FILM HISTORY V

Course Information
TitleΗ ΙΣΤΟΡΙΑ ΣΤΟΝ ΚΙΝΗΜΑΤΟΓΡΑΦΟ / FILM HISTORY V
Code5ΙΚ1
FacultyFine Arts
SchoolFilm
Cycle / Level1st / Undergraduate
Teaching PeriodWinter
CoordinatorEleftheria Thanouli
CommonYes
StatusActive
Course ID280005954

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

Registered students: 6
OrientationAttendance TypeSemesterYearECTS
CoreElective Courses beloging to the selected specialization535
Class Information
Academic Year2026 – 2027
Class PeriodWinter
Faculty Instructors
Instructors from Other Categories
Weekly Hours4
Total Hours52
Class ID
600300749
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
Erasmus
The course is also offered to exchange programme students.
Language of Instruction
  • Greek (Instruction, Examination)
Prerequisites
General Prerequisites
The course lasts four hours. The first part will consist of a lecture on a specific topic, and the second part will feature the screening of a film or film excerpts, aimed at analysis and discussion with student participation. The last weeks will be dedicated to project presentations, familiarization with research methodology, and additional screenings. ATTENDANCE AT ALL CLASSES IS MANDATORY AS THE COURSE HAS A SEMINAR FORMAT. UP TO 3 ABSENCES ARE ALLOWED.
Learning Outcomes
Upon successful completion of the course, students will be able to: 1. Recognize the different forms of history (Official, Academic, History-as-Memory, Cinematic) and distinguish the principles that govern each. 2. Differentiate between various forms of historical representation in film (fictional drama, documentary, innovative forms). 3. Approach the historical representation of films on three levels (form, philosophy, and ideology). 4. Critically engage with both written and audiovisual history in order to identify the elements of their construction.
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)
Detailed Course Schedule Week 1: Introductory Class Discussion of the course content, syllabus, and guidelines for writing assignments. Week 2: Key Concepts Readings: Ferro, Mark (2001), History and Film, trans. Marketou P. (Athens: Metaichmio): 39-64, 191-205. Thanouli, Eleftheria (2024), History and Film: Narrating on the Screen (Athens: Pedio): 179-202, 313-318. Film Screening: Cinema Combat: Hollywood Goes to War (Becker, 1998) Week 3: World War II Readings: Thanouli, Eleftheria (2024), History and Film: Narrating on the Screen (Athens: Pedio): 203-262. Film Screenings: The Thin Red Line (Malick, 1998), Saving Private Ryan (Spielberg, 1998), and Spielberg interview from DVD extras. Week 4: The Holocaust I Readings: Thanouli, Eleftheria (2024), History and Film: Narrating on the Screen (Athens: Pedio): 272-304. Elsaesser, Thomas (1996), “Subject positions, speaking positions: from Holocaust, Our Hitler, and Heimat to Shoah and Schindler’s List” in Sobchack, V., The Persistence of History: Cinema, Television and the Modern Event (New York: Routledge): 145-183. Film Screenings: Schindler’s List (Spielberg, 1993), Night and Fog (Resnais, 1955) Week 5: 66th Thessaloniki Film Festival Week 6: The Holocaust II Film Screenings: Hitler – A Film From Germany (Syberberg, 1978), Shoah (Lanzmann, 1985) Week 7: ‘Parallel Lives’ – The September Events of 1955 and the Cyprus Issue: Cinematic Representations and the Processing of Trauma in Greek–(Greek)Cypriot Cinema Film Screenings: O kakos dromos (Ertogrul Muhsin Bey, 1933), Sta kymata tou Bosporou / Cici Berber (Hikmet/Ertogrul Muhsin Bey, 1933/34), Beyoglu guzeli / I oraia tou peran (Laskos, 1953), Güz Sancısı / Pains of Autumn (Giritlioğlu, 2009), I oraia tou Bosporou / Istanbul’da ask baskadir (Duru, 1961), Chtypokardia sto thrani (Sakellarios, 1963), Politiki Kouzina (Boultmetis, 2003), O Boufos (Laskos, 1968), Oi epano kai oi kato (Tsiforos–Vassiliadis, 1966), Nyhta gamou (Dalianidis, 1967), O petheropliktos (Lazaridis–Kyriakopoulos, 1968) Week 8: The Course of the Cyprus Issue and its Cinematic Representations from the End of the Civil War to the Declaration of the Independent Republic of Cyprus (1960) and from 1960 to the Turkish Invasion (1974), until the Late 1970s Film Screenings: Oi Germanoi xanarchontai (Sakellarios, 1947), Oi dyo magkes tou Peiraia! / Allou to oneiro kai allou to thavma (Giannakos, 1957), O megalokarcharas / Kata lathos diasimos (Fylaktos, 1957), Stournara 288 / Ftoheia kai aristokratia (Dimopoulos, 1959), Stin Kypro archise i agapi mas (Paraskevas, 1960), I Kypros stis floges (Thalassinos, 1964), Brosta stin anghoni / Mia sfaira gia mena (Asimakopoulos, 1968), To kanoni kai t’ aidoni (Kampanellis, 1968), To nisi tis Afroditis (Skalenakis, 1969), Diakopes stin Kypro mas (Laskos, 1971) Week 9: Part A: Processing Trauma in Greek–(Greek)Cypriot Cinema (1974–2016) Film Screenings: Attilas ’74: O viaros tis Kyprou (Kakogiannis, 1975), Dolofoniste ton Makario (Dimitriou–Filippou, 1975), 1922 (Koundouros, 1978), O viaros tis Afroditis (Pantzis, 1985) Week 10: Part B: Processing Trauma in Greek–(Greek)Cypriot Cinema (1974–2016) Film Screenings: I sfagi tou kokora (Pantzis, 1996), Dromoi kai Portokalia (Danezi-Knutsen, 1996), O dromos gia tin Ithaki (Dimitriou, 1999), Kato apo t’ astra (Georgiou, 2001), To Tama / O Orkos tou Evagora (Pantzis, 2001), Bar (Danezi-Knutsen, 2001), Çamur / Mud / Laspi (Zaim, 2003), Akamas (Chrysanthou, 2007), O Telefteos Gyros (Avraamidu, 2008), Guilt (Mazomenos, 2009), Fish n’ Chips (Dimitriou, 2011), Oikopedo 12 (Tofaridis, 2013), To pouli tis Kyprou / The Bird of Cyprus (Koumidis, 2014), I Istoria tis Prasinis Grammis (Chrysanthou, 2016) Weeks 11–13: Project Presentations / Further Exploration of the Bibliography / Research Methodology / Film Screenings
Keywords
representation, history, memory, ideology
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
Description
powerpoint, e-mail
Course Organization
ActivitiesWorkloadECTSIndividualTeamworkErasmus
Lectures602✓
Reading Assigment401.3✓
Project471.6
Exams30.1
Total1505
Student Assessment
Description
The course specifies explicit assessment criteria. Students may choose between a written exam or a written assignment. If they choose the written assignment, a public presentation of their topic is mandatory. Therefore, the two options are: a. Written exam b. Written assignment (including a public presentation) The examinable material consists of a set of excerpts from books and articles. Evaluation criteria for the written assignment are as follows: Structure: 1.5/10 Language (grammar, syntax, spelling): 1.5/10 Formatting: 1/10 Content: 6/10, broken down as: A. Clear objective / thesis / research question B. Context / Historical and social framework C. Appropriate/sufficient bibliography / correct citations / originality / argumentation
Student Assessment methods
  • Written Exam with Extended Answer Questions (Summative)
  • Written Assignment (Summative)
  • Performance / Staging (Formative)
Bibliography
Course Bibliography (Eudoxus)
Θανούλη, Ελευθερία (2024), Ιστορία και Κινηματογράφος: Εξιστορώντας στην Οθόνη (Αθήνα: Πεδίο)
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)
Last Update
16-09-2025