This line went down well with the crowd but brought the project’s limitations into focus. This kind of “just the facts” claim, while posing as humility, in fact masked Burns’ grandiosity. There is no story of the past that is told without a concept of historiography. Whatever you write, you are taking a stance on your subject and on the practice of history itself. The suggestion that other historians are not also interested in “show[ing] what happened” is, at best, careless.
But the advantage of Burns’ crowd-pleasing approach was plain: unrivaled reach. Even in this era of nasty fights over school curricula, his films have remained above the fra
n his denouncement of Trump at Stanford, he said, “I have come to the realization that history is not a fixed thing, a collection of precise dates, facts and events that add up to a quantifiable, certain, confidently known truth. History is a mysterious and malleable thing, constantly changing, not just as new information emerges, but as our own interests, emotions and inclinations change. Each generation rediscovers and reexamines that part of its past that gives its present new meaning, new possibility and new power.”
But the nature of that responsibility was precisely the big idea that was lost in the movie — for facts don’t speak for themselves. If they did, the facts of the revolution would not have inspired people as disparate as Confederate rebels and Martin Luther King, Jr.
for facts don’t speak for themselves.
Great examples that show how the facts do not speak for themselves
Vignettes and battle dates won’t offer the American people what they need to think through the toughest questions raised by the country’s founders: What is true liberty and when is it time to give up on politics and take more drastic measures to secure it?