012).
