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ABBREVIATIONSAMPASAHRBirthCommission (the)cwscGWTWNAACPOWIPCAUCVUDCUSCVAcademy of Motion Pictures Arts and SciencesAmerican Historical ReviewThe Birth of a NationUnited States Civil War Centennial CommissionCivil War Sesquicentennial CommissionGone with the WindNational Association for the Advancement of Colored PeopleOffice of War InformationProduction Code AdministrationUnited Confederate VeteransUnited Daughters of the ConfederacyUnited Sons of Confederate VeteransVI
INTRODUCTIONFar more than the Revolution of 1776, the Civil War occupies the central place inAmerican memory. 1 It is not just the four years of struggle, the huge loss of life, theemancipation of four million African Americans or the saving of the Union, but itsinfluence on American society ever since. While slavery was abolished and the Union wassaved, not all the issues were resolved to the participants' satisfaction. What becameknown as the 'unfinished business' of the Civil War saw the 'freed' African Americans're-enslaved' throughout the South by a combination of judicial decision, state legislationand intimidation. 2 This racial subjugation was accepted by the North as an issue best left tothose who had most experience in dealing with racial matters - the white South. It fittedthe developing racial concepts of white supremacy and helped to maintain the fiction thatAmerica's national identity was wholly white - a position sustained by immigrationpolicies until the mid-1960s. Against this background, the struggle of African Americansto achieve their constitutional rights has now been recognised as forming a significant partof twentieth century American history. However, the issues of race and equality raised bythe Civil War continue to be just as relevant today as they were in the 1860s and in the1960s.4The subject of this study is how popular culture, from 1945 to 1975, reflected andrepresented that struggle and those issues through the medium of Hollywood, using thegenre of the Civil War film. 5 Popular culture is a product of its time and, as Peter Biskindsays about movies, '(w)hatever their genre, they share a preoccupation with the pressingissues of the day.' 6 By analysing the Civil War films in this period, the debate over theissues of race and equality can be observed. At particular times the issues were discussed,at other times ignored; African Americans were sometimes marginalised, sometimesshowcased; old stereotypes and myths re-emerged, new ones were created. These changescan be mapped against current events in society and demonstrate how Hollywood reflectedand reacted to the fluctuations in attitudes towards race, equality and national identity, andcan therefore provide historians, looking at the periods when the films were produced, withadditional information.
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 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
Page 57 and 58: 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
Page 91 and 92:
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
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 '
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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
Page 207 and 208:
Prince, Stephen, A New Pot of Gold:
Page 209 and 210:
Sternsher, Bernard, Consensus, Conf
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