Screening European Heritage: History on Film, the Heritage Industry and Cultural Policy

从《玛戈女王》（1994）到《国王的演讲》（2010），历史剧主导了欧洲主流电影制作，并经常引发关于过去在当代国家认同建构中的作用的重大全国性辩论。在20世纪90年代被定义为“遗产电影”，这类电影的制片人经常与更广泛的遗产行业合作，以确保他们的制作资金。这些电影，以及它们引发的争论，往往塑造了它们在故事中所强调的遗产遗址的后续营销和策展策略。然而，很少有人探索这种关系，以及它如何反映当代欧洲公众参与过去的复杂性。由利兹大学世界电影院中心牵头，与b级电影：伯明翰电影研究中心合作，“放映欧洲遗产”以各种相互关联的方式回应了AHRC的“关怀未来”主题。最明显的是，该项目探讨了代际沟通，文化传播和交流的问题。它考察了欧洲过去在当代屏幕上的表现，这说明了当代文化对过去的态度，以及这如何反映，并可能被文化机构现在和未来的政策和实践所塑造。在这个过程中，它提出了关于过去在文化和社会变革中的作用和价值的问题，研究了当代电影和遗产产业如何重新想象历史，以及为了什么目的，最终探索了当代遗产电影的方式，以及它对观众与过去的情感参与的工具化。反映了遗产产业对历史的内在利用的更广泛趋势，因此电影可以探索情感与变化之间的关系。这个探索性项目的目的是为更广泛的研究提供基础，该研究将绘制从都柏林到华沙，从赫尔辛基到马德里的遗产电影制作与更广泛的遗产产业之间的相互作用。该计划的探索阶段将围绕电影及文物研究领域的顶尖学者与电影及文物行业专业人士之间的知识交流过程，建立一个具有必要跨学科范围的国际网络，以开展这项雄心勃勃的未来研究。它还将对少数近期的遗产电影进行试点调查，以开发一种可用于后续完整项目的调查模式，追踪其案例研究电影的制作和消费，以及它们如何反映当代社会与历史的情感和物质参与的普遍趋势。最后，该试点研究还将被用作简报文件的基础，该简报文件旨在直接干预一系列国家政策辩论，遗产和电影产业被欧洲各国政府视为面对当前经济危机的关键增长动力。通过与业内专业人士的公开合作，该项目将明确关注与这些争论直接相关的问题，这些争论往往忽视了他们对过去在当代文化生产中的作用的共同关注。在此过程中，该项目将跨越行业和国界分享见解。

From 'La Reine Margot' (1994) to 'The King's Speech' (2010), historical dramas dominate mainstream European film production and often generate major national debates on the role of the past in contemporary national identity construction. Defined in the 1990s as 'heritage films', the makers of such films frequently work in partnership with the wider heritage industry in order to secure funding for their productions. And the films, along with the debates they generate, often shape the subsequent marketing and curatorial strategy of the heritage sites they foreground in their stories. However, there has been very little exploration of this relationship and how it reflects the complexity of contemporary public engagement with the past across Europe. Led by the Centre for World Cinemas at the University of Leeds, in collaboration with B-Film: The Birmingham Centre for Film Studies, 'Screening European Heritage' responds to the AHRC's 'Care for the Future' theme in a variety of interconnected ways. Most obviously, the project explores questions of inter-generational communication, cultural transmission and exchange. It examines the representation of Europe's past on contemporary screens, what this says about contemporary cultural attitudes to the past and how this reflects, and can be shaped by, the policies and practice of cultural institutions now and in the future. In the process, it raises questions around the role and value of the past in cultural and societal change, investigating how history is re-imagined by the contemporary film and heritage industries and to what end, ultimately exploring the way contemporary heritage film, and its instrumentalisation of spectators' emotional engagement with the past, reflects broader trends in the heritage industry towards the visceral exploitation of the history and thus the way film can explore the relationship between emotions and change. The aim of this exploratory project is to provide the foundation for a broader study that will map interactions between heritage filmmaking and the wider heritage industry from Dublin to Warsaw, from Helsinki to Madrid. Structured around a process of knowledge exchange between leading academics in the fields of film and heritage studies and film and heritage industry professionals, the exploratory phase of the project will build an international network with the necessary interdisciplinary range to undertake this ambitious future study. It will also undertake a pilot investigation of a small number of recent heritage films in order to develop an investigative model that can be used in the subsequent full project, tracing the production and consumption of its case-study films and how they reflect widespread trends in contemporary society's emotional and material engagement with history. Finally, the pilot study will also be used as the basis of a briefing paper designed to make a direct intervention in a series of national policy debates, the heritage and film industries being seen by national governments across Europe as a key generator of growth in the face of the present economic crisis. Through its public-facing collaboration with industry professionals, the project will focus explicitly on questions of direct relevance to these debates, which often ignore their common concern with the role of the past in contemporary cultural production. In the process, the project will share insights across industries as well as across national boundaries.