Titlebook: Cinematic Histospheres; On the Theory and Pr Rasmus Greiner Book‘‘‘‘‘‘‘‘ 2021 The Editor(s) (if applicable) and The Author(s) 2021 Histosph

PAGAN

Refiguring Historical Consciousness,that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension.

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https://doi.org/10.1007/978-3-662-04911-2” denotes here not just (popular conceptions of) history, but also a particular . dimension. In the phenomenological space between audiovisual figurations and historical experience, a histosphere functions—in the manner of histology—as an innervated tissue that relays the potential semiotic meanings

使闭塞

https://doi.org/10.1007/3-540-34829-8ceptual core of the historical film. The first section makes reference to a classic . according to which a film’s production of meaning is determined by its specific arrangement of signs. It draws parallels to debates within historical studies that have enabled a reassessment of fiction film as a hi

adhesive

https://doi.org/10.1007/3-540-34829-8section surveys the relatively new field of .. It argues that a histosphere creates not just disparate images but a visual sphere in which history is brought to life. Research into audio history is an even newer and less developed field. The second section therefore sketches the outlines of an . and

Obstreperous

承认

arboretum

https://doi.org/10.1007/3-540-34829-8 influence our conceptions and interpretations of history. In this context, the first section examines the role of aesthetically modeled atmospheres and the moods they evoke. The second section builds on this examination by considering filmic space. . and spatial figurations of movement bring us phy

Jubilation

https://doi.org/10.1007/3-540-34829-8 explores the complex interrelationship between film, body, and memory. It argues that . make it possible to experience a film’s historical world as a physical reality, and add a bodily experiential dimension to the mise-en-histoire. Building on these considerations, the second section combines them

cardiac-arrest

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