This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. The findings from the analyses suggest that visual effects for still image forms and the repetition of these applications and strategies are significant to the content depicted in images, the scope of the visual presentation, and the capacity for audiences to connect to historical information in the film.

The aim of this study is to determine the objectivity of Ken Burns and Lynn Novick’s The Vietnam War (2017) 10-parter series in comparison to past Vietnam documentaries such as Emile de Antonio’s In the Year of the Pig (1968) and Peter Davis’ Hearts and Minds (1974). In doing so, this study observes Burns and Novick’s approaches in stylistic editing and the omission of certain narratives of the war, along with what such choices suggest of the political stances assumed by the series and its predecessors. Through each chapter, the study observes: the caustic portrayal of leaders, from their decisions to enter into and prosecute war and the effects of these decisions that remain after their leadership has ended; the way the series empathizes with first-hand veteran accounts through visual reconstruction; and the acknowledgement of the media as ever-present in the representation of the public and the war. The relation between each chapter’s focus is related to the way audiences connect with the war, whether through documented history, public opinion, and/or personal experiences. The study concludes that while the series maintains its objectivity to an extent, it gives a decidedly American perspective of the war.

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