Marnie Hughes-Warrington is Deputy Vice Chancellor Research and Enterprise at the University of South Australia, and Honorary Professor of History at the Australian National University. She is the author of multiple books in historiography, including History Goes to the Movies (2007) and History from Loss (edited with Daniel Woolf, 2023).Kim Nelson is the Director of the Humanities Research Group and an Associate Professor at the University of Windsor in Canada. Her work has been screened internationally by film festivals and broadcasters. She is the author of Making History Move: Five Principles of the Historical Film (2024).Mia E.M. Treacey researches and writes in the interdisciplinary field of Screened History, exploring the relationship between History, the past, and moving images. Her publications include Reframing the Past: History, Film and Television (2016). A university educator for over 15 years, she now teaches secondary school History and English.

• 1. Introduction: History is a Moving Image Section 1: Understanding History and the Moving Image 2. From “History and film” to “Screened History” 3. Actuality is not Enough: On Historiography and Cinema 4. Moving-Image Histories and Ethics Section 2: Genres and Modes 5. Patterns of Reality 6. Remediation, Trauma, and “Preposterous History” in Documentary Film 7. The Hero Myth and the Cutting Room Floor 8. Dramatizing Film History in the Historical Film 9. Mirroring the 1980s in Contemporary Horror 10. Fantastic Histories: Medievalism in Fantasy Film and Television 11. Satire and Realism in the Historical Film Section 3: Representation, Race and Identity 12. Counter-Temporalities and Dialectical Images in the Mass Cultural Rewriting of US Racial Histories 13. History and Hindi Film 14. Horrific History and Black Aliveness: Travel and Liberatory Loopholes in Lovecraft Country 15. Pasts Refracted: Indigenous Histories on Film Beyond the Cinema 16. The New Civil War Cinema Section 4: Evolving Forms and Formats 17. Public History on Screen: From Broadcast & Network TV to the Internet Era, an Evolutionary Approach 18. Live Documentary: Social Cinema and the Cinepoetics of Doubt 19. Process, Pedagogy, Prefiguration, and the Promised Land 20. Teaching Difficult History with YouTube Videos 21. What If?: Experimental History on Television Afterword 22. History with Images: A Conversation with Robert A. Rosenstone

Marnie Hughes-Warrington is Deputy Vice Chancellor Research and Enterprise at the University of South Australia, and Honorary Professor of History at the Australian National University. She is the author of multiple books in historiography, including History Goes to the Movies (2007) and History from Loss (edited with Daniel Woolf, 2023).Kim Nelson is the Director of the Humanities Research Group and an Associate Professor at the University of Windsor in Canada. Her work has been screened internationally by film festivals and broadcasters. She is the author of Making History Move: Five Principles of the Historical Film (2024).Mia E.M. Treacey researches and writes in the interdisciplinary field of Screened History, exploring the relationship between History, the past, and moving images. Her publications include Reframing the Past: History, Film and Television (2016). A university educator for over 15 years, she now teaches secondary school History and English.

• 1. Introduction: History is a Moving Image Section 1: Understanding History and the Moving Image 2. From “History and film” to “Screened History” 3. Actuality is not Enough: On Historiography and Cinema 4. Moving-Image Histories and Ethics Section 2: Genres and Modes 5. Patterns of Reality 6. Remediation, Trauma, and “Preposterous History” in Documentary Film 7. The Hero Myth and the Cutting Room Floor 8. Dramatizing Film History in the Historical Film 9. Mirroring the 1980s in Contemporary Horror 10. Fantastic Histories: Medievalism in Fantasy Film and Television 11. Satire and Realism in the Historical Film Section 3: Representation, Race and Identity 12. Counter-Temporalities and Dialectical Images in the Mass Cultural Rewriting of US Racial Histories 13. History and Hindi Film 14. Horrific History and Black Aliveness: Travel and Liberatory Loopholes in Lovecraft Country 15. Pasts Refracted: Indigenous Histories on Film Beyond the Cinema 16. The New Civil War Cinema Section 4: Evolving Forms and Formats 17. Public History on Screen: From Broadcast & Network TV to the Internet Era, an Evolutionary Approach 18. Live Documentary: Social Cinema and the Cinepoetics of Doubt 19. Process, Pedagogy, Prefiguration, and the Promised Land 20. Teaching Difficult History with YouTube Videos 21. What If?: Experimental History on Television Afterword 22. History with Images: A Conversation with Robert A. Rosenstone

Marnie Hughes-Warrington is Deputy Vice Chancellor Research and Enterprise at the University of South Australia, and Honorary Professor of History at the Australian National University. She is the author of multiple books in historiography, including History Goes to the Movies (2007) and History from Loss (edited with Daniel Woolf, 2023).Kim Nelson is the Director of the Humanities Research Group and an Associate Professor at the University of Windsor in Canada. Her work has been screened internationally by film festivals and broadcasters. She is the author of Making History Move: Five Principles of the Historical Film (2024).Mia E.M. Treacey researches and writes in the interdisciplinary field of Screened History, exploring the relationship between History, the past, and moving images. Her publications include Reframing the Past: History, Film and Television (2016). A university educator for over 15 years, she now teaches secondary school History and English.

• 1. Introduction: History is a Moving Image Section 1: Understanding History and the Moving Image 2. From “History and film” to “Screened History” 3. Actuality is not Enough: On Historiography and Cinema 4. Moving-Image Histories and Ethics Section 2: Genres and Modes 5. Patterns of Reality 6. Remediation, Trauma, and “Preposterous History” in Documentary Film 7. The Hero Myth and the Cutting Room Floor 8. Dramatizing Film History in the Historical Film 9. Mirroring the 1980s in Contemporary Horror 10. Fantastic Histories: Medievalism in Fantasy Film and Television 11. Satire and Realism in the Historical Film Section 3: Representation, Race and Identity 12. Counter-Temporalities and Dialectical Images in the Mass Cultural Rewriting of US Racial Histories 13. History and Hindi Film 14. Horrific History and Black Aliveness: Travel and Liberatory Loopholes in Lovecraft Country 15. Pasts Refracted: Indigenous Histories on Film Beyond the Cinema 16. The New Civil War Cinema Section 4: Evolving Forms and Formats 17. Public History on Screen: From Broadcast & Network TV to the Internet Era, an Evolutionary Approach 18. Live Documentary: Social Cinema and the Cinepoetics of Doubt 19. Process, Pedagogy, Prefiguration, and the Promised Land 20. Teaching Difficult History with YouTube Videos 21. What If?: Experimental History on Television Afterword 22. History with Images: A Conversation with Robert A. Rosenstone