This book provides a unique examination of the way Europe’s past is represented on contemporary screens and what this says about contemporary cultural attitudes to history. How do historical dramas come to TV and cinema screens across Europe? How is this shaped by the policies and practices of cultural institutions, from media funding boards to tourist agencies and heritage sites? Who watches these productions and how are they consumed in cinemas, on TV and online , are just some of the questions this volume seeks to answer. From
The Lives of Others to
Game of Thrones, historical dramas are a particularly visible part of mainstream European film production, often generating major national debates on the role of the past in contemporary national identity construction.
| Introduction |
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xvii | |
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Part I Contexts of Production |
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1 | (60) |
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1 The Politics and Sociology of Screening the Past: A National and Transnational Perspective |
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3 | (22) |
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2 British Flanders: Co-produced Television Drama and the Limits of a European Heritage |
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25 | (20) |
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3 Whose Heritage?: Not credevamo (We Believed) and the National, Regional and Transnational Dynamics of the Risorgimento Film |
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45 | (16) |
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Part II Limits of Representation |
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61 | (120) |
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4 Towards World Heritage Cinema (Starting from the Negative) |
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63 | (22) |
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5 Rewriting History from the Margins: Diasporic Memory, Shabby Chic and Archival Footage |
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85 | (22) |
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6 Facing Dark Heritage: The Legacy of Nazi Perpetrators in German-Language Film |
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107 | (20) |
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7 Spectral Spanish Heritage: The Hauntology of La noche de los girasoles (The Night of the Sunflowers) |
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127 | (18) |
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8 Adapting Balzac in Jacques Rivette's Ne Touchez pas la hache (Don't Touch the Axe): Violence and the Post-Heritage Aesthetic |
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145 | (18) |
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9 The Ironic Gaze: Roots Tourism and Irish Heritage Cinema |
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163 | (18) |
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Part III Modes of Consumption |
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181 | (98) |
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10 Historical Films in Europe: The Transnational Production, Circulation and Reception of `National' Heritage Drama |
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183 | (26) |
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11 From `English' Heritage to Transnational Audiences: Fan Perspectives and Practices and Why They Matter |
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209 | (26) |
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12 From `Auschwitz-land' to Banglatown: Heritage Conflicts, Film and the Politics of Place |
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235 | (22) |
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13 Cinematic Pilgrimages: Postmodern Heritage Cinema |
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257 | (22) |
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| Index |
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279 | |
Professor Paul Cooke is Centenary Chair of World Cinemas at the University of Leeds, UK. He has written on world cinemas engagement with Hollywood and on the legacy of both National Socialism and the GDR in contemporary German culture. He is currently developing a series of community filmmaking projects exploring the `dark heritage of Germany and South Africa. Professor Rob Stone is Chair of European Cinema and Professor of Film Studies at the University of Birmingham, UK. He is the author of several volumes on Spanish cinema, the political and cultural history of Basque cinema, flamenco and film, Surrealism and the cinema of Richard Linklater.
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