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A Bridge Too Far (film)
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A Bridge Too Far
Original film poster
Directed by
Richard Attenborough
Produced by
Joseph E. Levine
Richard P. Levine
Screenplay by
William Goldman
Based on
A Bridge Too Far
by Cornelius Ryan
Starring
Dirk Bogarde
James Caan
Michael Caine
Sean Connery
Edward Fox
Elliott Gould
Anthony Hopkins
Gene Hackman
Hardy Krüger
Laurence Olivier
Robert Redford
Maximilian Schell
Liv Ullmann
Music by
John Addison
Cinematography
Geoffrey Unsworth
Edited by
Antony Gibbs
Production
company
Joseph E. Levine Productions
Distributed by
United Artists
Release date
June 15, 1977
Running time
176 minutes
Country
United States[1]
United Kingdom[2]
Language
English
Budget
$25 million[3]
Box office
$50.7 million[4]
A Bridge Too Far is a 1977 epic war film based on the 1974 book of the same name by Cornelius Ryan, adapted by William Goldman. It was produced by Joseph E. Levine and Richard P. Levine and directed by Richard Attenborough.[5]
The film tells the story of the failure of Operation Market Garden during World War II. The operation was intended to allow the Allies to break through German lines and seize several bridges in the occupied Netherlands, including one at Arnhem, with the main objective of outflanking German defences in order to end the war by Christmas of 1944.
The name for the film comes from an unconfirmed comment attributed to British Lieutenant-General Frederick Browning, deputy commander of the First Allied Airborne Army, who told Field Marshal Bernard Montgomery, the operation's architect, before the operation: "I think we may be going a bridge too far",[6] in reference to the intention of seizing the Arnhem bridgehead over the Rhine river.
The ensemble cast includes Dirk Bogarde, James Caan, Michael Caine, Sean Connery, Edward Fox, Elliott Gould, Gene Hackman, Anthony Hopkins, Hardy Krüger, Laurence Olivier, Ryan O'Neal, Robert Redford, Maximilian Schell and Liv Ullmann. The music was scored by John Addison, who had served in the British XXX Corps during Market Garden.
Contents
[hide]
1 Plot
2 Cast and roles
2.1 Allies
2.2 Germans
2.3 Dutch civilians
3 Production
4 Finance
5 Reception
6 Promotion
7 Notes
8 References
9 See also
10 External links
Plot[edit]
Operation Market Garden envisions 35,000 men being flown 300 miles from air bases in England and dropped behind enemy lines in the Netherlands. Two divisions of US paratroopers, the 82nd and 101st Airborne, are responsible for securing the road and bridges as far as Nijmegen. A British division, the 1st Airborne, under Major-General Roy Urquhart, is to land near Arnhem and hold both sides of the bridge there, backed by a brigade of Polish paratroopers under General Stanisław Sosabowski. XXX Armoured Corps are to push up the road over the bridges captured by the American paratroopers and reach Arnhem two days after the drop.
The British are to land using gliders near Arnhem. When General Urquhart briefs his officers, some of them are surprised they are going to attempt a landing so far from the bridge. The consensus among the British top brass is that resistance will consist entirely of "Hitler Youth or old men on bicycles". Although reconnaissance photos show German tanks at Arnhem, General Browning dismisses them and also ignores reports from the Dutch underground. He does not want to be the one to tell Field Marshal Montgomery of any doubts since many previous airborne operations had been cancelled. Though British officers note that the portable radios are not likely to work for the long distance from the drop zone to the Arnhem Bridge, they choose not to convey their concerns up a chain of command intent on silencing all doubt.
Speed is the vital factor. Arnhem’s is the crucial bridge, the last means of escape for the German forces in the Netherlands and an excellent route to Germany for Allied forces. The road to it, however, is only a single highway linking the various key bridges - trucks and tanks have to squeeze to the shoulder to pass. The road is also elevated, causing anything moving on the road to stand out.
The airborne drops catch the Germans by surprise and there is little resistance. Most of the men come down safely and assemble quickly, but the Son bridge is blown up by the Germans just before the 101st Airborne secures it. Then, soon after landing, troubles beset Urquhart's division. Many of the Jeeps either do not arrive by their gliders at all or are shot up in an ambush. Their radio sets are also useless.
XXX Corps' progress to relieve them is slowed by German resistance, the narrowness of the highway and the need to construct a Bailey bridge to replace the one destroyed at Son. They are then halted at Nijmegen. There, soldiers of the 82nd Airborne Division perform a dangerous daylight river crossing in flimsy canvas-and-wood assault boats and the Nijmegen bridge is captured, but XXX Corps has to wait several hours for infantry to secure the town.
The Germans close in on the isolated British paratroops occupying part of Arnhem at the bridge, although armored attacks are repelled. Urquhart had been separated from his men and the supply drop zones overrun by the Germans. Finally, Sosabowski's troops, held up by fog in England, enter the battle too late and are unable to reinforce the British. After days of house-to-house fighting, pitted against crack SS infantry and panzers, the outgunned troops are captured or forced to withdraw. Arnhem itself is indiscriminately razed in the fighting.
Urquhart escapes the battle zone with fewer than a fifth of his original ten thousand crack troops; those who were too badly injured to flee stay behind and cover the withdrawal, surrendering afterwards. On arriving at British headquarters, Urquhart confronts Browning about his personal sentiments regarding the operation: does he think it went as well as was being claimed by Montgomery? Browning's reply contradicts his earlier optimism: "Well, as you know, I've always thought that we tried to go a bridge too far."
In the film's final scene, a young Dutch woman, whose elegant and beautifully furnished home was used as an overflow hospital by the British, abandons the mostly destroyed house. Passing through the front yard, now converted to a graveyard for fallen troops, she and her children trek along the high riverbank, with her father, an elderly doctor, pulling a few salvaged possessions in a cart.
Cast and roles[edit]
Allies[edit]
Actor
Role
Notes
Dirk Bogarde Lieutenant-General Frederick "Boy" Browning GOC I British Airborne Corps, and at HQ First Allied Airborne Army as its deputy commander, British Army at Nijmegen
James Caan Staff Sergeant Eddie Dohun
(based on Charles Dohun) runner for Captain LeGrand King "Legs" Johnson, CO, Company F, 502nd Parachute Infantry Regiment, 101st Airborne Division U.S. Army (attacking Best)
Michael Caine Lieutenant-Colonel J.O.E. Vandeleur CO, 3rd Battalion (Infantry), the Irish Guards, the Guards Armoured Division, XXX Corps, British Army[7]
Michael Byrne Lieutenant-Colonel Giles Vandeleur acting CO, 2nd Battalion (Armoured), the Irish Guards, the British Guards Armoured Division. Cousin to "Joe".
Sean Connery Major General Roy Urquhart GOC, 1st British Airborne Division, Arnhem
Edward Fox Lt. Gen. Brian Horrocks GOC, XXX Corps,[8] British Second Army.[9]
Elliott Gould Col. Robert Stout
(based on Robert Sink) CO, 506th Parachute Infantry Regiment, 101st Airborne Division[10]
Gene Hackman Maj. Gen. Stanisław Sosabowski CO, Polish 1st Independent Parachute Brigade, Polish Armed Forces[11]
Anthony Hopkins Lt. Col. John Frost CO, 2nd Parachute Battalion, 1st Parachute Brigade, 1st British Airborne Division at Arnhem road bridge
Ryan O'Neal Brig. Gen. James Gavin CO, US 82nd Airborne Division, US Army at the bridge across the Maas river in Grave, later at the Maas-Waal canal and the bridge across the Waal river in Nijmegen
Robert Redford Maj. Julian Cook CO, 3rd Battalion, 504th PIR, 82nd Airborne, US Army seizing key bridges over the Maas-Waal Canal and the river assault crossing of the Waal river.
Denholm Elliott RAF meteorology officer fictional[12]
Peter Faber Capt. Arie D. "Harry" Bestebreurtje Liaison officer with the 82nd Airborne Division, Office of Strategic Services,[13] Royal Dutch Army[14][15]
Christopher Good Maj. Carlyle
(based on Maj. Allison Digby Tatham-Warter) CO, A Company, 2nd Parachute Battalion, 1st Parachute Brigade, Arnhem,[16] British Army
Frank Grimes Maj. Fuller
(based on Brian Urquhart) G-2 (Intelligence Officer) for the 1st Airborne Corps,[17] British Army stationed at the HQ located in Moor Park Golf Club, Hertfordshire, England
Jeremy Kemp RAF briefing officer RAF, but the briefing probably took place at the 1st Airborne Corps HQ located in Moor Park Golf Club, Hertfordshire, England
Nicholas Campbell Capt. Glass
(based on Captain LeGrand King "Legs" Johnson) CO, F Company, 2nd Battalion, 502PIR,[18]
Paul Copley Pvt Wicks Batman to Lt. Col. Frost, CO, 2nd Parachute Battalion, British Army[19]
Donald Douglas Brigadier Gerald Lathbury CO, 1st Parachute Brigade, British Army in Arnhem. Wounded and briefly paralysed, Lathbury made a complete recovery and escaped captivity during Operation Pegasus.
Keith Drinkel Lieutenant Cornish
(based on Captain Eric Mackay, 9th Parachute Sqdn R.E.) 1st Airborne Division
Colin Farrell Corporal Hancock 1st British Airborne Division, Urquhart's batman
Richard Kane Col. Weaver
(based on Graeme Warrack) Senior Medical Officer, Headquarters RAMC, 1st British Airborne Division, at the Main Dressing Station in the Schoonoord Hotel of the Oosterbeek Perimeter
Paul Maxwell Maj. Gen. Maxwell Taylor CG, 101st Airborne Division, US Army at the Son bridge and later St-Oedenrode
Stephen Moore Maj. Robert Steele
(based on Major Anthony "Tony" John Deane–Drummond)[20] Second-in-Command, 1st Airborne Divisional Signals[21] British Army, Arnhem
Donald Pickering Lt. Col. C.B. Mackenzie Principal General Staff Officer (Chief of Staff), Headquarters, 1st Airborne Division, British Army, Divisional HQ at the Hartenstein Hotel[22]
Gerald Sim Col. Sims
(based on (acting Colonel) Lt. Col. Arthur Austin Eagger)[23] Senior Medical Officer, 1st Airborne Corps, R.A.M.C., British Army
John Stride Grenadier Guards major (based on Captain Lord Carrington) British Grenadier Guards Commander who argues with Major Cook after 82nd capture Nijmegen Bridge
Alun Armstrong Cpl. Davies 2nd Battalion, 1st Parachute Brigade, 1st British Airborne Division
David Auker "Taffy" Brace Medic, 1st British Airborne Division
Michael Bangerter British staff colonel British XXX Corps staff officer at General Browning's HQ
Philip Raymond Grenadier Guards Colonel (based on Lt. Colonel Edward H. Goulburn) C.O. 2nd Armoured Grenadier Guards Battalion
Michael Graham Cox Capt. Jimmy Cleminson T/Capt., [Sir] James Arnold Stacey "Jimmy" Cleminson Officer Commanding, 5 Platoon (B Company), 3rd Parachute Battalion, British Army, Arnhem[24]
Garrick Hagon Lieutenant Rafferty Lieutenant, 101st Military Police Platoon, 101st Airborne Division, Division Field Hospital, US Army[25]
John Ratzenberger Lt James Megellas Lieutenant, Company H, 504th PIR, 82nd Airborne Division, US Army, at Waal River crossing[26]
Arthur Hill US Army surgeon (colonel) Chief Division Surgeon Lt Col. David Gold, 101st Airborne Division Clearing Station
Ben Cross Trooper Binns 2nd Battalion, 1st Parachute Brigade, 1st British Airborne Division
Mark Sheridan Sergeant Tomblin 2nd Battalion, 1st Parachute Brigade, 1st British Airborne Division
George Innes Sergeant MacDonald British 1st Airborne Division radio operator at the Hartenstein Hotel
Germans[edit]
Actor
Role
Notes
Hardy Krüger Generalmajor der Waffen-SS Karl Ludwig Based on Heinz Harmel, CO of the 10th SS Panzer Division Frundsberg, but he did not want his name to be mentioned in the film
Maximilian Schell General der Waffen-SS Wilhelm Bittrich CO of II SS Panzer Corps
Wolfgang Preiss Generalfeldmarschall Gerd von Rundstedt OB West (commander of the German forces on the Western Front)
Walter Kohut Generalfeldmarschall Walter Model CO of Army Group B
Hartmut Becker German Army sentry
Hans von Borsody General der Infanterie Günther Blumentritt Chief of Staff OB West
Lex van Delden Oberscharführer Matthias Bittrich's aide.
Fred Williams Hauptsturmführer Viktor Eberhard Gräbner Commander of the reconnaissance battle group of 9th SS Panzer Division Hohenstaufen
Dutch civilians[edit]
Actor
Role
Notes
Laurence Olivier Dr. Jan Spaander
Liv Ullmann Kate ter Horst
Siem Vroom Underground leader
Erik van 't Wout Underground leader's son
Marlies van Alcmaer Underground leader's wife
Mary Smithuysen Old Dutch lady
Hans Croiset Old Dutch lady's son
Josephine Peeper Cafe waitress
Tom van Beek Jan ter Horst
Erik Chitty Organist
Richard Attenborough Lunatic wearing glasses (uncredited cameo)
Albert van der Harst Medic
Production[edit]
This section needs expansion. You can help by adding to it. (February 2016)
Air filming was done in the first weeks of September 1976, culminating in a series of air drops of a total of 1,000 men,[citation needed][27] together with the dropping of supplies from a number of Dakota aircraft. The Dakotas were gathered by the film company Joseph E. Levine Presents Incorporated. All aircraft were required to be CAA (Civil Aviation Authority) or FAA (Federal Aviation Administration) registered and licensed to carry passengers. An original deal for the purchase of ten fell through when two airframes were rejected as passenger configured without the necessary jump doors. Eleven Dakotas were procured. Two ex-Portuguese Air Force, 6153 and 6171 (N9984Q and N9983Q), and two from Air Djibouti, operating from Djibouti in French Somaliland, F-OCKU and F-OCKX (N9985Q and N9986Q) were purchased by Joseph E. Levine. Three Danish Air Force K-685, K-687, and K-688, and four Finnish Air Force C-47s, DO-4, DO-7, DO-10 and DO-12, were loaned for the duration of the parachute filming.
Aircraft 6171 doubled as the camera ship on most formations, with a camouflaged Piper Aztec, G-AWDI. A camera was mounted in the astrodome, one on the port upper mainplane surface, with a third camera on the outside of the forward port cabin window and a fourth under the aircraft centre section. In addition, centre escape hatches were removed to make additional camera ports available, provided that no troops were aboard during filming. A second Aztec, G-ASND, was a backup camera ship on some shots, but it was not camouflaged. An Alouette, G-BDWN, was also employed. After a mishap with G-AWDI, two locally hired Cessna 172s, PH-GVP and PH-ADF, were also used. Ten Horsa glider replicas were built, but a windstorm damaged almost all of them. Seven or eight were hastily repaired for the shoot. The replica gliders were tail-heavy and required a support post under the rear fuselage, with camera angles carefully chosen to avoid revealing this. Dakota 6153 was fitted with tow gear and Horsa replicas were towed at high speed, though none went airborne. A two-seat Blaník sailplane, provided by a member of the London Gliding Club, Dunstable, was towed aloft for the interior takeoff shots.
Shooting of a scene in Deventer on 18 May 1976. German vehicles are crossing the bridge.
Four Harvards portrayed American and German fighters. Their original identities were PH-KLU, PH-BKT, B-64 and B-118, the latter two aircraft loaned by the Royal Netherlands Air Force. These were flown by members of the Gilze Rijen Aero Club, which also provided an Auster III, PH-NGK, which depicted an Auster V, RT607, in wartime camouflage. Spitfire Mk. IX, MH434, depicting a photo reconnaissance variant, coded AC-S, was lent by the Hon. Patrick Lindsay, and was flown by aerobatic champion Neil Williams.[28]
Finding sufficient American tanks, jeeps, and trucks of WWII vintage was just possible as many of the vehicles were being discarded from European military (almost entirely reserve) units especially from Greece and Turkey.
The scenes around the "Arnhem" bridge were actually shot in Deventer, where a similar bridge over the IJssel was still available. Although a replica of the original road bridge in Arnhem still existed, it was, by the mid-1970s, sitting in modern urban surroundings which could not be used to portray a 1940s city. A few scenes were shot in Zutphen, where the old municipality house and the main church can be seen.
Finance[edit]
In order to keep high costs down, all the star-name actors agreed to participate on a "favoured-nation" basis (i.e. they would all receive the same weekly fee), which in this case was $250,000 per week (the 2012 equivalent of $1,008,250 or £642,000).[29]
Shooting of the American-led assault on the Bridge at Nijmegen was dubbed the "Million-Dollar Hour". Because of the heavy traffic, the crew had permission to film on the bridge between eight and nine o'clock on October 3, 1976. Failure to complete the scene would have necessitated rescheduling at a cost — including Redford's overtime — of at least a million dollars. For this reason, Attenborough insisted that all actors playing corpses keep their eyes closed.[5]
After United Artists agreed to pay $6 million for US and Canada distribution rights,[30] the film was a box office disappointment in North America but performed well in Europe.[31]
Reception[edit]
The film received generally positive reviews from critics. A "making-of" documentary included in a special edition DVD of A Bridge Too Far claims that, at the time of its release, "the film was shunned by American critics and completely ignored at Oscar time for daring to expose the fatal inadequacies of the Allied campaign."[32] Review aggregator Rotten Tomatoes reports that 62% of 21 critics have given the film a positive review, with a rating average of 6.1 out of 10.[33] Critics agreed that the film was impressively staged[34] and historically accurate, although many found it too long and too repetitive.[35] James Caan[35] and Anthony Hopkins were cited by many critics for the excellence of their performances, in a film filled with hundreds of speaking roles and cameos by many of the period's top actors.
Promotion[edit]
Story of A Bridge Too Far
Author
William Goldman
Country
United States
Language
English
Genre
non-fiction
Publication date
1977
To promote the film, scriptwriter William Goldman wrote a book titled Story of A Bridge Too Far as a favour to Joseph E. Levine.[36] It was published in December 1977 and divided into three sections:
"Reflections on Filmmaking in General and A Bridge Too Far". This section features some essays later reprinted in Goldman's Adventures in the Screen Trade.[36]
"A Bridge Too Far: The Story in Pictures" - 150 sequential photographs from the film with Goldman's captions.
"Stars and Heroes" - some of the movie's actors and the men they play tell Goldman their thoughts on the film and the battle.
Notes[edit]
Jump up ^ "A Bridge Too Far (1977)". BFI. Retrieved August 2, 2017.
Jump up ^ "A Bridge Too Far (1977)". LUMIERE. Retrieved August 2, 2017.
Jump up ^ McKenna, A. T. (2011). "Joseph E. Levine and A Bridge Too Far (1977): A Producer's Labour of Love". Historical Journal of Film, Radio and Television. 31 (2): 211–227. doi:10.1080/01439685.2011.572606.
Jump up ^ "A Bridge Too Far, Box Office Information". Box Office Mojo. Retrieved May 26, 2014.
^ Jump up to: a b Goldman 1977
Jump up ^ Ryan 1974, p. 67
Jump up ^ In the film "Joe" is depicted as leading the tanks of his cousin Giles' battalion although he commanded the Irish Guards Group as was the practice of combining two battalions from same regiment under senior regimental officer
Jump up ^ Carried the primary responsibility for the 'Garden' ground offensive part of the operation
Jump up ^ Fox had known General Horrocks as a friend before working on the film and took care to portray him accurately. Later he would cite this as his favourite film role. A Bridge Too Far (1977) British Film Institute, archived from the original on 2008-03-12, retrieved 2009-10-19
Jump up ^ Attacked bridge at Zon and later entered Eindhoven to meet British troops
Jump up ^ Arrived in the 3rd lift north of Nijemegen and advanced towards Arnhem
Jump up ^ General Browning failed to arrange for RAF and USAAF liaison officers for the British I Airborne Corps. In the book Ryan says Sosabowski spoke with the chief liaison officer, Lieutenant Colonel George Stevens.
Jump up ^ "Capt. Arie D. Bestebreurtje - World War II Special Operations Soldier". B26.com. Retrieved 2014-06-14.
Jump up ^ escaping in 1941 to UK he studied at the Royal Military Academy, and later in Edinburgh he was trained as an OSS agent and assigned to operations behind in occupied Holland.
Jump up ^ Dutch Wikipedia article
Jump up ^ The major did not die of wounds at Brigade HQ, but was taken prisoner, moved to the St. Elizabeth Hospital, and later conducted an escape (Operation Pegasus) with the Dutch Resistance to bring out 138 escapees of the battle, and returning to his post with the remnants of his company Evasion Report: 21st September - 23rd October 1944 [1]
Jump up ^ p.132, Ambrose, Immerman
Jump up ^ He was initially wounded by a rifle bullet in the right shoulder. The following is taken from War Stories website [2] History vs Hollywood - Captain Legs Johnson "Medics made him lie down and set up an IV with plasma flowing into him. Medical jeeps bearing stretchers were evacuating wounded two at a time, to a field hospital in Zon. Since many of the wounded were hit more seriously than himself, Legs kept delaying his own evacuation, telling the medics to convey the others first. Even when Legs was finally loaded, he was still telling them to delay and take others. Against his objections, he was placed across the hood of the Jeep on a stretcher and then the Jeep scratched-off, headed for Zon. At that time, a German MG42 machine-gun fired at the Jeep from over 500 yards distance. One round entered Legs' helmet and tore into his head. He lost consciousness and would not wake up until weeks later.
At the hospital in Zon, Legs was briefly examined and since he was unconscious and his brains were exposed, he was relegated to the "dead pile" of troopers who were wounded so seriously that they had no chance to survive.
Later that afternoon, Sgt Charles Dohun (Hollywood changed his first name to Eddie), (James Caan) who was Legs' runner [orderly] wandered over to the hospital for a specific purpose. He knew that the captain had a substantial amount of cash in his billfold and he didn't want a stranger from another unit to get it.
Dohun spotted Captain Johnson in the dead pile and examined him; when he discovered that Legs was still breathing, he carried him into an operating room and ordered the surgeon to save him. When the doctor refused, Dohun pointed a souvenir Luger at him and threatened to shoot him (he did not use a .45 as shown in A Bridge Too Far, but a .45 looks more impressive).
The operation was successful. "Legs" regained consciousness six weeks later in a hospital, "deaf, dumb, blind, and with a steel plate in my head." As of this writing (October, 2005), Legs is still alive in Florida. Charles Dohun survived World War II and lived in N.C. until his death about 15 years ago.
Regarding the Hollywood Depiction
When I interviewed Legs Johnson in the late 1990s, he commented on how he and Sgt Dohun were portrayed in A Bridge Too Far, the 1977 Hollywood version of Cornelius Ryan's book about Operation Market Garden.
"Legs" said: "In the movie, I was a little, scared guy and Dohun was a great big guy. Hell, in real life I would've made TWO of Dohun."
Cornelius Ryan described in his book how Sgt Dohun was placed under arrest for threatening to shoot the surgeon. I have not learned the identity of that doctor, but he did NOT pardon the sergeant as shown in the film. Sgt Dohun was taken before LTC Steve Chappuis (later Brigadier General (Ret.) Steve A. Chappuis), the 2/502 C.O. and "Silent Steve" placed him under arrest for one minute. As Dohun stood at attention before his desk, the LTC looked at his watch for sixty seconds, then told Dohun he could go.
Captain Hugh "Duke" Roberts, the second battalion S-1 of the 502 PIR, was among the few individuals who knew the story of how Dohun had ordered the doctor to perform the operation, at gunpoint. Duke wrote a letter to Mrs Johnson,(Legs' wife), explaining how Sgt Dohun had been responsible for saving his life. When Cornelius Ryan was researching A Bridge Too Far, Mrs Johnson sent that letter to Ryan, which is how the author became aware of the story.
Jump up ^ Although ordered to load his shotgun, dinner jacket and golf clubs into the staff car in the movie, seemingly to bring with him on the operation, these would eventually arrive in the Sea Tail via Normandy beaches.
Jump up ^ The role is based to a point that he was the major responsible for divisional signals. His depiction in the film after landing is completely fictional.
Jump up ^ He became separated from his unit whilst trying to link up with 1st Parachute Brigade, who were surrounded at the north end of Arnhem Bridge, and along with three other soldiers spent three days trapped in a small room at the back of a German–occupied house. On managing to leave this building, they split up to cross the river; Deane–Drummond successfully swam to the south bank of the Rhine, but was almost immediately taken prisoner. The next day, he managed to escape from a group who were being escorted out of Arnhem, and spent the next eleven days hiding inside a large cupboard until he felt safe to move.
Jump up ^ Mackenzie was effectively CO on the first day until Hicks was contacted by which time he had established Divisional HQ at the Hartenstein Hotel. He later swam the river Lek to contact Gen. Sosabowski, and through him the XXX Corps HQ.
Jump up ^ O.B.E. (Military Division) of the Order "in recognition of gallant and, distinguished services in Sicily" Supplement to The London Gazette, 23 March 1944
Jump up ^ Shown accompanying Maj. Gen. Urquhart he however did not become ADC to General Officer Commanding 1st Airborne Division until 1945, but was mentioned in dispatches for Arnhem
Jump up ^ The name is probably fictional since the event did not occur as portrayed in the film
Jump up ^ Most decorated officer of the 82nd Division. Unlike depicted in the movie the real Magellas survived the battle and as of 2015 was still alive.
Jump up ^ a member of the 1st Battalion of the Parachute Regiment claims there were no more than 200 men involved. Parachute drops were by the 1st Battalion the Parachute regiment, only 100 jumpers plus support, 10 man sticks per Dakota.
Jump up ^ Hurst, Flt. Lt. K.J., DC-3 Project Officer for the film; AIR International, July 1977, Volume 13, Number 1, pp. 33-34, Talkback column
Jump up ^ "Entirely Up To You, Darling"; page 152-3; paperback; Arrow Books; published 2009. ISBN 978-0-099-50304-0
Jump up ^ A., C. (June 15, 1977). "The final decision will be mine". The Washington Post (1974-Current File).
Jump up ^ European filmgoers are holding up "Bridge". Beck, Marilyn. Chicago Tribune (1963-Current file) [Chicago, Ill] 20 Oct 1977: a8.
Jump up ^ Papamichael, Stella. "A Bridge Too Far: Special Edition DVD (1977)," BBC website. Retrieved Sept. 5, 2010.
Jump up ^ "A Bridge Too Far (1977)". Rotten Tomatoes. Retrieved Sept. 5, 2010.
Jump up ^ Canby, Vincent. "Film: It's a Long War In 'Bridge Too Far'," New York Times (June 16, 1977).
^ Jump up to: a b Morgan, Jason. "A Bridge Too Far," Archived September 7, 2011, at the Wayback Machine. FilmCritic.com (Jan. 9, 2006).
^ Jump up to: a b Egan p 145
References[edit]
Arthur, Max, Forgotten Voices of the Second World War: A new history of world war two in the words of the men and women who were there, Ebury Press, 2004 ISBN 0091897351 OCLC 57691717
Goldman, William (1977), William Goldman's Story of a Bridge Too Far, Coronet Books, ISBN 0-340-22340-5 [NB: Book has no page numbers]
Ryan, Cornelius (1974), A Bridge Too Far, London: Hamish Hamilton, ISBN 0-340-19941-5
Waddy, Colonel John (1977), "The Making of a Bridge Too Far", After the Battle, London: Plaistow Press (17): 10–34
Ambrose, Stephen E. & Immerman, Richard H., Ike's spies: Eisenhower and the espionage establishment, University Press of Mississippi, 1999. ISBN 0-385-14493-8 OCLC 6863017
See also[edit]
Theirs Is the Glory (1946 British film about the Battle of Arnhem)
External links[edit]
Wikiquote has quotations related to: A Bridge Too Far (film)
A Bridge Too Far on IMDb
A Bridge Too Far at Box Office Mojo
A Bridge Too Far at AllMovie
A Bridge Too Far at the TCM Movie Database
A Bridge Too Far at the American Film Institute Catalog
"A Bridge Too Far". at British Cinema Greats.
[show]
v
t
e
Richard Attenborough
Films directed
Oh! What a Lovely War (1969)
Young Winston (1972)
A Bridge Too Far (1977)
Magic (1978)
Gandhi (1982)
A Chorus Line (1985)
Cry Freedom (1987)
Chaplin (1992)
Shadowlands (1993)
In Love and War (1996)
Grey Owl (1999)
Closing the Ring (2007)
Family
Sheila Sim (wife)
Michael Attenborough (son)
Frederick Attenborough (father)
David Attenborough (brother)
John Attenborough (brother)
[show]
v
t
e
Works by William Goldman
Plays
Tenderloin (1960)
Blood, Sweat and Stanley Poole (1961)
A Family Affair (1962)
Misery (2012)
Novels
The Temple of Gold (1957)
Your Turn to Curtsy, My Turn to Bow (1958)
Soldier in the Rain (1960)
Boys and Girls Together (1964)
No Way to Treat a Lady (1964)
The Thing of It Is... (1967)
Father's Day (1971; sequel to The Thing of It Is)
The Princess Bride (1973)
Wigger (1974)
Marathon Man (1974)
Magic (1976)
Tinsel (1979)
Control (1982)
The Silent Gondoliers (1983)
The Color of Light (1984)
Heat (1985)
Brothers (1986)
Films
Masquerade (1965)
Harper (1966)
Butch Cassidy and the Sundance Kid (1969)
The Hot Rock (1972)
The Stepford Wives (1975)
The Great Waldo Pepper (1975)
Marathon Man (1976)
All the President's Men (1976)
A Bridge Too Far (1977)
Magic (1978)
Mr. Horn (1979, TV)
Heat (1986)
The Princess Bride (1987)
Misery (1990)
Memoirs of an Invisible Man (1992)
Year of the Comet (1992)
Chaplin (1992)
Maverick (1994)
The Chamber (1996)
The Ghost and the Darkness (1996)
Absolute Power (1997)
The General's Daughter (1999)
Hearts in Atlantis (2001)
Dreamcatcher (2003)
Wild Card (2015)
Non-fiction
The Season: A Candid Look at Broadway (1969)
The Story of 'A Bridge Too Far' (1977)
Adventures in the Screen Trade (1983)
Wait Till Next Year (with Mike Lupica, 1988)
Hype and Glory (1990)
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What we've got here is failure to communicate
From Wikipedia, the free encyclopedia
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"What we've got here is failure to communicate"
The Captain (Strother Martin) delivers the quote.
Character
The Captain
Luke
Actor
Strother Martin
Paul Newman
First used in
Cool Hand Luke
Voted No. 11 in AFI's 100 Movie Quotes poll
The phrase "What we've got here is failure to communicate"[1] is a quotation from the 1967 film Cool Hand Luke, spoken in the movie first by Strother Martin (as the Captain, a prison warden) and later, abridged, by Paul Newman (as Luke, a stubborn prisoner).
The context of the first delivery of the line is:
Captain: You gonna get used to wearing them chains after a while, Luke. Don't you never stop listening to them clinking, 'cause they gonna remind you what I been saying for your own good.
Luke: (sarcastically) I wish you'd stop being so good to me, Cap'n.
Captain: Don't you ever talk that way to me. (pause, then hitting him) NEVER! NEVER! (Luke rolls down hill; to other prisoners)
What we've got here is failure to communicate. Some men you just can't reach. So you get what we had here last week, which is the way he wants it. Well, he gets it. I don't like it any more than you men.
The Captain's line is often misquoted as "What we have here is a failure to communicate".[2]
Towards the end of the movie, Luke takes a final stab at freedom – stealing a dump truck and taking flight. After his dramatic escape from the Florida chain gang prison, Luke abandons the truck and enters a church, only to be surrounded by police moments later. Feeling that his life is no longer worth living, walks to a window facing the police and mocks the Captain by repeating the first part of his speech ("What we've got here is a failure to communicate.").[2] He is immediately shot in the neck by Boss Godfrey.
The phrase ranks at number 11 on the American Film Institute list, AFI's 100 Years... 100 Movie Quotes.[1]
In popular culture[edit]
Guns N' Roses included the quotation, sampled from Martin's speech in the film, in the opening of their song "Civil War" (1990), and later remixed it in "Madagascar" (2008).[3][4][5]
The quote has been used in many movies, TV shows and other mediums due to its lasting popularity.
References[edit]
^ Jump up to: a b "Frankly, My Dear, I Don't Give A Damn", AFI's 100 Years... 100 Movie Quotes, American Film Institute.
^ Jump up to: a b Greatest Film Mis-Quotes, AMC Filmsite
Jump up ^ Pop Culture 101: COOL HAND LUKE. Turner Entertainment Networks
Jump up ^ Dennis O'Dell (2008-11-14) Guns N' Roses Chinese Democracy Review. BBC
Jump up ^ Bond, Callan (February 8, 2006). "Questions and Answers". Cool Movie Trivia.
External links[edit]
Sound clip of the phrase (.wav, 57 KB)
The quote on IMDb
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text:
Primary source
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For Wikipedia's policy on the use of primary sources, see WP:PRIMARY.
Not to be confused with Primary sector.
This wall painting found in the Roman city of Pompeii is an example of a primary source about people in Pompeii in Roman times. (Portrait of Paquius Proculo)
In the study of history as an academic discipline, a primary source (also called original source or evidence) is an artifact, a document, diary, manuscript, autobiography, a recording, or any other source of information that was created at the time under study. It serves as an original source of information about the topic. Similar definitions can be used in library science, and other areas of scholarship, although different fields have somewhat different definitions. In journalism, a primary source can be a person with direct knowledge of a situation, or a document written by such a person.[citation needed]
Primary sources are distinguished from secondary sources, which cite, comment on, or build upon primary sources. Generally, accounts written after the fact with the benefit (and possible distortions) of hindsight are secondary.[1] A secondary source may also be a primary source depending on how it is used.[2] For example, a memoir would be considered a primary source in research concerning its author or about his or her friends characterized within it, but the same memoir would be a secondary source if it were used to examine the culture in which its author lived. "Primary" and "secondary" should be understood as relative terms, with sources categorized according to specific historical contexts and what is being studied.[3]:118–246[4]
Contents
[hide]
1 The significance of source classification
1.1 History
1.2 Other fields
2 Finding primary sources
3 Using primary sources
4 Strengths and weaknesses
5 Classifying sources
6 Forgeries
7 See also
8 References
9 External links
The significance of source classification[edit]
History[edit]
From a letter of Philip II, King of Spain, 16th century
In scholarly writing, an important objective of classifying sources is to determine their independence and reliability.[4] In contexts such as historical writing, it is almost always advisable to use primary sources and that "if none are available, it is only with great caution that [the author] may proceed to make use of secondary sources."[5] Sreedharan believes that primary sources have the most direct connection to the past and that they "speak for themselves" in ways that cannot be captured through the filter of secondary sources.[6]
Other fields[edit]
In scholarly writing, the objective of classifying sources is to determine the independence and reliability of sources.[4] Though the terms primary source and secondary source originated in historiography[citation needed] as a way to trace the history of historical ideas, they have been applied to many other fields. For example, these ideas may be used to trace the history of scientific theories, literary elements and other information that is passed from one author to another.
In scientific literature, a primary source is the original publication of a scientist's new data, results and theories. In political history, primary sources are documents such as official reports, speeches, pamphlets, posters, or letters by participants, official election returns and eyewitness accounts. In the history of ideas or intellectual history, the main primary sources are books, essays and letters written by intellectuals; these intellectuals may include historians, whose books and essays are therefore considered primary sources for the intellectual historian, though they are secondary sources in their own topical fields. In religious history, the primary sources are religious texts and descriptions of religious ceremonies and rituals.[7]
A study of cultural history could include fictional sources such as novels or plays. In a broader sense primary sources also include artifacts like photographs, newsreels, coins, paintings or buildings created at the time. Historians may also take archaeological artifacts and oral reports and interviews into consideration. Written sources may be divided into three types.[8]
Narrative sources or literary sources tell a story or message. They are not limited to fictional sources (which can be sources of information for contemporary attitudes) but include diaries, films, biographies, leading philosophical works and scientific works.
Diplomatic sources include charters and other legal documents which usually follow a set format.
Social documents are records created by organizations, such as registers of births and tax records.
In historiography, when the study of history is subject to historical scrutiny, a secondary source becomes a primary source. For a biography of a historian, that historian's publications would be primary sources. Documentary films can be considered a secondary source or primary source, depending on how much the filmmaker modifies the original sources.[9]
The Lafayette College Library, provides a synopsis of primary sources in several areas of study:
"The definition of a primary source varies depending upon the academic discipline and the context in which it is used.
In the humanities, a primary source could be defined as something that was created either during the time period being studied or afterward by individuals reflecting on their involvement in the events of that time.
In the social sciences, the definition of a primary source would be expanded to include numerical data that has been gathered to analyze relationships between people, events, and their environment.
In the natural sciences, a primary source could be defined as a report of original findings or ideas. These sources often appear in the form of research articles with sections on methods and results."[10]
Finding primary sources[edit]
Although many primary sources remain in private hands, others are located in archives, libraries, museums, historical societies, and special collections. These can be public or private. Some are affiliated with universities and colleges, while others are government entities. Materials relating to one area might be spread over a large number of different institutions. These can be distant from the original source of the document. For example, the Huntington Library in California houses a large number of documents from the United Kingdom.
In the US, digital copies of primary sources can be retrieved from a number of places. The Library of Congress maintains several digital collections where they can be retrieved. Some examples are American Memory and Chronicling America. The National Archives and Records Administration also has digital collections in Digital Vaults. The Digital Public Library of America searches across the digitized primary source collections of many libraries, archives, and museums. The Internet Archive also has primary source materials in many formats.
In the UK, the National Archives provides a consolidated search of its own catalogue and a wide variety of other archives listed on the Access to Archives index. Digital copies of various classes of documents at the National Archives (including wills) are available from DocumentsOnline. Most of the available documents relate to England and Wales. Some digital copies of primary sources are available from the National Archives of Scotland. Many County Record Offices collections are included in Access to Archives, while others have their own on-line catalogues. Many County Record Offices will supply digital copies of documents.
In other regions, Europeana has digitized materials from across Europe while the World Digital Library and Flickr Commons have items from all over the world. Trove has primary sources from Australia.
Most primary source materials are not digitized and may only be represented online with a record or finding aid. Both digitized and not digitized materials can be found through catalogs such as WorldCat, the Library of Congress catalog, the National Archives catalog, and so on.
Using primary sources[edit]
History as an academic discipline is based on primary sources, as evaluated by the community of scholars, who report their findings in books, articles and papers. Arthur Marwick says "Primary sources are absolutely fundamental to history."[11] Ideally, a historian will use all available primary sources that were created by the people involved at the time being studied. In practice some sources have been destroyed, while others are not available for research. Perhaps the only eyewitness reports of an event may be memoirs, autobiographies, or oral interviews taken years later. Sometimes the only evidence relating to an event or person in the distant past was written or copied decades or centuries later. Manuscripts that are sources for classical texts can be copies of documents, or fragments of copies of documents. This is a common problem in classical studies, where sometimes only a summary of a book or letter has survived. Potential difficulties with primary sources have the result that history is usually taught in schools using secondary sources.
Historians studying the modern period with the intention of publishing an academic article prefer to go back to available primary sources and to seek new (in other words, forgotten or lost) ones. Primary sources, whether accurate or not, offer new input into historical questions and most modern history revolves around heavy use of archives and special collections for the purpose of finding useful primary sources. A work on history is not likely to be taken seriously as scholarship if it only cites secondary sources, as it does not indicate that original research has been done.[3]
However, primary sources – particularly those from before the 20th century – may have hidden challenges. "Primary sources, in fact, are usually fragmentary, ambiguous and very difficult to analyse and interpret."[11] Obsolete meanings of familiar words and social context are among the traps that await the newcomer to historical studies. For this reason, the interpretation of primary texts is typically taught as part of an advanced college or postgraduate history course, although advanced self-study or informal training is also possible.
The following questions are asked about primary sources:
What is the tone?
Who is the intended audience?
What is the purpose of the publication?
What assumptions does the author make?
What are the bases of the author's conclusions?
Does the author agree or disagree with other authors of the subject?
Does the content agree with what you know or have learned about the issue?
Where was the source made? (questions of systemic bias)
Strengths and weaknesses[edit]
In many fields and contexts, such as historical writing, it is almost always advisable to use primary sources if possible, and "if none are available, it is only with great caution that [the author] may proceed to make use of secondary sources."[5] In addition, primary sources avoid the problem inherent in secondary sources in which each new author may distort and put a new spin on the findings of prior cited authors.[12]
"A history, whose author draws conclusions from other than primary sources or secondary sources actually based on primary sources, is by definition fiction and not history at all."
—  Kameron Searle
However, a primary source is not necessarily more of an authority or better than a secondary source. There can be bias and tacit unconscious views which twist historical information.
"Original material may be... prejudiced, or at least not exactly what it claims to be."
—  David Iredale[13]
The errors may be corrected in secondary sources, which are often subjected to peer review, can be well documented, and are often written by historians working in institutions where methodological accuracy is important to the future of the author's career and reputation. Historians consider the accuracy and objectiveness of the primary sources that they are using and historians subject both primary and secondary sources to a high level of scrutiny. A primary source such as a journal entry (or the online version, a blog), at best, may only reflect one individual's opinion on events, which may or may not be truthful, accurate, or complete.
Participants and eyewitnesses may misunderstand events or distort their reports, deliberately or not, to enhance their own image or importance. Such effects can increase over time, as people create a narrative that may not be accurate.[14] For any source, primary or secondary, it is important for the researcher to evaluate the amount and direction of bias.[15] As an example, a government report may be an accurate and unbiased description of events, but it may be censored or altered for propaganda or cover-up purposes. The facts can be distorted to present the opposing sides in a negative light. Barristers are taught that evidence in a court case may be truthful but may still be distorted to support or oppose the position of one of the parties.
Classifying sources[edit]
Many sources can be considered either primary or secondary, depending on the context in which they are examined.[4] Moreover, the distinction between primary and secondary sources is subjective and contextual,[16] so that precise definitions are difficult to make.[17] A book review, when it contains the opinion of the reviewer about the book rather than a summary of the book, becomes a primary source.[18][19]
If a historical text discusses old documents to derive a new historical conclusion, it is considered to be a primary source for the new conclusion. Examples in which a source can be both primary and secondary include an obituary[20] or a survey of several volumes of a journal counting the frequency of articles on a certain topic.[20]
Whether a source is regarded as primary or secondary in a given context may change, depending upon the present state of knowledge within the field.[21] For example, if a document refers to the contents of a previous but undiscovered letter, that document may be considered "primary", since it is the closest known thing to an original source; but if the letter is later found, it may then be considered "secondary"[22]
In some instances, the reason for identifying a text as the "primary source" may devolve from the fact that no copy of the original source material exists, or that it is the oldest extant source for the information cited.[23]
Forgeries[edit]
Historians must occasionally contend with forged documents that purport to be primary sources. These forgeries have usually been constructed with a fraudulent purpose, such as promulgating legal rights, supporting false pedigrees, or promoting particular interpretations of historic events. The investigation of documents to determine their authenticity is called diplomatics.
For centuries, Popes used the forged Donation of Constantine to bolster the Papacy's secular power. Among the earliest forgeries are false Anglo-Saxon charters, a number of 11th- and 12th-century forgeries produced by monasteries and abbeys to support a claim to land where the original document had been lost or never existed. One particularly unusual forgery of a primary source was perpetrated by Sir Edward Dering, who placed false monumental brasses in a parish church.[24] In 1986, Hugh Trevor-Roper "authenticated" the Hitler Diaries, which were later proved to be forgeries. Recently, forged documents have been placed within the UK National Archives in the hope of establishing a false provenance.[25][26] However, historians dealing with recent centuries rarely encounter forgeries of any importance.[3]:22–25
See also[edit]
Examples
Monograph
Others
Archival research
Historiography
Source criticism
Source literature
Source text
Historical document
Library and information science portal
Secondary source
Tertiary source
Original research
UNISIST model
Scientific journalism
Scholarly method
References[edit]
Jump up ^ "Primary, secondary and tertiary sources". University Libraries, University of Maryland.
Jump up ^ "Primary and secondary sources". Ithaca College Library.
^ Jump up to: a b c Oscar Handlin and Arthur Meier Schlesinger, Harvard Guide to American History (1954)
^ Jump up to: a b c d Kragh, Helge (1989). An Introduction to the Historiography of Science. Cambridge University Press. p. 121. ISBN 0-521-38921-6. [T]he distinction is not a sharp one. Since a source is only a source in a specific historical context, the same source object can be both a primary or secondary source according to what it is used for.
^ Jump up to: a b Cipolla, Carlo M. (1992). Between Two Cultures:An Introduction to Economic History. W. W. Norton & Co. p. 27. ISBN 978-0-393-30816-7.
Jump up ^ Sreedharan, E. (2004). A Textbook of Historiography, 500 B.C. to A.D. 2000. Orient Longman. p. 302. ISBN 81-250-2657-6. [I]t is through the primary sources that the past indisputably imposes its reality on the historian. That this imposition is basic in any understanding of the past is clear from the rules that documents should not be altered, or that any material damaging to a historian's argument or purpose should not be left out or suppressed. These rules mean that the sources or the texts of the past have an integrity and that they do indeed 'speak for themselves', and that they are necessary constraints through which past reality imposes itself on the historian.
Jump up ^ "Primary Sources - Religion". Research Guides at Tufts University. 26 August 2014. Retrieved 15 January 2014.
Jump up ^ Howell, Martha C.; Prevenier, Walter. (2001). From reliable sources : an introduction to historical method. Ithaca, N.Y.: Cornell University Press. pp. 20–22. ISBN 0-8014-8560-6.
Jump up ^ Cripps, Thomas (1995). "Historical Truth: An Interview with Ken Burns". American Historical Review. The American Historical Review, Vol. 100, No. 3. 100 (3): 741–764. JSTOR 2168603. doi:10.2307/2168603.
Jump up ^ "Primary Sources: what are they?". Lafayette College Library.
^ Jump up to: a b Marwick, Arthur. "Primary Sources: Handle with Care". In Sources and Methods for Family and Community Historians: A Handbook edited by Michael Drake and Ruth Finnegan. Cambridge: Cambridge University Press, 1997. ISBN 0-521-46580-X
Jump up ^ Ross, Jeffrey Ian (2004). "Taking Stock of Research Methods and Analysis on Oppositional Political Terrorism". The American Sociologist. 35 (2): 26–37. doi:10.1007/BF02692395. The analysis of secondary source information is problematic. The further an investigator is from the primary source, the more distorted the information may be. Again, each new person may put his or her spin on the findings.
Jump up ^ Iredale, David (1973). Enjoying archives: what they are, where to find them, how to use them. Newton Abbot, David and Charles,. ISBN 0-7153-5669-0.
Jump up ^ Barbara W. Sommer and Mary Kay Quinlan, The Oral History Manual (2002)
Jump up ^ Library of Congress, " Analysis of Primary Sources" online 2007
Jump up ^ Dalton, Margaret Stieg; Charnigo, Laurie (September 2004). "Historians and Their Information Sources" (PDF). College & Research Libraries. 65 (5): 419. doi:10.5860/crl.65.5.400. Retrieved 3 January 2017.
Jump up ^ Delgadillo, Roberto; Lynch, Beverly (May 1999). "Future Historians: Their Quest for Information" (PDF). College & Research Libraries. 60 (3): 245–259, at 253. [T]he same document can be a primary or a secondary source depending on the particular analysis the historian is doing.
Jump up ^ Princeton (2011). "Book reviews". Scholarly definition document. Princeton. Retrieved 22 September 2011.
Jump up ^ Virginia Polytechnic Institute and State University (2011). "Book reviews". Scholarly definition document. Virginia Polytechnic Institute and State University. Retrieved 22 September 2011.
^ Jump up to: a b Duffin, Jacalyn (1999). History of Medicine: A Scandalously Short Introduction. University of Toronto Press. p. 366. ISBN 0-8020-7912-1.
Jump up ^ Henige, David (1986). "Primary Source by Primary Source? On the Role of Epidemics in New World Depopulation". Ethnohistory. Ethnohistory, Vol. 33, No. 3. 33 (3): 292–312, at 292. JSTOR 481816. doi:10.2307/481816. [T]he term 'primary' inevitably carries a relative meaning insofar as it defines those pieces of information that stand in closest relationship to an event or process in the present state of our knowledge. Indeed, in most instances the very nature of a primary source tells us that it is actually derivative.…[H]istorians have no choice but to regard certain of the available sources as 'primary' since they are as near to truly original sources as they can now secure
Jump up ^ Henige 1986, p. 292.
Jump up ^ Ambraseys, Nicholas; Melville, Charles Peter; Adams, Robin Dartrey (1994). The Seismicity of Egypt, Arabia, and the Red Sea. Cambridge University Press. p. 7. ISBN 0-521-39120-2. The same chronicle can be a primary source for the period contemporary with the author, a secondary source for earlier material derived from previous works, but also a primary source when these earlier works have not survived
Jump up ^ Everyone has Roots: An Introduction to English Genealogy by Anthony J. Camp, published by Genealogical Pub. Co., 1978
Jump up ^ "Introduction to record class R4". The National Archives. Retrieved 8 March 2015.
Jump up ^ Leppard, David (4 May 2008). "Forgeries revealed in the National Archives – Times Online". The Sunday Times. Retrieved 4 July 2011.
Benjamin, Jules R (2004). A Student's Guide to History. Boston: Bedford/St. Martin's. ISBN 0-312-40356-9.
Craver, Kathleen W (1999). Using Internet Primary Sources to Teach Critical Thinking Skills in History. Westwood, CT: Greenwood Press. ISBN 0-313-30749-0.
Wood Gray (1991) [1964]. Historian's Handbook: A Key to the Study and Writing of History. 2nd ed. Waveland Press; 1991. ISBN 978-0-88133-626-9.
Marius, Richard; Page, Melvin Eugene (2005). A short guide to writing about history. New York: Pearson Longman. ISBN 978-0-321-22716-4.
Sebastian Olden-Jørgensen (2005). Til kilderne!: introduktion til historisk kildekritik (in Danish). [To the sources: Introduction to historical source criticism]. København: Gads Forlag. ISBN 978-87-12-03778-1.
External links[edit]
Primary sources repositories
Primary Sources from World War One and Two: War-letters.com Database of mailed letters to and from soldiers during major world conflicts from the Napoleonic Wars to World War Two.
Fold3.com – Over 60,000,000 Primary Source Documents created by Ancestry.com
A listing of over 5000 websites describing holdings of manuscripts, archives, rare books, historical photographs, and other primary sources from the University of Idaho.
Find primary sources in the collections of major research libraries using ArchiveGrid
Shapell Manuscript Foundation Digitalized Primary Sources and Historical Artifacts from 1786 – present
Sacred Texts.com A collection of religious texts and books from the Internet Sacred Text Archive
All sources repositories
Wikisource – The Free Library – the Wikimedia Foundation project that collects, edits, and catalogs all source texts
Essays and descriptions of primary, secondary and other sources
"Research Using Primary Sources" from the University of Maryland Libraries (accessed 16 Jul 2013)
"How to distinguish between primary and secondary sources" from the University of California, Santa Cruz Library
Joan of Arc: Primary Sources Series – Example of a publication focusing on primary source documents- the Historical Association of Joan of Arc Studies
Finding Historical Primary Sources from the University of California, Berkeley library
"Primary versus secondary sources" from the Bowling Green State University library
Finding primary sources in world history from the Center for History and New Media, George Mason University
Guide to Terminology used when describing archival and other primary source materials on Archivopedia
Thehistorysite.org Links to many online history archival sources.
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