Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Aboriginal Residential Schools, in Canada, 174–75, 175
“Accidental History” (Lockett), 107
actor, body of, 43–44
address, mode of, 21, 59, 106, 177
aesthetics, 12–13
affect, 17–18, 26, 35–36, 77, 178; affect theory, 17; cognition and, 3; defined, 18, 183n37; generated within a frame, 30; within historical frame, 19; negative affects, 18, 178; political action and, 148–49
affective engagement, 7, 10, 15–16, 148, 179, 182n13; in Deadwood, 76; demythologizing and, 152; distracted mode of reception and, 33; in Good Night and Good Luck, 56; identification contrasted with, 21, 27, 58, 113; Milk and, 43; move from proximity to alienation through, 69, 109; within narrative frames, 20; political consciousness and, 30
Afghanistan war, 57
Agnew, Vanessa, 7–8, 84, 118, 119, 152
Ahmed, Sara, 18
Alcott, Louisa May, 155
alienation, 29, 33, 69; alienation effect, 12; language and, 84; oscillation with engagement, 106, 153; sound strategies and, 72. See also distance
alterity, 91
alternate history, 23, 105, 121, 145; in Colonial House, 132, 133, 134, 136; primary function of, 122
Altman, Rick, 74
American Graffiti (Lucas, 1973), 85
Ankersmit, Frank, 9, 11, 64, 182n29; on historical experience, 88, 189n46; on sound versus visual forms, 188n33
Anne Frank House website, 149, 157, 159
anthropology, 17
archaeology, 118
architecture, 158
archival footage, 40, 41, 186n37; computer-generated illusion and, 115; in Good Night and Good Luck, 56; in Milk, 43–44, 46, 47
Artese, Donielle, 98
Arts and Humanities Research Council, 62
atrocity, representation of, 148, 151
audiovisual texts/media, 2, 16, 19, 21, 69
Barker, Jennifer, 34
Baudrillard, Jean, 17
Baudry, Jean-Louis, 184n16
bearing witness, 148
Beaver, Jim, 79
Benjamin, Walter, 13–15, 114, 149, 171, 179, 182n29; on civilization and barbarism, 21; on distracted mode of reception, 33, 36, 147; experiential nature of cinema and, 31; on translation, 151
Bennett, Jill, 66, 114, 185n20
biopolitics, 17
Birth of a Nation (Griffith, 1915), 25
Black, Dustin Lance, 45
Borysewicz, Stephen, 158
Brecht, Bertolt, 12
Brolin, Josh, 39
Bronski, Michael, 39
Brooks, Nate, 124, 125, 126, 127, 128–29
Brown, Helen Gurley, 94, 190n52
Burgess, Michael, 139, 140, 142–44, 143
Burgoyne, Robert, 25
Burns, James, 39
Butler, Jeremy, 92–93
Byrd, La Monde, 98
camera movements, 33
Carradine, Keith, 71
Cartwright, Lisa, 34
celebrity culture, 115
Churchill Museum (London), 152
Cineaste magazine, 39
civil rights movement, 40, 91, 98, 99–100
Clooney, George, 55, 56, 186n45
cognitive dissonance, 127, 130, 133, 142
Cold War, 101
Collingwood, R. G., 21, 69, 144, 179; on historical thinking, 109; history as reenactment and, 3–6, 9, 10; on metaconsciousness, 47; on self-conscious historical thought, 28, 113, 115
Colonial House (PBS TV series, 2004), 111, 116, 130–37, 136, 138; artificiality of frame destabilized in, 145; Texas Ranch House compared with, 142, 143
Comolli, Jean-Louis, 40, 43–44
consciousness, historical, 6, 16, 22, 23, 59, 91; affect and production of, 19; cable TV serials and, 69; distance–proximity oscillation and, 38, 106, 153; historian’s mindset and, 24; mediation and, 47; period truths and, 28; sense of distance/alienation from past and, 27, 113
consciousness, political, 23, 41, 48, 149, 179; affective engagement and, 18, 30; new knowledge and, 15, 30
Consuming History (de Groot), 62
contradictions, embodied, 133, 135
Cook, Alexander, 119, 120, 191n14
Coole, Diane, 17
Coontz, Stephanie, 96
Cotton, Mason Vale, 85
Creeber, Glen, 67
Crew, Spencer, 154–55
Daniels, Jeff, 57
Davis, Natalie Zemon, 187n11
Deadwood (HBO TV series, 2004–2006), 22, 69–70, 85, 104, 145; as costume drama, 188n23; empathetic engagement with the past and, 70–71; historical setting of, 71; language and sound used in, 72–84, 76, 109, 189n39; mode of address in, 106, 109
de Groot, Jerome, 11, 19, 62–63, 189n41
Deleuze, Gilles, 15, 38, 106, 119, 121
Dhoest, Alexander, 67
diegesis/diegetic world, 11–12, 33, 35; characters watching television in, 87; distance from, 37; mediation and, 40; point-of-view shots and, 31–32; sounds in, 74–75; viewers forced out of, 80; voice-over narration in, 49
Dillahunt, Garrett, 71
“discursive turn,” 17
distance, 29, 33, 148; historical knowledge production and, 43; in Hotel Rwanda, 52, 54; proximity in oscillation with, 106, 153; sense of distance from past, 28. See also alienation; mediation
“distribution of the sensible” (Rancière), 12, 13, 114, 120
Dodge, Col. Richard Irving, 144
Downey, Robert, Jr., 56
Dudley, Sarah, 160
Dudziak, Mary, 101
Edgerton, Gary, 64, 68, 189n44
Edwardian Country House (TV series, 2002), 116
Edwards, Elizabeth, 164–65, 195n40
emanation speech, 82–83
Embodying Empathy project (University of Manitoba Media Lab), 23, 174–76, 175, 196n58
Empathetic Vision (Bennett), 66
empathy, 65–66, 93, 149, 176; empathetic engagement with the past, 70–71; empathic unsettlement, 153; political action and, 148
encounter, 132–33, 138, 160; cognitive dissonance produced by, 127, 130; as embodied contradiction, 133; moments of, 124–25; principle of, 120–21; staging of, 36–38
Essential HBO Reader, The, 68
everyday life, 86, 104, 105–8, 116; moments of encounter in, 124–25; religious beliefs and, 135
experiential mode, 6, 7, 8, 16, 143
fascism, 13
Federal Communications Commission, 68
Feinstein, Dianne, 45
Feminine Mystique, The (Friedan), 95, 190n52
feminism, 94
Ferguson, Niall, 192n19
film, 13, 20; bodily engagement with viewers, 30, 33–36; classical Hollywood cinema, 14–15, 70; documentary, 62, 71; experiential mode and, 23, 147; historical fiction, 10; history films, 29, 40, 179, 184n9, 186n37; as ideological apparatus, 32, 184n16; materiality of, 162, 163–64; as multisensory experience, 74; objectivity and, 2; phenomenology of, 34, 185n22
Finkelstein, Maura, 137–38, 141
frame, breaking of, 112, 126, 145
Franco, James, 40
Frank, Anne, 158–59, 165, 176, 195n39
Frank, Otto, 163
Friedan, Betty, 95
Frontier House (PBS TV series, 2002), 111, 122, 123–130, 127, 193n13; Colonial House compared with, 131, 133, 134, 135, 137; embodied contradiction in, 135
Frost, Samantha, 17
Gallagher, Catherine, 121
gay rights movement, 40–41
George, Terry, 48
Gladis, Michael, 98
Glenn, Karen, 129
Glenn, Mark, 126
Global Kids, 166
Good Night and Good Luck (Clooney, 2005), 22, 27, 38, 92, 186n45; address to audience, 56–58; archival footage in, 56; nostalgia for style of 1950s, 55–56
Graham, Alex, 116
Gregg, Melissa, 18
Grossberg, Lawrence, 18
Gumbrecht, Ulrich, 9
Gunn, Anna, 80
Hamm, John, 85
Happy Days (ABC TV series, 1974–1984), 85
Harding, Judy, 129
Harvey, Paul, Jr., 104–5
Hawkes, John, 71
Heimat (WDR TV miniseries, 1984), 67
Heinz, Carolyn, 111, 130, 133, 135, 136–37
Herbert, Amy-Kristina, 130, 135–36, 136
heterology, 114
Hilmes, Michele, 74
“Historical Fiction: A Body Too Much” (Comolli), 43
historical films, 21, 22, 63; affect within frame, 30; history film distinguished from, 29, 184n9; “historying” and, 29; Hollywood feature film and, 25; light shed on the present by, 55
historical knowledge, 2, 5, 10, 37; critique of truth claims and, 21; epistemological uncertainty, 59; experience taken as origin of, 8; flashback technique and, 26; history as human self-knowledge, 4; politics and, 30; specific to period depicted, 72; television and dissemination of, 61; transmission of, 8–9; viewers’ self-awareness and, 28
historical knowledge acquisition, 3, 10, 16, 17, 73, 112; as abstract mental exercise, 127–28; affective engagement and, 154; experiential mode and, 143, 152
historical knowledge production, 3, 10, 11, 16, 17, 33; digital technologies and, 176; distance necessary for, 43; encounter and, 125; epistemology and, 112; formal innovations and, 114; in Good Night and Good Luck, 55, 58; history-conscious dramas and, 69; in Hotel Rwanda, 48, 49; identification and, 34; long-form serialized drama and, 108; in Mad Men, 86; mediation and, 40, 59; in Milk, 41, 47; representation of atrocity and, 148; in Rome, 107; television and, 61–62; virtual history exhibits and, 150; in Witnessing History virtual exhibit, 173
Historical Reenactment: From Realism to the Affective Turn (McCalman and Pickering), 115
historical thinking, 3, 21, 23, 24, 59, 144; critical engagement as, 44; logic of distraction and, 16; metaconsciousness and, 47; reenactment and, 5; reflexivity necessary to, 118; self-awareness about, 134; self-reflective, 6, 10
historicism, 21
historiography, 9, 11, 61, 111
history, 17, 84, 150; academic, 61, 63, 84, 86, 179; affective personal relationship to the past and, 3, 6–7, 18–19; cinema as replacement for history books, 1; complexity of the past, 119; counterfactual, 192n19; “dumbed down,” 119; epistemological basis of, 11; “factual history,” 62, 68, 187n4; form of, 11–16; generic conventions of cinema/television and, 20, 29, 112, 115; Great Man theory of, 107, 190n63; historical engagement, 6, 7, 8, 23; images and narratives in mass culture and, 2–3; politics of affective history, 16–21; as reenactment, 3–10; sense of distance from past and, 27; sublime historical experience, 9. See also alternate history
history films, 29, 40, 179, 184n9, 186n37
“History in Images/History in Words” (Rosenstein), 25
History on Television (Gray and Bell), 62
Hollywood, 14–15, 70, 123; development of feature film, 25; “historical epic,” 190n63; historical reenactments and, 19; narrative conventions of, 29
Holocaust (NBC TV miniseries, 1978), 67
Homeward Bound (May), 85
homophobia, 113
homosexuality, 136–37
Hopwood, John, 154
Hotel Rwanda (George, 2004), 22, 27, 38, 47–48, 56, 84; audiences’ affective engagement with, 49; mediation in, 49, 50–51, 52–54, 53; narrative interruptions in, 48–49, 50–51, 52; Rwanda’s colonial history and, 48, 186n42
House series, 116, 121, 145, 152
How Early America Sounded (Rath), 73
Idea of History, The (Collingwood), 3
identification, 16, 21, 103; affective engagement contrasted with, 21, 27, 58; with characters on screen, 15, 20, 31; emotional involvement with, 26; facile, 20, 29, 35, 178; immersive engagement and, 43; narrative and, 36; overidentification, 35; sound strategies and, 72; spectatorship and, 32, 184n17; virtual history exhibits and, 148; witnessing position and, 34
illusion, breaking of, 112
“Image of Thought” (Deleuze), 15, 121
immediacy: illusion of, 56; quest for, 6
indigenous peoples (Native Americans): in Colonial House, 132, 145, 148; in Texas Ranch House, 138–44, 143, 145
interpretation, 40, 44, 49, 127; historical knowledge production and, 58; immersive experience and, 152
interruption, affective, 36–37
Iraq war, 57
“Is There a Field Called Sound Culture Studies? And Does It Matter?” (Hilmes), 74
Jameson, Fredric, 181n3
Jamestown historic site, 151
JFK (Stone, 1991), 186n37
Joan the Woman (DeMille, 1916), 25–26, 33
Jones, January, 85
Jordanova, Ludmilla, 28
Kaplan, E. Ann, 34–35, 66, 84, 148
Kartheiser, Vincent, 96
Kennedy assassination (1963), 88–90, 189n44
King, Martin Luther, Jr., 99
“Kitchen Debate,” of Nixon and Khrushchev, 102
Klevan, David, 167
knowledge, historical. See historical knowledge
Kristallnacht exhibit. See Witnessing History
LaCapra, Dominick, 9, 66, 148, 153
Lacey, Deborah, 89
Laub, Dori, 34
Lewis, Geoffrey, 155
“Literary Into Cultural Translation” (Rodríguez García), 193n9
Little House on the Prairie (NBC TV series, 1974–1983), 123
lived experience, 73
living-history sites, 151
Lockett, Christopher, 107, 190n63
Mad Men (AMC TV series, 2007–2015), 22, 56, 69–70, 103–4, 145; advertising as Cold War culture and, 101–3; as costume drama, 188n23; distancing effect in, 90–91; historically specific social group in, 84–86; mise-en-scène, 84, 92–93, 96; mode of address in, 106, 109; nostalgia undermined in, 85, 189n41; period social mores and values in, 91, 189n44; racial politics in, 98–101; women depicted in, 94–98, 97; world historical events in, 86–91, 88, 90, 189n47
Malcomson, Paula, 75
masculinity, 72
mass culture, 2–3, 16, 21, 147
Massumi, Brian, 183n37
Maus (Spiegelman), 170
May, Elaine Tyler, 85, 96, 101
McCarthy, Joseph, 56
McKinley, Jesse, 78
McLeod, Kristen, 124
McShane, Ian, 71
mediation, 30, 40, 49, 173, 174, 177; historical events seen on television and, 87; viewers’ awareness of, 113, 179; virtual space as, 148, 153
memory, 21, 67, 179; empathy and, 149; prosthetic, 2–3, 32
Metz, Christian, 184n16
Milk (Van Sant, 2008), 21, 27, 40, 56; archival footage in, 44–45, 46, 47; audience engagement with characters’ intimacy, 41–43, 42; critics of, 39–40; historical knowledge production and, 41; mediation and, 44, 45, 46–47; narrative of, 38–39, 41, 44; “two bodies” of historical fiction and, 43–44
Mitchell, John Bear, 132
Morrissey, Kris, 154
Morse, Robert, 85
Moscone, George, 45
Moss, Elisabeth, 85
Muller, Adam, 196n58
Munslow, Alun, 11, 29, 150, 191n15
Münsterberg, Hugo, 30–31
Murrow, Edward R., 55–58
museums, 7, 16, 152; experiential, 22, 151; “hard” and “soft” spaces in, 154; mode of address in, 21; objects in, 155, 160–61, 162, 194n33; photographs in virtual exhibits, 159, 164, 165; virtual, 154, 155–57; “virtual tours” of, 156, 193n20, 194n26
myths, debunking of, 122–23, 124, 125, 133, 179
narrative: affective encounter and, 36–38; audience suspension of disbelief and, 56; cause-and-effect, 86; empathy and, 66; extradiegetic versus intradiegetic narration, 11–12; history as constructed narrative, 72; interruptions in, 48–49; third-person narrative voice, 120
“Networked Media” (Borysewicz), 158
Newcomb, Horace, 189n47
New Materialism: Ontology, Agency, and Politics (Coole and Frost, eds.), 17
1940s House, The (TV series, 1999), 116
1900 House, The (TV series, 1999–2000), 116
Nolte, Nick, 51
O’Hara, David, 51
Olyphant, Timothy, 71
“On Some Motifs in Baudelaire” (Benjamin), 149
Orchard House (home of Louisa May Alcott), 155, 156
Outback House (ABC TV series), 192n19
Parker, Molly, 79
Parry, Ross, 154
Passamaquoddy people, 132
perception, 24, 114–15, 165; historically conditioned nature of, 149; technology and, 13, 14, 124
philosophy, 17
Phoenix, Joaquin, 52
“Photographs and History: Emotion and Materiality” (Edwards), 164–65
photography, 13–14
Pickering, Paul, 115
Plantinga, Carl, 77
Plymouth Plantation historic site, 93, 151
point-of-view shot, 31–32
politics, 12–13
Politics of Aesthetics, The (Rancière), 12
post-structuralism, 17
presence, digital, 162
presentification (desire for presence), 9
presentism, 118
Prosthetic Memory (Landsberg), 2–3, 149
proximity, 27, 33, 35, 183n37; affective engagement and, 69, 109; alienation/distance in oscillation with, 106, 153; gay community and Milk, 43; of world historical events in Mad Men, 90
public sphere, 3, 16, 23, 24, 70; in Deadwood, 78, 81; historical knowledge produced in, 177; live news as, 87
queer theory, 41
racism/racial prejudice, 109, 137; in Deadwood, 145; in Frontier House, 128–130; in Mad Men, 91, 98–101, 145, 189n44; in Texas Ranch House, 138
radio: in Good Night and Good Luck, 56; in Hotel Rwanda, 52; in Mad Men, 99; in Milk, 45
Rath, Richard Cullen, 73
reality history TV, 10, 22, 111–12, 144–45, 188n22; acquisition of historical knowledge and, 113; experiential mode and, 151; formal elements of, 120; generic conventions of, 115; historical frame and, 116; reenactment-based, 118
Real World, The (MTV series, 1992–), 116
reception, distracted, 14, 15, 16, 33
recognition: critique of, 38; encounter and, 121
reenactments, 22, 112, 113, 187n4; in Colonial House, 133; in Frontier House, 126, 127, 129; reflective, 115; in Texas Ranch House, 138
Reno, Jean, 53
representations, historical, 12, 19, 64, 111, 174; affective modes of, 83; everyday life and, 105; film versus writing, 28; history as only representation, 72; popular genres, 11; TV serial dramas, 66–67
representations, mediated, 3, 17, 20, 30
Rethinking History (journal), 11
Rodríguez García, José María, 193n9
Rome (HBO TV series, 2005–2007), 22, 69–70, 104–8, 190n63; everyday life represented in, 104; mise-en-scène, 104; narrative, 104–5
Roots (ABC TV miniseries, 1977), 67
Rosenstone, Robert, 11, 25, 27–28, 29, 63–64, 184n9, 187n11
Rosenzweig, Roy, 6, 19, 152, 181n12
Rusesabagina, Paul, 48
Rymsza-Pawlowska, Malgorzata, 122–23
Samuel, Raphael, 6
Sanderson, William, 71
Schindler’s List (Spielberg, 1993), 48
Schneider, Rebecca, 112, 113, 182n13, 191n11, 192n24
Schwartz, Vanessa, 191n14
Schwarz, Anja, 192n19
Schweibenz, Werner, 155–56
Scott, A. O., 186n45
Second Life virtual environment, 165–68, 174
Secret Annex Online, The (virtual exhibit, Anne Frank Museum), 23, 149–150, 157–165, 161, 163, 170, 174
Seigworth, Gregory, 18
Serial Television (Creeber), 67
Sex and the Single Girl (Brown), 190n52
Ship, The (BBC TV series, 2001), 119
Shipka, Kiernan, 85
Sims, James, 155
simulation/simulacra, 154, 162, 165
Sistine Chapel, virtual tour of, 156
Skin of the Film, The (Marks), 163–64
Slattery, John, 85
slavery, 135
Sloan, Ray, 186n36
Smithsonian Natural History Museum, “Panoramic Virtual Tour” of, 156, 158
Sobchack, Vivian, 34, 37, 162, 185n22
Sopranos, The (TV series, 1999–2007), 72, 83
sound, 33, 73–84, 188n33; aural visceral and, 75, 76; in museum exhibits, 155; soundtracks, 49, 55, 74
Soviet film, 14
spectacle, 36
spectatorship, 31, 32, 74; bodily aspect of, 34; empathetic, 34; identification and, 185n20; phenomenological and cognitive-perceptual models of, 76–77; psychoanalytic models of, 76
Spiegelman, Art, 170
Spinoza, Baruch, 17–18
Stamp, Jonathan, 105
Starzyk, Katherine, 196n58
Staton, Aaron, 97
“structures of feeling,” 12
Sturbridge Village, 151
subjectivity, 18
Tashiro, C. S., 92
“Task of the Translator, The” (Benjamin), 151
Teather, Lynne, 154
technologies, 24, 56, 126, 149; anachronistic, 124; digital, 174, 176; mediating, 6; perception and, 14; virtual reality, 154
Televising History: Mediating the Past in Postwar Europe (Gray and Bell), 62
television (TV), 16, 19, 20, 50; cable TV, 68–69, 70, 108; corporate structure of, 57; documentary format or style, 116, 117, 123; as experiential medium, 147; experiential mode and, 23; in Good Night and Good Luck, 56, 57; historical dramas, 10; historical events experienced through, 87–90, 88, 90, 189n47; history on television, 61–70; impact on communication and education, 61; live news disseminated by, 87; “long form” serial drama, 67, 69–70, 73, 93; modes of address in, 177; reality TV, 7, 115–16. See also reality history TV
“Television and Our Understanding of History” (Sorlin), 61
Texas Ranch House (PBS TV series, 2006), 111, 116–17, 137–44, 143, 145
theatrical speech, 82
Thelen, David, 6, 19, 152, 181n12
“Theory of Distraction” (Benjamin), 147
“Theses on the Philosophy of History” (Benjamin), 21
Times of Harvey Milk, The (Epstein, 1984), 39, 40, 41
Tisdale, Danny, 135
transferential space, 122
translation, 150–52, 153, 174, 193n9
Trauma Culture (Kaplan), 34
trauma narratives, 34
truth: historical truth as contradiction, 133; object truth of the past, 153; period truth, 28, 64; truth claims, 4, 21, 71
Turner, Graeme, 115–16
“Unconventional History” (History and Theory issue), 111
United States Holocaust Memorial Museum (USHMM), 23, 118, 149, 166–67
Van Pels family, 157, 158, 165
virtual history exhibits, 10
Visions of the Past (Rosenstone), 63
visual pleasure, 55
voice-overs, 49, 117, 120; in Colonial House, 130, 131, 132; debunking of myths and, 122, 124; in Frontier House, 124, 125; in museum exhibits, 155, 157–58, 159; in Texas Ranch House, 138–39, 141, 144
Wall to Wall Video, 116
Wampanoag people, 133
war on terror, 57
Watson, Sheila, 152
Web 2.0, 116
Weigert, Robin, 71
Weiner, Matt, 84, 85, 91, 92, 94, 190n52
Wells, Amy, 92
White, Hayden, 11
Who Do You Think You Are? (BBC One TV series), 62, 116
Wij, Heren van Zichen (BRT series, 1969), 67
Williams, Raymond, 12
Williamsburg, colonial, 93, 151
Wilson, Woodrow, 25
Witnessing History: Kristallnacht—the November 1938 Pogroms (USHMM virtual exhibit), 23, 149–50, 170–72, 176; destruction rendered graphically in, 171, 172, 173; distance between visitors and actual event, 173–74; reporter avatar, 167–69, 168; Second Life as host for, 165–68; testimonies in, 169–70, 171–72; visitor comments, 147, 173
women’s movement, 40
Woolford, Andrew, 196n58
Worts, Douglas, 154
Yad Vashem, 193n20
Years of Extermination, The (Friedländer), 8
Young, James, 196n58