By Robert A. Rosenstone
History on Film/Film on heritage demonstrates how motion pictures will be analyzed as historic resources. It deals undergraduates an creation to a couple of the 1st concerns concerned with learning old motion pictures.
Rosenstone argues that to depart heritage motion pictures out of the dialogue of the which means of the earlier is to disregard a significant factor in our figuring out of prior occasions. He examines what background motion pictures exhibit concerning the earlier and the way they communicate it, demonstrating the necessity to easy methods to learn and comprehend this new visible international. This re-creation areas this 'classic' textual content within the context of labor performed in different places within the box over the 10 years for the reason that this ebook first released, and support to resume the identify for a brand new iteration of undergraduates.
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Extra info for History on Film/Film on History (2nd Edition) (History: Concepts, Theories and Practice)
You can hear it in the voice of an African American undergraduate who, after seeing Glory, the story of the 54th Massachusetts Regiment, a much decorated Black unit in the Civil War, says to me with some emotion, ‘I never realized we help to free ourselves’. Or from the Armenian student who, after being exposed to Ararat, Atom Egoyan’s complex and convoluted rendition of the Turkish massacre of Armenians during World War I and its lingering effect on subsequent generations, seems to stand a little taller as he says, ‘At last our story has been told’.
Wenden of Oxford considers the question of how a film, even though To s e e the pas t its content is largely fictionalized, might yet illuminate an historical event. After comparing the film’s account of the ship’s mutiny with written histories on the same topic, Wenden suggests that rather than creating a literal reality, Eisenstein makes ‘brilliant use of the ship’s revolt as a symbol for the whole revolutionary effort of the Russian people in 1905’ (Wenden 1981: 40). This is the first instance (at least the first in print known to me) in which a historian makes a move towards suggesting that film might have its own specific way of telling the past, that the very nature of the medium and its practices of necessity create a particular kind of history (here dubbed symbolic history) that is different from what we normally expect to find upon the page.
For them, history is just another tool to sell tickets. H is tor y on film The ‘we’ I have been using here is meant in at least two different ways: as the ‘we’ of the history profession, those of us trained to research and report on our findings about the past, and the simpler ‘we’ of you and I, author and reader, who are rather more alike than different in our approaches to understanding the world. In the pages that follow I want to explain my ideas to you about why and how the dramatic history film can relate to and even do something we might label ‘history’ (in truth, we need another word for how film handles the past, but alas we seem stuck with this one, and so throughout this book I will use the term ‘history film’ for works which consciously try to re-create the past) – at least if by that term we mean something that seriously attempts to make meaning out of the traces left to us from that vanished world.