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Television and history are closely related
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because in history there are many problems with people but now there is tv which could help us to relate to these situations
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At its best, television can be a powerful medium for the effective and engaging communication of history to the wider public. The late 1960s and early 1970s saw a number of magisterial history documentaries. There was Kenneth Clark’s landmark 1969 series on art history, Civilisation (my personal favourite documentary ever). There was Jacob Bronowski’s classic 1973 series on the history of science, The Ascent of Man. A year earlier saw Alistair Cooke’s America on the history of the United States, while the independent Thames Television broadcast the unmistakeable tones of Laurence Olivier, as he guided a gripped nation through all 26 episodes of The World At War (at the time, the most expensive documentary series ever made). It was a golden age of history documentaries, which successfully blended intellectual ambition with seriousness and accessibility.
What made them so compelling was that they treated their audience as intelligent individuals with the ability to follow and understand subject matter that was difficult and, at times, ambiguous. They demanded that viewers pay attention and stretch themselves intellectually. Clark spent most of Civilisation simply looking into the camera, usually with a magnificent work of art or architecture in the background, speaking for long periods. He assumed that his viewers were curious about the subject matter and would listen seriously to what he was saying. The results were terrific – as was the size of the international audience.
Much of what passes for history on television nowadays seems to assume that the viewer needs to be ‘entertained’ and possesses the attention span of a gnat. So there will be low-budget re-enactments to ‘dramatise’ the subject. There will also be the unsubtle hammering home of one or two fashionable social or political themes. Television can be an incredible medium of cultural communication and is a great way to hook people on history. But documentary makers should have more faith in their viewers.
We should celebrate the ways in which television draws new viewers to history
Hannah Greig, Senior Lecturer in Early Modern History at the University of York.
History is certainly a profitable medium for television. Serious money is invested in historical content, especially period drama: Netflix’s series The Crown has a reputed budget of around £100 million. UK-produced Downton Abbey was exported to more than 200 different territories, while HBO is a stable for big-budget productions such as Mad Men, Rome and Deadwood.
Glossy period dramas are, of course, just one expensive slice of history programming. You would be hard pressed to find history absent in any daily television schedule, whether in the form of Horrible Histories, Who Do You Think You Are?, historical reality shows, presenter-led documentaries or even Dr Who’s time-travelling. Such small-screen content routinely reaches audiences far larger than those of even the best-selling of history books: Peter Frankopan’s Silk Roads has sold over a million copies, but Who Do You Think You Are? is watched by at least six times that every episode.
Television’s scale and range testify to a remarkable level of public engagement with the past. And this makes it an excellent medium for history. The formats, so different from a textbook or monograph, often leave academic historians uneasy. A lecture-style delivery transferred to the screen is more palatable to many than anything that risks sensationalising or romanticising. Commercial imperatives and audience appetites ensure some aspects of the past are mined more thoroughly than others and spot-checking perceived ‘inaccuracies’, even in period dramas that are explicitly fictional, has become a national sport. However, varied formats allow television to engage diverse audiences and we should celebrate the ways in which it draws new viewers to history and routinely introduces less familiar pasts: whether that is same-sex relationships in the drama Call the Midwife or the neglected histories revealed in David Olusoga’s documentary Black and British. If we only complain about generalised shortcomings without recognising television’s successes, we miss the richer picture of what it can offer to history.
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