{"id":{"repo_id":"vilnius","oai_identifier":"oai:vu.lt:elaba:35558614"},"canonical_url":"https://search.dev.ndltd.org/etd/vilnius/oai:vu.lt:elaba:35558614","repository":{"repo_id":"vilnius","name":"Vilnius University","base_url":"https://epublications.vu.lt/oai"},"display":{"title":"Netolimos praeities reprezentacija ir istorinės atminties formavimas: šiuolaikinio Gruzijos kino atvejis /","abstract":"The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Film The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Films Memory studies are gradually developing into a very important tool for historical research in international humanities. Visual art (film, screen and media) not only expands research field of history and memory but it also has been used as the communicative mechanism accelerating cultural memory. Although cultural memory is an integral part of past symbols that are supported by institutionalized and ceremonial communication, it also applies to past events of present society, especially when it comes to a period of sudden political changes. Considering art as an expression of individual ideas that are developed through its institutionalized structure (financing, production, distribution, exhibition etc.), cinema not only creates massive historical images in remembrance policy, but also forms, maintains, and replaces public historical memory. After the collapse of the Soviet Union (USSR), Georgia restored its independence as a new country and faced important issues of re-establishing film making infrastructure. It had to create the entire film industry from the beginning. Recently made films reflect dramatic and tragic events that occurred in Georgia and Caucasus (military conflicts over the territorial integrity of Abkhazia and South Ossetia territories, Chechen war and conflicts in Nagorno Karabakh). The purpose of this thesis is to research how different interpretations of historical events related to military conflict between Georgia and Abkhazia in 1992-1993 are presented in contemporary Georgian cinema. Five main tasks were formulated to achieve this goal. First, to describe the main aspects of historical memory. Second, to examine an influence of media in remembrance policy. Third, to discuss relationship between films and history and films' role in representing recent past. Fourth, to present phenomenon of Georgian films. Finally, according to film narratology, to analyze three contemporary Georgian feature films: “Tangerines“ (Mandariinid, Zaza Urushadze, 2013), “The Other Bank“ (Gagma napiri, George Ovashvili, 2010), and “The Corn Island“ (Simindis kundzuli, George Ovashvili, 2014). The conclusion of this thesis is that three contemporary Georgian feature films showing a military conflict between Georgia and Abkhazia demonstrate a clear division between “us” and “them”. This division reflects the actualization of endured injury, gained during conflict and solidarity interaction, and it does create a solid version of historical memory. Different nationalities and languages constitute the division into “us” and “them”. This division is clearly observed in a such narratological tool as space. Analysis has shown that open space emphasizes and the closed space neutralizes and eliminates the mentioned “us” and “them” division. The interpretation of film narrative mobilizes and emotionally affects the public by refreshing recent past and accelerating the cultural memory. It would be useful in the future to research how different interpretations of military conflicts are presented by some other type of media, such as a documentary film. In other words, it would be useful to find out how conflict is depicted in documentary film.","abstract_html":"The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Film The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Films Memory studies are gradually developing into a very important tool for historical research in international humanities. Visual art (film, screen and media) not only expands research field of history and memory but it also has been used as the communicative mechanism accelerating cultural memory. Although cultural memory is an integral part of past symbols that are supported by institutionalized and ceremonial communication, it also applies to past events of present society, especially when it comes to a period of sudden political changes. Considering art as an expression of individual ideas that are developed through its institutionalized structure (financing, production, distribution, exhibition etc.), cinema not only creates massive historical images in remembrance policy, but also forms, maintains, and replaces public historical memory. After the collapse of the Soviet Union (USSR), Georgia restored its independence as a new country and faced important issues of re-establishing film making infrastructure. It had to create the entire film industry from the beginning. Recently made films reflect dramatic and tragic events that occurred in Georgia and Caucasus (military conflicts over the territorial integrity of Abkhazia and South Ossetia territories, Chechen war and conflicts in Nagorno Karabakh). The purpose of this thesis is to research how different interpretations of historical events related to military conflict between Georgia and Abkhazia in 1992-1993 are presented in contemporary Georgian cinema. Five main tasks were formulated to achieve this goal. First, to describe the main aspects of historical memory. Second, to examine an influence of media in remembrance policy. Third, to discuss relationship between films and history and films' role in representing recent past. Fourth, to present phenomenon of Georgian films. Finally, according to film narratology, to analyze three contemporary Georgian feature films: “Tangerines“ (Mandariinid, Zaza Urushadze, 2013), “The Other Bank“ (Gagma napiri, George Ovashvili, 2010), and “The Corn Island“ (Simindis kundzuli, George Ovashvili, 2014). The conclusion of this thesis is that three contemporary Georgian feature films showing a military conflict between Georgia and Abkhazia demonstrate a clear division between “us” and “them”. This division reflects the actualization of endured injury, gained during conflict and solidarity interaction, and it does create a solid version of historical memory. Different nationalities and languages constitute the division into “us” and “them”. This division is clearly observed in a such narratological tool as space. Analysis has shown that open space emphasizes and the closed space neutralizes and eliminates the mentioned “us” and “them” division. The interpretation of film narrative mobilizes and emotionally affects the public by refreshing recent past and accelerating the cultural memory. It would be useful in the future to research how different interpretations of military conflicts are presented by some other type of media, such as a documentary film. In other words, it would be useful to find out how conflict is depicted in documentary film.","abstract_has_math":false,"creators":["Dabušytė, Ieva,"],"institution":"Institutional Repository of Vilnius University","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Arlauskaitė, Natalija"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2016,"date_issued":"2016","date_published":"2016","updated_at":"2026-07-24T05:55:35Z","subjects":[],"languages":["lit"],"rights":["info:eu-repo/semantics/openAccess"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://repository.vu.lt/VU:ELABAETD35558614&prefLang=en_US","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Arlauskaitė, Natalija"]},{"key":"dc:creator","label":"Author","values":["Dabušytė, Ieva,"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2016"]},{"key":"dc:publisher","label":"Institution","values":["Institutional Repository of Vilnius University"]},{"key":"dc:relation","label":"Dc Relation","values":["https://epublications.vu.lt/object/elaba:35558614/35558614.pdf"]},{"key":"dc:type","label":"Dc Type","values":["info:eu-repo/semantics/bachelorThesis"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["lit"]},{"key":"dc:rights","label":"Dc Rights","values":["info:eu-repo/semantics/openAccess"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://repository.vu.lt/VU:ELABAETD35558614&prefLang=en_US"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Film The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Films Memory studies are gradually developing into a very important tool for historical research in international humanities. Visual art (film, screen and media) not only expands research field of history and memory but it also has been used as the communicative mechanism accelerating cultural memory. Although cultural memory is an integral part of past symbols that are supported by institutionalized and ceremonial communication, it also applies to past events of present society, especially when it comes to a period of sudden political changes. Considering art as an expression of individual ideas that are developed through its institutionalized structure (financing, production, distribution, exhibition etc.), cinema not only creates massive historical images in remembrance policy, but also forms, maintains, and replaces public historical memory. After the collapse of the Soviet Union (USSR), Georgia restored its independence as a new country and faced important issues of re-establishing film making infrastructure. It had to create the entire film industry from the beginning. Recently made films reflect dramatic and tragic events that occurred in Georgia and Caucasus (military conflicts over the territorial integrity of Abkhazia and South Ossetia territories, Chechen war and conflicts in Nagorno Karabakh). The purpose of this thesis is to research how different interpretations of historical events related to military conflict between Georgia and Abkhazia in 1992-1993 are presented in contemporary Georgian cinema. Five main tasks were formulated to achieve this goal. First, to describe the main aspects of historical memory. Second, to examine an influence of media in remembrance policy. Third, to discuss relationship between films and history and films' role in representing recent past. Fourth, to present phenomenon of Georgian films. Finally, according to film narratology, to analyze three contemporary Georgian feature films: “Tangerines“ (Mandariinid, Zaza Urushadze, 2013), “The Other Bank“ (Gagma napiri, George Ovashvili, 2010), and “The Corn Island“ (Simindis kundzuli, George Ovashvili, 2014). The conclusion of this thesis is that three contemporary Georgian feature films showing a military conflict between Georgia and Abkhazia demonstrate a clear division between “us” and “them”. This division reflects the actualization of endured injury, gained during conflict and solidarity interaction, and it does create a solid version of historical memory. Different nationalities and languages constitute the division into “us” and “them”. This division is clearly observed in a such narratological tool as space. Analysis has shown that open space emphasizes and the closed space neutralizes and eliminates the mentioned “us” and “them” division. The interpretation of film narrative mobilizes and emotionally affects the public by refreshing recent past and accelerating the cultural memory. It would be useful in the future to research how different interpretations of military conflicts are presented by some other type of media, such as a documentary film. In other words, it would be useful to find out how conflict is depicted in documentary film."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Netolimos praeities reprezentacija ir istorinės atminties formavimas: šiuolaikinio Gruzijos kino atvejis /","The representation of recent past and the formation of historical memory in contemporary georgian film."]}]}],"canonical_facts":{"dc:contributor":["Arlauskaitė, Natalija"],"dc:creator":["Dabušytė, Ieva,"],"dc:date":["2016"],"dc:description":["The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Film The Representation of Recent Past and the Formation of Historical Memory in Contemporary Georgian Films Memory studies are gradually developing into a very important tool for historical research in international humanities. Visual art (film, screen and media) not only expands research field of history and memory but it also has been used as the communicative mechanism accelerating cultural memory. Although cultural memory is an integral part of past symbols that are supported by institutionalized and ceremonial communication, it also applies to past events of present society, especially when it comes to a period of sudden political changes. Considering art as an expression of individual ideas that are developed through its institutionalized structure (financing, production, distribution, exhibition etc.), cinema not only creates massive historical images in remembrance policy, but also forms, maintains, and replaces public historical memory. After the collapse of the Soviet Union (USSR), Georgia restored its independence as a new country and faced important issues of re-establishing film making infrastructure. It had to create the entire film industry from the beginning. Recently made films reflect dramatic and tragic events that occurred in Georgia and Caucasus (military conflicts over the territorial integrity of Abkhazia and South Ossetia territories, Chechen war and conflicts in Nagorno Karabakh). The purpose of this thesis is to research how different interpretations of historical events related to military conflict between Georgia and Abkhazia in 1992-1993 are presented in contemporary Georgian cinema. Five main tasks were formulated to achieve this goal. First, to describe the main aspects of historical memory. Second, to examine an influence of media in remembrance policy. Third, to discuss relationship between films and history and films' role in representing recent past. Fourth, to present phenomenon of Georgian films. Finally, according to film narratology, to analyze three contemporary Georgian feature films: “Tangerines“ (Mandariinid, Zaza Urushadze, 2013), “The Other Bank“ (Gagma napiri, George Ovashvili, 2010), and “The Corn Island“ (Simindis kundzuli, George Ovashvili, 2014). The conclusion of this thesis is that three contemporary Georgian feature films showing a military conflict between Georgia and Abkhazia demonstrate a clear division between “us” and “them”. This division reflects the actualization of endured injury, gained during conflict and solidarity interaction, and it does create a solid version of historical memory. Different nationalities and languages constitute the division into “us” and “them”. This division is clearly observed in a such narratological tool as space. Analysis has shown that open space emphasizes and the closed space neutralizes and eliminates the mentioned “us” and “them” division. The interpretation of film narrative mobilizes and emotionally affects the public by refreshing recent past and accelerating the cultural memory. It would be useful in the future to research how different interpretations of military conflicts are presented by some other type of media, such as a documentary film. In other words, it would be useful to find out how conflict is depicted in documentary film."],"dc:format":["application/pdf"],"dc:identifier":["https://repository.vu.lt/VU:ELABAETD35558614&prefLang=en_US"],"dc:language":["lit"],"dc:publisher":["Institutional Repository of Vilnius University"],"dc:relation":["https://epublications.vu.lt/object/elaba:35558614/35558614.pdf"],"dc:rights":["info:eu-repo/semantics/openAccess"],"dc:title":["Netolimos praeities reprezentacija ir istorinės atminties formavimas: šiuolaikinio Gruzijos kino atvejis /","The representation of recent past and the formation of historical memory in contemporary georgian film."],"dc:type":["info:eu-repo/semantics/bachelorThesis"]},"updated_at":"2026-07-24T05:55:35Z"}