Course Information
FacultyFine Arts
Cycle / Level1st / Undergraduate
Teaching PeriodWinter
CoordinatorEleftheria Thanouli
Course ID280005954

Programme of Study: UPS of School of Film Studies (2009-2013)

Registered students: 59
OrientationAttendance TypeSemesterYearECTS
CoreElective Courses beloging to the selected specialization535

Class Information
Academic Year2018 – 2019
Class PeriodWinter
Faculty Instructors
Weekly Hours4
Total Hours52
Class ID
Course Type 2016-2020
  • Scientific Area
  • Skills Development
Course Type 2011-2015
Knowledge Deepening / Consolidation
Mode of Delivery
  • Face to face
Digital Course Content
The course is also offered to exchange programme students.
Language of Instruction
  • Greek (Instruction, Examination)
  • English (Examination)
Learning Outcomes
They will be able to pose questions regarding the relation between cinema and History They will analyze methods to approach the filmic representation of history
General Competences
  • Retrieve, analyse and synthesise data and information, with the use of necessary technologies
  • Adapt to new situations
  • Generate new research ideas
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
This course aims to delve into the complex relation of the cinematic medium with the representation of History and the shaping of public memory around signal historical events of the 20th century. Films, despite not offering scientific recordings of History, do represent and reconstruct historical events and people, offering ways for people to come to touch with their past. Some even argue that films constitute the most important historical documents, replacing, to a considerable degree, other traditional sources of History. The consequences of this new role for the cinema are multiple and controversial. Through a wide range of films from across the globe, we aim to explore questions such as “what is History”, “what is cinematic representation” and “how does cinema shape the ways we learn and understand History.”
representation, History, Memory
Educational Material Types
  • Notes
  • Slide presentations
  • Multimedia
  • Book
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Communication with Students
powerpoint, e-mail
Course Organization
Student Assessment
There are specific criteria that are spelled out In the syllabus. The students might choose to take a written exam or write a paper or both. If they write to choose a paper, then a public presentation of their subject is requires. Thus, the options are three: a. 100% written exam, b. 100% paper (incl. public presentation), c. 50% written exam and 50% paper (incl. public presentation)
Student Assessment methods
  • Written Exam with Extended Answer Questions (Summative)
  • Written Assignment (Summative)
  • Performance / Staging (Formative)
Course Bibliography (Eudoxus)
Ferro, Marc (2001), Ιστορία και Κινηματογράφος, μτφρ. Μαρκέτου Π. (Αθήνα: Μεταίχμιο). Λαμπρινός, Φώτος (2005), Ισχύς μου η αγάπη του φακού. Τα κινηματογραφικά επίκαιρα ως τεκμήρια της ιστορίας (1895-1940), (Αθήνα: Καστανιώτης). Τομαή, Φωτεινή (επιμ.) (2006), Αναπαραστάσεις του πολέμου (Αθήνα: Παπαζήσης). ––––––––– (επιμ.) (2004), Η μετανάστευση στον κινηματογράφο: Η μαρτυρία της κινηματογραφικής εικόνας (Αθήνα: Παπαζήσης).
Additional bibliography for study
Briley, Ron (1996), ‘Sergei Eisenstein: The Artist in Service of the Revolution’, The History Teacher, 29: 525-536. Burgoyne, Robert (2008), The Hollywood Historical Film (Malden, Oxford, Victoria: Wiley-Blackwell). Chopra-Gant, Mike (2008) Cinema and History. The Telling of Stories (London, Wallflower Press). Cocks Geoffrey (2004), The wolf at the door: Stanley Kubrick, history & the Holocaust (New York: Peter Lang). Davis, Natalie Zemon (2002), Slaves on Screen: Film and Historical Vision (Cambridge, MA: Harvard University Press). Haggith, Toby and Joanna Newman (2005), Holocaust And The Moving Image (London: Wallflower press). Jenkins, Keith (1997), The Postmodern History Reader (London and New York: Routledge). Landy, Marcia (2001), Historical Film (London: Athlone Press). *Maland, Charles (1979), ‘Dr. Strangelove (1964): Nightmare Comedy and the Ideology of Liberal Consensus’, American Quarterly, 31, 5: 697-717. O’Connor, John E. (ed.) (1990), Image as Artifact: The Historical Analysis of Film and Television (Florida: Krieger). Rosenstone, Robert (2006), History on Film/ Film on History (Edinburgh Gate: Pearson). Sobchack, Vivian (1996), The Persistence of History: Cinema, Television and the Modern Event (New York: Routledge). *Sorlin, Pierre (1994), ‘War and Cinema: Interpreting the Relationship’, Historical Journal of Film, Radio and Television, 14: 357-66. Thanouli, Eleftheria (2005), ‘World War II revisited: narration and representations of War in Terrence Malick’s The Thin Red Line’, Kinema, 23: 45-60. *Toplin, Robert Brent (1988), ‘The Filmmaker as Historian’, The American Historical Review, 93: 1210-1227. *White, Hayden (1988), ‘Historiography and Historiophoty’, The American Historical Review, 93: 1193-1199. White, Hayden (1990), The Content of the Form: Narrative Discourse and Historical Representation (Baltimore: John Hopkins UP). Martin M. Winkler (ed.) (2007), Spartacus: Film and History (Malden, Oxford, Victoria: Blackwell Publishing)
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