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21 William H. Chafe, The Unfinished Journey: America Since World War II (New York: Oxford UniversityPress: 1999), 540.22 With films such as JFK (1991), Malcolm X (1992), Schindler's List (1993), Amistad (1997), SavingPrivate Ryan (1998) and The Patriot (2000).23 Scarlett: The Sequel to Margaret Mitchell's Gone With the Wind. Jim Cullen, The Civil War in PopularCulture: A Reusable Past (Washington: Smithsonian Institution Press, 1995), 103.24 Gomery, Shared Pleasures, 165.HR 687: A Bill To establish a commission to commemorate the sesquicentennial of the American CivilWar.' Available from: thomas.loc.gov/cgi-bin (accessed 4 June, 2005).26 The North Carolina sesquicentennial Foundation states on its website that 'in 2011 North Carolina willcommemorate the 150 1 anniversary of its participation in the Confederacy and its involvement in the War forSouthern Independence.' Available from: dir.yahoo.com/Regional/U_SJNorth_Carolina/Arts_andHumanities/History/Civil_War (accessed 4 June, 2005).27 In particular those of Emmett Till (1955) and of James Chaney, Michael Schwerner and Andrew Goodman(1964).78Gerstle, American Crucible, 369.29 Fairclough, Better Day Coming, 326.Chafe, The Unfinished Journey, 528.31 In 2005 black unemployment was 10.8% compared to 4.7% for whites. Over 70% of whites owned theirown homes but less than 50% of blacks. Life expectancy of blacks was six years less than for whites. Blackswere twice as likely as whites to die from disease, accident or murder and three times more likely to be jailedand given longer sentences. The net worth of black households was ten times less than that of whites. PaulHarris, The Observer, 9 October 2005.32 Fairclough, Better Day Coming, 328-30.33 Duncan Campbell, The Guardian, 18 September, 2000.34 Cullen, The Civil War in Popular Culture, 196-99. Tara McPherson discusses this in 'Both Kinds of Arms:Remembering the Civil War' in The Velvet Light Trap, 35 (1995), 3-18.35 The deeper truth of Gods and Generals seems too be that the war was the south's 'second war ofindependence'.. ..that the cause of the war was not slavery but the oppressive power of the centralgovernment, which wished to tyrannize over the southern states; that the south only wished to exercise itsconstitutional right to secede, but was thwarted by a power-hungry Lincoln; that southern patriots were thetrue heirs of the American Revolutionary generation.. ...that the Confederate cause was noble.' MackubinThomas Owens, 'War and Memory: Gods and Generals as History,' National Review Online. Availablefrom: nationalreview.com/owens/owens022503.asp (accessed 12 December, 2004).36 Melvyn Stokes, The Civil War in the Movies,' in Susan-Mary Grant and Peter J. Parish, (eds.), Legacy ofDisunion: The Enduring Significance of the American Civil War (Baton Rouge: Louisiana State UniversityPress, 2003), 70.37 David Blight, The Birth of a Genre: Slavery on Film' Common-Place, Vol.1 (July, 2001). Available from:common-place.org/vol-OI/no-04/slavery/blight (accessed 9 June, 2005).38 The copyright on the book expires in 2011. Jim Cullen, The Civil War in Popular Culture: A ReusablePast (Washington: Smithsonian Institution Press, 1995), 103.156
39 Robert Brent Toplin, Reel History: In Defense of Hollywood (Lawrence, Kansas: University Press ofKansas, 2002).40 Pierre Sorlin, The Film in History: Restaging the Past (Oxford: Basil Blackwell, 1980) explains whyhistory films reflect their own periods more than representing the past.41 Toplin, Reel History, 164.42 For example Michael Coyne comments that the films The Alamo (1960) and The Magnificent Seven (1960)prefigure Vietnam. This may be a correct interpretation in hindsight, but in 1960 America was not fighting awar in Vietnam it was only supporting a regime that was fighting a communist insurrection. Most Americansat the time, writes William Chafe, 'in and out of government still believed that South Vietnam represented amodel of success.....the cornerstone of freedom.' Coyne, The Crowded Prairie, 105; Chafe, The UnfinishedJourney, 263.43 Most books on Hollywood in the forties and fifties discuss the effects of the HUAC inquiries on the filmindustry. The discussion on the Cold War on American culture can be found in such books as: GeorgeLipsitz, Class and Culture in Cold War America: 'A Rainbow at Midnight,' 1981; Nora Sayre, RunningTimes: Films of the Cold War, 1982; Lary May, Recasting America: Culture and Politics in the Age of theCold War, 1989; Stephen J. Whitfield, The Culture of the Cold War, 1996; Elaine McClarnand and SteveGoodson, Impact of the Cold War on American Popular Culture, 1999; Cyndy Hendershot, Anti-Communismand Popular Culture in Mid-Century America, 2003; Thomas Doherty, Cold War, Cool Medium, Television,McCarthvism and American Culture, 2003.157
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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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discrimination, attempts at univers
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Page 135 and 136: e trusted from the wiles of the mis
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Page 145 and 146: conservatism,' as a natural ally fo
Page 147 and 148: By the early 1970s, Hollywood's opt
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Page 151 and 152: 62 Johnson called what happened the
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Page 167 and 168: 1210mmmto3sCT>The number of America
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Page 171 and 172: the Library of Congress and the Uni
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Page 175 and 176: killing. There were two other areas
Page 177 and 178: are 'no compensating moral values a
Page 179 and 180: epresented.' 32 However, this was t
Page 181 and 182: Reference has already been made to
Page 183 and 184: It is in the final period that anti
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Page 187 and 188: Year Director Company190819091910Ba
Page 189 and 190: 191119121912Grant and LincolnHe Fou
Page 191 and 192: 19131913Call to Arms, TheCarpenter,
Page 193 and 194: 1915 Birth of a Nation, TheColonel
Page 195 and 196: 19341935193619371938193919401941194
Page 197 and 198: Searchers, TheShowdown at AbileneTh
Page 199 and 200: Alien, Robert C., and Douglas Gomer
Page 201 and 202: Cassidy, John M., Civil War Cinema:
Page 203 and 204: Foner, Eric, Who Owns History, (New
Page 205 and 206: Landy, Marcia, (ed.), The Historica
Page 207 and 208: Prince, Stephen, A New Pot of Gold:
Page 209 and 210: Sternsher, Bernard, Consensus, Conf
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