analyse data into a justifiable pattern of causes and consequences. Film historians seem toconcentrate more on the films and do not place sufficient emphasis on the context.This thesis finishes in the mid-1970s with the end of the last cycle of Civil War films, butthe interest in, and the issues of, the Civil War have not gone away. Any future research onthe Civil War in popular culture in the last twenty-five years of the twentieth centurywould be qualitatively different from that of the previous seventy-five. As Hollywoodwithdrew, television began to realise the full potential of the Civil War. The film industryunderwent a further restructuring and filmmaking became just one part of the interests ofhuge entertainment conglomerates. Nevertheless, the methodological approach adopted inthis research can be retained. History films are a rich seam of social information as theyreflect, and sometimes challenge, attitudes present in society at the time of theirproduction. It points the way to understanding how America saw and continues to seeitself.154
1 James Baldwin, Stranger in the Village (1953).2 In such films as The Romance of Rosy Ridge (1947), Friendly Persuasion, Rio Conchos and Journey toShiloh (1968).3 In Friendly Persuasion (1956), Band of Angels (1957) and The Horse Soldiers (1959).4 In Invitation to a Gunfighter ( 1964), Rio Conchos (1964), The McMasters (1969) and Buck and thePreacher (1971).5 There are few significant roles for African American women.6Even a 'Southerner' as in Journey to Shiloh.Benjie in The McMasters aspires to owning his own ranch even under the direst circumstances of racialhatred, while the former slaves in Buck and the Preacher look for the promised land in the west like whitepioneers.8 This began with Tap Roots (1948) followed by Friendly Persuasion, Band of Angels (1957), Rio Conchos,Shenandoah (1965), The McMasters and Buck and the Preacher.9 As in Cain's Cut Throats (1969).10 This was based on Michael Shaara's book The Killer Angels (1974).11 Jayhawkers were anti-slavery guerrillas and Bushwhackers pro-slavery guerrillas in the Kansas/Nebraskadispute over admission to the Union of the 1850s. They continued the conflict, especially in Missouri, duringthe Civil War.12 There is also one African American who supports the Bushwhackers. Even Quantrill had an AfricanAmerican as a bodyguard. Robert Brent Toplin, Reel History: In Defense of Hollywood (Lawrence, Kansas:University Press of Kansas, 2002), 53-7.13 Douglas Gomery, Shared Pleasures: A History of Movie Presentation in the United States (Madison,Wisconsin: The University of Wisconsin Press, 1992), 251-3.14 Laurie Schulze, 'The Made-for-Television Movie: Industrial Practice, Cultural Form and PopularReception' in Tino Balio, (ed.), Hollywood in the Age of Television (Cambridge, Massachusetts: UnwinHyman, 1990), 354-9.15 For example: Little Women (1978 and 1994), The Sacketts (1979), Beulah Land (1980), North and South(1984-6), Louisiana (1987), The Perfect Tribute (1991), The Love Letter (1998).16 Ronald L. Davis, Celluloid Mirrors: Hollywood and American Society Since 1945 (Fort Worth,Philadelphia: Harcourt, Brace College, 1997), 206.17 John T. Kirby, Media-Made Dixie (Athens, Georgia: University of Georgia Press, revised 1986, firstpublished 1978), 165-8.18 Such as the video, cable television and the CD-ROM.19 The film was just one part of the 'product' which was marketed for theatres, videos, television, CD-ROMsand any other spin-off that was commercially viable. Davis, Celluloid Mirrors, 211; Stephen Prince, A NewPot of Gold: Hollywood Under the Electronic Rainbow, 1980-1989 (Berkeley: University of California Press,2000), xi-xiv; Robert C. Alien, 'Writing the Last Chapter of the History of Hollywood,' lecture at Universityof London, 16 February 2000.20 Adam Fairclough, Better Day Coming: Blacks and Equality, 1890-2000 (New York: Penguin Books,2002), 332; Gary Gerstle, American Crucible: Race and Nation in the Twentieth Century (Princeton:Princeton University Press, 2001), 358.155
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Greenwich Academic Literature Archi
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REEL WARS: COLD WAR, CIVIL RIGHTSAN
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ABSTRACTThis study is an examinatio
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ABBREVIATIONSAMPASAHRBirthCommissio
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Historians using film as a resource
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dominated America's foreign policy
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Mary L. Dudziak explores this relat
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pure and simple' and were therefore
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historical texts. Hayden White comp
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Historians, history films and film
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How have sympathetic film historian
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Therefore historians can, with over
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identity and these were taken as th
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21 George F. Custen, 'Hollywood and
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63 Rosenstone, The Historical Film,
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of Honor dedicated to, and listing,
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War.....[it] defined us as to what
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The Civil War and popular cultureJu
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memory,53 the place where Union and
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Despite being a new medium Hollywoo
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From the late 1940s Hollywood was u
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1 William Faulkner, Requiem for a N
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36 Blight, Race and Reunion, 77, 81
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mainly composed of members of the w
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there was cowardice, it was either
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This was another Lost Cause myth -
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stuff with plenty of clothes, rich
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women into or within slavery. 47 Th
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departure when, in the discussion o
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1 William Dean Howells, Los Angeles
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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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