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Historical Film Reception: an Ethnographic Focus Beyond HISTORICAL FILM RECEPTION: AN ETHNOGRAPHIC FOCUS BEYOND ENTERTAINMENT by VINCENT J. BISSON A THESIS Presented to the Interdisciplinary Studies Program: Individualized Program and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts June 2010 11 "Ilisiorical I,'ilm Reception: An Ethnographic ,,"oeus beyond I~ntertainrnent," a thesis pn.:pared by Vincent.l. Bisson ill partial fulfillment of tile reqllircrllcnts 1'01' the Master or Arts degree in 1I11~ Inh,~l'disciplinary Studies Progl'lllll: Individualized Progralll. This thesis Date Committee in Charge: Ik Daniel Wojcik, Chair Dr. Jeffrey Hanes Dr. Bish Sen Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Vincent J. Bisson for the degree of Master ofArts in the Interdisciplinary Studies Program: Individualized Program to be taken June 2010 Title: HISTORICAL FILM RECEPTION: AN ETHNOGRAPHIC FOCUS BEYOND ENTERTAINMENT Approved: _ Dr. Daniel Wojcik, chair Approved: -,------ _ Dr. Jeffrey Hanes Approved: _ Dr. Bish Sen Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance ofhistory and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes ofnarrative and beliefat the vernacular level ofreception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits ofspecific individuals in relation to historical belief, this project provides IV empirical evidence that is necessary for a more accurate understanding ofthe function and reception ofhistorical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization ofsuch films, their reception, their function beyond entertainment, and the need for an integration ofnew research in both audience studies and folklore studies. v CURRICULUM VITAE NAME OF AUTHOR: Vincent J. Bisson PLACE OF BIRTH: Detroit, Michigan DATE OF BIRTH: April 27, 1984 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University ofOregon, Eugene Florida Institute ofTechnology, Melbourne DEGREES AWARDED: Master ofArts, IS: Folklore, 2010, University ofOregon Bachelor ofArts, Humanities, 2006, Florida Institute ofTechnology AREAS OF SPECIAL INTEREST: Historical Films Audience Studies Qualitative Interviews Public History Historical Consciousness The Function ofHistory PROFESSIONAL EXPERIENCE: Composition Graduate Teaching Fellow, University ofOregon, August 2009 ­ June 2010 Research Support Technician, Educational Policy Improvement Center, September 2008 - August 2009 VI Randall V. Mills Archives ofNorthwest Folklore Data Entry Project, University ofOregon, August - December 2008 Grader, University ofOregon, August - December 2008 Adjunct Faculty, Florida Institute ofTechnology, August 2006 - May 2007 GRANTS, AWARDS AND HONORS: Outstanding Senior in Humanities, Florida Institute ofTechnology, 2006 Member, Phi Beta Delta International Honor Society, Since 2006 Oxford Study Abroad Scholarship, Florida Institute ofTechnology, 2005 Vll ACKNOWLEDGMENTS I wish to express sincere gratitude to Dr. Daniel Wojcik, Dr. Jeffrey Hanes, and Dr. Bish Sen for their support and service in the creation ofthis manuscript. In addition, special thanks are due to Dr. Lisa Gilman, whose expertise in fieldwork was invaluable during the initial phase ofthis enterprise. I also wish to thank Dr. Robert Taylor, Dr. Gordon Patterson, and Mr. Matthew Ruane for their initial support ofmy research interests. And lastly, I would like to thank the Gray family for their willingness to participate in this study. Vlll For my sister Donna, simply the strongest person I know. IX TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 Notes 8 II. FOLKLORE AND FILM....................................................................................... 9 Folkloristics: History, Reputation, Importance..................................................... 9 From Folklore in Film to Film as Folklore 14 Folklore: Narratives, Genre, Belief....................................................................... 18 Notes 24 III. HISTORICAL FILMS 26 From Historiography to Historiophoty 26 Historical Films and Public History........ 31 Historical Films: Analysis ofa Genre................................................................... 38 "Re-constructing" I-listory 45 Notes 54 IV. AUDIENCE STUDIES, REALISM, METHODOLOGy.................................... 59 Audience Studies: A Brief Survey........................................................................ 59 Realism "Rules" 72 Methodology: Media Ethnography and Historical Films 77 Notes 83 x Chapter Page V. A "MOVIE FAMILY" AND HISTORICAL FILMS . 87 A "Movie Fa.Illily" .. 87 Dyads and Dyadic Traditions . 102 A "Movie Fa.Illily's" Historical Reception .. 105 Historical Accuracy: Do We Care? .. 124 Notes . 130 VI. A CASE STUDY: THE LASTSAMURAI .. 131 The Last Samurai: The Period .. 131 The Last Samurai: An Overview .. 137 The Last Samurai: An Evaluation . 141 The Last Samurai: Perceived . 150 Notes . 165 VII. CONCLUSION . 167 Notes . 173 BIBLIOGRAPHY . 174 Xl LIST OF FIGURES Figure Page 1. Continuum ofhistorical subgenres from most fictional to most factual. 40 2. Subgenres ofhistorical films and their relation to realism. 76 1 CHAPTER I INTRODUCTION In the media saturated culture ofthe United States, it is crucial to study the impact ofhistorical films since such films have become a pervasive and influential medium for attaining historical knowledge and multicultural awareness. In addition to historical films, television programs including the various history channels, PBS specials, or even cable miniseries (e.g., Band ofBrothers, The Pacific, The Tudors, Rome) are popular and appealing alternates to the historical monograph. In recent years, scholarship has increased regarding historical films and their re-construction and representation of history. Leading this charge are a few academics, mostly historians, across disciplines who attempt to take such films as serious cultural artifacts, yet the examination of historical films is currently more ofa pastime to history scholars than a field or subfield. The scholarship on historical films convolutes the genre with variously defined tenus: cinematic history, historical films, docudramas, biopics, heritage films, epics, nationals. Although few historians acknowledge the function films may have for audiences beyond a level ofmere entertainment, this is not the general view among scholars. Obscured by the common assumption that historical films are merely entertainment is the fact that historical films are a type ofentertainment that attracts audiences through historical content and various elements ofrealism. 2 Most importantly, current scholarship rarely considers historical films' reception beyond textual analysis, popular reviews, or simple speculation. The research that does exist often states that historical films manipulate the facts, present stereotypes ofpast cultures, or serve as propaganda. Although films may clearly promote nationalistic agendas, propaganda, or misconstrued history, the current scholarship presumes the viewers' reception ofthese agendas without delving into the ability ofaudiences to accept, negotiate, or resist these presentations. Moreover, while some historians note the importance ofaudience reception studies, no method has been proposed to distinguish just how much impact historical films have on audiences' historical consciousness or to determine how individuals use such films to satisfy their historical or multicultural curiosity. In this study I re-examine the formal aspects ofhistorical films in relation to historical re-construction, the definition and categorization ofsuch films, the reception of historical films, and their function beyond entertainment in order to expand our understanding ofthe reception and function ofsuch films at the vernacular level. In contrast to the majority ofscholarship on historical films noted above, I claim that historical films should be divided into four subgenres based on their use offiction: 1) historical entertainment films (A Knight's Tale [2001] , Timeline [2003}); 2) period films (The Last Samurai [2003], Saving Private Ryan [1998]); 3)faction films (Gladiator [2000], The Patriot [2000]); and 4) biopic/eventpic films (Alexander [2004], Miracle [2004]). By using these subgenres in conjunction with a framework I have developed for audience ethnography, it appears that representative audiences distinguish 3 between historical films' various uses ofhistory. Not only are individuals aware ofthese various degrees ofhistory, but more importantly, they seek out informative historical films for thoughts on temporality, causality, and multicultural awareness. This last fact introduces an overarching theme ofthis study and the overall connection between folklore studies and public/popular history: the meaning and uses ofhistory in moving images at the vernacular level and the ways in which individuals seek informative materials through entertainment to fulfill what folklorist William Wilson might call one ofhumanity's "deeper necessities."] I use an interdisciplinary approach that clarifies and establishes how a folkloric perspective strengthens audience studies and the recent historiography surrounding historical films.
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