Making a documentary that questions historical objectivity requires careful planning and execution to ensure academic rigor and avoid legal risks. The following is a step-by-step framework and professional advice for achieving this goal： **1. Research and design stage** 1. **Theoretical framework construction** -Introduce historical relativist philosophy (such as Hayden White's "Meta-Historiography" theory) to demonstrate the literary constructivism of historical narratives -Citing post-colonial historiography (such as the views of Dipesh Chakrabarti) to deconstruct the Eurocentric view of history -Analyze Michel Foucault's knowledge-power theory and reveal political manipulation in historical writing 2. **Case selection strategy** - Select controversial incidents with file contradictions: such as the modification of photos in the Stalin period, the incident in Japanese textbooks, etc. -Analysis of cases of broken archaeological evidence chain: the discovery of the Ancient City of Troy and the narrative deviation of Homer's epic -Research on differences between oral history and literature: A multi-version comparison of North American Aboriginal war records **2. Evidence collection specifications** 1. **Archival research methods** -Using Sherlock Holmes-style document traceability: tracking the textual variations of different manuscripts of the History of the Peloponnesian War -Implementation of cross-verification of radiocarbon dating: taking the volcanic ash layer of Pompeii as an example to show the dating process -Conduct handwriting identification experiments: compare the authenticity of Nicholas II's instructions in the Tsar's archives **3. Presentation of academic balance** 1. **Multi-dimensional expert interviews** -Invite establishment historians (such as professors in the History Department of the University of Cambridge) to explain the critical methods of historical materials -Interview revisionist scholars (such as David Irving) to discuss disputes in the history of World War II -Included in the archivist's explanation of document preservation specifications 2. **Methodology demonstration** -Photographing the dating process of parchment in the Oxford University laboratory -Record the stratigraphy analysis steps of the archaeological site -Demonstrate the influence of digital restoration technology on the interpretation of ancient documents **4. Narrative construction skills** 1. **Suspense structure design** -Using detective film narrative: from the 1945 Empire State Building photo cloud Anomaly to the Cold War propaganda research -Set argumentation milestones: reveal a file contradiction point every 15 minutes -Keep the open ending: end with Croce's "All history is contemporary history" to trigger thinking **5. Legal compliance guarantee** 1. **Risk aversion measures** -Statement "This film presents academic discussions, not factual assertions" -Use restrictive wording ("may" and "may" instead of absolute judgment) -Obtain image copyright authorization for all cited documents **6. Ethical considerations** 1. **Principle of balance** -Simultaneous display of new archaeological discoveries when questioning traditional historical materials (such as lidar reshaping the history of Angkor Wat) -Affirm the role of digitization of archives in promoting historical research - Emphasizing critical thinking is not equivalent to denying all academic achievements **Academic advice：** 1. Introduce quantitative historiography methods and use big data to analyze statistical anomalies in chronicles 2. Discuss the future application of Blockchain technology in historical certificates 3. Compare the document protection standards of the UNESCO "World Memory List" In the end, the audience should be guided to form such a cognition: historical cognition is a process of gradual correction, which requires cross-verification of multi-source evidence, rather than simply rejecting the existing academic system. The value of documentaries lies in promoting transparency in historical research, not in creating nihilism. By showing the evolution of historical research methods, it can not only reveal the limitations of traditional narratives, but also demonstrate the self-correcting ability of modern scholarship. This kind of production plan not only satisfies the original intention of questioning the objectivity of history, but also conforms to academic norms. It can pass the review standards of the BBC History Channel or Netflix documentary department, and at the same time provide valuable media samples for follow-up academic discussions.