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

从1994年的《拉雷恩玛戈》到2010年的《国王的演讲》，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身份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”，这类电影的制作者经常与更广泛的遗产行业合作，以确保其制作的资金。这些电影，沿着它们所引发的争论，往往会塑造它们在故事中所突出的遗产地的后续营销和策展策略。然而，很少有人探讨这种关系，以及它如何反映当代公众参与欧洲过去的复杂性。由利兹大学世界电影中心牵头，与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澳大利亚人权委员会的“关心未来”主题。最明显的是，该项目探讨了代际沟通、文化传承和交流的问题。它考察了欧洲的过去在当代屏幕上的代表性，这说明了当代文化对过去的态度，以及这如何反映，并可以通过，现在和未来的文化机构的政策和实践来塑造。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，调查了当代电影和遗产产业如何重新想象历史，最终探索了当代遗产电影的方式，以及观众与过去的情感互动的工具化，反映了遗产产业对历史的本能开发的更广泛趋势，因此电影可以探索情感和变化之间的关系。这个探索性项目的目的是为更广泛的研究提供基础，该研究将绘制遗产电影制作与更广泛的遗产产业之间的互动，从都柏林到华沙，从赫尔辛基到马德里。围绕电影和遗产研究领域的领先学者与电影和遗产行业专业人士之间的知识交流过程，该项目的探索阶段将建立一个具有必要的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，以便制定一个可用于随后整个项目的调查模式，追踪其个案研究电影的制作和消费，以及它们如何反映当代社会在情感和物质上与历史接触的广泛趋势。最后，试点研究还将作为一份简报的基础，该简报旨在直接参与一系列国家政策辩论，欧洲各国政府将遗产和电影业视为当前经济危机中增长的关键动力。通过与行业专业人士的公众合作，该项目将明确关注与这些辩论直接相关的问题，这些辩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.