The Filmmaker as Historian

Toplin, Robert Brent

doi:10.2307/1873536

Cited by 18 publications

(6 citation statements)

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“…This production is one of those documentaries that 'rarely give audiences a sense of the challenges in historical interpretation. They address subjects authoritatively, suggesting that the ilwestigator works with an orderly universe of evidence' (Toplin 1998(Toplin : 1216.…”

Section: Resultsmentioning

confidence: 99%

“…Cardoso's biography is thus connected to Mozambique i.t1 a particular way and serves here as the determining trigger for the film, which initiates a dialogue between the ones who participated in the war and 'a child of the war' (Martins 2012).7 The documentary film in this case becomes a site for the 'transgenerational transmission of memory' (Marques and Paez 1997) and allows for the negotiation of the colonial and authoritarian past. It goes beyond the assumption that 'all the facts are knowable and their meanings understandable' (Toplin 1998(Toplin : 1216 and questions perspectives that are taken for granted, like those presented in Guerra Colonial.…”

Section: The Film•maker In the Archivementioning

confidence: 99%

See 1 more Smart Citation

Archival images and audiovisual testimony – Negotiating the end of empire in the documentary films Guerra Colonial. Histórias de Campanha em Moçambique (1998) and Natal 71 (1999)

Stock

2014

International Journal of Iberian Studies

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Section: Resultsmentioning

confidence: 99%

Section: The Film•maker In the Archivementioning

confidence: 99%

Archival images and audiovisual testimony – Negotiating the end of empire in the documentary films Guerra Colonial. Histórias de Campanha em Moçambique (1998) and Natal 71 (1999)

Stock

2014

International Journal of Iberian Studies

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“…Toplin, The Filmmaker as Historian adlı makalesinde, tarihçilerin medya ve sinemaya kuşkucu ve mesafeli bir anlayışla yaklaştıklarını belirterek, tarihçilerin sinemayı geçmişin temsili olarak değerlendirmemelerini eleştirmiştir. Toplin ayrıca sinemacıların da artık birer tarihçi gibi dikkate alınması gerektiğini vurgulamıştır Toplin, 1988Toplin, , s. 1210Toplin, -1211.…”

Section: Abd Ve Avrupa'daki çAlışmalarunclassified

Tarihçi Sinemayı Keşfediyor: Sinema, Tarihçiler Tarafından Nasıl Değerlendirilmeli

Ulusoy

2020

intermedia

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Tarihin sinemayla olan etkileşimi, sinemanın ortaya çıktığı ilk günden itibaren kendisini göstermiştir. Sinema, tarihsel olaylardan esinlenerek ortaya çıkardığı filmlerle hem geçmişi bugün üzerinden yeniden inşa eder; hem de yeni bir tarih yazımı oluşmasına katkıda bulunur. Ayrıca kurgu ve haber filmleri de, toplumsal tarihe katkı sağlamakta; toplumun yaşamından kesitler sunmaktadır. Bu nedenle tarihçiler, sinema ve tarih ilişkisi üzerine çalışmalar yapmış, tarihsel filmler ve aktüalite filmler için birçok yorum getirmişlerdir. Bu çalışmada Batı'dan ve Türkiye'den bazı tarihçilerin sinema hakkındaki yorumlarına değinilmiş, sinemanın tarihçiler tarafından nasıl değerlendirilmesi gerektiği anlaşılmaya çalışılmıştır.

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“…38 Alternatively, historians such as Robert Brent Toplin assert that while academic history can be 'anti-narrative', it exposes its readers to historiographical debates and multiple perspectives in a way that film cannot. 39 He concludes that films 'rarely give audiences a sense of the challenges in historical representation' as they 'imply that the study of history is a tidy operation'. 40 It is precisely this perspective of film that Rome challenges.…”

Section: The Challenge Of the Visualmentioning

confidence: 99%

Popular Imagination Versus Historical Reality

Cufurovic

2018

Public History Review

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Historical films have been subject to controversy and criticism within the discipline of history upon the rise of popular interest in new and innovative forms of historical representation. The five to seven years between the release of Gladiator (2000) and Rome (2005-2007) saw an upsurge of historical films focusing on the ‘epic’: the spectacular, monumental and immersive periods of history that exude a mix of historical reality and speculative fiction. This paper argues that it is not historical accuracy or film as historical evidence that matters, but the historical questions and debates that film raises for its audience and the historical profession regarding the past it presents and its implication on history. Such questions and debates base themselves around the extent to which filmmakers are able to interpret history through images and what kind of historical understandings it hopes to achieve. This paper analyses the complexity of public history through a comparative study of reviews on five online message boards, such as IMBD, Amazon, TV.com and Metacritic, relating to HBO’s Rome – chosen due to its unique ability of igniting historiographical debate by presenting history as an accident, thus allowing audiences to question and reinterpret the outcome of historical events. KEYWORDSHBO; Rome; Film; Historiography; Public History; Popular Imagination

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The Filmmaker as Historian

Cited by 18 publications

References 0 publications

Archival images and audiovisual testimony – Negotiating the end of empire in the documentary films Guerra Colonial. Histórias de Campanha em Moçambique (1998) and Natal 71 (1999)

Archival images and audiovisual testimony – Negotiating the end of empire in the documentary films Guerra Colonial. Histórias de Campanha em Moçambique (1998) and Natal 71 (1999)

Tarihçi Sinemayı Keşfediyor: Sinema, Tarihçiler Tarafından Nasıl Değerlendirilmeli

Popular Imagination Versus Historical Reality

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