Teachers, for their part, explore opportunities to engage students with the past via integrating popular representations in their lessons by visiting museums, leading field trips to famous monuments and heritage sites, attending musicals, analysing historical films or using websites and digital games (e.g., Apostolidou, 2015 Apostolopoulou, Carvoeiras, & Klonari, 2014 Donnelly, 2013 Haydn & Ribbens, 2017 Van Nieuwenhuyse, 2016). ![]() Hence, the way they gather and process information about the past is increasingly built on popular representations they encounter outside the classroom (Haydn, 2017). Young people read graphic historical novels, watch quiz shows, documentaries and historical films on television or on YouTube, play (video) games, take selfies in historical environments to post on Instagram, or participate in living history activities. Schoolteachers in particular experience on a daily basis the impact of popular genres on their students’ ideas of history. Historians acknowledge - sometimes reluctantly - that popular media in building representations of the past reach large audiences, which in itself is a phenomenon worth investigating (Berger, Lorenz, & Melman, 2012 De Groot, 2009, 2012). The days in which academic historians immediately frown at the idea of popular historical productions are over. Como resultado, es probable el riesgo de blanquear e idealizar la violencia y las atrocidades. Después de todo, mientras los historiadores y educadores se preguntan si debe representarse la violencia histórica y, en su caso, cómo, el hecho es que muchos de los medios populares - en particular las películas comerciales y los videojuegos - centran sus representaciones en batallas y guerras heroicas. Los artículos de este número especial intentan cuestionar cómo los medios populares representan en la historia moderna temas delicados de los pasados violentos - e.g., los procesos de descolonización, las guerras civiles, la Primera y Segunda Guerra Mundial, el Holocausto - y en qué condiciones pueden contribuir estos medios populares a un razonamiento histórico crítico. La manera en que recopilan y procesan información sobre el pasado se basa cada vez más en representaciones populares fuera del aula. Los jóvenes leen novelas históricas gráficas, ven concursos televisivos o en YouTube, juegan videojuegos, publican selfis en Instagram o participan en actividades de historia viva. En particular, los educadores son testigos a diario del impacto que los géneros populares tienen sobre las ideas del alumnado acerca de la historia. Los historiadores reconocen cada vez más que los medios populares que representan pasados violentos llegan a grandes audiencias, y esto en sí constituye un fenómeno merecedor de estudio. Consequently, there is a likely risk of sanitizing and romanticizing violence and atrocities. After all, while historians and educators wonder if and how historical violence should be represented, the fact is that many popular media - particularly commercial films and video games - actually place heroic battles and wars at the centre of their representations. The articles in this special issue seek to question how popular media represent sensitive issues from violent pasts in modern history - e.g., decolonization processes, civil wars, World War I/II, the Holocaust - and under what conditions these popular media can contribute to critical historical thinking. The way they gather and process information about the past is increasingly built on popular representations they encounter outside the classroom. Young people read graphic historical novels, watch quiz shows on television or on YouTube, play (video) games, post selfies on Instagram or participate in living history activities. ![]() ![]() Historians increasingly acknowledge that popular media representing violent pasts reach large audiences, which in itself is a phenomenon worth investigating.
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