History on Film/Film on History

236 Pages·2012·1.497 MB·English

by  Rosenstone, Robert A

History on Film
Film on History
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History: Concepts, Theories and Practice
Series editor: Alun Munslow, University of Staffordshire
The New History
Alun Munslow
History on Film/Film on History
Robert A. Rosenstone
Imperialism
Barbara Bush
Class Struggles
Dennis Dworkin
Time, Religion and History
William Gallois
History Meets Fiction
Beverley Southgate
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History on Film
Film on History
Second edition
ROBERT A. ROSENSTONE
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First published 2006 by Pearson Education Limited
Second edition published 2012
Published 2013 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © 2006, 2012, Taylor & Francis.
The right of Robert A. Rosenstone to be identified as author
of this work has been asserted by him in accordance
with the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or
by any electronic, mechanical, or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or retrieval system, without permission
in writing from the publishers.

Notices
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ISBN: 978-1-4082-8255-7(pbk)
British Library Cataloguing in Publication Data
A CIP catalogue record for this book can be obtained from the British Library
Library of Congress Cataloging-in-Publication Data
Rosenstone, Robert A.
History on film/film on history / Robert A. Rosenstone. -- 2nd ed.
p. cm. -- (History: concepts, theories and practice)
Includes bibliographical references and index.
ISBN 978-1-4082-8255-7 (pbk.)
1. Motion pictures and history. 2. Historical films--History and criticism. I. Title.
PN1995.2.R667 2012
791.43’658--dc23
2011043002
Set by 35 in 10/13pt ITC Giovanni
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For Alun Munslow
an inspiration and a friend
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Contents
Preface to the series ix
Introduction to the second edition xi
Acknowledgements xxv
Publisher’s acknowledgements xxvii
Chapter 1 History on film 1
Chapter 2 To see the past 13
Chapter 3 Mainstream drama 37
Chapter 4 Innovative drama 57
Chapter 5 Documentary 79
Chapter 6 Telling lives 101
Chapter 7 Film-maker/Historian 125
Chapter 8 Engaging the discourse 151
Chapter 9 Film on history 175
Guide to key reading 187
Bibliography 196
Index 203
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Preface to the series
History: Concepts, Theories and Practice is a series that offers a coherent and
detailed examination of the nature and effects of recent theoretical,
methodological and historiographical developments within key fi elds
of contemporary historical practice. Each volume is open to the idea of
history as a historicist cultural discourse constituted by historians as
much as it is reconstructed from the sources available about the past.
The series examines the discipline of history as it is conceived today
in an intellectual climate that has increasingly questioned the status of
historical knowledge.
As is well known, questioning of the status of history, indeed of its very
existence as an academic subject, has been seen in several recent scholarly
developments that have directly infl uenced our study of the past. These
include the emergence of new conceptualisations of ‘pastness’, the
emergence of fresh forms of social theorising, the rise of concerns with
narrative, representation and the linguistic turn, and a self-conscious
engagement with the issues of relativism, objectivity and truth. All these
are refl ected in the appearance of new historical themes and frameworks
of historical activity.
In acknowledging that history is not necessarily nor automatically
authorised by one foundational epistemology or methodology and that
history cannot stand outside its own genre or form, all volumes in the
series refl ect a multiplicity of metanarrative positions. Nevertheless, each
volume (regardless of its own perspective and position on the nature of
history) explains the most up-to-date interpretational and historiographic
developments that fall within its own historical fi eld. However, this
review of the ‘latest interpretation and methodology’ does not diminish
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