Daan op zijn knieën
De Nederlandse geschiedenis in verhaalvorm
DOI:
https://doi.org/10.51769/bmgn-lchr.17481Abstract
In deze forumbijdrage kijken wij kritisch naar Het verhaal van Nederland (2022), de tiendelige televisieserie van de NPO. Op basis van drie criteria – de educatieve meerwaarde voor met name jonge (Duitse) kijkers, de aansluiting bij recente geschiedwetenschappelijke inzichten en de bijdrage aan kritisch-historisch besef – beoordelen we de opbouw, inhoud en opmaak van de serie. Onze bijzondere aandacht gaat daarbij uit naar het gebruik van re-enactment, omdat die techniek in de Nederlandse geschiedenistelevisie relatief uniek is. Ons oordeel pakt deels negatief uit: inzake de eerste twee criteria scoort Het verhaal goed, op het derde punt minder. Mede door de re- enactmentscènes ligt alle nadruk in de nieuwe serie op ‘het verhaal’. Nadat voorgangers van deze televisieserie juist het kritisch meedenken door de kijker over de constructie van geschiedenisverhalen hadden bevorderd, zien wij dit als stap terug.
In this forum contribution we review Het verhaal van Nederland (The Story of the Netherlands, 2022), the ten-episode television series of the npo. We assess the structure, content and layout of the series based on three criteria – the educational value for, in particular, young (German) viewers, the dealing with current historiography, and the contribution to critical historical thinking. Doing so, we have a special interest in the use of re-enactment, as the presence of that technique in this 2022 series is relatively unique in Dutch television history. Our verdict is partly negative: Het verhaal van Nederland scores well on the first two criteria, but less so on the third. Partly due to the re-enactment scenes, this series heavily emphasises ‘the story’. Since previous television series and predecessors of this format made efforts to engage the viewer in critical thinking about the construction of historical narratives, we interpret this series as a step back.
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Copyright (c) 2024 Jacco Pekelder, Neele Teneyken
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