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My eighth-grade teacher refused to believe I had read 12 books for extra credit in a semester or that works by Ernest Hemingway, Thomas Wolfe, Charles Dickens, and Alexandre Dumas were among them. She didn’t know that I had long loved reading, especially stories set in the past of distant lands. In the tenth grade, I declared myself a writer, but only after earning a PhD in history did the hunger to write historical stories become a reality. Much later, I learned that historical films were another wonderful way of encountering history.
I love this book by the late and much-honored Professor of Early Modern European history for its clarity, concision, elegance of expression, and boldness of interpretation.
It focuses on five outstanding films about slavery beginning as early as the 73-71 BC revolt of soldiers against ancient Rome led by the famed gladiator Spartacus and ending with the United States, Cuba, and other Caribbean countries in the late 19th century.
The author even insists, in a chapter on the film made from Toni Morrison’s ghost story novel, Beloved, that it is possible that some written historical fiction can teach us much about the past as traditional scholarly works of history.
The written word and what the eye can see are brought together in this fascinating foray into the depiction of resistance to slavery through the modern medium of film. Davis, whose book The Return of Martin Guerre was written while she served as consultant to the French film of the same name, now tackles the large issue of how the moving picture industry has portrayed slaves in five major motion pictures spanning four generations. The potential of film to narrate the historical past in an effective and meaningful way, with insistence on loyalty to the evidence, is assessed in five…
My eighth-grade teacher refused to believe I had read 12 books for extra credit in a semester or that works by Ernest Hemingway, Thomas Wolfe, Charles Dickens, and Alexandre Dumas were among them. She didn’t know that I had long loved reading, especially stories set in the past of distant lands. In the tenth grade, I declared myself a writer, but only after earning a PhD in history did the hunger to write historical stories become a reality. Much later, I learned that historical films were another wonderful way of encountering history.
There is no better or more incisive scholar writing on American historical films today than Robert Burgoyne.
Making use of both social and film theory, his books, including this latest one, are elegantly written and sharply focused. Less interested in its historicity than in the way a film reflects the shifting values of our rapidly changing society, this book analyzes nine works made during this century, including important films such as Zero Dark Thirty, American Sniper, and The Hurt Locker.
Among many insights the work contains, the most important is that the changing nature of warfare exhibited in our recent “partial” conflicts has been a major factor in helping to reshape American notions of both war and those who defend us.
A look at how post-9/11 cinema captures the new face of war in the twenty-first century
While the war film has carved out a prominent space within the history of cinema, the twenty-first century has seen a significant shift in the characteristics that define it. Serving as a roadmap to the genre's contemporary modes of expression, The New American War Film explores how, in the wake of 9/11, both the nature of military conflict and the symbolic frameworks that surround it have been dramatically reshaped.
Featuring in-depth analyses of contemporary films like The Hurt Locker, Zero Dark Thirty, Eye in…
My eighth-grade teacher refused to believe I had read 12 books for extra credit in a semester or that works by Ernest Hemingway, Thomas Wolfe, Charles Dickens, and Alexandre Dumas were among them. She didn’t know that I had long loved reading, especially stories set in the past of distant lands. In the tenth grade, I declared myself a writer, but only after earning a PhD in history did the hunger to write historical stories become a reality. Much later, I learned that historical films were another wonderful way of encountering history.
When I first read this book, the only one on my list to deal exclusively with documentary film, I was knocked out by the brilliance of the author in locating, describing, and naming a new genre of historical film, which he calls the Microhistorical. The name is chosen as a parallel to a written genre with the same name that some historians have been writing in the last fifty years.
Such films are unique in both their sources and subject matter. Based almost exclusively on the lives of ordinary people or small forgotten incidents, the sources for such films rely largely on home movies; films never meant to be shown to the public. Remarkably, these microstudies contain important insights into the public’s beliefs about and reactions to the social conditions and movements of the past.
Traditional historical documentaries strive to project a sense of objectivity, producing a top-down view of history that focuses on public events and personalities. In recent decades, in line with historiographical trends advocating "history from below," a different type of historical documentary has emerged, focusing on tightly circumscribed subjects, personal archives, and first-person perspectives. Efren Cuevas categorizes these films as "microhistorical documentaries" and examines how they push cinema's capacity as a producer of historical knowledge in new directions.
Cuevas pinpoints the key features of these documentaries, identifying their parallels with written microhistory: a reduced scale of observation, a central role given…
My eighth-grade teacher refused to believe I had read 12 books for extra credit in a semester or that works by Ernest Hemingway, Thomas Wolfe, Charles Dickens, and Alexandre Dumas were among them. She didn’t know that I had long loved reading, especially stories set in the past of distant lands. In the tenth grade, I declared myself a writer, but only after earning a PhD in history did the hunger to write historical stories become a reality. Much later, I learned that historical films were another wonderful way of encountering history.
I love this book for two special reasons: it was written by a scholar who doubles as a film director and thus understands both media from the inside and it is the first work to elaborate on the meaning of “historiophoty,” a word coined years ago by the famed historian, Hayden White, that means “the representation of history and our thought about it in visual images.”
In clear and compelling prose, Nelson undertakes the enormous task of consolidating several decades of scholarship in diverse fields (history, film, philosophy) to create five principles that allow you and I to think more clearly about the real contributions of historical films. Her work allows you to better understand the explicit and implicit meanings of historical films.
Making History Move: Five Principles of the Historical Film builds upon decades of scholarship investigating history in visual culture by proposing a methodology of five principles to analyze history in moving images in the digital age. It charts a path to understanding the form of history with the most significant impact on public perceptions of the past. The book develops insights across these fields, including philosophical considerations of film and history, to clarify the form and function of history in moving images. It addresses the implications of the historical film on public historical consciousness, presenting criteria to engage and assess…
Robert Gerwarth is a professor of modern history at University College. After completing his DPhil at Oxford, he has held visiting fellowships at Harvard, the Institute for Advanced Study in Princeton, and the European University Institute in Florence. He is the author and editor of more than ten books on modern German history, most recently November 1918: The German Revolution.
If you only have time to read one book on the Nazi leadership, it should be this one. It is not the lightest of books (and it has two volumes), but it is well worth your time. Adolf Hitler was obviously central to the Nazi dictatorship and the number of books written about him reflects that. There are lots of biographies on Hitler – even a lot of good ones – but Ian Kershaw’s two-volume life of Hitler remains unsurpassed in my view. Kershaw skillfully combines his biography of the dictator with a wider social and political history of the Nazi dictatorship, so readers learn a great deal about both the man at the top of the regime and the ways in which the Third Reich functioned.
"The Hitler biography of the twenty-first century" (Richard J. Evans), Ian Kershaw's Hitler is a one-volume masterpiece that will become the standard work. From Hitler's origins as a failed artist in fin-de-siecle Vienna to the terrifying last days in his Berlin bunker, Kershaw's richly illustrated biography is a mesmerizing portrait of how Hitler attained, exercised, and retained power. Drawing on previously untapped sources, such as Goebbels's diaries, Kershaw addresses the crucial questions about the unique nature of Nazi radicalism, about the Holocaust, and about the poisoned European world that allowed Hitler to operate so effectively.
The Second World War has always fascinated me, starting when I first entered school. The war had just started and it became even more real with each successive class when we were encouraged to buy war-saving stamps. On the home front, we experienced blackouts and mock air raids. Sugar, meat, butter, alcohol, and even gasoline were rationed. My cousins were overseas and in the thick of it. They always made sure I had an airplane model at Christmas. And as the war wound to a close, they sent me a cap from one from one of the German soldiers. It still intrigues me and still lives in my head.
If you’re curious about what was happening in Germany throughout the war, you’ll love Albert Speer’s memoir, which provides a unique, inside look at Hitler and his closest associates before and after the Allies landed in Normandy. Speer was Hitler’s architect and paints a unique picture of Hitler from the start of the war. It also includes a wonderful series of pictures at every stage.
If you’re fascinated by The Second World War, this book is a must for your library, as it is in mine. I look at the pictures over and over and delight in seeing the principal players who made those years memorable. It’s a book that will stay in your head for a long time.
I’ve devoted most of my life as a writer, historian, and teacher to understanding and connecting the events of the 20th century and their origins in the deep past. I believe World War I stands as one of the greatest human tragedies because the bloodiest events of the past century were directly caused by it. The tyrants Hitler and Stalin who thrived on mayhem and parasitized their societies were simply inconceivable without the destruction wrought by the Great War. I’m sometimes asked how I get up in the morning. I reply, ‘writing 20th-century history is a dirty job but some of us have gotta do it.’
This remains the outstanding full-length biography of Hitler, not least because it is brilliantly written; it is also extraordinarily prescient.
Fest’s portrayal of the Nazi leader, the first to be written by a German, shows how any human society, no matter how cultured or educated, if far enough degraded and humiliated will be willing to listen to a banal, humourless bully whose singular obsessions were to pick at Germany’s war wounds and delegate the slaughter of the blameless minority he deemed responsible.
In Fest’s hands, Hitler emerges as no freak of nature with god-like powers, no monster beyond our comprehension…but shockingly human, the living fulfillment of the racist fantasies of the ordinary, pot-bellied fascists who brought him to power.
A bestseller in its original German edition and subsequently translated into more than a dozen languages, Joachim Fest's Hitler as become a classic portrait of a man, a nation, and an era. Fest tells and interprets the extraordinary story of a man's and a nation's rise from impotence to absolute power, as Germany and Hitler, from shared premises, entered into their covenant. He shows Hitler exploiting the resentments of the shaken, post-World War I social order and seeing through all that was hollow behind the appearance of power, at home and abroad. Fest reveals the singularly penetrating politician, hypnotizing Germans…
Since 2011 I have taught a summer course at Freie Universität Berlin, and have grown fond of the city, including its admirable efforts to acknowledge and atone for its former status as the capital of the Nazi empire. I’ve seen pictures of Canadian Prime Minister Mackenzie King touring the city and interacting (cheerfully) with Reich officials, and a couple of years ago I made a point of retracing his steps to observe the vestiges (very little) of prewar Berlin. This compelled me to dig deeply into what motivated King to break bread with Nazis, and how the prime minister’s trip was viewed by Canadians and the world – at the time, and since.
As the title suggests, this is a compendium of American visitors’ impressions of Nazism in the 1930s. Their reactions varied from confusion to rage to applause, but Nagorski notes that, sooner or later, most came to the realization that Germany was “a society undergoing a horrific transformation in the name of a demented ideology,” and feared the implications for humanity. Another useful reminder of the essential role of solid, independent journalism, and of the methods by which seemingly decent people and entire societies can be devoured by hatred and tribalism. It seems, sadly, that we need a lot of reminding about such things…
World War II historian Andrew Nagorski recounts Adolf Hitler’s rise to and consolidation of power, drawing on countless firsthand reports, letters, and diaries that narrate the creation of the Third Reich.
“Hitlerland is a bit of a guilty pleasure. Reading about the Nazis is not supposed to be fun, but Nagorski manages to make it so. Readers new to this story will find it fascinating” (The Washington Post).
Hitler’s rise to power, Germany’s march to the abyss, as seen through the eyes of Americans—diplomats, military officers, journalists, expats, visiting authors, Olympic athletes—who watched horrified and up close. “Engaging if chilling…a…
I am Professor of Modern European History at the University of Southampton, UK, and publish widely on diverse aspects of Nazi Germany. The first history book that I ever read was Alan Bullock’s Hitler. A Study in Tyranny - the first scholarly biography of Hitler to appear. I still recall the fascination of reading this as a teenager: it sparked a curiosity that formed the basis of a scholarly career that has spanned nearly three decades. The desire to make sense of the phenomenon of Nazism was never purely academic, however – my own family origins in Germany, and the stories elderly relatives told of their wartime experiences, gave the history texture, immediacy, and urgency.
As in the case of Joachim Fest, it is impossible to read this book without having some sense of the author’s own autobiography. Haffner was an emigré who had left Germany for Britain in 1939, was briefly interned in the war, and became a correspondent for The Observer. The essayistic reflections offered in this short book are not so much biographical as a set of attempts to place Hitler within the wider context of German history and to understand Hitler as a historical phenomenon. Readable, astute, and thoughtful, they are an engaging introduction to his life-long attempts to make sense of the regime from which he had fled.
This is a remarkable historical and psychological examination of the enigma of Adolf Hitler-who he was, how he wielded power, and why he was destined to fail.
Beginning with Hitler's early life, Sebastian Haffner probes the historical, political, and emotional forces that molded his character. In examining the inhumanity of a man for whom politics became a substitute for life, he discusses Hitler's bizarre relationships with women, his arrested psychological development, his ideological misconceptions, his growing obsession with racial extermination, and the murderous rages of his distorted mind. Finally, Haffner confronts the most disturbing question of all: Could another Hitler…
Unlike most children of immigrants who were told nothing about the past, I grew up surrounded by family history—my grandfather’s village in Russia, my father’s memories of 1930s Europe, and my mother’s childhood on a migrant worker farm during the Great Depression. I realized that history isn’t just names and dates but a unique opportunity to study human behavior. I wrote Hammer of the Gods about the Thule Society because Thule was often mentioned in passing by historians of Nazi Germany, as if they were uncomfortable delving into an occult group recognized as influential on the Nazis. I decided I wanted to learn who they were and what they wanted.
There have been more recent accounts of Hitler’s retreat to the bunker in the last weeks of his life. But even if some new information has surfaced since Britain’s H.R. Trevor-Roper wrote his report, the vividness is hard to match. Trever-Roper recorded his thoughts on Hitler’s end before the rubble of war had been cleared away. It was almost on-the-scene reporting.
Late in 1945, Hugh Trevor-Roper was appointed by the British Intelligence to investigate the conflicting evidence surrounding Hitler's final days. The author, who had access to American counterintelligence files and to German prisoners, focuses on the last ten days of Hitler's life, April 20-29, 1945, in the underground bunker in Berlin.
