Quotulatiousness

October 29, 2020

War, Cinema, and Cheese! | BETWEEN 2 WARS: ZEITGEIST! | E.01 – Harvest 1918

Filed under: Europe, Food, History, Media, Military — Tags: , , , , , , , — Nicholas @ 04:00

TimeGhost History
Published 28 Oct 2020

War, poverty, and disease continue to pummel the word in the wake of the Great War. But still, humanity carries on, not only surviving but creating a host of futuristic opportunities in the arts, the economy, and … cheese.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory

Hosted by: Indy Neidell
Written by: Indy Neidell, Francis van Berkel, and Spartacus Olsson.
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Indy Neidell, Francis van Berkel, and Spartacus Olsson.
Archive Research: Daniel Weiss
Edited by: Daniel Weiss
Sound design: Marek Kamiński

Colorizations:
Daniel Weiss – https://www.facebook.com/TheYankeeCol…
(BlauColorizations) – https://www.instagram.com/blaucolorizations
Dememorabilia – https://www.instagram.com/dememorabilia/

Sources:

From the Noun Project:
iron cross By Souvik Maity, IN
poverty By Phạm Thanh Lộc, VN
Skull_51748

Soundtracks from Epidemic Sound:
– “One More for the Road” – Golden Age Radio
– “Dark Shadow” – Etienne Roussel
– “Not Safe Yet” – Gunnar Johnsen
– “Rememberance” – Fabien Tell
– “Last Point of Safe Return” – Fabien Tell
– “Steps in Time” – Golden Age Radio
– “What Now” – Golden Age Radio
– “Sunday Worship” – Radio Night
– “Astray” – Alec Slayne
– “Break Free” – Fabien Tell

Archive by Screenocean/Reuters https://www.screenocean.com.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

TimeGhost History
1 day ago
Welcome back to Between Two Wars! Strap in for what is going to be an exciting ride through the massive cultural, social, economic, and technological shifts that take place after the Great War. We can’t guarantee this will always be a positive tale. These changes entail plenty of fear and suffering, and even ‘fun’ things like the Jazz Age have their darker sides.

But that doesn’t alter the fact that the interwar era is a time of promise where people envision modern futures to replace old pasts. There is everything to play for in this brave new world and a vision of progress all around in politics, culture, food, and more.

October 1, 2020

Historical Breakdown of A Bridge Too Far – Planning and Failure of Market Garden I RHINELAND 45

Filed under: Britain, Europe, Germany, History, Media, Military, USA, WW2 — Tags: , , , , — Nicholas @ 04:00

The Great War
Published 30 Sep 2020

Support our brand new World War 2 documentary about The Battle of the Rhineland (not to be released on YouTube): https://realtimehistory.net/rhineland45

After last year’s Downfall video (with over 1 million views!) we thought we look at another classic WW2 movie and give you a breakdown about the historical figures and background. Our pick this time: A Bridge Too Far.

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» SOURCES
A. Beevor, Arnhem: The Battle for the Bridges (2018)
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Builder, Bankes, Nordin, Command Concepts (1999)
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www.nam.ac.uk/explore/market-garden
www.iwm.org.uk/history/the-story-of-operation-market-garden-in-photos

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Mixing, Mastering & Sound Design: http://above-zero.com
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Research by: Matthew Moss
Fact checking: Florian Wittig

Channel Design: Alexander Clark
Original Logo: David van Stephold

Contains licensed material by getty images
All rights reserved – Real Time History GmbH 2020

From the comments:

The Great War
6 hours ago
Support our brand new World War 2 documentary about The Battle of the Rhineland (not to be released on YouTube): https://realtimehistory.net/rhineland45 *

*We know that some of you don’t like the fact that we upload non-Great War content once in a while. But here are a few fun facts: Last year’s video about THAT scene from Downfall has been one of our most successful videos ever produced. It helped us spreading the word about our crowdfunding campaign last year and it also brought new subscribers to The Great War that hadn’t heard about it. And in the cut-throat world of the YouTube attention economy this is really important for our continued existence. Another “fun” fact: Both this video and the Downfall video were both claimed for copyright violation even though they clearly fall under fair use. We disputed and lost and now there is nothing we can do about the fact that someone else is earning money through our work. Just one of the reasons why it’s increasingly frustrating working with YouTube and why we are exploring other avenues for The Great War and our other projects.

Far from being in trouble, Canadian film and TV investment has nearly doubled in the last 10 years

Filed under: Business, Cancon, Government, Media — Tags: , , , , , , , — Nicholas @ 03:00

The Canadian government — particularly Canadian Heritage minister Steven Guilbeault — is eager to pass legislation to “get money from the web giants” and their primary justification is the claim that Canadian TV and movie funding has been shrinking. As Michael Geist explains, that’s a pants-on-fire lie:

CMPA Profile – Financing, Sources: CMPA Profile 2019, 2016, 2013

Canadian Heritage Minister Steven Guilbeault has said that his top legislative priority is to “get money from web giants.” While much of the attention has focused on his ill-advised plan to require Facebook to obtain licences for linking to news articles, his first legislative step is likely to target Internet streamers such as Netflix, Amazon and Disney with new requirements to fund Canadian content and to increase its “discoverability” by making it more prominent for subscribers. Based on his comments at several town halls, Guilbeault is likely to also create new incentives for supporting indigenous and persons of colour in the sector with a bonus for those investments (potentially treating $1 of investment as $1.50 for the purposes of meeting Cancon spending requirements). Much of the actual implementation will fall to the CRTC, which will be granted significant new regulatory powers and targeted with a policy direction.

Guilbeault’s case for establishing new mandated payments is premised on the claim that support for the film and television sector is declining due to the emergence of Internet streaming services, which have resulted in decreased revenues for the conventional broadcast sector and therefore lower contributions to Cancon creation. In fact, Guilbeault recently told Le Devoir that without taking action there would be a billion dollar deficit in support in the next three years. He says that his objective is to actually generate a few hundred million more per year in local production by the Internet streamers. In other words, he’s expecting roughly $2 billion in new investment over three years in Cancon from U.S. entities due to his planned regulations (moving from a billion dollar deficit to a billion dollars in extra spending).

While Guilbeault frames these regulatory requirements as a matter of fairness and “rebalancing”, industry data over the past decade tell a much different story. Indeed, there has been record setting film and television production in recent years, much of it supported by companies such as Netflix. CRTC chair Ian Scott last year said that Netflix is “probably the biggest single contributor to the [Canadian] production sector today.” While that is not entirely true – the data suggests that Canadian taxpayers are the biggest contributor with federal and provincial tax credits consistently the largest source of financing – the claim that there is a billion dollar deficit coming or that foreign streamers do not contribute to film and television production in Canada without a regulatory requirement is simply false.

September 29, 2020

Modern Classics Summarized: 1984

Filed under: Books, Humour, Media — Tags: , , , , , , — Nicholas @ 06:00

Overly Sarcastic Productions
Published 24 Feb 2017

It’s the mother of all dystopias! Long before YA dystopia rose to power, before the age of Young Attractive Heroes who Rebel Against The State and Also Find Love, there was just Winston Smith — a middle-aged man in poor health who Rebelled Against The State and Also Found Love. It just ended much less prettily for him.

1984 codified most of the modern dystopia tropes — absolute control of the media, black-bagging people who spoke out, and a lot of popular terms like “doublethink”, “big brother”, and “thought police”. Unfortunately, a lot of those terms got stripped of context and thrown around for the sake of Extra Edge, and as a result they get used a little haphazardly. And there’s nothing Red hates more than misused terminology, so here’s the video outlining the ORIGINAL meaning of 1984!

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August 30, 2020

Why Gods and Generals is Neo-Confederate Propaganda (and Objectively Sucks)

Filed under: History, Humour, Media, Military, USA — Tags: , , , , , — Nicholas @ 02:00

Atun-Shei Films
Published 12 Aug 2019

Like if Ken Burns and Mr. Plinkett had a baby.

Gods and Generals (2003) is a four and a half hour long epic from the director of Gettysburg (1993), chronicling the first two years of the American Civil War in the Eastern Theater from the point of view of General Stonewall Jackson. In this video essay / review, I examine how the film is an insidious piece of pro-Confederate propaganda, echoing the inaccuracies and misconceptions of the notorious Lost Cause myth.

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August 24, 2020

MATERA – James Bond and the City of Beige

Filed under: Architecture, Books, Europe, History, Italy — Tags: , , — Nicholas @ 04:00

Lindybeige
Published 23 Aug 2020

Get your first audiobook and a monthly selection of Audible Originals for free when you try Audible for 30 days visit https://www.audible.com/lindybeige or text lindybeige to 500 500.

Matera is an city in Italy which has suddenly become famous. It is rather special and here I describe why.

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Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.

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August 21, 2020

Virtuesplaining Blazing Saddles

Filed under: History, Humour, Media, Politics, USA — Tags: , , , , , , — Nicholas @ 03:00

Paul du Quenoy says that Mel Brooks is cancelled after all:

It seems like only yesterday that HBO Max, the financially troubled American cable television network’s new film streaming service, signalled its virtue by removing Gone With The Wind from viewing so that the classic film could be properly “contextualised” as what presenter and University of Chicago film professor Jacqueline Stewart calls “a prime text for examining expressions of white supremacy in popular culture”. She believes this is useful for the “re-education” of audiences who might otherwise stray into thoughtcrime.

Mel Brooks’s smash hit 1974 comedy Blazing Saddles, which seems to have been added to HBO Max since the Gone With The Wind dust up and is known for its liberal use of the feared and loathed “n-word”, arrived with a similarly patronising disclaimer already installed. In a three-minute introduction that apparently cannot be skipped over, Stewart is there again, this time to inform viewers that “racist language and attitudes pervade the film”, while instructing them that “those attitudes are espoused by characters who are portrayed here as explicitly small-minded, ignorant bigots … The real, and much more enlightened, perspective is provided by the main characters played by Cleavon Little and Gene Wilder”.

Thanks, Aunt Jacqueline. If you have not seen Blazing Saddles – and if you are under the age of forty there is an excellent chance some prudish authority figure sanitised it out of your cosseted millennial existence – it stands as one of the greatest, and the certainly the funniest, anti-racist films of all time. Based on a story by Andrew Bergman, Brooks conceived it as a scathing send-up of racism and the hypocrisy that still enabled it after the great civil rights victories of the 1960s. Brooks’s idiom was a parody of the classic Western, by then an exhausted genre that had, among other flaws, become inanely predictable and was much criticised for leaving out minorities. A landmark of American film, Blazing Saddles was selected in 2006 for inclusion in the US National Film Registry, which recognises “culturally, historically, or aesthetically significant films” worthy of preservation.

Drenched in hilarity – and by my count using the “n-word” 17 times in its 93-minute run – the plot involves a conspiracy by an avaricious U.S. state attorney general who wants to drive white settlers off land he needs to complete a profitable railroad project. After having outlaws wreak mayhem on the townspeople, he recommends that the governor appoint a black sheriff to restore law and order, cynically assuming that their racism will cause them to reject the new lawman and give up. Despite a rough initial reception, the sheriff outwits attempts to get rid of him and, with the help of a washed up but sympathetic alcoholic gunslinger, leads the townspeople to victory, winning their love and respect before moving on to other brave deeds.

While HBO no longer wants to risk having its paying customers think for themselves (and what stale corporate outfit uneasily transitioning to a crowded new market wouldn’t?), it could rightly be said that anyone dumb enough to miss the film’s message might be a recent product of Anglo-American higher education. I do not mean this at all facetiously. Decaying and run by a self-important clerisy whose demands to be taken seriously only become shriller as it declines in reach and vitality – and from which any participant can be dismissed for even the slightest speech or behavioural infraction – academia naturally discourages humour. Jokes, which can almost always cause some kind of offence, are simply too risky to be told or laughed at, even in private. Finding the wrong thing funny can invite career-hobbling accusations that one has demeaned a student or colleague and thereby made them feel unacceptably “uncomfortable” or even physically “unsafe”. Perceived flippancy bruises sanctified “professional seriousness” in a way tantamount to sacrilege. The only tolerated exceptions are a kind of solemn irony that offers comfort in coping with academia’s increasing irrelevance and a resigned gallows humor about its ever more limited prospects.

August 13, 2020

Hitler’s screen idol – Leni Riefenstahl – WW2 Biography Special

Filed under: Germany, History, Media, Technology, WW2 — Tags: , , , , , , , — Nicholas @ 04:00

World War Two
Published 12 Aug 2020

Leni Riefenstal’s film techniques were groundbreaking and are still influential today. She did, though, create her most famous works in the service of Adolf Hitler.

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Written and Hosted by: Indy Neidell
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: Madeline Johnson
Edited by: Monika Worona
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)

Colorizations by:
– Norman Stewart – https://oldtimesincolor.blogspot.com/
– Olga Shirnina, a.k.a. Klimbim – https://klimbim2014.wordpress.com/

Sources:
– Bundesarchiv

Archive by Screenocean/Reuters https://www.screenocean.com.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

World War Two
4 hours ago
Thanks to Madeline Johnson for the research for this episode. In many ways it’s our community who keep TimeGhost going. If you want to be part of this then join the TimeGhost Army on www.patreon.com/timeghosthistory or https://timeghost.tv.

Please let us know what other Bios you’d like to see. And if you have a question about the war you’re dying to have answered, submit it for our Q&A series, Out of the Foxholes at: https://community.timeghost.tv/c/Out-of-the-Foxholes-Qs.

July 30, 2020

QotD: The “strong female protagonist” in movies and on TV

Filed under: Media, Quotations, USA — Tags: , , , , , — Nicholas @ 01:00

And I wonder whether you’ve noticed a character that can be found in practically every movie made today? I call her the “all conquering female.” Almost without exception, she is underestimated by men and then proves herself more intelligent, cleverer, more courageous, and more skilled than any man. Whether we’re talking about a romantic comedy, an office-drama, or an adventure movie, the all conquering female will almost inevitably show up. And she has to show her worth in a domineering way, that is to say, over and against the men. For her to appear strong, they have to appear weak. For a particularly good case in point, watch the most recent Star Wars film.

Now I perfectly understand the legitimacy of feminist concerns regarding the portrayal of women in the media as consistently demure, retiring, and subservient to men. I grant that, in most of the action/adventure movies that I saw growing up, women would typically twist an ankle or get captured and then require rescuing by the swashbuckling male hero — and I realize how galling this must have been to generations of women. And therefore, a certain correction was undoubtedly in order. But what is problematic now is the Nietzschean quality of the reaction, by which I mean, the insistence that female power has to be asserted over and against males, that there is an either/or, zero-sum conflict between men and women. It is not enough, in a word, to show women as intelligent, savvy, and good; you have to portray men as stupid, witless, and irresponsible. That this savage contrast is having an effect especially on younger men is becoming increasingly apparent.

In the midst of a “you-go-girl” feminist culture, many boys and young men feel adrift, afraid that any expression of their own good qualities will be construed as aggressive or insensitive. If you want concrete proof of this, take a look at the statistics contrasting female and male success at the university level. And you can see the phenomenon in films such as Fight Club and The Intern. In the former, the Brad Pitt character turns to his friend and laments, “we’re thirty year old boys;” and in the latter, Robert De Niro’s classic male type tries to whip into shape a number of twenty-something male colleagues who are rumpled, unsure of themselves, without ambition — and of course under the dominance of an all conquering female.

It might be the case that, in regard to money, power, and honor, a zero-sum dynamic obtains, but it decidedly does not obtain in regard to real virtue. The truly courageous person is not threatened by another person’s courage; the truly temperate man is not intimidated by the temperance of someone else; the truly just person is not put off by the justice of a countryman; and authentic love positively rejoices in the love shown by another. And therefore, it should be altogether possible to hold up the virtue of a woman without denying virtue to a man. In point of fact, if we consult the “all conquering female” characters in films and TV, we see that they often exemplify the very worst of the traditional male qualities: aggression, suspicion, hyper-sensitivity, cruelty, etc. This is what happens when a Nietzschean framework has replaced a classical one.

Bishop Robert Barron, “The Trouble With the ‘You Go Girl’ Culture”, Word on Fire, 2016-10-18.

July 25, 2020

Shakespeare Summarized: The Tempest

Filed under: Books, Humour, Media — Tags: , , , , — Nicholas @ 02:00

Overly Sarcastic Productions
Published 5 May 2014

At last! It’s not a tragedy!

It may have been Shakespeare’s final play, but that doesn’t mean it’s my final summary! Hopefully, you lucky folks will get to hear my melodious rambling for a while yet.

PATREON: www.patreon.com/user?u=4664797

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July 22, 2020

A brief look at the life of Thomas Cromwell, Henry VIII’s “main fixer”

Filed under: Books, Britain, Government, History — Tags: , , , , , — Nicholas @ 05:00

Michael Coren discusses the career and reputation of Henry VIII’s powerful and capable Lord Chamberlain until he fell from favour and was executed in 1540:

Portrait of Thomas Cromwell, First Earl of Essex painted by Hans Holbein 1532-33.
From the Frick Collection via Wikimedia Commons.

The panoply of British history doesn’t include too many monsters. The nation was founded more on meetings than massacres, and other than the usual round of chronic blood-letting in the Middle Ages, and a civil war in the seventeenth-century, the English have left it to the French, the Russians, and the Germans to provide the mass murderers and the genuine villains. But if anyone was generally regarded as being unscrupulous, with a touch of the devil always around his character, it was Thomas Cromwell, the main fixer for Henry VIII in the 1530s, and according to the Oscar-winning movie A Man for all Seasons, the dark politician who had hagiographical Thomas More executed. For decades both on British television and in Hollywood epics it was this self-made man who was willing to smash the monasteries, torture innocent witnesses into giving false evidence, and assemble lies to have that nice Anne Boleyn beheaded.

This was the dictatorship of reputation. Historians provided the framework, and popular entertainment dressed it all up in countless Tudor biopics. But then it all began to change.

The first person to seriously challenge the caricature was himself a victim of lies and hatred. The revered Cambridge historian GR Elton was born Gottfried Rudolf Otto Ehrenberg, son of a German Jewish family of noted scholars, who fled to Britain shortly before the Holocaust. He’s also, by the way, the uncle of the comedian and writer Ben Elton. GR, Geoffrey Rudolph, was one of the dominant post-war historians, and insisted that modern Britain, with its secular democracy and parliamentary system, was very much the child of Thomas Cromwell the gifted administrator and political visionary.

So we had the Cromwell wars. On the one side were the traditionalist, often Roman Catholic, writers who insisted that Cromwell was a corrupt brute and a cruel tyrant; and the rival school that regarded him as the first modern leader of the country, setting it on a road that would distinguish it from the ancient regimes of the European continent. But there was more. While previous political leaders – the term “Prime Minister” didn’t develop until the early eighteenth-century – had sometimes been of relatively humble origins, and Cromwell’s mentor and predecessor Thomas Wolsey was the son of a butcher, they were invariably clerics. Cromwell wasn’t only from rough Putney on the edge of London, and the son of a blacksmith, but he was a layman, and someone who had lived abroad, even fought for foreign armies.

Here was have the embodiment of the great change: the autodidact who was multi-lingual, well travelled, reformed in his religion and politics, and prepared to rip the country out of its medieval roots. Yet no matter how many historians might believe and write this, the culture is notoriously difficult to change, and understandably indifferent to academics. Not, however, to novelists. And in 2009 the award-winning author Hilary Mantel published Wolf Hall, a fictional account of Cromwell’s life from 1500 to 1535. Three years later came the sequel, Bring Up the Bodies. Both books won the Man Booker Prize, an extraordinary achievement for two separate works. The trilogy was completed recently with The Mirror and the Light. The first two volumes were turned into an enormously successful stage play and a six-part television show. Forget noble academics working away in relative obscurity, this was sophisticated work watched and read by tens of millions of people. Cromwell was back.

“It is as a murderer that Cromwell has come down to posterity: who turned monks out on to the roads, infiltrated spies into every corner of the land, and unleashed terror in the service of the state”, wrote Mantel in the Daily Telegraph back in 2012. “If these attributions contain a grain of truth, they also embody a set of lazy assumptions, bundles of prejudice passed from one generation to the next. Novelists and dramatists, who on the whole would rather sensationalise than investigate, have seized on these assumptions to create a reach-me-down villain.”

July 4, 2020

Fixing Gettysburg: The Third Day

Filed under: Books, History, Humour, Media, Military, USA — Tags: , , , — Nicholas @ 06:00

Atun-Shei Films
Published 3 Jul 2020

In this three-part series, I review a classic Ron Maxwell film about a little known historical event that no one talks about called the Battle of Gettysburg. I also present an abbreviated and oversimplified history of the battle, while simultaneously criticizing the movie for presenting an abbreviated and oversimplified history of the battle.

In the third episode, I discuss the third day of fighting on July 3, 1863 – including the morning scrap on Culp’s Hill, East Cavalry Field, and Pickett’s Charge.

Support Atun-Shei Films on Patreon ► https://www.patreon.com/atunsheifilms

Leave a Tip via Paypal ► https://www.paypal.me/atunsheifilms (Between now and October, all donations made here will go toward the production of The Sudbury Devil, our historical feature film)

#Gettysburg #CivilWar #VideoEssay

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~REFERENCES~

[1] Frederick Tilberg, Scott Hartwig, John Heiser: Gettysburg National Military Park Handbook (2013). Historic Map and Print Company, Page 49

[2] James Longstreet: From Manassas to Appomattox, Da Capo Edition (1992). Da Capo Press, Page 392

[3] “Haskell’s Account of the Battle of Gettysburg”. Bartleby: Great Books Online https://www.bartleby.com/43/3504.html

[4] “East Cavalry Battlefield – Ranger John Nicholas” (2014). GettysburgNPS https://youtu.be/AfwBOOFFlXQ

July 3, 2020

Fixing Gettysburg: The Second Day

Filed under: Books, History, Humour, Media, Military, USA — Tags: , , , — Nicholas @ 06:00

Atun-Shei Films
Published 2 Jul 2020

In this three-part series, I review a classic Ron Maxwell film about a little known historical event that no one talks about called the Battle of Gettysburg. I also present an abbreviated and oversimplified history of the battle, while simultaneously criticizing the movie for presenting an abbreviated and oversimplified history of the battle.

In the second episode, I discuss the first day of fighting on July 2, 1863 – including Dan Sickles’ shenanigans on the left, the 20th Maine on Little Round Top, the 1st Minnesota, and the night battle on Culp’s Hill.

Support Atun-Shei Films on Patreon ► https://www.patreon.com/atunsheifilms

Leave a Tip via Paypal ► https://www.paypal.me/atunsheifilms (Between now and October, all donations made here will go toward the production of The Sudbury Devil, our historical feature film)

#Gettysburg #CivilWar #VideoEssay

Watch our film ALIEN, BABY! free with Prime ► http://a.co/d/3QjqOWv
Reddit ► https://www.reddit.com/r/atunsheifilms
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~REFERENCES~

[1] Stephen W. Sears: “General Longstreet and the Lost Cause” (2005). American Heritage Magazine https://www.americanheritage.com/gene…

[2] W.C. Storrick: The Battle of Gettysburg (1931). J Horace McFarland Company, Page 26

[3] Frederick Tilberg, Scott Hartwig, John Heiser: Gettysburg National Military Park Handbook (2013). Historic Map and Print Company, Page 31-32

[4] Storrick, Page 27

[5] William B. Styple: Generals in Bronze (2005). Belle Grove Publishing Company, Page 222

[6] “The 1st Minnesota Infantry at Gettysburg” (2014). Iron Brigader https://ironbrigader.com/2014/01/03/1…

[7] Storrick, Page 29-30

[8] Tilberg, Hartwig, Heiser, Page 45

July 2, 2020

Fixing Gettysburg: The First Day

Filed under: Books, History, Humour, Media, Military, USA — Tags: , , , — Nicholas @ 06:00

Atun-Shei Films
Published 1 Jul 2020

In this three-part series, I review a classic Ron Maxwell film about a little known historical event that no one talks about called the Battle of Gettysburg. I also present an abbreviated and oversimplified history of the battle, while simultaneously criticizing the movie for presenting an abbreviated and oversimplified history of the battle.

In this first episode, I discuss the first day of fighting on July 1, 1863 – including Buford’s cavalry, the Iron Brigade, the Railroad Cut, and John Burns.

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~REFERENCES~

[1] “General John Buford’s Report of his Cavalry’s Action at Gettysburg” (2015). Iron Brigader https://ironbrigader.com/2015/06/22/g…

[2] W.C. Storrick: The Battle of Gettysburg (1931). J Horace McFarland Company, Page 11

[3] “The First Day at Gettysburg: Then and Now.” American Battlefield Trust https://www.battlefields.org/learn/ar…

[4] “Lt. Colonel Rufus Dawes Describes the Fighting of the 6th Wisconsin Infantry at Gettysburg” (2013). Iron Brigader https://ironbrigader.com/2013/06/13/l…

[5] “Civilian John Burns at the Battle of Gettysburg (2018)”. C-Span https://www.c-span.org/video/?447809-…

[5 1/2] Allen C. Redwood: “The Confederate in the Field”. Civil War Home https://www.civilwarhome.com/confeder…

[6] Codie Eash: “The Wounded Wisconsinite Who Witnessed Pickett’s Charge” (2018). National Museum of Civil War Medicine https://www.civilwarmed.org/reed/?fbc…

[7] Cooper Wingert: “The Confederate ‘Slave Hunt’ and the Gettysburg Campaign” (2020). Emerging Civil War https://emergingcivilwar.com/2020/05/…

July 1, 2020

The Somme then and now … in full HD

Filed under: Britain, Europe, France, History, Military, WW1 — Tags: , , — Nicholas @ 02:00

MC C
Published 1 Aug 2016

100 years ago Malins and McDowell exposed their film to the light capturing a moment in time.

It’s very difficult to understand and watch the original film as they were very limited by technology and the danger. Malins risked his life on several occasions making this film, being right on the front line with a huge box camera sticking out above the trench. After watching the film many times, over many years, I wanted to find these locations and stand in their foot prints and re-film.

Some locations were easy to find, some took much research and some I haven’t yet been able to locate, but all the ones in this documentary are within yards to feet of where they filmed originally, none are guesses or just possibilities. I hope you enjoy watching and it helps you to understand please leave comments this is worth more to me than earning money I ask for nothing but love remarks.

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