Advertisement

The Ordinary in the Representation of History

  • Xiao Cai
Chapter

Abstract

 I further examined the relationship between ordinary film and history in this last chapter, and try to clarify the particularity of everyday film as a problem for history representation in general, and in particular with reference to Hou’s films and Taiwan. I have explored in some detail how Hou transforms ordinary scene of everyday life into microhistories. I also investigated the relationship between interstice/episode and entirety and the self-contained historical aura from the often disjointed sequence shots in his films, but set against the background of the ways in which trivial time and history, in the wider dimension of cinematic history, draws critical attention to a “history” that nightlights the “relationship of interiority that puts every image into relation with every other” (Ranciere 186). I have explored the various ways that one particular filmmaker can “filmize” history, meaning that from the historiography, whose force it possesses, to the film, there has been a journey, from the moment when the subject could no longer be thought of as the world but as the individual.

References

  1. Chopra-Gant, M. (2008). Cinema and history: The telling of stories. London: Wallflower.Google Scholar
  2. White, H. (1987). The content of the form: Narrative discourse and historical representation. Baltimore: The Johns Hopkins University Press.Google Scholar
  3. White, H. (1988). Historiography and historiophoty. American Historical Review, 93(5), 1193–1199.CrossRefGoogle Scholar
  4. White, H. (2005). Introduction: Historical fiction, fictional history, and historical reality. Rethinking History, 9, 147–157.CrossRefGoogle Scholar
  5. Jarvie, I. (1978). Seeing through the movies. Philosophy of the Social Sciences, 4(10), 374–397.CrossRefGoogle Scholar
  6. Rosenstone, R. A. (1988). History in works/ History in image: Reflections on the possibility of really putting history on to film. American Historical Review, 93, 1176.CrossRefGoogle Scholar
  7. Rosenstone, R. A. (1996). The crisis of history/the promise of film. Media International Australia, 80, 5–11.CrossRefGoogle Scholar
  8. Rosenstone, R. A. (1998). Visions of the past: The challenge of film to our idea of history. Cambridge, MA: Harvard University Press.Google Scholar
  9. Skoller, J. (2005). Shadow, specters, shards: Making history in Avant-Garde film. Minnesota: The University of Minnesota Press.Google Scholar
  10. Bernstein, M. A. (1994). Foregone conclusions: Against apocalyptic history. Berkeley: University of California Press.Google Scholar
  11. Morson, G. S. (1996). Narrative and freedom: The shadows of time. London: Yale University Press.Google Scholar
  12. Ranciere, J. (2010). Film fabric. Oxford/New York: Berg.Google Scholar

Copyright information

© Springer Nature Singapore Pte Ltd. 2019

Authors and Affiliations

  • Xiao Cai
    • 1
  1. 1.Shanghai University of Engineer ScienceShanghaiChina

Personalised recommendations