1.1. Introduction
Cinema has taken a major boom as art, to many not only
it is already the seventh art, but the final art. do not know if the film's syncretic capacity is sufficient to put him on the highest pedestal of art and if it deserves to be crowned the ultimate art form, what we do know is that the analysis is made on each filmPerhaps the only thing real in time. The time may be what is happening and what can not happen. Specifically, film is art that keeps living things, allowing shudder to death, the spirit enters the ecstasy through film and perhaps this quality, which makes history through film, it becomes raw.
with history here refers not only to thousands of years ago, but even the immediate history, ie close to the story which are still the open skin wounds. A contemporary history, then, the ciWhat are the consequences of this past deeds? And if the consequences are negative, avoid this make the same mistakes to demonstrate a better future. The man, as a historical subject, he creates his own story, that is, human beings differ from other species, because their life is movement, change, change, evolution, almost all animal species are stagnant and its history is still, dull and trivial, even if scientists there. But the history of man can not be static, can not be fixed, because human nature is not of that order, the human being as an agent psychosomaticLMIC, it is true, but also any other literary genre, "cinema is not literature, but science? At most scientific literature, something to the Jules Verne, science fiction. As that history can be written in pure numbers, as I occupy letters, language, etc., can not escape from the literature, we have to imagine the game of phone tag where the U last heard him come, if anything, the central idea of what he says the original source. Thus, history is a great phone tag and so we see it, each story feels wit to contribute their own words to deeds. Yiacute; not to be human, but not human, not history, because only the man (as far as is known) has temporal awareness, cultural construction, and overall, historical consciousness. If history, however, from every angle, you will have fantastic elements, then ... would not it be more appropriate for the story to be told by the film, from which you can ma s dynamic storytelling, from which history can make an important aesthetic dimension and thus achieve better communicate its importance to the viewer?
1.4.
Conclusions. Perhaps we could say that going into pure history is going into reality. When one wants to enter into reality is to go ahead with a knife, a knife, as this (reality) is covered with a layer of hard and thick. Then it comes to reality yet shown a revelation, has also opened a wound, a wound that will never heal. From these angles see the reality, which I eventually possess desamp; aacute; l essence? Do they sell in the market for twenty dollars? Wanting to cover the story as it actually is, it will cover some extreme purity, which can only be attributed to God (if there is such.) Anyway, the fantastic plays a major role in mind and that is your achievement, your achievement, why it's worth. We fill the gaps of memory with fantasies, hallucinations and madness, if you will, but it is better to remain hollow. The movie fills that gap existential historical consciousness, such weapons are intellectually satisfying to the viewer with elements partly historical and part fantasy. The film, the story would be forlibrary history that almost no one visits? Through film that almost everyone sees, is the great complementarity of these materials: the film brings to life the story and the story gives the film something to say. While you will not find a historical reality as such, because sometimes the story is represented, however, do not say no to continue the search for historical reality, but this search is justified not by the desire to find historical reality itself, but because the thousand lies found on the road are what helps us to think, reflect and criticize our psycho-social context.
CHTML XC 1.5.
Bibliography.
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White, Hayden (1992): metahistory: The historical imagination in nineteenth century Europe. Mexico, Fondo de Cultura Economica
- Jacques Le Goff: Thinking history: modernityLXC
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