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Film/TV
The Civil War (miniseries)
Ken Burns
1990
WETA-TV/PBS
Associated Ideas, People, and Places
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Featured Excerpts
TV Review
Re-watching ‘The Civil War’ During the Breonna Taylor and George Floyd Protests
The landmark Ken Burns documentary hasn’t aged well. But it continues to shape American perceptions about the Confederacy and slavery.
by
Gillian Brockell
via
Retropolis
on
September 26, 2020
Argument
Why We Need a New Civil War Documentary
The success and brilliance of the new PBS series on Reconstruction is a reminder of the missed opportunity facing the nation.
by
Keri Leigh Merritt
via
Smithsonian
on
April 23, 2019
Film Review
The Split Personality of Ken Burns’s “The Civil War”
The documentary's accommodation of the Lost Cause narrative may have left viewers with a skewed understanding of the conflict.
by
Kevin M. Levin
via
Civil War Memory
on
August 31, 2015
Film Review
Thanks a Lot, Ken Burns
Because of you, my Civil War lecture is always packed with students raised on your romantic, deeply misleading portrait of the conflict.
by
James M. Lundberg
via
Slate
on
June 7, 2011
Associated Excerpts
Viewing 1–5 of 5
The South’s Jewish Proust
Shelby Foote, failed novelist and closeted member of the Tribe, turned the Civil War into a masterpiece of American literature.
by
Blake Smith
via
Tablet
on
September 6, 2023
The Spirit of Appomattox
Why is Shelby Foote's Civil War subject to so much contemporary debate?
by
Jonathan Clarke
via
The Hedgehog Review
on
March 1, 2023
Still Worrying about The Civil War
John Kelly's statement about the Civil War is not surprising, but they are a reminder that we should still be worrying about the Civil War.
by
Adam I. P. Smith
via
Adam I. P. Smith: Historian
on
November 2, 2017
What’s So Bad About Ken Burns?
The modern historical profession's purpose has changed drastically in the past century.
by
Jonathan Zimmerman
via
The Chronicle of Higher Education
on
October 3, 2017
Ken Burns's American Canon
Even in a fractious era, the filmmaker still believes that his documentaries can bring every viewer in.
by
Ian Parker
via
The New Yorker
on
September 4, 2017