By E. Mazierska
Eu Cinema and Intertextuality bargains an unique and up to date method of the illustration of history via movie. It presents an interpretation of a couple of function movies representing an important occasions and personalities from European historical past within the 20th century. This comprises the second one international conflict, Armenian Genocide, anti-Semitic assaults in Poland after the second one global conflict, eu terrorism of the Seventies, and the tip of communism. motion pictures mentioned comprise ?loge de l'amour and keenness by means of Jean-Luc Godard, Ararat via Atom Egoyan, The Baader Meinhof advanced by means of Uli Edel, Moonlighting via Jerzy Skolimowski, 12:08 East of Bucharest via Corneliu Porumboiu and Kawasaki Rose through Jan Hrebejk.
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Extra resources for European Cinema and Intertextuality: History, Memory and Politics
This is also an idea which Egoyan conveys in Ararat by showing how varied and vibrant is the culture of Armenians living in diaspora in Canada. It flourishes in private houses and state-supported institutions; it is expressed in poetry, film as well as personal stories; it is transmitted in the Armenian language, as well as in English and French. However, while subtly celebrating Canadian respect for the national traditions of its emigrants and their descendants, Egoyan also points to the fact that those Canadians, whose ancestors came to Canada such a long time ago that they now feel ‘native’ in Canada, live almost in a cultural void, lacking any anchoring in religion or any other form of tradition.
Neither has he decided on the title of his work. We hear that it will be ‘Of Something’ or ‘Of Love’ and we see the intertitles ‘Of Something’ and ‘Of Love’, as if Godard was mimicking and scrutinising the mental work of his protagonist. Edgar’s preference for the term ‘project’ and his unwillingness to name his work accentuate its scientific and open character, which are also the salient features of Godard’s works. Especially his Histoire(s) were frequently described as a ‘project’ for the same reason as Edgar’s work: they were also a product of research and reflected the work of a historian, which, in Godard’s view, is never finished.
This is the case of Edgar, as suggested by his looking at an empty notebook at the beginning of the film and a comment made by Rosenthal’s assistant who says that Edgar wants to be an adult, which implies that in reality he is a child. Edgar also cannot learn about his ancestors’ past simply because they are dead: they took their memories with them. Hence, he has to find their replacement: people who offer him their memories, substituting histories of their parents and grandparents. He meets them in the second part of the film, set on the Brittany coast, two years before the first part.
European Cinema and Intertextuality: History, Memory and Politics by E. Mazierska