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Europe On-Screen Cinema and the Teaching of History

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Europe On-Screen Cinema and the Teaching of History Europe on-screen Cinema and the teaching of history by Dominique Chansel Translated from the French by Carol Kendall, Richard McQuiston, Nicholas Raveney, Christopher Reynolds Project “Learning and teaching about the history of Europe in the 20th century” Council for Cultural Co-operation Council of Europe Publishing French edition: L’Europe à l’écran – Le cinéma et l’enseignement de l’histoire ISBN 92-871-4529-6 The opinions expressed in this work are those of the author and do not all necessarily reflect the official policy of the Council for Cultural Co-operation or that of the Secretariat. Cover design: Graphic Design Workshop, Council of Europe Set of stamps designed for the French National Postal Authorities © Jean Le Gac Council of Europe Publishing F-67075 Strasbourg Cedex ISBN 92-871-4531-8 © Council of Europe, January 2001 Printed in Germany The Council of Europe was founded in 1949 to achieve greater unity between European parliamentary democracies. It is the oldest of the European political institutions and has 41 member states,1 including the 15 members of the European Union. It is the widest intergovernmental and interparliamentary organisation in Europe, and has its headquarters in Strasbourg. With only questions relating to national defence excluded from the Council of Europe’s work, the Organisation has activities in the following areas: democ- racy, human rights and fundamental freedoms; media and communication; social and economic affairs; education, culture, heritage and sport; youth; health; envi- ronment and regional planning; local democracy; and legal co-operation. The European Cultural Convention was opened for signature in 1954. This international treaty is also open to European countries that are not members of the Council of Europe, and enables them to take part in the Council’s pro- grammes on education, culture, sport and youth. So far, 47 states have acceded to the European Cultural Convention: the Council of Europe’s full member states plus Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, the Holy See and Monaco. The Council for Cultural Co-operation (CDCC) is responsible for the Council of Europe’s work on education and culture. Four specialised committees – the Education Committee, the Higher Education and Research Committee, the Culture Committee and the Cultural Heritage Committee help the CDCC to carry out its tasks under the European Cultural Convention. There is also a close working relationship between the CDCC and the standing conferences of spe- cialised European ministers responsible for education, culture and the cultural heritage. The CDCC’s programmes are an integral part of the Council of Europe’s work and, like the programmes in other sectors, they contribute to the Organisation’s three main policy objectives: – the protection, reinforcement and promotion of human rights and funda- mental freedoms and pluralist democracy; – the promotion of an awareness of European identity; – the search for common responses to the great challenges facing European society. __________ 1. Albania, Andorra, Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Moldova, Netherlands, Norway, Poland, Portugal, Romania, Russian Federation, San Marino, Slovak Republic, Slovenia, Spain, Sweden, Switzerland, “the former Yugoslav Republic of Macedonia”, Turkey, Ukraine, United Kingdom. 3 The CDCC’s education programme covers school and higher education. At present, there are projects on education for democratic citizenship, history, modern languages, school links and exchanges, educational policies, training for educational staff, the reform of legislation on higher education in central and eastern Europe, the recognition of qualifications, lifelong learning for equity and social cohesion, European studies for democratic citizenship, and the social sciences and the challenge of transition. 4 It is a universal phenomenon that whether one is at Harvard or at Oxford or at the University of Bologna, after the dutiful striking of attitudes on subjects of professional interest … the ice does not break until someone mentions the movies. Suddenly, everyone is alert and adept… Movies are the lingua franca of the twentieth century. The Tenth Muse, as they call the movies in Italy, has driven the other nine right off Olympus – or off the peak, anyway. Gore Vidal in Screening history, Harvard University Press, 1992, p. 2 5 Foreword Europe on-screen was produced as part of the Council of Europe’s history pro- ject “Learning and teaching about the history of Europe in the 20th century”. The principal aims of this project are to: – interest the young in the recent events of our continent and help establish links between historical roots and the challenges facing Europe today; – help the young to identify with a greater Europe; – teach the young to develop key skills of critical investigation; – stress the importance of understanding the viewpoint of the “other”; – encourage teachers to introduce a wider European dimension into the class- room. “Learning and teaching about the history of Europe in the 20th century” is a product-oriented project which has produced teaching material designed for secondary school teachers, textbook authors and curriculum developers (see p. 217). The project has also exploited the vast range of sources available on the 20th century. Some of these sources, in particular cinema and television, have undermined or at least “perturbed” the traditional role of the school in the trans- mission of history. National cinema industries under all regimes have exploited cinema for political purposes. Thus the importance of developing a critical and discerning approach to movie-going, an occupation that for many will last a life- time. In addition, European cinema, practically all cinema, is a rich and complex source of information on its societies and peoples. It reveals the plight of indi- viduals on the periphery of society, highlights social injustice and gives a voice to minority viewpoints. In the case of the some of the film-makers in the former Soviet bloc countries, cinema was courageously used to illustrate the alienation and repression of totalitarian societies, once the censors had been duped, often by a subversive use of humour. Europe on-screen contains fact sheets on 50 films, illustrating 4 of the project’s themes – nationalism, women, immigration and human rights. For many, the study will necessarily be incomplete because this or that favourite “committed” director has been left out; others will wonder how this or that director or film could have been included. These divergent and heated viewpoints will only attest to the theme of this book’s epigraph, namely that cinema has become the lingua franca of the 20th century and everybody has very definite opinions on it. Clearly all of the films in this study cannot be obtained throughout the CDCC’s 47 member states. It is more than likely that in some areas hardly any of these films can be obtained, much less subtitled or even dubbed in the language of the country. But it is our hope that until there is a true pan-European distribution of 7 Europe on-screen this continent’s cinematic heritage, teachers will be inspired and guided by this study to strike out on their own and apply it to their national cinema. The author, Dominique Chansel, is a fully qualified teacher of history and geog- raphy and has been teaching art history classes since 1998. He has university diplomas in history, the history of art and archaeology, Latin and Greek and cinema studies. He taught in the cinema department of the Université des Sciences Humaines, in Strasbourg from 1992-1997. The postage stamps on the cover were designed by the French painter, Jean Le Gac. As in his paintings, he has mixed images, text, objects and modern repro- duction techniques in these stamps, commissioned by the French National Postal Authorities, to celebrate the 100th anniversary of cinema in 1995. 8 Contents Introduction .......................................................................................... 11 I. NATIONALISM Nationalism in conflict: the Great War .............................................. 17 Fact Sheet 1 – The end of St Petersburg (Pudovkin) ....................... 17 Fact Sheet 2 – Westfront 1918 – Comrades of 1918 (Pabst) ........... 21 Fact Sheet 3 – The wooden crosses (Bernard) ................................. 25 Fact Sheet 4 – Many wars ago (Rosi) .............................................. 29 Fact Sheet 5 – King and country (Losey) ........................................ 33 Fact Sheet 6 – Black and white in colour (Annaud) ........................ 37 National and ideological hatred: the second world war ................... 41 Fact Sheet 7 – Rome, open city (Rossellini) .................................... 41 Fact Sheet 8 – The battle of the rails (Clément) .............................. 45 Fact Sheet 9 – Kanal – they loved life (Wajda) ............................... 49 Fact Sheet 10 – The cranes are flying (Kalatozov) ......................... 53 Fact Sheet 11 – The bridge (Wicki) ................................................. 57 Beyond nationalism? ............................................................................ 61 Fact Sheet 12 – Jules and Jim (Truffaut) ......................................... 61 Fact Sheet 13 – The crossing of the Rhine (Cayatte) ......................
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