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ABSTRACTThis study is an examination of America's evolving sense of racial and national identityin the period from 1945 to the mid 1970s as refracted through Hollywood'srepresentation of the American Civil War - a powerful event in American memorywhich still resonates today.Civil War films have been the subject of study by film studies specialists and historiansbut they have concentrated on the early years highlighting the iconic films The Birth ofa Nation (1915) and Gone with the Wind (1939). The period 1945-75 has not receivedsimilar systematic attention, yet it is highly significant in American history covering asit does the Cold War and the Civil Rights Movement.The aim of the study is to show that history films can be used to assist in a betterunderstanding of the past - not the 'past' that the history film purports to represent butthe past of the moment of its production. This approach sees Hollywood films asuntapped sources of evidence of changes in public perception about the issues of theday. This differs from the approach of most film historians who seek to examine thepast by using archival and printed sources, such as newspapers, magazines andbiography.The study demonstrates the complex interaction of the Cold War and the Civil RightsMovement on Hollywood and how they influenced the discourse about race andnational identity through popular culture. Ultimately it was the Civil Rights Movementthat had the greater influence upon Civil War films. It also shows that Hollywood'spresentation of the Civil War underwent a far more radical process of change than hashitherto been understood. By the late 1960s all of the early twentieth century myths hadbeen questioned and overturned and African Americans had become part of mainstreamAmerica.IV
CONTENTSAcknowledgments iiiAbstract ivAbbreviations viIntroduction 1Chapter 1 Why Use History Films? 7Chapter 2 A War Remembered, A War Reused: The Civil War from 1865 24Chapter3 'Moonlight and Magnolias': Civil War Films 1908-1941 42Chapter 4 Cold War, Westerns and Hope: Civil War Films 1946-55 57Chapter 5 Race, Fear and Memory: Hollywood Confronts the Centennial:Civil War Films 1956-63 85Chapter 6 The Last Cycle: Civil War Films 1964-75 116Chapter 7 Conclusion: Hollywood's Civil War - Past and Future 145Appendices1 Civil War film cycles 1908-1945 1582 Civil War film cycles 1946-1975 1593 Establishing a Civil War Filmography 1604 Production Code Administration Files 1645 Civil War Film Exhibition 1908-1945 1796 Civil War Film Exhibition 1946-1975 1887 Civil War Film Exhibition 1976-1999 190Bibliography 191
Page 1 and 2: Greenwich Academic Literature Archi
Page 3: REEL WARS: COLD WAR, CIVIL RIGHTSAN
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 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 -
Page 55 and 56: 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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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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