Pushing the boundaries of the historical documentary: Su Friedrich’s 1984 The Ties That Bind. / Spence, Louise; Paca Cengiz, Esin.

In: Rethinking History, Vol. 16, No. 3, 09.2012, p. 377-392.

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Pushing the boundaries of the historical documentary: Su Friedrich’s 1984 The Ties That Bind. / Spence, Louise; Paca Cengiz, Esin.

In: Rethinking History, Vol. 16, No. 3, 09.2012, p. 377-392.

Research output: Contribution to journalArticlepeer-review

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Spence, Louise ; Paca Cengiz, Esin. / Pushing the boundaries of the historical documentary: Su Friedrich’s 1984 The Ties That Bind. In: Rethinking History. 2012 ; Vol. 16, No. 3. pp. 377-392.

BibTeX

@article{c95e37bd5ac645ac98bed065b81f4eea,
title = "Pushing the boundaries of the historical documentary: Su Friedrich{\textquoteright}s 1984 The Ties That Bind",
abstract = "This article argues that Su Friedrich{\textquoteright}s 1984 film The Ties That Bindemploys what were at the time atypical forms and techniques to push thelimits of the traditional historical documentary. Its aesthetic experimentationhelps to redefine the idea of historical representation in film,and does so mainly by treating evidence as both partial (in both senses ofthe word) and contingent, offering a radical challenge to normativehistory and destabilizing the notion of history as authority. Unlikeconventional documentaries, the film marks its own limitations: itsinability to provide stable answers or eternal certainties. Questioning hermother{\textquoteright}s spoken memories, and commenting on them, Friedrich forces arupture in the {\textquoteleft}evidence{\textquoteright} of history and establishes a place in which to{\textquoteleft}speak{\textquoteright} herself. By including the past that her mother is talking about onthe sound track, as well as the present on the image track (such asimages of her mother{\textquoteright}s life in the early 1980s, images of intertitles etchedinto the film emulsion revealing the questions Friedrich asked hermother and her reactions to the things her mother said, as well as imagesof the filmmaker{\textquoteright}s visits to historical sites), Friedrich brings the presentinto the past, and demonstrates how history is, to quote WalterBenjamin, {\textquoteleft}time filled with the presence of the now{\textquoteright}.",
keywords = "history; historiography; memory; evidence; historical documentary; documentary experimentation",
author = "Louise Spence and {Paca Cengiz}, Esin",
year = "2012",
month = sep,
doi = "10.1080/13642529.2012.695059",
language = "English",
volume = "16",
pages = "377--392",
journal = "Rethinking History",
issn = "1364-2529",
publisher = "Taylor and Francis Ltd.",
number = "3",

}

RIS

TY - JOUR

T1 - Pushing the boundaries of the historical documentary: Su Friedrich’s 1984 The Ties That Bind

AU - Spence, Louise

AU - Paca Cengiz, Esin

PY - 2012/9

Y1 - 2012/9

N2 - This article argues that Su Friedrich’s 1984 film The Ties That Bindemploys what were at the time atypical forms and techniques to push thelimits of the traditional historical documentary. Its aesthetic experimentationhelps to redefine the idea of historical representation in film,and does so mainly by treating evidence as both partial (in both senses ofthe word) and contingent, offering a radical challenge to normativehistory and destabilizing the notion of history as authority. Unlikeconventional documentaries, the film marks its own limitations: itsinability to provide stable answers or eternal certainties. Questioning hermother’s spoken memories, and commenting on them, Friedrich forces arupture in the ‘evidence’ of history and establishes a place in which to‘speak’ herself. By including the past that her mother is talking about onthe sound track, as well as the present on the image track (such asimages of her mother’s life in the early 1980s, images of intertitles etchedinto the film emulsion revealing the questions Friedrich asked hermother and her reactions to the things her mother said, as well as imagesof the filmmaker’s visits to historical sites), Friedrich brings the presentinto the past, and demonstrates how history is, to quote WalterBenjamin, ‘time filled with the presence of the now’.

AB - This article argues that Su Friedrich’s 1984 film The Ties That Bindemploys what were at the time atypical forms and techniques to push thelimits of the traditional historical documentary. Its aesthetic experimentationhelps to redefine the idea of historical representation in film,and does so mainly by treating evidence as both partial (in both senses ofthe word) and contingent, offering a radical challenge to normativehistory and destabilizing the notion of history as authority. Unlikeconventional documentaries, the film marks its own limitations: itsinability to provide stable answers or eternal certainties. Questioning hermother’s spoken memories, and commenting on them, Friedrich forces arupture in the ‘evidence’ of history and establishes a place in which to‘speak’ herself. By including the past that her mother is talking about onthe sound track, as well as the present on the image track (such asimages of her mother’s life in the early 1980s, images of intertitles etchedinto the film emulsion revealing the questions Friedrich asked hermother and her reactions to the things her mother said, as well as imagesof the filmmaker’s visits to historical sites), Friedrich brings the presentinto the past, and demonstrates how history is, to quote WalterBenjamin, ‘time filled with the presence of the now’.

KW - history; historiography; memory; evidence; historical documentary; documentary experimentation

U2 - 10.1080/13642529.2012.695059

DO - 10.1080/13642529.2012.695059

M3 - Article

VL - 16

SP - 377

EP - 392

JO - Rethinking History

JF - Rethinking History

SN - 1364-2529

IS - 3

ER -