The consequences that the choice a particular genre has for the representation and narration of macro or personal histories.

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‘Dead Europe, Tony Krawitz, 2012’ (MEMORY AND AFFECTIVE GEOGRAPHIES)
In this section we will focus on two different ways to weave together memory, landscape, human geography and the present. This case study works beyond a linear understanding of narration, and works on/as the projection of the protagonist’s affects on the surrounding geography. In this sense, this section is conceived as a further step in the developing of our framework, a step in which the ‘rhetoric’ of accuracy a truthfulness should be definitively abandoned.
In approaching Tony Krawitz’s Dead Europe, we will look at how dwelling into a personal past can at the same time provide a social, political, cultural comment on the present. We will look at the concept of Abject and Disgust, in order to find an interpretative key that makes sense both of the protagonist’s journey and the formal and stylistic choices of the filmmaker.

Task:
Students will write a research essay of their choice relating to one of the films covered in the subject. They will be expected to build upon material presented in lectures and set readings, conduct independent research and present a coherent argument with evidence.
Criteria:
– Depth and coherence of critical analysis
– Clarity of expression
– Referencing accuracy

Research Essay Questions:
1. Using one or more of the films presented this semester as a case study, discuss the consequences that the choice a particular genre has for the representation and narration of macro or personal histories. You can look at how specific films conform or challenge shared ideas of genre.
2. Using one or more of the films presented this semester as a case study, discuss the complex relationship between history and (personal or shared) memory in films that deal with the past.
3. Using one or more of the films presented this semester as a case study, discuss how specific ideological/political/cultural messages are explicitly or implicitly conveyed in historical films.
4. This semester we watched films with a variety of protagonists: CIA heroes, young partisans, older writers, young Tunisian women, even a director himself. Using one or more of the films presented this semester as a case study, discuss the relationship between the protagonist of the narrative and the implied spectator in the film. Could this be a way to question shared discourses?
5. This semester we watched a variety of films that, in different ways, embodied self-reflexive, or ‘distancing’ elements. Using one or more of the films presented this semester as a case study, discuss this choice with regard to the message conveyed, and the critical element that this implies. In what way does this strategy question the ‘authenticity’ of films that deal with the past?

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