Takes you on a cinematic journey through the controversial portrayal of history on film - from the swashbuckling epics of the silent era to up-to-the-minute dramas like World Trade Center. With thought-provoking analysis, this work examines the power of historic films to entertain and promote national myths while influencing public opinion.

A comprehensive analysis of the historical film—a popular and controversial genre that’s been with us since the early days of cinema—and Hollywood’s unique ability to reshape our viewpoints while it sensually recreates the past. Provides a complete guide to the unique characteristics of historical film, distinguishing among sub-genres such as historical epics, war films, biographies, topical films, and meta-historic works like Nixon and JFK Offers detailed analyses of groundbreaking films such as Spartacus, Schindler’s List, and United 93 Examines the dual role of the historical film to entertain and educate, with its tendency to arouse critical and popular controversy Stimulates discussion about Hollywood’s power to persuade and reshape our views of the past

“A commendably comprehensive analysis of the issue of Hollywood’s ability to shape our minds . . . invigorating reading.” ?Booklist Film has exerted a pervasive influence on the American mind, and in eras of economic instability and international conflict, the industry has not hesitated to use motion pictures for propaganda purposes. During less troubled times, citizens’ ability to deal with political and social issues may be enhanced or thwarted by images absorbed in theaters. Tracking the interaction of Americans with important movie productions, this book considers such topics as racial and sexual stereotyping; censorship of films; comedy as a tool for social criticism; the influence of “great men” and their screen images; and the use of film to interpret history. Hollywood As Historian benefits from a variety of approaches. Literary and historical influences are carefully related to The Birth of a Nation and Apocalypse Now, two highly tendentious epics of war and cultural change. How political beliefs of filmmakers affected cinematic styles is illuminated in a short survey of documentary films made during the Great Depression. Historical distance has helped analysts decode messages unintended by filmmakers in the study of The Snake Pit and Dr. Strangelove. Hollywood As Historian offers a versatile, thought-provoking text for students of popular culture, American studies, film history, or film as history. Films considered include: The Birth of a Nation (1915), The Plow that Broke the Plains (1936), The River (1937), March of Time (1935-1953), City Lights (1931), Modern Times (1936), The Great Dictator (1940), The Grapes of Wrath (1940), Native Land (1942), Wilson (1944), The Negro Soldier (1944), The Snake Pit (1948), On the Waterfront (1954), Dr. Strangelove (1964), Who’s Afraid of Virginia Woolf? (1966), and Apocalypse Now (1979). “Recommended reading for anyone concerned with the influence of popular culture on the public perception of history.” ?American Journalism

Presenting Hollywood as one of our most influential interpreters of history, Toplin offers a close examination of Mississippi Burning, JFK, Sergeant York, Missing, Bonnie and Clyde, Patton, All the President's Men, and Norma Rae.--Distributed by Syndetics Solutions, LLC.

The challenge of making the great American historical film has attracted some of our finest talents: D. W. Griffith, John Ford, Robert Altman, Francis Ford Coppola, Martin Scorsese, Oliver Stone, Spike Lee. From the earliest flickering images of The Spirit of 76 (1905) through Nixon, America on Film subtly and entertainingly examines Hollywood's filming of American history, including biographies. Among the many films considered, some omissions seem surprising: The Birth of a Nation and Gone with the Wind, for example, since they are based on fiction. But The Iron Horse, The Beginning or the End?, the Jackie Robinson Story, Patton, Quiz Show, Lenny, Malcolm, X, Apollo 13, and literally hundreds of others are all here. Through these many movies, we see the interrelationships between image and substance, illusion and reality, racism and democracy, and cynicism and idealism, which form America's unique national identity.

"There is a fashionable myth that Hollywood always gets its history wrong. George MacDonald Fraser believes that it often gets it right, and that we owe a huge unacknowledged debt to the cinema as an illuminator of the story of mankind. Drawing on his experiences as an historical novelist, historian, and screenwriter, he puts the case for the costume movies - Biblical, classical, swashbuckler, imperial, Western, and even the gangster film - not only as entertainments but, at their best, as pictures of the past "more vivid than Tacitus or Gibbon or Macaulay.""--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

The challenges of teaching history are acute where we consider the world history classroom. Generalized world history courses are a part of many, if not most, K-12 curricular frameworks in the United States. While United States history tends to dominate the scholarship and conversation, there are an equally wide number of middle-level and secondary students and teachers engaged in the study of world history in our public schools. And the challenges are real. In the first place, if we are to mark content coverage as a curricular obstacle in the history classroom, generally, then we must underscore that concern in the world history classroom and for obvious reasons. The curricular terrain to choose from is immense and forever expanding, dealing with the development of numerous civilizations over millennia and across a wide geographic expanse. In addition to curricular concerns, world historical topics are inherently farther away from most students’ lives, not just temporally, but often geographically and culturally. Thus the rationale for the present text, Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach World History. The reviews of the first volume Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach Untied States History strategy have been overwhelmingly positive, especially as it pertains to the application of the strategy for practitioner. Classroom utility and teacher practice have remained our primary objectives in developing the Hollywood or History? strategy and we are encouraged by the possibilities of Volume II and the capacity of this most recent text to impact teaching and learning in world history. We believe that students’ connection to film, along with teachers’ ability to use film in an effective manner, will help alleviate some of the challenges of teaching world history. The book provides 30 secondary lesson plans (grades 6-12) that address nine eras in world history.