Postmodernism, The New Cultural History, Film: Resisting Images of Education

Abstract

“The accent in cultural history is on close examin‐ ation — of texts, of pictures, and of actions — and an open‐mindedness to what those examinations will reveal, rather than on elaboration of new master narratives.”

Lynn Hunt (Ed.), The New Cultural History (Berkeley, Calif., 1989), p. 22.

“[Films] are a legitimate way ... of representing, interpreting, thinking about and making meaning from the traces of the past ... that seriously deals with the relationship of past and present.”

Robert A. Rosenstone (Ed.), Revisioning History (Princeton, N.J., 1995), p. 3.

One of postmodernism's major lines of development collapses the boundaries and hierarchical distinctions between elite or academic culture and popular culture, giving us new opportunities to cross boundaries separating history from literature and the arts, the “academic” from the “popular”, the archival from the imaginative. I embrace the freedom that postmodernism offers to entertain new ideas, play different kinds of language games, challenge established “ways of seeing”.

I propose here that we extend the range of what we regard as historical “source” to include film, and that film be accepted by historians of education as a legitimate form of textual representation and important evidentiary “source” for our exploration and interpre‐ tation of culture and of education. What follows is an attempt at integrating film into the historiography of education. For illustrative purposes, I've chosen Peter Weir's “Dead Poets Society” ("DPS”, 1989) for my text. I don't presume to give “the” meaning of “DPS” for understanding recent American educational history, but to suggest some of its possible meanings, which, given the problematic nature of “meaning” in our postmodern epoch, is about all we can hope for, but which may be enough to continue the conversation about movies after the movie is over.