Documente Academic
Documente Profesional
Documente Cultură
A presentation
at the George Wright Society Conference
Angela Smith
George Wright Society Conference
March 4, 2009
In October 2008 I was fortunate enough to be invited to have lunch
academics at a large table, I looked him in the eye and asked him if he
Civil War, Baseball, Jazz and soon The National Parks: America’s Best
has nuance and depth and also tell a good story. A number of
Burns has done for history. I would argue that it is time for historians to
set aside their grievances and enter the filmmaking domain. I, for one,
1 See Robert Brent Toplin, Ken Burns's The Civil War: Historians Respond, (Oxford
University Press, USA, 1997); Ian Tyrrell, Historians in Public, The Practice of
American History, 1890-1970 (Chicago, Illinois: University of Chicago Press, 2005), 75-
88; and David Cannadine, ed., History and the Media, (New York, New York: Palgrave
Macmillan, 2007), 90-94.
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battlefield site and one is an independent film that focuses on heritage
that the filmmaker must limit the narrative because of the inherent
time limits of film. A history book can remain by your reading chair for
end of the day. Film, on the other hand, is often absorbed in one sitting
as Burns’ nine episodes of The Civil War. A film, like a book, takes
And the products are very different. Film as a medium is quite unlike
communication.
and at their best evoke emotions that can change the way you
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Stanford University, suggests that students—and their teachers, too—
must learn how to critically read primary sources and how to critique
“What’s new about that?” you might ask, and your skepticism
more than 20 years ago, two Harvard professors boldly suggested that
had warned: “Those who cannot remember the past are condemned to
repeat it.” Though the concept is not new, Wineburg has been
all the more reason to focus on what we’ve been taught and what we
What is new, however, and what will change tomorrow and next year
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and every year after, is the expanding array of inexpensive tools to
history education. Thinking historically and using these tools will help
us know the past and will allow us to share it with a wide audience. The
multimedia world. Historians of the future will have many more choices
about how they will document history and make it accessible. This is
good news both for the academy and the public, the historian and the
consumer.
work together to tell a story. The filmmaker, like the author, must first
determine what the story is, that is, which of the many elements of any
slice of the past will be the focus. At this point, the filmmaker must
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conceptualize the story as a cohesive, whole narrative – as a
performance that will take hold of the viewers in the opening scene
this particular story? Who can help me tell this story? What kinds of
records are available that can be used to illustrate the story? Is there
research phase, I am always alert for images that reflect the tone of a
the entire tone. Using artificial light versus natural light for interiors
can also change the tone. In the editing phase, one can use programs
what images or objects inform your story. This is an important skill for
During the last year I have been working on two major projects, a
film, Refuse to Fold, with fellow Ph.D. student Brian Dempsey, and an
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exhibit for Stones River National Battlefield, Toward Whole History at
Delta. In this film we profile the owner of the Blue Front Café, Jimmy
1948. Two years ago the state installed a Blues Trail marker in front of
the bar to signify the importance of the Blue Front to the history of the
is also a musician who plays a dying form of the blues genre called the
our desire not simply to create a beautiful scenic film about the
That goal is not at all unlike the goal we had as students in our
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Whole History at Stones River National Battlefield. Again, our first
question was “What is the story?” First, we had to learn about cultural
figure out the best way to communicate the story to the public. The
community that was established soon after the Civil War battle of 1863
both cases, the blues film and the battlefield exhibit, there is a story
arc. Chronology alone will provide a timeline, but the most difficult task
in telling a story in any medium is to create a story line that has a clear
needs some tension to hold it together, and chronology alone does not
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often provide that. It does not, however, need to be dramatized in a
when blacks couldn’t vote, there are no voting records; when they
were part of the public record before 1865. Because of this, it’s hard
freed at the end of the Civil War. Race is certainly not the only factor
determining how it arrived at the place where you examine it, who had
the case of Stones River, for example, deeds have been a rich
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whose names are on deeds don’t give us the person’s history prior to
same time—on census records could be the first indication that they
were slaves. Comparing last names (slaves, of course, often took their
master’s name) and location of property can provide more clues. Oral
history can fill in gaps in written records. In this case, some of the
Similarly, there are African American families in the Delta who have
been there for generations, from slave times to the present. There, too,
many records are missing, even though most of the figures in the story
been in this way that the state of Mississippi has found some of the
early blues musicians’ houses (even houses they didn’t own, but
The first is an archival approach to telling a story from the past. This is
the Ken Burns approach. It involves looking back and telling a story
about the past from the perspective of the present. The palette options
research, archival footage—both still photos and film, text slides, and
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if he ever considered changing his method of filmmaking, and he
replied that what he is doing works, and he doesn’t see any need to fix
what is not broken. There are, however, other methods available. For
change in the public perception of the blues and the Mississippi Delta.
mysterious land, full of black folk heroes. Our goal is to unravel the
myth and give voice to Jimmy and others like him who have survived
the civil rights struggles in Mississippi and for the first time are being
Ashes” is not complete, but because of the time frame, just one
semester, there are clear gaps in the historical record that needed to
landscape, from its agricultural use long before the Civil War to its role
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in a community to its preservation as a national park site. Each period,
headed to the deed office and began searching for at least one African
American family that lived on the battlefield in the 1860s and still
owned land in the 1930s when the War Department purchased the
land for the park. The first item I ran across was that George Avent, an
African American, purchased a mule for $150 from Sam Brown during
the summer of 1867. Then I found that less than a year later, Avent
purchased property from the same man. Next I found a record that
acres of land from H.H. Kerr in 1872. I knew about Gresham from
previous research efforts, but the 1872 purchase date was at least six
heirs owned a large strip of land in the area, land the government
purchased in the early 1930s. It was in this room of giant books that I
found the evidence needed to prove that at least two African American
the battlefield less than ten years after the battle. I now had solid
signed his name with an X, indicating his inability to write his name.
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This is a powerful image, a visual image that we can pass on with the
Though I did not have the whole story fleshed out, what I had
the whole story. Generations have passed and most of the oral history
is lost and the records are limited. The historian has to decide at what
point he has enough to be true to the story. On the other hand, he also
has to decide how much his audience is willing to absorb. In that case,
a limit in the presentation does not mean a limit in the history or the
ongoing record.
constant must be the integrity of the research and the historians who
interpret it. I encourage historians to step into the filmmaking ring. The
the public. A concerted effort to incorporate film training into the Ph.D.
set. Consider the depth and breadth of history; doesn’t it make sense
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the best of what we’ve been and avoid repeating our worst mistakes.
Bibliography
Toplin, Robert Brent. Ken Burns's The Civil War: Historians Respond.
Oxford University Press, 1997.
Cannadine, David, ed. History and the Media. New York, New York:
Palgrave Macmillan, 2007.
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