Download (3483kB) - Greenwich Academic Literature Archive ...

More documents

Recommendations

Info

1 For example Donald Bogle, Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretative History ofBlacks in American Film, New Third Edition (Oxford: Roundhouse, 1994, first published 1973); Sklar,Movie-made America; Daniel J. Leab, From Sambo to Superspade: The Black Experience in Motion Pictures(Boston: Houghton Mifflin, 1976); Thomas Cripps, Slow Fade to Black: The Negro in American Film, 1900-1942 (Oxford: Oxford University Press, 1977).42 Stokes, The Rise of Film History,' 271-2.43 Rosenstone, Visions of the Past, 2. Past Imperfect was published for the Society of American Historians.44 Carnes, (ed.), Past Imperfect, 9-10.45 John Sayles makes films like Matewan (1987) - about a mining strike in the 1920s in West Virginia. Hehas his own production company and raises the finances he needs for each film.46 'A Conversation Between Eric Foner and John Sayles' in Carnes, (ed.), Past Imperfect, 11-28.47 Richard Howells, review of Past Imperfect in the Times Higher Education Supplement, 28 June, 1996.48 John E. O'Connor, 'History in Images/ Images in History: Reflections on the Importance of Film andTelevision Study for an Understanding of the Past,' American Historical Review, 93 (1988), 1200-9.49 Natalie Zemon Davis, Slaves on Screen: Film and Historical Vision (Cambridge, Massachusetts: HarvardUniversity Press, 2000), 9-10.50 Rosenstone, Visions of the Past, 55-6, 77-8.51Toplin, Reel History*, 158, 200.52 Rosenstone, Visions of the Past, 79.53 Robert A. Rosenstone, 'The Historical film: Looking at the Past in a Postliterate Age' in Marcia Landy,(ed.), The Historical Film: History and Memory in Media (New Brunswick, New Jersey: Rutgers UniversityPress, 2000), 66.s4 This quotation is from the 1950s television police series Dragnet (1951-59) and said by Sergeant JoeFriday when he investigates a crime. Robert A. Rosenstone, 16 April 1999, 'Reflections on Reflections onhistory in images/history in words', Screening the Past. Available from: http://latrobe.edu.au/screeningthepast/firstrelease/fr0499/rrfr6c.htm (accessed 10 July, 2003).55 Rosenstone, Reflections.56 Sumiko Higashi, 'Rethinking Film as American History,' Rethinking History, 2 (1998), 87-101.57 Tim Cornwell, Times Higher Education Supplement, 26 January, 1996, 16-17.58 Michael R. Pitts, Hollywood and American History (Jefferson, North Carolina: McFarland, 1984).59 Toplin, Reel History, 203.60 Sorlin, The Film in History, ix; Peter C. Rollins, (ed.), Hollywood as Historian: American Film in aCultural Context (Lexington, Kentucky: The University of Kentucky Press, 1983), 1-2; Robert A.Rosenstone, 'History in Images/ History in Words: Reflections on the Possibility of Really Putting Historyonto Film,' American Historical Review, 93 (1988), 1173-85; David Herlihy, 'Am I a Camera? OtherReflections on Film and History,' American Historical Review, 93 (1988), 1186-92.61 Leger Grindon, Shadows on the Past: Studies in the Historical Fiction Film (Philadelphia: TempleUniversity Press, 1994), 1.62 Rosenstone: 'Looking at the Past in a Postliterate Age,' 51-4.22
63 Rosenstone, The Historical Film,' 58; 'A Conversation Between Eric Foner and John Sayles,'in Carries,(ed.), Past Imperfect, \ 1-28.64Trevor McCrisken and Andrew Pepper, American History: The Contemporary Hollywood Film(Edinburgh: Edinburgh University Press, 2005), 2.65 Stanley Kubrick comments that setting a film in the past 'removes the environmental blinkers....andgives. ..a deeper and more objective perspective.' Quoted in Davis, Slaves on Screen, 24.66 Toplin, Reel History, 42.67 Michael Ryan and Douglas Kellner, Camera Politica: The Politics and Ideology of ContemporaryHollywood Film (Bloomington, Indiana: Indiana University Press, 1990), quoted in McCrisken and Pepper,American History, 8.68 Ernest Giglio, Here's Looking at You: Hollywood, Film and Politics (New York: Peter Lang, 2000), 10 -11.69 Philip French, Westerns: Aspects of a Movie Genre (New York: Viking Press, 1973); Jeanine Basinger,American Cinema: One Hundred Years of Filmmaking (New York: Rizzoli International Publications, 1991);Jenni Calder, There Must be a Lone Ranger Somewhere: The Myth and Reality of the Wild West (London:Sphere Books, 1976); John H. Lenihan, Showdown: Confronting Modern America in Western Film (Chicago:University of Illinois Press, 1985); Philip R. Loy, Westerns and American Culture, 1930-1955 (Jefferson,North Carolina: McFarland, 2001).70 Michael Coyne, The Crowded Prairie: American National Identity in the Hollywood Western (London: I.B. Tauris, 1997), ix.71 Coyne, The Crowded Prairie, 86.72 For example: Coyne, in The Crowded Prairie, notes contemporary social problems and gives somecontext; Lenihan, Showdown includes the Cold War and race but not the Civil Rights Movement; David A.Cook, Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 (Berkeley:University of California Press, 2000) looks at the 'Vietnam' western; E. D. C. Campbell, The Celluloid South(Knoxville; University of Tennessee Press, 1981) gives context and includes the Civil Rights Movement butdoes not examine its impact above the general political outline; J.T. Kirby, Media-Made Dixie (Athens,Georgia: University of Georgia Press, revised 1986, first published 1978) identifies the change in America'srepresentation of the South but includes very few Civil War films after 1945 and more historical thanpolitical and social context; David Goldfield, Still Fighting the Civil War (Baton Rouge: Louisiana StateUniversity Press, 2002) briefly outlines the Civil Rights Movement milestones and white reaction in the195071960s.73 Where race is the main concern the accent is on stereotyping and the influence of individual actors as inThomas Cripps, Making Movies Black: The Hollywood Message Movie from World War II to the Civil RightsEra (New York: Oxford University Press, 1993) although he does use the current political background;Bogle, Toms, Coons, Mulattoes, Mammies, and Bucks; Vincent F. Rocchio, Reel Racism: ConfrontingHollywood's Construction of African-American Culture (Boulder, Colorado: Westview, 2000).74 Some authors, like Chadwick in The Reel Civil War (2001), include the Uncle Tom's Cabin films or filmsabout the early life of Lincoln. Kenneth Cameron, in America on Film (1997), excludes all films that do nothave a real person and some version of a real and specific event. On this basis he only includes three CivilWar films from the 1950s, one of which, about John Brown, ends in 1859. Yet he omits two other films thatmeet his criteria - Quantrill's Raiders (1958) and The Horse Soldiers (1959).75 Sklar, Movie-made America, ix.23
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 14 and 15: Mary L. Dudziak explores this relat
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: 21 George F. Custen, 'Hollywood and
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 -
Page 55 and 56: stuff with plenty of clothes, rich
Page 57 and 58: women into or within slavery. 47 Th
Page 59 and 60: departure when, in the discussion o
Page 61 and 62: 1 William Dean Howells, Los Angeles
Page 63 and 64: 37 Melvyn Stokes, The Civil War in
Page 65 and 66: All races and religions, that's Ame
Page 67 and 68: Hollywood almost abandoned Civil Wa
Page 69 and 70: charged with disloyalty and silence
Page 71 and 72: ecover from the HUAC investigations
Page 73 and 74: a living. The daughters grow up to
Page 75 and 76: Gettysburg. 'You know,' says Henry,
Page 77 and 78: combining two great myths, which co
Page 79 and 80: (1948), Tom Dunson's style of autoc
Page 81 and 82:
Patriotism became a white attribute
Page 83 and 84:
In the absence of African Americans
Page 85 and 86:
(Horizons West) and businessmen (An
Page 87 and 88:
year later, and there was no lead f
Page 89 and 90:
20 Mary L. Dudziak, Cold War, Civil
Page 91 and 92:
56 Richard White, 'Western History'
Page 93 and 94:
7 have seen the promised land.' 'Th
Page 95 and 96:
those between whites and African Am
Page 97 and 98:
change, to forget what made him, he
Page 99 and 100:
eported that the film had 'already
Page 101 and 102:
campaigning for Lincoln. John's rea
Page 103 and 104:
lack/white relationships, in Civil
Page 105 and 106:
McCarthy discredited and a more rel
Page 107 and 108:
dispute which once divided our nati
Page 109 and 110:
pressure, continued to hold. The me
Page 111 and 112:
discrimination, attempts at univers
Page 113 and 114:
talks about Lincoln pleading that '
Page 115 and 116:
creativity. The Confederates use a
Page 117 and 118:
police in Birmingham and Kennedy's
Page 119 and 120:
1 Martin Luther King Jr.'s, speech,
Page 121 and 122:
44 Blight, Race and Reunion, 8-11,
Page 123 and 124:
- self-belief, reasons for fighting
Page 125 and 126:
Sexploitation - which reversed the
Page 127 and 128:
would surely recognise the Mexicans
Page 129 and 130:
There are similar examples in Major
Page 131 and 132:
on working class whites nor receive
Page 133 and 134:
The conflict between civil rights a
Page 135 and 136:
e trusted from the wiles of the mis
Page 137 and 138:
field-hands are too valuable an inv
Page 139 and 140:
moving the civil rights agenda to a
Page 141 and 142:
McBurney, even though he is wounded
Page 143 and 144:
Most reviewers were sympathetic, se
Page 145 and 146:
conservatism,' as a natural ally fo
Page 147 and 148:
By the early 1970s, Hollywood's opt
Page 149 and 150:
20 Enoch, in Friendly Persuasion (1
Page 151 and 152:
62 Johnson called what happened the
Page 153 and 154:
The world is white no longer; and i
Page 155 and 156:
proceed with civil rights legislati
Page 157 and 158:
would have been counter to the poli
Page 159 and 160:
mid-1990s was rejected as the compa
Page 161 and 162:
those historians who were contestin
Page 163 and 164:
1 James Baldwin, Stranger in the Vi
Page 165 and 166:
39 Robert Brent Toplin, Reel Histor
Page 167 and 168:
1210mmmto3sCT>The number of America
Page 169 and 170:
There is a third problem - that of
Page 171 and 172:
the Library of Congress and the Uni
Page 173 and 174:
mainly contain copies of correspond
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
Page 185 and 186:
22 Letter from Shurlock to William
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
show all

Download (3483kB) - Greenwich Academic Literature Archive ...

Create successful ePaper yourself

Delete template?

Save as template?