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Eshph photography research european society for the history of .
Editor Comment: The LDS Church was having a hard time responding to what it felt was a lot of misinformation about its doctrine and history. So they compiled a list of essays to answer those questions so members could have an official, LDS-approved reference. This teacher appears to have been dismissed for using the essays for their exact, stated purpose.
The historian must decide, at various levels, between narrative organizationand topical organization. Suppose your question was How did America’spostwar occupation of Germany affect the local film industryand culture? Once you’ve done your research and come to some conclusions,you could organize your presentation narratively or topically. That is, yourchapters could proceed in chronological order to trace the changes in the industrybetween 1945 and the early 1950s. Or each chapter could deal with events occurringacross the entire period, but in different spheres — production, censorship,journalism, exhibition, and the like. In another topical layout, you could organizethe book around key films or film policies that had an impact on different spheresof German life.
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Often, though, one scholar’s secondary source is another’s primarysource, because the researchers are asking different questions. A critic’s1966 essay about a 1925 film would be a secondary source if your question centeredon the 1925 film. If, however, you were writing a history of film criticism duringthe 1960s, the critic’s essay would be a primary source.
Usually historians must verify their evidence. Often this depends on using thesort of descriptive research we have already mentioned, such as combing primarydocuments, checking filmographies and reference works, and the like. The problemof verification is particularly acute with film prints. Films have always circulatedin differing versions. In the 1920s, Hollywood films were shot in two versions,one for the United States and one for export. These could differ considerablyin length, content, and even visual style. To this day, many Hollywood filmsare released in Europe in more erotic or violent versions than are screened inthe United States. In addition, many old films have deteriorated and been subjectto cutting and revision. Even modern restorations do not always reproduce theoriginal release version.
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According to traditional historical accounts, during the 1920s, imaginative Germantechniques like Expressionist set design and the freely moving camera quicklyinfluenced Hollywood films. Historians had not considered the influence mightmove in the opposite direction, from Hollywood to Germany. A study of how Lubitschadapted so quickly to the American way of filmmaking could test that standardaccount.
Of the directors widely considered to be among the greatest, Ernst Lubitsch hashad relatively little of substance written about him. The other directors ofGermany’s “golden age” of the silent cinema, F. W. Murnau andespecially Fritz Lang, have received more attention. Perhaps this has been thecase because Lubitsch has no one thematic concern underlying his work. Murnauand Lang also are linked to the German Expressionist movement, while Lubitschworked outside it. His habit of moving between vast historical epics and broadcomedies for his German films makes him hard to pin down. But why is he important?
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Periods Historical chronology and causation arewithout beginning or end. The child who incessantly asks what came before thator what made that happen soon discovers that we can trace out a sequence of eventsindefinitely. Historians necessarily limit the stretch of time they will explore,and they go on to divide that stretch into meaningful phases or segments.
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By positing trends, historians generalize. They necessarily set aside interestingexceptions and aberrations. But this is no sin, because the answer to a questionis necessarily pitched at a certain level of generality. All historical explanationspull back from the throbbing messiness of reality. By recognizing that tendenciesare “for-the-most-part” generalizations, the scholar can acknowledgethat there is more going on than she is trying to explain.
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Trends and Generalizations Any historical questionopens up a body of data for investigation. Once the historian starts to lookclosely at the data—to go through a studio’s records, examine thefilms, page through the trade press—she discovers that there is much moreto explore than the initial question touches on. It’s like looking intoa microscope and discovering that a drop of water teems with organisms of confoundingvariety, all going about very different business.
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Influence Most historians use some notion of influenceto explain change. Influence describes the inspiration that an individual, agroup, or a film can provide for others. Members of a movement can deliberatelyinfluence a director to make a film a certain way, but a chance viewing of amovie can also influence a director.
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Less well-defined cases of a movement would be German Expressionist film of the1920s, Italian neorealism after World War II, and French New Wave filmmakingduring the 1960s. In these instances, the filmmakers often insisted that theyshared no consciousness of belonging to a movement. Still, historians often findcommon trends in the films, in the production circumstances, and in the localfilm culture, and these factors justify treating the filmmakers as a group, evenif not a full-fledged movement.
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