The essay intends to historiographically understand, analyse, and criticize a feature film entitled “la Révolution 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...
The essay intends to historiographically understand, analyse, and criticize a feature film entitled “la Révolution 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 Années Lumière and les Années 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 Révolution 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.
The essay intends to historiographically understand, analyse, and criticize a feature film entitled “la Révolution 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 Années Lumière and les Années 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 Révolution 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.
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