Every month totes the sciences are subject to a technical evolution, inevitable in the times that run, between these avenues only the audiovisual sources.
From some times the human sciences that have been in this position protect the written sources, following records and historical documentation, or be treballs d’investigació i divulgació d’autores contemporanis, semblava that these sciences will follow a traditional path, but s ‘They have seen complements i, fins i tot, fonamentades in audiovisual sources, among them the cinema.
The conegut with set art, which at the beginning was only això, an art, has come to be a peça clau with a font of social studies, anthropology and history, arrived to become a basic font for them . But the cinema that is used as resources to look at the passat, is not so only redueix to documentaries and historical recordings, but also to the use of films of historical reconstruction and reconstruction, so that you are more than giving us a vision of the time they portray, they also show the time in which they have been performed and who they have performed.
Totes les fonts cinematogràfiques al voltant d’aquesta period are totes ficció sent here the romantic image of the person represented from mitjans of the XIX century. Llavors, why study Napoleó at the cinema? How do the representations that you see on the screen are nothing more than a romantic image of the real person? Per això mateix hem from studying it. If so alone you remain with this romantic vision of Napoleon and the deceased as a fictitious person inspired by a real one, the story would be threatened after the fiction. In lloc d’això, it is possible to see the films set in this period parallel to the study of documentary sources and a specialized bibliography, així veient who are the differences and, more than sorprenents, similarities between the vision of the artistes de cinema and the historians especialitzats.
In addition, Napoleon Bonaparte is an exceptional character, at the beginning of the 19th century his followers compare him with Alexander the Great, Hannibal, Charlemagne or George Washington, he is a hero, a genius, a “great man”. While his enemies call him usurper, madman and tyrant.
There are other characters, of greater or lesser historical importance, who have also been the subject of one film, two, or even a dozen, but none of them has reached the disproportionate figure of almost three hundred cinematographic representations, which has reached create your own genre, the “Napoleonic”.
In short, Napoleon is the perfect character to be the object of a study of these characteristics, especially because of his relationship with the cinema, since he is the one that offers us the widest range of films, actors and directors, and therefore also representations , to be able to see how this character is used and interpreted following the wishes of some or other people. Great filmmakers such as Abel Gance, Sacha Guitry, Sergei Bondarchuck, Woody Allen, Ridley Scott, Peter Weir, or Stanley Kubrick, among many others, have been those who have been interested in the life of Napoleon Bonaparte to bring it to the big screen, turning this historical character in one of the cinematographic characters that has been the object of representation the most times. As we can see, Napoleon has been making a place among the most important characters in the history of cinema, and whose curriculum of more than three hundred films is more than enough to undertake the study and subsequent analysis of this cinematographic trajectory, in addition to seeing that function can have all these movie hours in historical science.
