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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The essay intends to historiographically understand, analyse, and criticize a feature film entitled “la Revolution française”(directed by Robert Enrico and Richard Heffron, screenplay by David Ambrose, running-time 8 hours). Released in 1989 to celebrate the bicentennial of the French Revolution, the movie was produced in the form of docu-drama or historical romance and divided into two parts : les Annees Lumiere and les Annees Terrible.
Reading the movie as ‘a history written by light’, the author attempts to appreciate the texture of the past which is concealed below the surfaces of reality. And the author finds that “la Revolution française” adopts the Revisionist interpretation in its depiction of the revolutionary mob/crowd, in its selection of the hero (Danton as moderate Republican), and in its unusual attention to the role of ‘political culture’. By emphasizing the universal and everlasting value of the Declaration of the Rights of Man and the Citizen, the movie also appears to be a kind of official report that the revolution, which for the past 200 years had been a controversial source of social conflicts and ideological schism among French people, is finally over (an echo of the late François Furet). Besides, the movie, the author interestingly recognizes and reflects on the influences of American pragmatism and individualism.
In his study of how historiophoty(history in images, a word invented by Hayden White) can reflect, distort, or sometimes lead historiography(history in words) and in the case of the French Revolution, the author welcomes both the possibility and potentiality of recreating ‘the past imperfect’ by visual means. The author thus concludes that in the Post-modern and Digital Age it is a duty and virtue for us to nourish visual/cinematic literacy.
Reading the movie as ‘a history written by light’, the author attempts to appreciate the texture of the past which is concealed below the surfaces of reality. And the author finds that “la Revolution française” adopts the Revisionist interpretation in its depiction of the revolutionary mob/crowd, in its selection of the hero (Danton as moderate Republican), and in its unusual attention to the role of ‘political culture’. By emphasizing the universal and everlasting value of the Declaration of the Rights of Man and the Citizen, the movie also appears to be a kind of official report that the revolution, which for the past 200 years had been a controversial source of social conflicts and ideological schism among French people, is finally over (an echo of the late François Furet). Besides, the movie, the author interestingly recognizes and reflects on the influences of American pragmatism and individualism.
In his study of how historiophoty(history in images, a word invented by Hayden White) can reflect, distort, or sometimes lead historiography(history in words) and in the case of the French Revolution, the author welcomes both the possibility and potentiality of recreating ‘the past imperfect’ by visual means. The author thus concludes that in the Post-modern and Digital Age it is a duty and virtue for us to nourish visual/cinematic literacy.
목차
Ⅰ. 혁명과 영화
Ⅱ. <대혁명>의 외형적 내용분석
Ⅲ. <대혁명>에 대한 사학사적 분석
Ⅳ. 영상역사학의 과제와 전망
불문 초록
영문 초록
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UCI(KEPA) : I410-ECN-0101-2009-926-015122912