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: 37
OrientationAttendance TypeSemesterYearECTS
CoreElective Courses beloging to the selected specialization535

Class Information
Academic Year2020 – 2021
Class PeriodWinter
Faculty Instructors
Weekly Hours4
Class ID
Course Type 2016-2020
  • Scientific Area
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
At the end of the semester the students will be able to: 1. To recognize the different forms of history (Formal, Academic, History-memory, Cinematic) and to distinguish the principles that govern each. 2. To distinguish between the different forms of representation of history in cinema (fiction drama, documentaries, innovative forms) 3. To approach the historical representation of films on three levels (form, philosophy and ideology) 4. To critically approach both the written and the audiovisual history in order to understand the elements of their construction 5. Especially, this year, to discuss the different aspects of the Revolution of 1821 on the occasion of the representation of the event in Greek films.
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.
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
Reading Assigment401.3
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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