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- W1989264976 abstract "FOR AN ACADEMIC HISTORIAN TO BECOME INVOLVED IN THE WORLD OF motion pictures is at once an exhilarating and disturbing experience. Exhilarating for all the obvious reasons: the power of the visual media; the opportunity to emerge from the lonely depths of the library tojoin with other human beings in a common enterprise; the delicious thought of a potentially large audience for the fruits of one's research, analysis, and writing. Disturbing for equally obvious reasons: no matter how serious or honest the filmmakers, and no matter how deeply committed they are to rendering the subject faithfully, the history that finally appears on the screen can never fully satisfy the historian as historian (although it may satisfy the historian as filmgoer). Inevitably, something happens on the way from the page to the screen that changes the meaning of the past as it is understood by those of us who work in words. The disturbance caused by working on a film lingers long after the exhilaration has vanished. Like all such disturbances, this one can provoke a search for ideas to help restore one's sense of intellectual equilibrium. In my case, the search may have been particularly intense because I had a double dose of this experiencetwo of my major written works have been put onto film, and both times I have been to some extent involved in the process. The two films were almost as different as films can be. One was a dramatic feature and the other a documentary; one was a fifty-million-dollar Hollywood project and the other a quarter-million-dollar work funded largely with public money; one was pitched at the largest of mass audiences and the other at the more elite audience of public television and art houses. Despite these differences, vast and similar changes happened to the history in each production, changes that have led me to a new appreciation of the problems of putting history onto film. After these experiences, I no longer find it possible to blame the shortcomings of historical films either on the evils of Hollywood or the woeful effects of low budgets, on the limits of the dramatic genre or those of the documentary format. The most serious problems the historian has with the past on the screen arise out of the nature and demands of the visual medium itself. The two films are Reds (1982), the story of the last five years in the life of American poet, journalist, and revolutionary, John Reed; and The Good Fight" @default.
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- W1989264976 date "1988-12-01" @default.
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- W1989264976 title "History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film" @default.
- W1989264976 doi "https://doi.org/10.1086/ahr/93.5.1173" @default.
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