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Revisioning History Paperback – January 1, 1995

5 out of 5 stars 1 customer review

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Editorial Reviews


"This excellent book of 13 articles explores how films construct an image of the past. . . . Revisioning History asks: what are the particular set of rules by which the past in represented on moving images? How does the present influence the representation of the past in films? Dealing with such topics as colonialism and
Nazism, the films were made in the United States, Europe, Asia, and Latin America."--Virginia Quarterly Review

From the Back Cover

In this book, thirteen historians around the world look at the historical film on its own terms, not as it compares to written history but as a unique way of recounting the past.

Product Details

  • Series: Princeton Studies in Culture/Power/History
  • Paperback: 232 pages
  • Publisher: Princeton University Press (December 12, 1994)
  • Language: English
  • ISBN-10: 0691025347
  • ISBN-13: 978-0691025346
  • Product Dimensions: 6.1 x 0.6 x 9.2 inches
  • Shipping Weight: 11.2 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,421,799 in Books (See Top 100 in Books)

More About the Author

Robert A. Rosenstone, Professor of History at the California Institute of Technology, is a leading figure in the field devoted to studying the relationship between film and history. He has written two books on the topic, Visions of the Past: the Challenge of Film to Our Idea of History (Harvard, 1995), and History on Film / Film on History (Pearson, 2006), and has edited a breakthrough collection of essays, Revisioning History: Film and the Construction of a New Past (Princeton, 1995). Currently he is editing an anthology of original essays by scholars from around the world for a British publisher, to be titled The Blackwell Companion to Historical Film.

Rosenstone has participated in the production of several films, both dramatic features and documentaries. His award winning biography of John Reed was used in part as the basis for the Academy Award winning Reds, on which he worked as consultant. Other film involvements include his writing of the narration for a documentary on the Spanish Civil War entitled The Good Fight (1983), and time spent as consultant and / or Talking Head for several films, including Darrow; Tango of Slaves; Screening Histories: The Filmmaker Strikes Back; Rebels; and Emma Goldman: A Troublesome Presence.

Rosenstone's works of narrative history include Crusade of the Left: The Lincoln Battalion in the Spanish Civil War (Pegasus, 1969), Romantic Revolutionary: A Biography of John Reed (Knopf, 1975), and Mirror in the Shrine: American Encounters with Meiji Japan (Harvard, 1988). He has published two works of imaginative writing, a book of stories entitled, The Man Who Swam Into History (Texas, 2005), and a historical novel, King of Odessa (Northwestern, 2003). His second novel, Red Star, Crescent Moon, will be published in September, 2010.

Rosenstone is the Founding Editor of Rethinking History: The Journal of Theory and Practice, and in 1989 created the first film section for the American Historical Review. He has been a visiting professor at Oxford University, the University of Manchester, the University of Barcelona, the European University Institute (Florence), Kyushu University (Japan), the University of La Laguna (Canary Islands), and Tolima University (Colombia). His fellowships include four from the National Endowment for the Humanities, three from the Fulbright program, and he has been a research fellow at both the East-West Center (Honolulu) and the Getty Research Institute.

May 2010

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Format: Paperback
From the cover: "Thirteen historians from around the world look at the historical film on its own terms, not as it compares to written history." "Robert Rosenstone is the leading American historian to focus on the representation of history in the cinema. He has assembled a compelling collection of essays showing how postmodern history is being done so effectively in film."
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