LEADER 03982nam 22006615 450 001 9911046544003321 005 20251120120430.0 010 $a3-031-99668-2 024 7 $a10.1007/978-3-031-99668-9 035 $a(MiAaPQ)EBC32422154 035 $a(Au-PeEL)EBL32422154 035 $a(CKB)43552491300041 035 $a(DE-He213)978-3-031-99668-9 035 $a(EXLCZ)9943552491300041 100 $a20251120d2025 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Filmmaker as Historian $eThe Age of Liberal Revolution on Screen /$fby Justin Hardy, Laurence Brockliss 205 $a1st ed. 2025. 210 1$aCham :$cSpringer Nature Switzerland :$cImprint: Palgrave Macmillan,$d2025. 215 $a1 online resource (342 pages) 225 1 $aHistory Series 311 08$a3-031-99667-4 327 $aChapter 1. The Filmmaker and the Historian: The Potential for Collaboration -- Chapter 2. The American Revolution: Filmed History as Biopic -- Chapter 3. The French Revolution as Epic -- Chaper 4. Peterloo, Industrialization and the British Radical Tradition: Filming History from Below -- Chapter 5. Rights for All: Filming Slavery from the Black Perspective -- Chapter 6. The American Civil War: Filming a Divide Nation -- Chapter 7. Women?s Rights and the British Suffragettes: Women Before and Behind the Camera -- Chapter 8. The Filmmaker as Historian: Present and Future. 330 $aThis book examines the potential of audiovisual accounts of the past as a form of history making and dismisses the view of academic historians that history films are of no value. While this may be true of most, whether Hollywood features or television documentaries, this is not invariably so. As evidence, the book examines a mix of recent costume dramas and presenter-led documentaries dealing with episodes in the history of Britain, France and the United States between the American Revolution and the First World War. For the most part, the authors accept that the documentary is structurally the better of the two genres as a reliable vehicle for introducing past events in our modern audiovisual age. But they emphasize that the greatest potential lies in a hybrid genre which is a costume drama, but one where the filmmaker uses documentary techniques to balance confirmations of truth with dramatic narrative. Justin Hardy is Senior Lecturer in Screen Writing at University College London, UK. He has directed over 100 films for BBC, Channel 4, PBS, and beyond, often combining drama and documentary. He has won 4 Royal Television Society Awards for historical films, and been nominated for Grierson, EMMY and BAFTA. Laurence Brockliss is an Emeritus Professor of History at the University of Oxford, UK. He is the author, co-author and editor of some twenty books on different aspects of the history of education, science and medicine in early-modern France and Britain. 410 0$aHistory Series 606 $aHistory, Modern 606 $aMotion pictures$xHistory 606 $aCivilization$xHistory 606 $aMotion pictures 606 $aTelevision broadcasting 606 $aModern History 606 $aFilm and TV History 606 $aCultural History 606 $aFilm Studies 606 $aTelevision Studies 615 0$aHistory, Modern. 615 0$aMotion pictures$xHistory. 615 0$aCivilization$xHistory. 615 0$aMotion pictures. 615 0$aTelevision broadcasting. 615 14$aModern History. 615 24$aFilm and TV History. 615 24$aCultural History. 615 24$aFilm Studies. 615 24$aTelevision Studies. 676 $a791.43658 700 $aHardy$b Justin$01862487 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911046544003321 996 $aThe Filmmaker as Historian$94468771 997 $aUNINA