How, as historians, should we ‘read’ a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use.The book begins with a theoretical ‘Thinking about Film’ section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ‘Using Film’ segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text.Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.
How, as historians, should we ‘read’ a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use.The book begins with a theoretical ‘Thinking about Film’ section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ‘Using Film’ segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text.Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.
How, as historians, should we ''read'' a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use.The book begins with a theoretical ''Thinking about Film'' section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ''Using Film'' segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text.Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.
How, as historians, should we ''read'' a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use.The book begins with a theoretical ''Thinking about Film'' section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger ''Using Film'' segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text.Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.
Over the past seventy years, the Allied invasion of Northwestern France in June 1944, known as D-Day, has come to stand as something more than a major battle. The assault itself formed a vital component of Allied victory in the Second World War. D-Day developed into a sign and symbol; as a word it carries with it a series of ideas and associations that have come to symbolize different things to different people and nations. As such, the commemorative activities linked to the battle offer a window for viewing the various belligerents in their postwar years. This book examines the commonalities and differences in national collective memories of D-Day. Chapters cover the main forces on the day of battle, including the United States, Great Britain, Canada, France, and Germany. In addition, a chapter on Russian memory of the invasion explores other views of the battle. The overall thrust of the book shows that memories of the past vary over time, link to present-day needs, and also still have a clear national and cultural specificity. These memories arise in a multitude of locations such as film, books, monuments, anniversary celebrations, and news media representations.