Past and Present

Informationen zum Autor James Chapman is Senior Lecturer in Film and Television History! The Open University. His books include 'The British at War'! 'Licence to Thrill: A Cultural History of the James Bond Films'! and 'Saints and Avengers'! all I.B. Tauris Klappentext This groundbreaking book by one of Britain's leading film historians is the first to take on this major genre in all its complexity. It takes to heart Ken Loach's view that "the only reason to make films that are a reflection on history is to talk about the present." With this proposition as his starting point! James Chapman examines the place of historical films in British cinema history and film culture. Through in-depth case studies of fourteen key films! from "Henry V" and "Zulu" to "Chariots of Fire" and "Elizabeth! " he analyzes the themes they present! including gender! ethnicity! militarism and and imperialism--throughout exploring their dialectical relationship between past and present and how they project images and ideologies of "Britishness" to audiences in the UK and North America. Looking at the historical films genre in all its complexity, the author argues that historical films say as much about the times in which they are made as about the past they purport to portray. This work includes in-depth case studies of 14 key films spanning the 1930s up to the turn of the 21st century. Zusammenfassung Looking at the historical films genre in all its complexity, the author argues that historical films say as much about the times in which they are made as about the past they purport to portray. This work includes in-depth case studies of 14 key films spanning the 1930s up to the turn of the 21st century.

Vorwort
Looking at the historical films genre in all its complexity, the author argues that historical films say as much about the times in which they are made as about the past they purport to portray. This work includes in-depth case studies of 14 key films spanning the 1930s up to the turn of the 21st century.

Autorentext
James Chapman is Senior Lecturer in Film and Television History, The Open University. His books include 'The British at War', 'Licence to Thrill: A Cultural History of the James Bond Films', and 'Saints and Avengers', all I.B. Tauris

Klappentext
This groundbreaking book by one of Britain's leading film historians is the first to take on this major genre in all its complexity. It takes to heart Ken Loach's view that "the only reason to make films that are a reflection on history is to talk about the present." With this proposition as his starting point, James Chapman examines the place of historical films in British cinema history and film culture. Through in-depth case studies of fourteen key films, from "Henry V" and "Zulu" to "Chariots of Fire" and "Elizabeth, " he analyzes the themes they present, including gender, ethnicity, militarism and and imperialism--throughout exploring their dialectical relationship between past and present and how they project images and ideologies of "Britishness" to audiences in the UK and North America.


Zusammenfassung
First and major analysis of the historical film. The author is one of Britain's leading film historians,author of successful Tauris books. This book is a key contribution to the literature on film genre and national identity. This ground-breaking book takes as its focal point director Ken Loach's view that 'The only reason to make films that are a reflection on history is to talk about the present.' In the first book to take on this major genre in all its complexity, James Chapman argues that historical films say as much about the times in which they are made as about the past they purport to portray. Through in-depth case studies of fourteen key films spanning the 1930s up to the turn of the twenty first century, from "The Private Life of Henry VIII" and "Zulu" to "Chariots of Fire" and "Elizabeth", Chapman examines the place of historical films in British cinema history and film culture. Looking closely at the issues that they present, from gender, class and ethnicity to militarism and imperialism, he also discusses controversies over historical accuracy, and the ways in which devices such as voice overs, title captions, and visual references to photographs and paintings assert a sense of historical verisimilitude. Exploring throughout the book the dialectical relationship between past and present, Chapman reveals how such films promote British achievements - but also sometimes question them - and how they project images of 'Britishness' to audiences both in the UK and internationally.

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