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Mary L. Dudziak explores this relationship in Cold War, Civil Rights: Race and the Image of AmericanDemocracy (Princeton: Princeton University Press, 2000).Throughout the text, the term 'southerners' refers to white southerners only.
Chapter 1WHY USE HISTORY FILMS?'History, I am convinced, is not just something to be left to the historians.'' 1For much of the twentieth century historians dismissed history films as being no more thanromantic historical novels served up as 'harmless entertainment' for a mass audience. 2Filmmakers, however, invest considerable resources in the production of these films andoften claim they are historically accurate because of the research carried out prior toproduction. In the 1970s, postmodernism began to question the historian's role and openedup the historical debate as to what constituted a representation of the past. In this contexthistory films could be brought into the discussion, not on the basis of fact but on the basisof representation. At the same time younger historians were adopting methodologies fromother disciplines and approaching history from a different perspective - history from'below.' With the introduction of the videocassette, films became more accessible and thenew technology was developed as a teaching aid.There are currently three players involved in the debate on the use of history films in therepresentation of the past, although there is not an open dialogue between all three.Historians say that writing history depends upon an accumulation of evidence derived fromprimary sources. They argue that their training and professional discipline give themobjectivity and therefore the ability to reject interpretations that cannot be validated bythese sources or cross-referenced. However, whilst there has been some acknowledgementby historians of the place of film in representing the past, the problem of accuracy stilllooms large. 3 Filmmakers accept that history films may have to invent and manipulate thehistorical record to assist the narrative but, they argue, that what they can uniquely give isthe 'feel' of history. Historians, sympathetic to filmmakers, contend that the use ofinvention and fabrication does not invalidate the use of history films as they givesomething more: they show things that written history is less able to do. By marrying truthand fiction these films can represent the past in a symbolic way. However, evensympathetic historians still find that filmmakers want to control the whole process andoutcome, as the conversation between Eric Foner and John Sayles in Past Imperfectindicates. 4
Page 1 and 2: Greenwich Academic Literature Archi
Page 3: REEL WARS: COLD WAR, CIVIL RIGHTSAN
Page 6 and 7: ABSTRACTThis study is an examinatio
Page 8 and 9: ABBREVIATIONSAMPASAHRBirthCommissio
Page 10 and 11: Historians using film as a resource
Page 12 and 13: dominated America's foreign policy
Page 17 and 18: pure and simple' and were therefore
Page 19 and 20: historical texts. Hayden White comp
Page 21 and 22: Historians, history films and film
Page 23 and 24: How have sympathetic film historian
Page 25 and 26: Therefore historians can, with over
Page 27 and 28: identity and these were taken as th
Page 29 and 30: 21 George F. Custen, 'Hollywood and
Page 31 and 32: 63 Rosenstone, The Historical Film,
Page 33 and 34: of Honor dedicated to, and listing,
Page 35 and 36: War.....[it] defined us as to what
Page 37 and 38: The Civil War and popular cultureJu
Page 39 and 40: memory,53 the place where Union and
Page 41 and 42: Despite being a new medium Hollywoo
Page 43 and 44: From the late 1940s Hollywood was u
Page 45 and 46: 1 William Faulkner, Requiem for a N
Page 47 and 48: 36 Blight, Race and Reunion, 77, 81
Page 49 and 50: mainly composed of members of the w
Page 51 and 52: there was cowardice, it was either
Page 53 and 54: This was another Lost Cause myth -
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Page 57 and 58: women into or within slavery. 47 Th
Page 59 and 60: departure when, in the discussion o
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Page 63 and 64: 37 Melvyn Stokes, The Civil War in
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All races and religions, that's Ame
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Hollywood almost abandoned Civil Wa
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charged with disloyalty and silence
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ecover from the HUAC investigations
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a living. The daughters grow up to
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Gettysburg. 'You know,' says Henry,
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combining two great myths, which co
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(1948), Tom Dunson's style of autoc
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Patriotism became a white attribute
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In the absence of African Americans
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(Horizons West) and businessmen (An
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year later, and there was no lead f
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20 Mary L. Dudziak, Cold War, Civil
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56 Richard White, 'Western History'
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7 have seen the promised land.' 'Th
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those between whites and African Am
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change, to forget what made him, he
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eported that the film had 'already
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campaigning for Lincoln. John's rea
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lack/white relationships, in Civil
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McCarthy discredited and a more rel
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dispute which once divided our nati
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pressure, continued to hold. The me
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discrimination, attempts at univers
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talks about Lincoln pleading that '
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creativity. The Confederates use a
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police in Birmingham and Kennedy's
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1 Martin Luther King Jr.'s, speech,
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44 Blight, Race and Reunion, 8-11,
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- self-belief, reasons for fighting
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Sexploitation - which reversed the
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would surely recognise the Mexicans
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There are similar examples in Major
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on working class whites nor receive
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The conflict between civil rights a
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e trusted from the wiles of the mis
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field-hands are too valuable an inv
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moving the civil rights agenda to a
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McBurney, even though he is wounded
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Most reviewers were sympathetic, se
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conservatism,' as a natural ally fo
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By the early 1970s, Hollywood's opt
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20 Enoch, in Friendly Persuasion (1
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62 Johnson called what happened the
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The world is white no longer; and i
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proceed with civil rights legislati
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would have been counter to the poli
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mid-1990s was rejected as the compa
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those historians who were contestin
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1 James Baldwin, Stranger in the Vi
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39 Robert Brent Toplin, Reel Histor
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1210mmmto3sCT>The number of America
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There is a third problem - that of
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the Library of Congress and the Uni
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mainly contain copies of correspond
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killing. There were two other areas
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are 'no compensating moral values a
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epresented.' 32 However, this was t
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Reference has already been made to
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It is in the final period that anti
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22 Letter from Shurlock to William
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Year Director Company190819091910Ba
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191119121912Grant and LincolnHe Fou
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19131913Call to Arms, TheCarpenter,
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1915 Birth of a Nation, TheColonel
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19341935193619371938193919401941194
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Searchers, TheShowdown at AbileneTh
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Alien, Robert C., and Douglas Gomer
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Cassidy, John M., Civil War Cinema:
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Foner, Eric, Who Owns History, (New
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Landy, Marcia, (ed.), The Historica
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Prince, Stephen, A New Pot of Gold:
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Sternsher, Bernard, Consensus, Conf
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