The Civil War (1990) PBS. A Film by Ken Burns

War is All Hell (1865)

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Video Description

Episode 8: WAR IS ALL HELL (1865)

The episode begins with William Tecumseh Sherman’s brilliant march to the sea, which brings the war to the heart of Georgia and the Carolinas and spells the end of the Confederacy. In March, following Lincoln’s second inauguration, first Petersburg and then Richmond finally fall to Grant’s army. Lee’s tattered Army of Northern Virginia flees westward towards a tiny crossroads town called Appomattox Court House. There the dramatic and deeply moving surrender of Lee to Grant takes place. The episode ends in Washington where John Wilkes Booth begins to dream of vengeance for the South.

Prologue
Shelby Foote discusses one of the main importances of the war: the Southerner's sense of defeat - of having lost a war.

8.1 Chapter 1 - THE CIVIL WAR Series Title
The Confederacy is dying. Robert E. Lee assumes command of all the Southern forces, but the Union is closing in on all sides.

8.2 Chapter 2 - War Is All Hell

William Tecumseh Sherman - the first modern General - purposely makes war against civilians to deprive the enemy of what kept it going. "War is cruelty ... the crueler it is, the sooner it will be over," he says.

8.3 Chapter 3 - Sherman's March
In late 1864, Sherman decides to march his army from Atlanta to Savannah, living off the land, and destroying everything along the way that could aid the Confederate army. On the march, Sherman's army causes $100 million worth of damage "the South would never forget." John Bell Hood moves his forces into Tennessee, and at the Battle of Franklin clashes with Union troops under General George Thomas. Hood loses 7,000 men. At the battle of Nashville, Hood's army is destroyed. Joseph E. Johnston is put back in command.

8.4 Chapter 4 - The Breath Of Emancipation
25,000 slaves flee to Sherman's army during the march, jubilant that he has come to liberate them. On December 25, Sherman emerges near Savannah and starts for South Carolina, where secession began.

8.5 Chapter 5 - Died Of A Theory

The situation in the South becomes desperate. Hundreds of soldiers desert. As a last resort, the Confederates decide to use slaves as soldiers. Earlier in the year, Congress had passed the 13th Amendment, abolishing slavery.

8.6 Chapter 6 - Washington, March 4, 1865

Lincoln is inaugurated for a second term. John Wilkes Booth hatches a scheme to kidnap Lincoln. Lincoln travels to City Point, Virginia to meet with Grant and Sherman and discuss the final campaigns of the war and the Union's plans for peace.

8.7 Chapter 7 - I Want to See Richmond
Grant finally conquers Petersburg and moves quickly towards Richmond. Jefferson Davis is forced to evacuate the Confederate government. The retreating Confederate army sets fire to much of the city and mobs loot what remains. The Union army enters the city. Lincoln arrives in Richmond. Lee and the remains of the rebel army flee westward, with Grant in hot pursuit.

8.8 Chapter 8 - Appomattox
April 7, 1865 - Grant writes to Lee. April 9, 1865 - Lee sends word that he will surrender. Robert E. Lee and Ulysses S. Grant meet at Appomattox to work out the terms of the surrender. The formal surrender comes three days later. In Washington, Lincoln quietly rejoices. A few blocks away, John Wilkes Booth plots.

Documentary Description


The Civil War is an acclaimed documentary film created by Ken Burns about the American Civil War. It was first broadcast on PBS on five consecutive nights from Sunday, September 23 to Thursday, September 27, 1990. Forty million viewers watched it during its initial broadcast, making it the most watched program ever to air on PBS, to this day remaining one of the most popular shows broadcast by PBS. It is considered to be Ken Burns's magnum opus.



The documentary is 11 hours in length, consists of nine episodes and makes extensive use of more than 16,000 archival photographs, paintings, and newspaper images from the time of the war. These are intermixed with contemporary cinematography.

Episodes



* Episode 1: The Cause (1861)

* Episode 2: A Very Bloody Affair (1862)

* Episode 3: Forever Free (1862)

* Episode 4: Simply Murder (1863)

* Episode 5: The Universe of Battle (1863)

* Episode 6: Valley of the Shadow of Death (1864)

* Episode 7: Most Hallowed Ground (1864)

* Episode 8: War Is All Hell (1865)

* Episode 9: The Better Angels of Our Nature (1865)



WHY I DECIDED TO MAKE THE CIVIL WAR

By Ken Burns



Ken Burns Nearly 20 years ago, on Christmas Day, 1984, I finished reading a book that literally changed my life – a wonderful, historical novel called The Killer Angels by Michael Shaara. It told the story of the most important battle in our nation's history: Gettysburg.

I remember closing that book and telling my father, "Now I know the subject for my next documentary. It's going to be the Civil War."



"What part of the Civil War?" he asked.



"All of it," I answered.



My father just shook his head, and left the room – like many others I would meet in the early days of the project, convinced that this story was obviously much too big to be captured in one film.



Nearly six years later, when the documentary was finally finished, I realized that we had taken longer to make a film about the Civil War than it took the nation to fight it in the first place.



But the long and painstaking process had permitted me to refine a filmmaking style that we had been evolving for more than 10 years: the careful use of archival photographs, live modern cinematography, music, narration, and a chorus of first-person voices that together did more than merely recount a historical story. It was something that also became a kind of "emotional archaeology," trying to unearth the very heart of the American experience; listening to the ghosts and echoes of an almost inexpressibly wise past.



The Civil War was the greatest event in American history – where paradoxically, in order to become one, we had to tear ourselves in two.



In making this documentary, co-produced with my brother Ric, we wanted to tell the story of the bloodiest war in American history through the voices of the men and women who actually lived through it. And, to the greatest extent possible, we wanted to show the war and the people who experienced it through a medium that was still in its infancy in the 1860s – photography.



A photograph of citizens scanning the casualty lists to learn which of their sons, fathers, and husbands would be coming home – and which would not – speaks volumes about the grief and horror that washed over our country, becoming part of domestic routine without ever quite being domesticated.



And yet, what better way to "see" a soldier's life than through the simple, unvarnished sentences of Private Elisha Hunt Rhodes's diary; what better way to "feel" the combination of anxiety and determination before a battle than through the moving words of Sullivan Ballou's letter home to his wife, Sarah?



These "verbal and visual documents" of the past convey meaning and emotions and stories on their own, if they're allowed to speak for themselves. They can make the past, present. They can breathe life into history. They can illuminate the dramatic sweep and the minute details of important American moments – make them more memorable, more understandable than a recitation of dry facts, dates, and names.



We visited more than 80 museums and libraries, where we filmed some 16,000 photographs, paintings, and newspapers of the period. With the help of an extraordinary group of scholars and consultants, we also examined countless written accounts -- diaries, letters, reminiscences -- to glean a stockpile of quotations to accompany our stockpile of images.



I am fortunate to work with a team of talented colleagues – writers, producers, editors, cinematographers, musicians, and actors – who I believe are the best in the nation at taking this raw material and transforming it into what we hope is an unforgettable experience.

But our greatest debt is to the past itself, to those people who recorded their own moment in history with their own pictures and in their own words.



It is their story we tell. And it is their story we try to honor by remembering it as accurately – and as vividly – as possible.



When The Civil War first appeared on PBS in the fall of 1990, no one – myself included – was at all prepared for the overwhelming national response that followed.



The number of visitors at Civil War battlefields skyrocketed. Sales of all books about the war went up. "Ashokan Farewell," the hauntingly beautiful theme song written and performed by Jay Ungar, began to be played at people's weddings and funerals.



Johnny Carson talked about the series in his monologue on "The Tonight Show." Shelby Foote became a national celebrity – even got proposals of marriage through the mail. Different people gave different reasons for all this.



At the time, the United States was on the verge of a war in the Persian Gulf, and some commentators believed Americans were therefore especially interested in the story of our nation's bloodiest conflict.



Others said that, in an era which the historian Arthur Schlesinger, Jr. has described as "too much pluribus, and not enough unum," the film was a timely reminder of the frightful cost our ancestors had paid to make this nation a truly United States.



Whatever the reasons, for myself, I was merely grateful that a documentary film which my colleagues and I had worked so hard to produce could begin the kind of national conversation I have always believed television ought to be able to ignite.



And it strengthened my commitment to making historical documentaries for public television – to continue an investigation of the past to see what it can tell us about who we were and what we have become.



In many ways, each film I have made asks one deceptively simple question: "Who are we Americans as a people?" Each film offers another opportunity to pursue this question, and while never answering it fully, nevertheless deepens the question with each succeeding project.



Source: http://www.pbs.org/civilwar/film/



 



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