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There has been a significant increase in the number of history programmes and documentary films about history shown on television since the 1990s. This is due to technological and institutional changes in international television but also to the wider commodification of history. The new technological means and approaches have also provided new opportunities for filmmakers in the field of history documentaries. In this article, we are interested in the role of history in television and documentary filmmaking in general, and in how developments in television and documentary filmmaking have affected the nature of historical documents on television. We are particularly interested in the relationship between history documentaries and academic historical research. What do these changes mean from the point of view of both academics and filmmakers? We approach the question from the standpoints of media practice and the concepts of truth and history culture. As a case study, we focus on the documentary film A Man from the Congo River (2010), directed by one of the writers. ; Peer reviewed

"Examines the cinematic and cultural discourse surrounding work, the worker, organized labor, and the working class in 20th century America, and how these films are not merely products of their times, but also producers of ideological stances concerning the status of capitalism, class struggle, and democracy in America. Themes include: reform and revolution in affecting change"--Provided by publisher