World Cinema and Cultural Memory

Hedges, Inez

doi:10.1057/9781137465122

Cited by 9 publications

(4 citation statements)

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“…9 The significance of film and the popularity it gained during World War II is reflected in the fact that some communication scholars consider film from that period to have had one of the most significant impacts on the culture of memory worldwide. 10 After the end of World War II and the onset of the Cold War era in geopolitical relations, there was additional development of various propaganda elements in movies created both in the West and the East. Western cinematography, personified through Hollywood during that period, was based on the promotion of anti-communist and democratic content.…”

Section: тHeoretical Frameworkmentioning

confidence: 99%

Critique of Slobodan Milošević’s Rule in Serbian Cinematography: A Case Study of the Film “The Professional”

Perišić

2024

Film and Politics

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Artists most often find inspiration for their works in various social and political phenomena surrounding them. Hitler himself recognized the immense power that film could wield as a propaganda tool, a sentiment later perfected by other authoritarian leaders after the conclusion of World War II. Even the former Yugoslavia was not exempt from this influence. Simultaneously, movies often served as a cry, for dissidents who aimed to highlight social and political anomalies. In many Serbian movies of the last decade of the 20th century and the first decade of the 21st century, the political situation in Serbia and the former Yugoslavia was addressed. Artists frequently criticized the low level of democracy and freedom in our country through allusive elements and indirect means. Nevertheless, one movie stands out from the others as it directly addressed all the political events that marked the 1990s, namely "Profesionalac" ("The Professional"). The movie is enriched with authentic footage from all protest rallies organized against Slobodan Milošević since 1991. It's worth saying that one of the main roles in this film is played by Branislav Lečić, who portrays the character of Theodor Teya Kray,

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Section: тHeoretical Frameworkmentioning

confidence: 99%

Critique of Slobodan Milošević’s Rule in Serbian Cinematography: A Case Study of the Film “The Professional”

Perišić

2024

Film and Politics

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“…The sculpture includes three granite columns; like the Martyr's Monument, it is tripartite, but while the flames of the Algerian monument reach towards the sky triumphantly, the sections of Selinger's sculpture are positioned open and apart like gates. Hedges (2015: 27) points out that the columns represent the multiple meanings of the Hebrew letter shin (tooth), which has three flame-like prongs: ‘it can stand for the name of God, “shaddai,” and for the flame of divine revelation; it is the symbol used in the mezuzah that is affixed next to the doors of Jewish homes’. The ‘flame of divine revelation’ is appropriated in the sculpture to become a memorial for the Holocaust, as well as a symbol of Jewish resistance to extermination.…”

Section: French Fires As Tropes Of Revolution and Resistancementioning

confidence: 99%

“…The ‘flame of divine revelation’ is appropriated in the sculpture to become a memorial for the Holocaust, as well as a symbol of Jewish resistance to extermination. Hedges also quotes Maurice Rajsfus, who visited Drancy in 1995 to interview its inhabitants: he found that Drancy's status in the Occupation was not well remembered there and concluded that the traces of memory remaining must not be extinguished: ‘This small and fragile flame must not go out, because it constitutes a certain guarantee, if not against the return of barbarism, then at least against the silence that covered the abjection that took place at Drancy’ (cited in Hedges, 2015: 28). Rajsfus's own rhetorical use of the trope of fire is resistant to Résistancialisme , and instead positions the flame of resistance as a continuous struggle against forgetting past events.…”

Section: French Fires As Tropes Of Revolution and Resistancementioning

confidence: 99%

Fires of resistance in Algerian discourse: A genealogy of a trope

Austin

McKinnie

2022

French Cultural Studies

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This article takes as its starting point the use of fire as a political metaphor by Algerians who participated in the Screening Violence research project; it emerged in these discussions as a trope of struggle and conflict in Algeria. In part, this political imaginary has been influenced by France, where fire has historically represented freedom and resistance to unjust powers. However, this inheritance has not been received passively in Algeria, and its irony in a colonial context contributes to a complex relationship with tropes of resistance in Algerian cultural and social discourse. We therefore trace a genealogy of the trope of fire which acknowledges the inevitable and significant contribution of the French political imaginary to the Algerian, but which also recognises the distinct cultural modes of resistance taken up by Algerian artists and political activists themselves, from the Algerian Revolution of 1954 to the Hirak protests of 2019.

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“…Rastegar (2015) considers that films such as al-Midan (The Square, Jihan Nujaim, 2013) contribute to the cultural memory of the 2011 Egyptian revolution. Similarly, Hedges (2015), demonstrates the role of film in contributing to struggles in countries such as Japan, Spain, Palestine and Cuba. However, Rastegar (2015) brutality and torture during Mubarak's era.…”

Section: Revolutionmentioning

confidence: 99%

Egyptian Cinema and the 2011 Revolution

Ghazal¹

2020

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Egypt's film industry is the largest in the Middle East, with an output that spreads across the region and the world. In the run-up to and throughout the 2011 Revolution, a complex relationship formed between the industry and the people's uprising. Both a form of political expression and a documentation of historical events, 'revolutionary' film techniques have contributed to the cultural memory of 2011. At the same time, these films and their makers have been the target of increasing state control and intervention. Ahmed Ghazal, drawing upon his own background in film-making, looks at the way in which Egyptian film has shaped, and been shaped by, the events leading up to and beyond Egypt's 2011 revolution. Drawing on interviews with protagonists in the industry, analysis of films, and archival research, he analyses the critical issues affecting the political economy of the industry. He also explores the technological developments of independent productions and the cinematic themes of dictatorship, poverty, corruption and police brutality that have accompanied the people's calls for freedom - and the counterrevolution that has tried to suppress them.

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World Cinema and Cultural Memory

Cited by 9 publications

References 0 publications

Critique of Slobodan Milošević’s Rule in Serbian Cinematography: A Case Study of the Film “The Professional”

Critique of Slobodan Milošević’s Rule in Serbian Cinematography: A Case Study of the Film “The Professional”

Fires of resistance in Algerian discourse: A genealogy of a trope

Egyptian Cinema and the 2011 Revolution

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