Affective Historiography: Schindler's List, Melodrama and Historical Representation.
With Hayden Whites notion of the "content of the form" of narrative as a starting point, this article argues that the melodramatic form of Steven Spielbergs Schindler's List (1993) constitutes a distinct mode of historical representation that must be critically accounted for alongside the manifest c...
| Publicado en: | Shofar: An Interdisciplinary Journal of Jewish Studies Vol. 27; no. 4; pp. 66 - 95 |
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| Autor principal: | |
| Formato: | Film/TV Criticism and Review |
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Purdue University Press
Summer2009
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| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=97888043&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 97888043 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08828539 6A0 jtl: Shofar: An Interdisciplinary Journal of Jewish Studies issn: 08828539 maglogo: N pubinfo: dt: Summer2009 vid: 27 iid: 4 pid: 19334 pub: Purdue University Press artinfo: ui: 97888043 10.1353/sho.0.0422 ppf: 66 ppct: 29 formats: fmt: @attributes: type: P size: 5.3MB tig: atl: Affective Historiography: Schindler's List, Melodrama and Historical Representation. aug: au: Maron, Jeremy affil: Carleton University, Ottawa su: Schindler's List (Film) Spielberg, Steven, 1946- Melodrama History in motion pictures Holocaust, 1939-1945, in motion pictures Searchers, The (Film : 1956) Neeson, Liam, 1952- Historiography sug: subj: Schindler's List (Film) Spielberg, Steven, 1946- Melodrama History in motion pictures Holocaust, 1939-1945, in motion pictures Searchers, The (Film : 1956) Neeson, Liam, 1952- Historiography ab: With Hayden Whites notion of the "content of the form" of narrative as a starting point, this article argues that the melodramatic form of Steven Spielbergs Schindler's List (1993) constitutes a distinct mode of historical representation that must be critically accounted for alongside the manifest content of the film. This argument is made by linking Linda Williams' discussion of melodrama as an operative mode concerned more with the emotional retrieval of innocence than with rational psychological causality to Peter Brooks's invocation of Freudian case studies to understand how narratives can work towards the revelation of an original "truth" whose ontological status is unclear. Through this integration of Williams and Brooks, the melodramatic quality at play in Schindlers List, which is often read as a liability against the film's representation of history as it affords access to registers of emotional excess that cannot be explained through narrative logic, can be understood as an essential feature of the film's historiography. Moreover, given this tendency towards emotional excess rather than rational causality, this article suggests that the melodramatic historical form can productively address (although not necessarily resolve) the epistemological challenges posed by the Holocaust to representational rendering. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Shofar: An Interdisciplinary Journal of Jewish Studies is the property of Purdue University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Shofar: An Interdisciplinary Journal of Jewish Studies holder: Purdue University Press dt: @attributes: year: 2009 holdings: @attributes: islocal: N |
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