Abstract
At a certain age, an age I have reached, the impulse is less to do new research and/or scholarship than to take the time to reflect on the scholarship that one and others have done in recent decades. Much of my own scholarly activity in the last quarter century has been devoted to the topic of the history film, by which I mean the dramatic motion picture that focuses on verifiable people, events and movements set in the past. I distinguish between the history film and the more common term, the ‘historical film’, because the latter can also refer to any important film that has been made in the past. Sometimes a film can be both. Orson Welles’ masterpiece, Citizen Kane (1941), for example, falls into both categories. As a history film, it is a thinly veiled biography of powerful newspaper publisher, the Rupert Murdoch of his day, William Randolph Hearst. As a historical work, it is famous for its use of multiple perspectives on the past (long before Akira Kurosawa’s celebrated film, Rashomon (1950)), its fragmented and contradictory way of telling a story, its special deep-focus photography and its luscious use of black-and-white.
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Notes
See Robert A. Rosenstone, History on Film/Film on History (Harlow: Pearson, 2012), pp. 57–78;
Rosenstone, ‘Film and the Beginning of Postmodern History’, in Rosenstone (ed.), Visions of the Past (Cambridge, MA, 1995), pp. 198–225.
Alun Munslow, The Future of History (New York and London: Routledge, 2010), pp. 8–9.
Cited in Nicolas Tredell, Cinemas of the Mind: A Critical History of Film Theory (Cambridge: Icon, 2002), p. 15.
Quoted in Melvyn Stokes, D. W. Griffith’s The Birth of a Nation (New York and Oxford, 2007), p. 8;
Robert Burgoyne, The Hollywood Historical Film (Oxford: Blackwell, 2008), p. 8.
Marc Ferro, Cinema and History (translated by Naomi Green) (Detroit: Wayne State University Press, 1968), pp. 158–164.
Pierre Sorlin, The Film in History: Restaging the Past (Totowa, NJ: Barnes & Noble, 1980), p. 21.
D. J. Wenden, ‘Battleship Potemkin — Film and Reality’, in K. R. M. Short (ed.), Feature Film as History (Knoxville: University of Tennessee Press, 1981).
Robert A Rosenstone, ‘History in Images, History in Words: Reflections on the Possibility of Really Putting History onto Film’, American Historical Review 93 (1988), pp. 1173–1192.
Hayden White, ‘Historiography and Historiophoty’, American Historical Review 93 (1988), p. 1193.
See Robert A Rosenstone and Constantin Parvulescu (eds), A Blackwell Companion to Historical Film (Oxford: Wiley-Blackwell, 2012).
Natalie Zemon Davis, Slaves on Screen: Film and Historical Vision (Cambridge, MA: Harvard, 2000).
Donald R Kelley, Faces of History: Historical Inquiry from Herodotus to Herder (New Haven and London: Yale University Press, 1998), p. 12.
See Roland Barthes, ‘The Reality Effect,’ translated from the French and reprinted in The Rustle of Language (translated by Richard Howard) (New York: Farrar, Strauss, and Giroux, 1986), pp. 141–148.
See James M. McPherson, ‘Glory’, in Mark C. Carnes (ed.), Past Imperfect: History According to the Movies (New York: Henry Holt, 1995), pp. 128–31.
See Alison Landsberg, Prosthetic Memory: The Transformation of American Remembrance in an Age of Mass Culture (New York: Columbia University Press, 2004).
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© 2015 Robert A. Rosenstone
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Rosenstone, R.A. (2015). Reflections on What the Filmmaker Historian Does (to History). In: Carlsten, J.M., McGarry, F. (eds) Film, History and Memory. Palgrave Macmillan, London. https://doi.org/10.1057/9781137468956_12
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DOI: https://doi.org/10.1057/9781137468956_12
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