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: 31
OrientationAttendance TypeSemesterYearECTS
CoreElective Courses beloging to the selected specialization535

Class Information
Academic Year2021 – 2022
Class PeriodWinter
Faculty Instructors
Instructors from Other Categories
Weekly Hours4
Class ID
Course Type 2021
Specific Foundation
Course Type 2016-2020
  • Scientific Area
Course Type 2011-2015
Knowledge Deepening / Consolidation
Mode of Delivery
  • Face to face
Digital Course Content
Language of Instruction
  • Greek (Instruction, Examination)
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
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
Course Organization
Reading Assigment401.3
Student Assessment
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). Λεμονίδου, Έλλη (2017), Η ιστορία στη μεγάλη οθόνη, (Αθήνα, Άνιμα), κωδ.:68369647
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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