1 Available from: oscars.org/mhl/sc/motionpic-116.html (accessed 20 April, 2003).2 Letter from Stan Sheptner to Milton Hodenfield 12 February, 1959, PC A file on The Legend of Tom Dooley(1959).3 Arlene Hui, 'Liberalising the Hays Code: the Case of Duel in the Sun' at a seminar at University ofLondon, 25 October, 2001.4 New Yorker 24 May to 21 June, 1952.5 Letter from Joseph I. Breen to William Gordon at Universal, 29 May, 1953, PCA file on Border River.6 Letter from Geoffrey M. Shurlock to Walter M. Mirisch (Mirisch Company), 10 September, 1958, PCAfile on The Horse Soldiers.1 Letter from Geoffrey M. Shurlock to Dore Schary at MGM, 2 February, 1956, PCA file on RaintreeCounty.8 Letter from Geoffrey M. Shurlock to M.J. Frankovich, Columbia, 18, October, 1965, PCA file on AlvarezKelly.9 Breen to Gordon, 1 August. 1947, PCA file on Another Part of the Forest; Shurlock to Schary 2 February1956, PCA file on Raintree County; Shurlock to Robert M. Vogel, 5 May 1957, PCA file on Advance to theRear. The title of the film at the time of the letter to Vogel was The Company of Cowards. Had the releasetitle been known then it is interesting to speculate whether this would have evinced a comment from thePCA!10 Introduction and general principles of the Production Code (1944 edition).11 Raymond Moley, The Hay's Office (New York: The Bobb-Merrill Company, 1945), 221.12 Letter from Breen to L. B. Mayer, MGM, 8 March, 1946, PCA file on The Romance of Rosy Ridge; letterfrom Breen to J. E. Baker, Republic Productions, 6 October, 1952, PCA file on The Woman They AlmostLynched.13 Letter from Breen to Harry Cohn, Columbia Pictures Corporation, 13 March, 1947, PCA file on The Manfrom Colorado (1948).14 Letter from Breen to Franklin King, King Brothers Productions, 8 September, 1950, PCA file on Drums inthe Deep South.15 Letter from Shurlock to Meyer Mishkin, 12 June, 1956, PCA file on Drango (1957).16 Ronald L. Davis, Celluloid Mirrors: Hollywood and American Society Since 1945 (New York: HarcourtBrace College Publishers, 1997), p. 61.17 Letter from Breen to J. L. Warner, Warner Brothers, 14 March, 1949, PCA file on Dallas (1950).18 Letter from Shurlock to Col. Jason S. Joy, Twentieth Century Fox, 30 August, 1956, PCA file on Love MeTender (\956).19 Letter from Shurlock to Miss L. Buntrock, Allied Artists Pictures Corporation, 16 October, 1957, PCA fileon QuantriU's Raiders (1958).20 Letter from Shurlock to Kathryn McTaggart, Univesal Pictures Company, 27 January, 1964, PCA file onIncident at Phantom Hill (1965).21 Letter from Breen to Howard Hawks, Monterey Productions, 22 August, 1946, PCA file on Red River(1948); letter from Breen to Luigi Luraschi, Paramount Pictures, 13 April, 1949, PCA file on Copper Canyon(1950); letter from Breen to Harry Cohn, Columbia Pictures Corporation, 27 April, 1950; letter from Breen toJ. E. Baker, Republic Productions, 17 March, 1952; letter from Breen to J.E. Baker, Republic Productions, 6October, 1952; memo for file 19 Sepember, 1956, PCA file, The True Story ofJesse James (1957).176
22 Letter from Shurlock to William Feeder, RKO Radio Productions, 9 April, 1956, PCA file on Run of theArrow; letter from Breen to William Gordon, Universal International, 14 April, 1950, PCA file on KansasRaiders (1950); letter from Shurlock to Dore Senary, 2 February, 1956, PCA file on Raintree County, memofor file by EGD, 14 January, 1956 and letter from Shurlock to J. L. Warner, Warner Brothers, 15 January1956.23 Letter from Shurlock to Stan Sheptner, Sheptner Company, 9 February, 1959, PCA file on The Legend ofTom Dooley( 1959).24 Letter from Shurlock to Sol Schwartz, Four Leaf Productions, 20 December, 1961, PCA file on The WildWesterners (1962).25 Letter from Breen to Howard Hawks, Monterey Productions, 26 August, 1946, PCA file on Red River.26 Letter from Breen to Harry Cohn, Columbia, 21 January, 1947, PCA file on The Man from Colorado.27 Letter from Shurlock to Harry Cohn, Columbia Pictures Corporation, 12 October, 1957, PCA file on TheGuns of Fort Petticoat (1957).28 Letter from Breen to Frank McFadden, Panoramic Productions, 16 December, 1953, PCA file on The Raid(1954); letter from Shurlock to John Ford, C. V. Whitney Pictures Company, 20 June, 1955, PCA file on TheSearchers (1956); letter from Shurlock to Charles B. Fitzsimmons, Carousel Films, 10 January, 1961, PCAfile on The Deadly Companions (1961); letter from Shurlock to Abi Donnelly, Universal Pictures, 22 July,1966, PCA file on Journey to Shiloh (1968).29 Letter from Breen to William Gordon, Universal International, 14 April, 1950, PCA file on KansasRaiders; letter from Shurlock to Dore Schary, 2 February, 1956, PCA file on Raintree County.30 Letter from Shurlock to Miss Lorene Buntrock, Allied Artists, 7 September, 1955, PCA file on FriendlyPersuasion (1956); letter from Shurlock to M. J. Frankovich, Columbia, 9 December, 1964, PCA file onAlvarez Kelly (1966); letter from Breen to William Gordon, 11 April, 1947, PCA file on Tap Roots (1948);letter from Shurlock to William Feeder, RKO Radio Productions, 14 June, 1956, PCA file on Run of theArrow.31 Stars in Mv Crown (1950), Band of Angels, Raintree County and Journey to Shiloh.32 Letter from Breen to Hal Wallis, Hal Wallis Productions, 23 June, 1950, PCA file on Red Mountain(1951).33 Letter from Shurlock to John Ford, 20 June, 1955, PCA file on The Searchers.34 Letter from Shurlock to Kathryn McTaggart ,20 January, 1964, PCA file on Major Dundee.35 Cue magazine, 4 October, 1965.36 Hollywood Reporter, 1 May, 1953.37 The term 'comments' includes one or several different comments in the same review. Occasionally theyhave been categorised by inference but generally they are the direct statements of the reviewer. Some filmstoo evinced comments from various reviewers, which fitted the criteria for recording. For example there arefive for Raintree County, seven for Band of Angels and five for Shenandoah (1965).38 Examples of this are: Variety, 20 April, 1955, comments that Five Guns West (1955), was 'a fair bill fillerfor the outdoor market' (i.e. drive-ins); Hollywood Reporter, 12 June, 1959, comments on The HorseSoldiers (1959) that 'John Ford so stirringly dramatised the valor of Dixie's resistance that the picture shouldbe as popular in the North as in the South.'39 Examples are the Daily News, 18 September, 1951, on The Red Badge of Courage (1951); New YorkTimes, 11 July, 1957, on Band of Angels; Motion Picture Herald, 13 June, 1959, on The Horse Soldiers.177
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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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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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Sexploitation - which reversed the
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on working class whites nor receive
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