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University of London International Programmes

Film, Images & Historical Interpretation in the 20th Century: The Camera Never Lies

University of London International Programmes and Royal Holloway, University of London via Coursera

Overview

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This course is a short taster on the topic of the use of Images, Film, and their use in historical interpretation in the 20th century. It is primarily provided for those who have a general interest in history that draws on photojournalism as primary evidence, and films based on historical events.


Once you have completed this course we hope you will be equipped to:

Appreciate the significance of photographs as historical evidence in the twentieth century.
Understand the limitations of the medium, and how we can attribute meaning to these individual records of 'one moment in time' while taking into account the circumstances in which any particular image was taken.
Understand how individuals and institutions have looked to manipulate images to their own ends – through alteration and/or censorship – and what that meant to contemporary interpretation, as well as subsequent historical interpretation.
Put individual images into a wider context, and in particular with reference to history written, or portrayed, beyond academia: public history.


Do be aware that part of the contents of this course regard images and depiction of war. Real wars and real images.

Syllabus

  • Introduction
    • We will explore the issues associated with the use of images as a source for historical research and consider a number of examples where image manipulation has been uncovered
  • Images and History in the Twentieth Century
    • We will review a number of cases studies where images have either shaped our opinion of events or have been suppressed from the public at the time, to avoid adverse or negative reaction.
  • The Air-Brushing of History: Stalin and Falsification
    • The cause célèbre' of historical manipulation - Joseph Stalin. The 'air brushing' of historical records, and in this case the literal airbrushing of Soviet images in the 1930s and 1940s
  • Photojournalism, Authenticity and Matters of Public Acceptability: The Battle of Mogadishu
    • With respect to Reportage and the use of images as a evidential record, should we condemn Stalin in the last 20th and early 21th century? We use an example from 1993 to illustrate this point.
  • The Power of the Image: Mount Suribachi, 1945
    • The photograph of the raising of the flag at Mt. Suribachi was a Pulitzer Prize winning image, and the base of the film 'The Flag of our Fathers'. We will explore the use of the still and the motion picture to influence our opinion.
  • From Page to Screen: Film as Public History
    • What is 'Public History'? How do photographs and films with an historical theme shape our awareness of historical events and our memories?

Taught by

Emmett Sullivan of Royal Holloway

Reviews

2.8 rating, based on 12 Class Central reviews

4.6 rating at Coursera based on 351 ratings

Start your review of Film, Images & Historical Interpretation in the 20th Century: The Camera Never Lies

  • Nadezhda Ryabtseva
    I almost dropped the course after viewing the first week section. Already disappointed and discouraged, I grudgingly proceeded to view some of the other videos. I harbored the hope that at least one original thought would eventually surface. I eager…
  • I was very disappointed with this course as it was not at all what I was expecting. Do not have any expectations when taking this course.
  • Anonymous
    It was more a course about the history of wars (Guernica, WW1, Iwo Jima, The Battle of Mogadishu) than a discussions of images. The best parts were the discussion about Stalins use of images and an interview with photojournalist Julio Etchard. The l…
  • It was an unexpected delight and had very little to do with the actual title which sounded like it would cover multiple aspects of image fakery. Turned out to be more of a societal study of the use of fabricated images to tell a story (or sell a lie). After taking this course I found myself viewing images and even videos with a much more critical eye. I found I was able to spot the "un-naturalness" of certain presented material. A valuable lesson in reality recognition IMO! Fun course as well.
  • Bob
    Instructor is a nut and quite weird. Don't expect too much camera action but pics & endless comments on wars. If I was not clear enough, I would NOT personally recommend it to anyone.
  • Meta Data
    Enjoyable class with good pointers to interesting material - books, films, websites.

    Do recommend for those with interest in film, photography and contempary history.
  • Reynaldo
    Photography is what is least commented here. I would write a lenghty review but why should i? Some will find this useful, so take a look and drop out if you don't
  • Aana
  • PABLO SCHEJTMAN
  • Rana Yudhvir Singh
  • Louis Moya

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