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unconstitutional; Shelley v. Kraemer ( 1948) ruled that private covenants were legal but state courts could notenforce them.75 Dudziak, Cold War, Civil Rights, 91-2.76 Sweatt v. Painter; McLaurin v. Oklahoma State Regents; Henderson v. United States; Boiling v. Sharpe;and Brown v. Topeka Board of Education.77 Bruce Chadwick claims that there was no 'radical departure from the deeply entrenched myths concerningthe American nineteenth century' until 'the 1977 television miniseries Roots. Bruce Chadwick, The ReelCivil War: Mythmaking in American Film (New York: Alfred A. Knopff, 2001), 6-7.78 Fairclough, Better Day Coming, 204-5, 218.79 Allison Graham, Framing the South: Hollywood, Television, and Race During the Civil Rights Struggle(Baltimore: Johns Hopkins University Press, 2001), 20; John T. Kirby, Media-Made Dixie (Athens, Georgia:University of Georgia Press, revised 1986, first published 1978), 96.80 Graham, Framing the South, 13-14.81 Variety, 12 November, 1947.82 Graham, Framing the South, 154.83 Variety, 2 My, 1947.84 Fairclough, Better Day Coming, 220.83 Dudziak Cold War, Civil Rights, 107.86 Chafe, The Unfinished Journey, 154.87 The 'Paramount' case of 1948 forced the major studios to sell off their theatres.88 In the case of the Mutual Film Corporation v. Industrial Commission of Ohio the Supreme Court ruled thatmotion pictures were a business for profit and were not part of the press therefore the first amendment did notapply. This was overturned in Burstyn v. Wilson in 1952.89 Tino Balio, (ed.), Hollywood in the Age of Television (Cambridge, Massachusetts: Unwin Hyman, 1990),30-1.84