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Not Even Past

Documenting Slavery in East Texas: Transcripts from Monte Verdi

By Daniel J. Thomas III

Originally from Macon, Alabama, Julien Sidney Devereux, Sr (1805-1856) moved to east Texas where he eventually purchased land in Rusk County. This plat would eventually become Monte Verdi, one of the highest producing cotton plantations in the state, where over fifty Africans were enslaved. The Devereux family papers and the maps of the Texas General Land Office, including Julian Devereux’s will (1852) and a plat map of Rusk County (1846-1861), yield rich information about the institution of slavery.

Photograph of the first page of Julien Sidney Devereux, Sr.'s will

On May 7, 1852, Julien Devereux signed his final will and testament. Thirteen of the fourteen sections of his twelve-page will dealt explicitly with the institution of slavery. Sections two through six of his will present a rigid, hierarchical system to control the distribution of enslaved persons among his family members. Devereux named the slaves who, along with the furniture and cattle, were to be willed to his wife and daughter in sections two and three, respectively. Should his daughter not marry or bear children by the age of twenty-one, he noted that all willed enslaved people were to be turned over to his wife. In section four, he bequeathed a nineteen-year-old boy, a twelve-year-old girl, and “their increase” to one of his sons. The increase allotted to his son appears to allude to the arranged breeding of enslaved people and the enslavement of their unborn children. Section five established the equal distribution of Devereux’s remaining fifty-six enslaved persons and all of their future children among his remaining sons. Section six included three stipulations controlling his widow’s actions to ensure that his enslaved persons and property remained within his direct lineage. He declared that his wife must remain on the plantation and under the supervision of his chosen executors, that she could not sell any property or slaves during her lifetime, and that she would relinquish all willed property and enslaved people should she remarry.

The peculiar affection for the enslaved also emerges in the will. In section eight, Devereux appeared to reward an enslaved man and woman for their “long and faithful service” by allowing them to nurse his children. In addition, Devereux declared that the enslaved should never be sold to pay debts because they are “family slaves.” Instead, he reserved over eleven hundred acres of land to be sold if necessary. Finally, Devereux declared that family slaves become fixed by his will thus demonstrating the way enslavement became predetermined and hereditary.

Gomert, A. & Lungkwitz, Herman. Rusk County, map, 1871
Gomert, A. & Lungkwitz, Herman. Rusk County, map, 1871; (https://texashistory.unt.edu/ark:/67531/metapth89173/: accessed October 12, 2019), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas General Land Office.

The accompanying county map incorporated in this analysis of Devereux’s will challenges some common assumption about institutional slavery. To shore up the distribution of public property, the Republic of Texas Congress formed the General Land Office (GLO) in 1836. This map of Rusk County was produced by the GLO and represents plats of property purchased between 1846 and 1861. The density of the map shows that few plats appear to be large; the majority of holdings appear to be quite small and crowded near others. Second, Devereux’s plantation had one of the largest enslaved populations in the state of Texas, at fifty-six. In Rusk County, plantations were not isolated, rural locales with hundreds of enslaved people, as if often assumed. This map shows an densely-settled region where the number of enslaved people would have been similar o that of the Devereux plantation at Monte Verdi.

Collectively, these documents illuminate numerous aspects about the institution of slavery in Texas on the eve of the Civil War.

Julien Sidney Devereux Family Papers, 1766-1908, 1931, 1941, Box 2N215, Will, 1852-1854 Dolph Briscoe Center for American History, The University of Texas at Austin. A Guide to the Julien Sidney Devereux Family Paper, 1766-1941; Volume/Box: 2n215

I  Julien Devereux . . . State of Texas, being of sound mind, do make this my last will and testament, hereby revoking all others.

  1. It is my will that after my decease my remains be interested in a suitable and christian like manner, in the burying ground adjacent to the Baptist Church in the neighborhood of the town of _______; a tomb of stone or brick to be erected over my remains with a  suitable headpiece of stone on which to be engraved the date of my birth and death.
  2. I give and bequeath unto my beloved wife Sarah Ann Devereux the following named slaves to ____: (1) Bill, a boy about twenty years old; 2) Gabby, a girl about sixteen years old, and her male child Franklin about two months old; 3) ____a woman about twenty four years old and her three sons, ____: Peter (the eldest), and George and Isaac (twins) about four years old, also her twin daughter, Kizzy and Emelisa about two years old, and such household and kitchen furniture as I may own at my death. I also give my said wife our ____ of whatever stock of cattle and hogs and ___ one fourth part of whatever stock of mules and horses I may own at my death and the one fourth part of such farming utensils as I may own at my death.
  3. I give and bequeath to my natural daughter Antoinette Devereux the following slaves, to wit: 1) Gino a man about twenty years of age; 2) Rhoda women about eighteen years of age and her two children to wit: Cynthia two years old and the female infant she now have about eight months old named ________________. I also give to Antoinette one horse, saddle and _______ one bed _____ and furniture and two cows and calves I also give said Antoinette her maintenance and education so hereafter provided. And should the said Antoinette be leaving no direct lineal heir of her body begotten then it is my will that said slaves and their increase shall revert to my child or children by my said wife Sarah Ann to be equally divided among them or their lineal heirs. And should said slaves die or any one or more of them before the said Antoinette shall arrive at the age of twenty one years, or before she may marry then it is my will that she should receive and have other slaves to be taken out of those hereafter bequeathed to my children by my wife  of equal value with such as may so die, to be set apart to her by my executors.
  4. I will and bequeath to my natural son Sidney Devereux, two slaves, to wit: Joe a boy about nineteen years old and Joanna girl about twelve years old together with their increase. And I also bequeath to the said Sidney our horse, saddle and bridle: One bed, ____ and furniture and two cows and calves. And I also give the said Sidney his maintenance and education as hereinafter provided. And should the said Sidney die leaving no child or children or the descendants of child or children then it is my will and desire that said slaves shall revert to my children by my wife Sarah Ann, or their lineal heir to be equally divided between them. And should one or both of said slaves die before the said Sidney shall arrive at the age of twenty one years then it is my will that he shall have and receive other slaves or slaves in lieu thereof in like manner as herein before provided for Antoinette Devereux.
  5. I hereby will and bequeath the residual of my property real, personal and mixed, choses in action, effects and rights of whatever description among which ___estimate fifty six slaves to my two sons Albert and Julien Devereux by my present wife, together and in common with such other child or children as she may hereafter have by me to be equally divided between my said two sons and such other child or children as may so be done. If there shall be but one of said sons living at my death and no other child born, then he is to have all the property herein bequeathed to both: if both of said sons are living at my death and no other child born, then said property to be divided between them: if there shall be at my death said two sons and one or more other child or children of my present wife living or posthumous, then it is my desire that said property shall be equally divided between all of said children. And for greater certainty I here give the names of the slaves mentioned and intended to pass to said children by this my 5th bequeath to the best of my resolution, to wit, 1 Scott 2 Jack Shaw 3 Henry 4 Luoius 5 Martin 6 Lewis 7 ___ 8 July 9 Daniel 10 Stephen 11 Levin 12 Randal 13 July? 14 Little Jack 15 Amos 16 Charles 17 ___ 18 Tom 19 Anthony 20 Walton 21 Richmond 22 Green 23 Arthur 24 Pam 25 Little Jesse 26 Nelson 27 Dennis 28 Mason 29 Harrison 30 Aaron 31 Anderson 32 Robert 33 Cola Tabby 34 Mary 35 Henry 36 Lev Mariah 37 Katy 38 Marha 39 Amey 40 Matilda 41 Eliza 42 Dea’nah 43 Makalah 44 Sarah 45 Jane 46 Phebe 47 Jinny 48 Elmina 49 Jiney 50 Louisa 51 Penial 52 Charlotte 53 Little Amey 54 Katy’s child not named and 55 & 56 (two others names not recollected, together with all the increase of said slaves. This my 5th bequeath is made charged with and subject to the following restrictions, uses and conditions to wit: That my present wife Sarah Ann remain on the plantation where we now reside, and under the supervision of my executors as hereinafter directed carry on the plantation for the maintenance of herself and her children and the two natural children Antoinette and Sidney and for the education of her own children as well as the said Antoinette and Sidney. And that she may be able to do so. It is my will that she have the use of the said plantation negroes stock, mules, farming utensils and other ___property appertaining to a plantation during her natural life or widowhood with his exception that as my children ______attain to the age of twenty one years- or if-______ the legacies and property bequeath to them by this will is to be delivered over to them respectively provided that my present residences and land to the extent of two hundred acres including the slaves shall not be sold during the lifetime of my said wife. And should my said wife-Sarah Ann again marry it is my will that there be a complete separation of her property and interests in all things of a _____ character from those of my children.
  6. I desire and bequeath to my said wife and her children all the real estate which I may own and possess at my death to be equally divided between them that is to say if I shall have one or more child or children, by her she is to have a childs part of said real estate in value equal to the part or share of said child or children to be laid off so as to include our present residences. My residences as I desire here to explain, consists of the mansion house and other buildings and four thousand acres of land more or less attached thereto in different survey_____as the William & _______and other lying in one body. The division of said land here ____plateau to be fairly and equally made by my executors.
  7. In the event I leave no child or children by my present wife, living or posthumous at my death, then I will and bequeath the property and its increase herin before devised to such child or children to my said wife and the said Antoinette and Sidney Devereux to be equally divided between them that is to say said property is to be equally divided between my said wife, the said Antoinette and the said Sidney or their lineal descendants provided I leave no child or children in being or posthumous by my said wife or the direct lineal heirs of such child or children by my said wife. Said decision to be made between my said wife and the said Antoinette and the said Sidney in three equal parts share and share alike.
  8. In consideration of the long and faithful service of the old negro slaves Scott and Gabby hereinfore bequeathed to my new sons Albert and Julian it is my will and desire that from and after they be exempt from compulsory personal labor further than to give such attention as they may be able in nursing and taking care of my children after my death; and I further will and desire that the said Scott and Gabby shall be humanely treated and will provided for by my executors.
  9. It is my will and desire that all my just debts be paid before distribution of my estate takes place. And in providing for the maintenance of my children I estimate the profile of my plantation as being ______for those purposes and pay my just debts. If, however tho fund arising from my plantation is insufficient for all the _______ properties, and it is deemed necessary by my executors to sell any portion of my estate for the payment of my debts, it is my desire that none of my slaves shall be sold. They are family slaves it is my will that they so remain after my death. I hereby designate as property to be sold for the payment of debts if necessary two tracts of land to with:  eleven hundred and seven acres the head right property of ____ Robert W Smith and Eight hundred and eighty acres known as the ____. I purchased of Doctor Elijah Doson or so much thereof as my executors may deem sufficient.
  10. Contrary to any wish desire or request of mine the legislation of the State of Texas at its last___ the second section of act entitled “an act changing the names of Antoinette _____ and Sidney May” which act was “approved January 3 1852.” said second section is in these words “That the said Antoinette Devereux and Sidney Devereux be and they are hereby declared capable in law of inheriting the property of their father Julien Devereux in the same manner as if they had been born in lawful wedlock – and that this act take effect and be in force from and after its passage”. Now, although it has long been my wish and desire that the names of the said Antoinette Scott and Sidney ___ should be changed as provided for by the first section of the above cited act, yet I never intended nor was it ever my will that they shall inherit my estate in the manner provided in the said second section . I do therefore now and forever hereafter by this my last will and testament most solemnly protest against the operation and effect of said second section of said act and desire that said second section may be appealed by act of said Legislature at the next session, the same having been passed without my knowledge consent or approbation and in direct violation of any wishes and desires. It is my will that the said Antoinette and Sidney be provided for and receive portions of my estate after my death only in such manner as is in this my last will and testament set forth and stated and in no other way.
  11. As I have before initiated, it is my will that a sufficient amount independent of the bequeath herein made be set apart and devoted to the maintenance and education of Antoinette Devereaux and Sidney Devereux, and my two sons Albert and Julien, and such other children of mine as may hereafter be born. And it is also my will that should the said Antoinette and Sidney or either of them die without lineal _____ of their body or bodies, the _______ of herein bequeathed is not in any way or under any circumstances to descend to or be inherited by any member of their mother family.
  12. My will is that my friend Doctor Peterson ___ Richardson be guardian of the person and property of my natural daughter Antoinette Devereux to superintend and direct her education and take care of her. And should my said wife deem it proper for Antoinette to be leave here I desire Doctor Richardson to take her and raise her. And it is my will and desire that my extended friend Col. William Wright Morris be the guardian of any natural son Sidney Devereux: as well of his person as his property and I desire that said Morris will consider the said Sidney wholly in his care and under his charge and permit him to ramble or wander off so as to become identified with his mothers people: That he will superintend the education and moral culture of the said Sidney and in a special manner prepare his mind for the study of the law by giving a proper direction to this education.
  13. It is my will that none of my slaves be sold. With due exception they are all family negroes, and my desire is that they so remain under the ____ plateau distribution fixed by this will: that they may be humanely treated and will be taken care of by those who may succeed me in the ownership of them.
  14. I do herby appoint my wife Sarah Ann Devereux, John Laudrew, Col. William Wright Morris, Doctor Peterson T. Richardson, and Doctor William M. ____ of Rush County and Doctor James H. ____ of Nagadoches County Texas (my trust worthy friends) my executors of this my last will and testament to execute and carry out all the terms and provisions of the _____. And it is my will that they or either one of them shall not be required to give bond and security as a condition to entering or the discharge of the duties herby imposed. It is also____my will and direction that no other action shall be had in the County Court in relation to the settlement of the estate herin disposed of then the probate and registration of this will and testament and a return of inventory of said estate. It is my desire and will that my wife Sarah ____ by the council and advice of any one or more of my other executors, as she may choose will take upon herself the supervision of my plantation for the purposes expressed in the will. That aided by my other executors she will attend to the hiring of overseers, the sale of produce, the investing of the proceeds of the plantation: That with the aid of said executor she will plan improvement of my plantation, preserve and take care of property, and above all she will attend strictly and carefully to the education of my two sons Albert and Julien and such other children as she may have by me.

I hereby appoint the said Sarah Anne Devereux guardian of the persons and property of my said sons Albert and Julian and such other child or children as she may have by me, and in case she should die then it is my will that Doctor Peterson T. Richardson will take the guardianship of said two sons and such other children as she may have as aforesaid.

The foregoing will of twelve and a half pages signed sealed and published in our presence and in the presence of each other. The foregoing twelve and a half pages contain my last will and testament executed at the town of Henderson on this 7th day of May AD 1852.

–Julien Sidney Devereux


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Bibliography
Gomert, A. & Lungkwitz, Herman. Rusk County, map, 1871; (https://texashistory.unt.edu/ark:/67531/metapth89173/: accessed October 12, 2019), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas General Land Office.

Julien Sidney Devereux Family Papers, 1766-1908, 1931, 1941, Box 2N215, Will, 1852-1854 Dolph Briscoe Center for American History, The University of Texas at Austin


You might also like:
The Enslaved and the Blind: State Officials and Enslaved People in Austin, Texas
Slavery World Wide: Collected Works from Not Even Past
White Women and the Economy of Slavery


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Rage and Resistance at Ashbel Smith’s Evergreen Plantation

By Candice D. Lyons

In the spring of 1852, Benjamin Roper, overseer to Galveston area plantations Evergreen and Headquarters, wrote a short letter to his employer to inform him that “on the night of [April] 30 I cut Lewis [an enslaved man] with a knife . . . . He is now and has been since his misfortune at Dr. Whiting’s and will remain there until he is able to bear punishment when I shall bring him home and give him a very severe whiping [sic].” Roper postponed describing the events leading up to this act of brutality, however, he insisted that “if any negro (whether I have the controll [sic] of him or not) should ever give me the like provocation, I will deliberately take his life. I am now armed and it is my intention never to go into your field without, and to use them if necessary.”

Photograph of part of a letter sent by Benjamin Roper, a plantation overseer, in 1852 to his employer
Letter from May 3, 1852 (by author)

The recipient of this missive was Ashbel Smith, noted Texas statesman often hailed as both “the father of Texas medicine” and “the father of the University of Texas.” Known for his pioneering work in the treatment of yellow fever as well as his diplomatic endeavors, Smith spent the latter part of his life acting as a vocal proponent for women’s and African American education, serving as one of three commissioners tasked with establishing an “Agricultural and Mechanical College of Texas, for the benefit of the Colored Youths”—the institution that would eventually become Prairie View A&M University. This avowed investment is difficult to reconcile, however, with Smith’s years-long, active participation in the institution of chattel slavery, including his seeming complicity in his steward’s violent attempts at plantation management.

Shortly after the April 30 incident, Smith returned to his Texas holdings for a brief visit, after which Roper penned a follow-up message noting, “Lewis is here for a week or two until we get more out of the grass. Perhaps it may be some satisfaction for you to know that he as well as all the other negroes have behaved very well indeed since you left.” This bit of self-congratulation would prove premature, however, as between the writing of this letter and one dated June 23, 1852, those enslaved by Ashbel Smith mounted a sustained resistance (undoubtedly, at least in part, to Lewis’ stabbing) that would compel Roper to draft yet another letter to his employer noting that “Your negroes have for a long time enjoyed the reputation of being hard to manage yet I believed until now that I could control them. I am now satisfied that I cannot and being so satisfied I wish to resign.” It is clear from this communication that, as they had done in years past, the individuals enslaved by Ashbel Smith were challenging the conditions of their enslavement. This is evident in Roper’s comment a week later that “whilst I have been at one place [that is, one of Smith’s plantations] the work has been neglected at the other. Your negroes all need continual watching or rather continual flogging to make them do their work.”

Printed map of Galveston County for 1879
Map of Galveston County, 1879 via Library of Congress

Demoralized, Roper divulges that “there is not a single person [enslaved at Evergreen or Headquarters] in whom I can depend unless it be Abram, and I have not full confidence in him. Bob and Old Sam deceived me for a long time but I have found them out and in my opinion there are not two greater scoundrels on the place.” Roper’s plaintive airing of grievances highlights how those enslaved by Smith shifted the balance of power after a heinous act of violence, contesting the circumstances under which they were expected to labor in ways marking them, in Roper’s view, as “scoundrels.”

Black and white image of Ashbel Smith
Ashbel Smith via Wikimedia Commons

This situation was thrown into crisis once again in 1857, as Ashbel Smith began to receive extensive correspondence from Roper concerning the practices of his replacement, the newly hired overseer, Mr. Page. Roper still lived in the area and spoke regularly with Smith. In February 1857, he wrote to note that Page was rarely if ever seen in the fields and that, rather, “the negroes are called up and receive orders at the house and then they go off and do as they please.” While this lack of oversight may have been to the benefit of the enslaved on one hand, it signaled a type of neglect that would leave them especially vulnerable to medical calamity, on the other. On March 4, 1857, Roper writes, “Ann gave birth to a [daughter] since you left which died a few days after. I knew not of its birth or sickness until after its death, if I had I should have gone to have seen it.” He adds, “I have since told Albert and Abram that if anyone was sick hereafter before your return to let me know it”—a request that seems to imply that Roper attributes the death of Ann’s child to some failure to attend to the needs of those enslaved on Evergreen Plantation on Mr. Page’s part.

Such was the fate of these individuals: despite Smith’s reputation as an upstanding and altruistic Texas luminary, the people he enslaved spent their lives subject to the whims of a perpetually absent “master” and were routinely made to contend with insufficient resources, violent overseers, and inadequate health care.

Image of a statue of Ashbel Smith in Baytown, Texas
Ashbel Smith is memorialized in a statue in Baytown, Texas (via Wikimedia Commons)

Read the full letters from the Ashbel Smith Papers, 1823-1926 here:

  • Letter from May 3, 1852
  • Letter from June 1, 1852
  • Letter from June 23, 1852
  • Letter from June 30,1852
  • Letter from Feb 2, 1857
  • Letter from March 4, 1857


Sources:
Ashbel Smith Papers, 1823-1926, Dolph Briscoe Center for American History, The University of Texas at Austin.
“Evergreen Plantation.” Handbook of Texas Online.
Elizabeth Silverthrone. “Smith, Ashbel.” Handbook of Texas Online.

You might also like:
White Women and the Economy of Slavery
Love in the Time of Texas Slavery
Slavery World Wide: Collected Works from Not Even Past


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

2019 History PhDs on Not Even Past

This month on Not Even Past we are celebrating the accomplishments of seventeen students who completed their doctoral dissertations and received their PhDs in History in 2018-2019. Above you see some of them pictured. Below you will find each of their names and the title of their dissertations.

Many of these students were also contributors to Not Even Past throughout their time here, developing their skills as public historians alongside their training as a academics. Here we offer a comprehensive index to all our new PhDs’ publications on Not Even Past.  Congratulations to all!

Ahmad Tawfek Agbaria
Dissertation: The Return of the Turath: Arab Rationalist Association 1959-2000

Ordinary Egyptians: Creating the Modern Nation through Popular Culture by Ziad Fahmy (2011)

Israeli tanks advancing on the Golan Heights. June 1967 (via Wikipedia)

Christopher Babits
Dissertation: To Cure a Sinful Nation: Conversion Therapy in the United States

The Miseducation of Cameron Post (Dir: Desiree Akhavan, 2018)

Digital Teaching: A Mid-Semester Timeline

The Blemished Archive: How Documents Get Saved

Age of Fracture by Daniel T. Rodgers (2011)

Nature Boy, 30 for 30 (Dir: Rory Karpf, 2017)

Doing History in the Modern U.S. Survey: Teaching with and Analyzing Academic Articles

Finding Hitler (in All the Wrong Places?)

The Rise of Liberal Religion by Matthew Hedstrom (2013)

Encountering America: Humanistic Psychology, Sixties Culture, and the Shaping of the Modern Self by Jessica Grogan (2012)

Another Perspective on the Texas Textbook Controversy

Religious Book Week Poster from 1925 (via Library of Congress)

Bradley Joseph Dixon
Dissertation: Republic of Indians: Law, Politics, and Empire in the North American Southeast, 1539-1830

Facing North from Inca Country: Entanglement, Hybridity, and Rewriting Atlantic History

Map of Virginia, discovered and as described by Captain John Smith, 1606; engraved by William Hole (Via Wikimedia commons)

Luritta DuBois
Dissertation: United in Our Diversity: The Reproductive Healthcare Movement, 1960-2000

Historical Perspectives on Marshall (dir. Reginal Hudlin, 2017)

UT Gender Symposium: Women’s Bodies and Political Agendas

Thurgood Marshall in 1957 (Library of Congress)

Dennis Fisher
Dissertation: To Not Sell One Perch: Algonquin Politics and Culture at Kitigan Zibi During the Twentieth Century

The Many Histories of South Austin: The Old Sneed Mansion

A 1936 photograph of the Sneed House taken by the Historic American Buildings Survey (via Library of Congress)

Kristie Flannery
Dissertation: The Impossible Colony: Piracy, the Philippines, and Spain’s Asian Empire

A New History Journal Produced by Students

#changethedate: Australia’s Holiday Controversy

Acapulco-Manila: The Galleon, Asia and Latin America, 1565-1815

Notes from The Field: The Pope in Manila

Outlaws of the Atlantic by Marcus Rediker (2014)

Among the Powers of the Earth: the American Revolution and the Making of a New World Empire by Eliga Gould

Sixteen Months in a Leaky Boat

The Sapphires (2012)

2012 and the End of the World: The Western Roots of the Maya Apocalypse by Matthew Restall and Amara Solari (2011)

Imperial Subjects: Race and Identity in Colonial Latin America edited by Andrew B. Fisher and Matthew D. O’Hara (2009)

True History of the Kelly Gang by Peter Carey (2001)

Confederates in the Attic: Dispatches from the Unfinished Civil War by Tony Horwitz (1999)

detail of an 18c map depicting a pirate ship sailing near the Philippines.

Pedro Murillo Velarde and Nicolas de la Cruz Bagay. Mapa de las yslas Philipinas (1744) (Detail: Benson Latin America Collection, UT Austin)


Travis Michael Gray
Dissertation: Amid the Ruins: The Reconstruction of Smolensk Oblast, 1943-1953

Every Day Stalinism, by Sheila Fitzpatrick (2000)

Stalin’s Genocides by Norman Naimark (2011)

Soviets fighting during World War II (via wiki commons)

William Kramer
Dissertation: Faith, Heresy and Rebellion: Resisting the Henrician Reformation in Ireland, 1530-1540

Henry VIII, Elizabeth I, and Edward VI (via Art Institute of Chicago)

John Lisle
Dissertation: Science and Espionage: How the State Department and the CIA Deployed American Scientists during the Cold War

What Killed Albert Einstein

This New Ocean: The Story of the First Space Age by William Burrows (1998)

Soviet postage stamp celebrating the 10th anniversary of the launch of the Sputnik satellite

James Martin
Dissertation: In Search of the Nixon Doctrine on Latin America: Levers of Influence and Resistance in Hemispheric Relations

Vice President Richard Nixon’s motorcade drives through Caracas, Venezuela and is attacked by demonstrators, May 1958 (National Archives via Wikipedia)

Kazushi Minami
Dissertation: Rebuilding the Special Relationship: People’s Diplomacy and U.S.-Chinese Relations in the Cold War

Peeping Through the Bamboo Curtain: Archives in the People’s Republic of China

Cold War Crucible: The Korean Conflict and the Postwar World by Hajimu Masuda (2015)

Past and Present in Modern China

Historical Perspectives on Hayao Miyazaki’s The Wind Rises (2013)

shot from animated film of a boy looking up at airplane in the sky

from Hayao Miyazaki’s film The Wind Rises

Elizabeth O’Brien
Dissertation: Intimate Interventions: The Cultural Politics of Reproductive Surgery in Mexico, 1790-1940

Partners in Conflict: The Politics of Gender, Sexuality, and Labor in The Chilean Agrarian Reform, 1950-1973 by Heidi Tinsman.

Gendered Compromises: Political Culture and the State in Chile, 1920-1950 by Karin Rosemblatt

The Deepest Wounds: A Labor and Environmental History of Sugar in Northeast Brazil by Thomas D. Rogers (2010)

“Women Advance with the Flag of the Motherland” La Unidad Popular poster (1970).

Nakia Parker
Dissertation: Trails of Tears and Freedom: Black Life in Indian Slave Country,1830-1866

Popular Culture in the Classroom

The First Texans: An Exhibit in Jester Hall

Confederados: The Texans of Brazil

Black Slaves, Indian Masters: Slavery, Emancipation, and Citizenship in the Native American South by Barbara Krauthamer (2013)

Chickasaw Freedmen filing for allotment in Oklahoma (Oklahoma Historical Society)

Christopher Rose
Dissertation: On the Home Front: Food, Medicine, and Disease in WWI Egypt

You’re Teaching WHAT?

Wrong About Everything

Mapping & Microbes: The New Archive (No. 22)

Searching for Armenian Children in Turkey: Work Series on Migration, Exile, and Displacement

Industrial Sexuality: Gender in a Small Town in Egypt

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Exploring the Silk Road

The Ottoman Age of Exploration by Giancarlo Casale (2010)

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Chris is also the co-founder and main force behind our podcast, 15 Minute History, where he has done many of our interviews.

Map showing typhus outbreaks in Egypt, September 1, 1914 – May 31, 1919 (created by Chris Rose)


Edward Flavian Shore
Dissertation: Avenger of Zumbi: The Nature of Fugitive Slave Communities and Their Descendants in Brazil

 

History and Advocacy: Brazil and Turmoil

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The Public Historian: Giving it Back

The Quilombo Activist’s Archives and Post-Custodial Preservation, Part II

The Quilombo Activist’s Archives and Post-Custodial Preservation, Part I

An Anticipated Tragedy: Reflections on Brazil’s National Museum

The Public Historian: Quilombola Seeds

Getz/Gilverto Fifty Years Later: A Retrospective

Por Ahora: The Legacy of Hugo Chávez Frías

The Cuban Connection by Eduardo Saénz Rovner (2008)

Che: A Revolutionary Life by Jon Lee Anderson

Narco-Modernities

Photo from Edward Shore’s Collection

Eyal Weinberg
Dissertation: Tending to the Body Politic: Doctors, Military Repression, and Transitional Justice in Brazil (1961-1988)

Our History Mixtape: Embracing Music in the Classroom

Ex Cathedra: Stories by Machado de Assis: Bilingual edition (2014)

For Social Peace in Brazil: Industrialists and the Remaking of the Working Class in Sao Paulo, 1920-1964 by Barbara Weinstein (1996)

The Works Progress Administration’s music project employed musicians as instrumentalists, singers, concert performers, and music teachers during the Great Depression (via Library of Congress)

Zhaojin Zeng
Dissertation: Nourishing Shanxi: Indigenous Entrepreneurship, Regional Industry, and the Transformation of a Chinese Hinterland Economy, 1907-2004

 

Capitalism with Chinese Characteristics: Entrepreneurship and the State by Yansheng Huang (2008) 

Cantonese bazaar during Chinese New Year at the Grant Avenue, San Francisco, circa 1914 (via Wikipedia)

Pictured in photo: Dr. John Lisle, Prof Daina Berry, Dr. William Kramer, Dr. Nakia Parker, Prof. Ann Twinam, Dr. Christopher Rose, Dr. Elizabeth O’Brien, Dr. Eyal Weinberg.

US History at the Movies

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Films about historical events have enormous power to affect us, both to enlighten and to mislead.  Historical films are perennially popular, often because they tell history through individual lives, because they invent characters and add personal, emotional drama to events that we want to learn about. Those same fictionalizing qualities make them great tools for teaching history. It has never been more urgent to train students to recognize how all stories — from those told by the most inventive narrator to the most professional historian — are told from particular points of view, shaped by the context of the storytellers’ lives.

During the academic year 2019-2020, Not Even Past sponsored a history film series to accompany the U.S. History survey course. As part of this, we wanted to make titles available to teachers of U.S. history at any level or institution to use in their classrooms, supplementing lectures and other activities with films.

PLEASE HELP US EXPAND OUR LIST OF FILMS by posting your films about U.S. History on social media and tagging Not Even Past.

What’s included: This list includes general theatrical release feature films and feature-film length television films.

What’s not included: Documentaries, TV series and individual TV episodes.

Jump to:

Medieval North America, Colonial America, American Republic
Civil War and Reconstruction
Slavery
Expansion and Westward Movement
Industrial Age (1871-1914)
WWI-Depression
WWII
Cold War
Civil Rights, Segregation, and Jim Crow
1960s-1970s
1980s-Present

Medieval North America, Colonial America, American Republic 

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movie poster for 1776
movie poster for the crucible

1776 (1972, Peter. H Hunt)

Based on a broadway musical of the same name, 1776 follows the political struggle of the Continental Congress in the days leading to the Declaration of Independence on July 4, 1776.

April Morning (1988, Delbert Mann, TV Movie)

An adaptation of the classic novel by Howard Feast, this film’s name refers to that April morning – April 19, 1775 – when ‘the shot heard around the world’ signaled the start of the American Revolution. A coming-of-age story in which a young teenager must grow up quickly to survive violence and death during the Battle of Lexington and Concord.

The New World (2008, Terrence Malick)

A dramatization of Pocahontas’ relationships with John Smith and John Rolfe.

The Crucible (1996, Nicholas Hytner)

Arthur Miller’s classic play about the Salem Witchcraft Trials.

The Crossing (2000, Robert Harmon, TV film)

Follows George Washington’s crossing of the Delaware River and the Battle of Trenton. Based on a novel of the same name by Howard Fast,

The Devil’s Disciple (1959, Guy Hamilton, Alexander Mackendrick)

When Dick Dudgeon (Kirk Douglas) learns his father was executed by the British for treason at the onset of the Revolutionary War, he steals the body for a proper burial after minister Anthony Anderson’s (Burt Lancaster) pleas for it are in vain. While visiting with the minister and his wife, the British mistakenly arrest Dick, who says nothing, choosing to stand in the minister’s place. Can Anderson and the rebels convince Gen. Burgoyne (Laurence Olivier) to free Dick before he’s hanged? (via Google)

Johnny Tremain (1957, Robert Stevenson)

An apprentice silversmith (Hal Stalmaster) is there at the Boston Tea Party and other highpoints of the Revolution. (via Google)

Last of the Mohicans (1992, Michael Mann)

The last members of a dying Native American tribe, the Mohicans — Uncas (Eric Schweig), his father Chingachgook (Russell Means), and his adopted half-white brother Hawkeye (Daniel Day-Lewis) — live in peace alongside British colonists. But when the daughters (Madeleine Stowe, Jodhi May) of a British colonel are kidnapped by a traitorous scout, Hawkeye and Uncas must rescue them in the crossfire of a gruesome military conflict of which they wanted no part: the French and Indian War. (via Google)

The Patriot (2000, Roland Emmerich)

A widowed farmer decides not to join the fight when the British arrive in 1776, but he must when his son enlists and is captured by the enemy, forming a regiment of Carolina patriots.

The Rebels (1979, Russ Mayberry)

After the Battle of Lexington kicks off the Revolutionary War, the Americans are rallying to fight the British. American soldier Philip Kent (Andrew Stevens) is set to fight in the Battle of Bunker Hill while his wife, Anne (Kim Cattrall), is at home looking after their child. While Kent is engaged in combat alongside Gen. George Washington, his friend Judson Fletcher (Don Johnson) becomes a member of the newly formed Second Continental Congress. (via Google)

Revolution (1985, Hugh Hudson)

A trapper (Al Pacino) joins the fight against the British in 1776 after his teenage son is tortured by a redcoat (Donald Sutherland). (via Google)

Sons of Liberty (1939, Michael Curtiz)

The life of Haym Salomon, an American patriot and financier of the American Revolution. (via Google)

The Spirit of ’76 (1917, Frank Montgomery)

The Spirit of ’76 was a controversial silent film that depicted both factual and fictional events during the American Revolutionary War. The film was directed by Frank Montgomery and produced and written by Robert Goldstein (via Wikipedia).

Sweet Liberty (1986, Alan Alda)

Michael has written a scholarly book on the revolutionary war. He has sold the film rights. The arrival of the film crew seriously disrupts him as actors want to change their characters, directors want to re-stage battles, and he becomes very infatuated with Faith who will play the female lead in the movie. At the same time, he is fighting with his crazy mother who thinks the Devil lives in her kitchen. (via Google)

Civil War and Reconstruction

movie poster for the birth of a nation (1915)
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movie poster for birth of a nation (2016)

Andersonville (1996, John Frankenheimer)

Hunger, exposure and disease plague Union soldiers interned at an overcrowded Confederate prison camp in 1864 Georgia. (via Google)

Birth of a Nation (1915, D.W. Griffith, USA)

Controversial film following relationships between two families during the Civil War and Reconstruction era that portrays negative racial stereotypes of black men and depicts the KKK as a historic force.

Birth of a Nation (2016, Nate Parker)

Nat Turner is an enslaved Baptist preacher who lives on a Virginia plantation owned by Samuel Turner. With rumors of insurrection in the air, a cleric convinces Samuel that Nate should sermonize to other slaves, thereby quelling any notions of an uprising. As Nate witnesses the horrific treatment of his fellow man, he realizes that he can no longer just stand by and preach. On Aug. 21, 1831, Turner’s quest for justice and freedom leads to a violent and historic rebellion in Southampton County. (via Google)

Burying My Heart at Wounded Knee (2007, Yves Simoneau)

In the 1880s, after the U. S. Army’s defeat at the Battle of the Little Bighorn, the government continues to push Sioux Indians off their land. In Washington, D.C., Senator Henry Dawes (Aidan Quinn) introduces legislation to protect Native Americans rights. In South Dakota, schoolteacher Elaine Goodale (Anna Paquin) joins Sioux native and Western-educated Dr. Charles Eastman in working with tribe members. Meanwhile, Lakota Chief Sitting Bull refuses to give into mounting government pressures.

Cold Mountain (2003, Anthony Minghella)

In this classic story of love and devotion set against the backdrop of the American Civil War, a wounded Confederate soldier named W.P. Inman (Jude Law) deserts his unit and travels across the South, aiming to return to his young wife, Ada (Nicole Kidman), who he left behind to tend their farm. As Inman makes his perilous journey home, Ada struggles to keep their home intact with the assistance of Ruby (Renée Zellweger), a mysterious drifter sent to help her by a kindly neighbor. In this classic story of love and devotion set against the backdrop of the American Civil War, a wounded Confederate soldier named W.P. Inman (Jude Law) deserts his unit and travels across the South, aiming to return to his young wife, Ada (Nicole Kidman), who he left behind to tend their farm. As Inman makes his perilous journey home, Ada struggles to keep their home intact with the assistance of Ruby (Renée Zellweger), a mysterious drifter sent to help her by a kindly neighbor. (via Google)

The Conspirator (2010, Robert Redford)

Following the assassination of President Lincoln, seven men and one woman are arrested and charged with conspiring to kill Lincoln, the vice president and the secretary of state. Lawyer Frederick Aiken (James McAvoy) reluctantly agrees to defend the lone woman, Mary Surratt (Robin Wright), who owns a boarding house where John Wilkes Booth and others met to plan their crimes. Aiken realizes that Mary may be innocent and being used as bait to capture her son, a suspect who is still at large. (via Google)

Fort Apache (1948, John Ford).

When arrogant and stubborn Civil War hero Lieutenant Colonel Owen Thursday (Henry Fonda) arrives in Arizona with his daughter, Philadelphia (Shirley Temple), to assume command of the Fort Apache outpost, he clashes with level-headed Captain Kirby York (John Wayne). Viewing the local Native Americans through an ignorantly negative lens, Thursday is determined to engage them in battle for his own glory, despite the warnings of York — an act of folly that will have dire consequences (via Google)

Free State of Jones (2016, Gary Ross)

In 1863, Mississippi farmer Newt Knight serves as a medic for the Confederate Army. Opposed to slavery, Knight would rather help the wounded than fight the Union. After his nephew dies in battle, Newt returns home to Jones County to safeguard his family but is soon branded an outlaw deserter. Forced to flee, he finds refuge with a group of runaway slaves hiding out in the swamps. Forging an alliance with the slaves and other farmers, Knight leads a rebellion that would forever change history. (via Google)

Friendly Persuasion (1956, William Wyler)

The patriarch of a peace-loving Quaker family, Jess Birdwell (Gary Cooper), begins to question his pacifist values when the Civil War moves toward his close-knit Indiana community. Meanwhile, Jess’s daughter, Mattie, is in love with a soldier, and her brother, Josh (Anthony Perkins), contemplates picking up arms to defend his home lest he be considered a coward. As Confederate forces draw nearer, the Birdwells must make some difficult, life-altering decisions. (via Google)

Gettysburg (1993, Ronald F. Maxwell)

This war drama depicts one of the biggest events of the American Civil War, the Battle of Gettysburg. The massive three-day conflict begins as Confederate General Robert E. Lee (Martin Sheen) presses his troops north into Pennsylvania, leading to confrontations with Union forces, including the regiment of Colonel Joshua Chamberlain (Jeff Daniels). As the battle rages on and casualties mount, the film follows both the front lines and the strategic maneuvering behind the scenes (via IMBD).

Gods and Generals (2003, Robert F. Maxwell)

Epic prequel to `Gettysburg’ examining the early days of the American Civil War through the experiences of three historical figures. Colonel Joshua Lawrence Chamberlain must leave behind his quiet academic life, General Thomas Stonewall Jackson must contend with his great religious faith, and General Robert Lee is forced to choose between his loyalty to the USA and his love of the Southern states. (via Google)

Gone With the Wind (1940, Victor Fleming)

Epic Civil War drama focuses on the life of petulant southern belle Scarlett O’Hara (Vivien Leigh). Starting with her idyllic on a sprawling plantation, the film traces her survival through the tragic history of the South during the Civil War and Reconstruction, and her tangled love affairs with Ashley Wilkes (Leslie Howard) and Rhett Butler (Clark Gable) (via IMBD)

Glory (1989, Edward Zwick)

Following the Battle of Antietam, Col. Robert Gould Shaw (Matthew Broderick) is offered command of the United States’ first all-African-American regiment, the 54th Massachusetts Volunteer Infantry. With junior officer Cabot Forbes (Cary Elwes), Shaw puts together a strong and proud unit, including the escaped slave Trip (Denzel Washington) and the wise gravedigger John Rawlins (Morgan Freeman). At first limited to menial manual tasks, the regiment fights to be placed in the heat of battle.

The Good, the Bad, and the Ugly (1966, Sergio Leone)

In the Southwest during the Civil War, a mysterious stranger, Joe (Clint Eastwood), and a Mexican outlaw, Tuco (Eli Wallach), form an uneasy partnership — Joe turns in the bandit for the reward money, then rescues him just as he is being hanged. When Joe’s shot at the noose goes awry during one escapade, a furious Tuco tries to have him murdered. The men re-team abruptly, however, to beat out a sadistic criminal and the Union army and find $20,000 that a soldier has buried in the desert. (via Google)

Lincoln (2013, Steven Spielberg).

With the nation embroiled in still another year with the high death count of Civil War, President Abraham Lincoln (Daniel Day-Lewis) brings the full measure of his passion, humanity and political skill to what would become his defining legacy: to end the war and permanently abolish slavery through the 13th Amendment. Having great courage, acumen and moral fortitude, Lincoln pushes forward to compel the nation, and those in government who oppose him, to aim toward a greater good for all mankind (via IMBD)

The Keeping Room (2014, Daniel Barber)

During the waning days of the Civil War, two Southern sisters (Brit Marling, Hailee Steinfeld) and a slave (Muna Otaru) must defend themselves against two Union Army soldiers. (via Google)

The Outlaw Josey Wales (1976, Clint Eastwood)

Josey Wales (Clint Eastwood) watches helplessly as his wife and child are murdered, by Union men led by Capt. Terrill (Bill McKinney). Seeking revenge, Wales joins the Confederate Army. He refuses to surrender when the war ends, but his fellow soldiers go to hand over their weapons — and are massacred by Terrill. Wales guns down some of Terrill’s men and flees to Texas, where he tries to make a new life for himself, but the bounty on his head endangers him and his new surrogate family. (via Google)

The Red Badge of Courage (1951, John Huston)

Henry Fleming (Audie Murphy) is a young Union soldier in the American Civil War. During his unit’s first engagement, Henry flees the battlefield in fear. When he learns that the Union actually won the battle, shame over his cowardice leads him to lie to his friend Tom (Bill Mauldin) and the other soldiers, saying that he had been injured in battle. However, when he learns that his unit will be leading a charge on the enemy, Henry takes the opportunity to face his fears and redeem himself. (via Google)

Ride with the Devil (1999, Ang Lee)

On the fringes of the Civil War, Missouri Bushwackers engage in guerrilla warfare with Union Jayhawkers. Bushwackers Jake Roedel (Tobey Maguire) and Jack Chiles (Skeet Ulrich), out to avenge the murder of Jack’s father, are joined by George Clyde (Simon Baker) and his former slave, Daniel (Jeffrey Wright). Hiding out for the winter, Jack has a short romance with a war widow (Jewel) before dying. Jake steps in to take care of her and her newborn before joining Quantrill’s famous Kansas raid. (via Google)

Rio Lobo (1970, Howard Hanks)

Union leader Cord McNally (John Wayne) is protecting a routine gold shipment when his troops are attacked by Confederate forces. Not only does he lose the gold, but one of his strongest officers is killed in the raid. At the end of the Civil War, McNally learns that the raiders had help from the inside, and he vows to uncover the two traitors. After a chance encounter with one of the turncoats, McNally travels to the town of Rio Lobo and makes an unexpected discovery. (via Google)

Shenandoah (1965, Andrew V. McLaglen)

American Civil War film about a wealthy widower who has remained steadfast in his opposition to the war on moral grounds. However, he is forced to become involved in the conflict when his son-in-law is called upon to serve in the Confederate forces, his youngest son is captured by the Union army, and another son and his pregnant daughter-in-law are killed by looters. (via Google)

Slavery

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12 Years a Slave (2013, Steve McQueen)

This is the story of Solomon Northup, a free black man in New York who was kidnapped and enslaved for twelve years before he was able to get word to his family in the North and be rescued. (via Google)

Amistad (1997, Steven Spielberg, USA)

Based on true story of 1839 slave ship mutiny on board the La Amistad off the coast of Cuba. (via Google)

Beloved (1998, Johnathan Demme)

In 1873 Ohio, Sethe (Oprah Winfrey) is a mother of three haunted by her horrific slavery past and her desperate actions for freedom. As a result, Sethe’s home is haunted by a furious poltergeist, which drives away her two sons. Sethe and her daughter (Kimberly Elise) endure living with the spirit for 10 more years, until an old friend, Paul D. Garner (Danny Glover), arrives to run it out. After Garner moves in, a strange woman named Beloved (Thandie Newton) enters their lives, causing turmoil. (via Google)

Django Unchained (2012, Quentin Tarantino)

Two years before the Civil War, Django (Jamie Foxx), a slave, finds himself accompanying an unorthodox German bounty hunter named Dr. King Schultz (Christoph Waltz) on a mission to capture the vicious Brittle brothers. Their mission successful, Schultz frees Django, and together they hunt the South’s most-wanted criminals. Their travels take them to the infamous plantation of shady Calvin Candie (Leonardo DiCaprio), where Django’s long-lost wife (Kerry Washington) is still a slave. (via Google)

Unchained Memories: Readings from the Slave Narratives (1993, Ed Bell, Thomas Lennon)

Documentary film about the stories of former slaves interviewed during the 30s as part of the Federal Writers’ Project. (via IMBD)

Roots (1977, Martin J. Chomsky, John Erman, David Greene, Gilbert Moses)

Based on Alex Haley’s family history. Kunta Kinte is sold into the slave trade after being abducted from his African village, and is taken to the United States. Kinte and his family observe notable events in American history, such as the Revolutionary and Civil Wars, slave uprisings and emancipation. (via Google)

Expansion and Westward Movement

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Dances with Wolves (1990, Kevin Costner).

Story of a Civil War solider whose post is in the 1870 Dakotas and becomes friends with the Lakota Sioux.

Davy Crockett, King of the Wild Frontier (1955, Norman Foster)

This big-screen movie featuring the coonskin-capped Davy Crockett (Fess Parker) consists of the first three episodes that aired on the Disneyland TV show in 1954. Crockett and his pal George Russel (Buddy Ebsen) battle Native Americans, and Russel gets captured. Crockett does what it takes to save his friend. After the wars, Crockett runs a successful political campaign to become a congressman. But the Texas Revolution calls him back to fight, and he makes his last stand at the Alamo. (via Google)

High Noon (1952, Fred Zinnemann)

Former marshal Will Kane (Gary Cooper) is preparing to leave the small town of Hadleyville, New Mexico, with his new bride, Amy (Grace Kelly), when he learns that local criminal Frank Miller has been set free and is coming to seek revenge on the marshal who turned him in. When he starts recruiting deputies to fight Miller, Kane is discouraged to find that the people of Hadleyville turn cowardly when the time comes for a showdown, and he must face Miller and his cronies alone. (via Google)

Red River (1948, Howard Hawks)

Headstrong Thomas Dunson (John Wayne) starts a thriving Texas cattle ranch with the help of his faithful trail hand, Groot (Walter Brennan), and his protégé, Matt Garth (Montgomery Clift), an orphan Dunson took under his wing when Matt was a boy. In need of money following the Civil War, Dunson and Matt lead a cattle drive to Missouri, where they will get a better price than locally, but the crotchety older man and his willful young partner begin to butt heads on the exhausting journey. (via Google)

The Searchers (1956, John Ford)

In this revered Western, Ethan Edwards (John Wayne) returns home to Texas after the Civil War. When members of his brother’s family are killed or abducted by Comanches, he vows to track down his surviving relatives and bring them home. Eventually, Edwards gets word that his niece Debbie (Natalie Wood) is alive, and, along with her adopted brother, Martin Pawley (Jeffrey Hunter), he embarks on a dangerous mission to find her, journeying deep into Comanche territory (via IMBD)

Powwow Highway (1989, Jonathan Wacks)

Two Cheyenne Indian friends set off on a road trip and journey of self discovery.

Santa Fe Trail (1940, Michael Curtiz)

Follows abolitionist John Brown.

Stagecoach (1939, John Ford)

John Ford’s landmark Western revolves around an assorted group of colorful passengers aboard the Overland stagecoach bound for Lordsburg, New Mexico, in the 1880s. An alcoholic philosophizer (Thomas Mitchell), a lady of ill repute (Claire Trevor) and a timid liquor salesman (Donald Meek) are among the motley crew of travelers who must contend with an escaped outlaw, the Ringo Kid (John Wayne), and the ever-present threat of an Apache attack as they make their way across the Wild West. (via Google)

Shane (1953, George Stevens)

Enigmatic gunslinger Shane (Alan Ladd) rides into a small Wyoming town with hopes of quietly settling down as a farmhand. Taking a job on homesteader Joe Starrett’s (Van Heflin) farm, Shane is drawn into a battle between the townsfolk and ruthless cattle baron Rufus Ryker (Emile Meyer). Shane’s growing attraction to Starrett’s wife, Marian (Jean Arthur), and his fondness for their son Joey (Brandon de Wilde), who idolizes Shane, force Shane to realize that he must thwart Ryker’s plan. (via Google)

Little Big Man (1990, Arthur Penn)

When a curious oral historian (William Hickey) turns up to hear the life story of 121-year-old Jack Crabb (Dustin Hoffman), he can scarcely believe his ears. Crabb tells of having been rescued and raised by the Cheyenne, of working as a snake-oil salesman, as a gunslinger, and as a mule skinner under Gen. Custer (Richard Mulligan). As if those weren’t astonishing enough, he also claims to be the only white survivor of the infamous Battle of the Little Bighorn. (via Google)

Unforgiven (1992, Clint Eastwood)

When prostitute Delilah Fitzgerald (Anna Thomson) is disfigured by a pair of cowboys in Big Whiskey, Wyoming, her fellow brothel workers post a reward for their murder, much to the displeasure of sheriff Little Bill Daggett (Gene Hackman), who doesn’t allow vigilantism in his town. Two groups of gunfighters, one led by aging former bandit William Munny (Clint Eastwood), the other by the florid English Bob (Richard Harris), come to collect the reward, clashing with each other and the sheriff. (via Google)

They Died with their Boots On (1941, Raoul Walsh)

George Armstrong Custer (Errol Flynn) is a rebellious but ambitious soldier, eager to join the Civil War. During the war, Custer has numerous successes to his credit, even though he disobeys orders. After the war concludes, he marries Libby Bacon (Olivia de Havilland) and is assigned to the Dakota Territory. Custer negotiates honestly with the Sioux on land, but due to corruption from others, a battle with Sitting Bull’s forces occurs at Little Big Horn. (via Google)

The Alamo (2004, John Lee Hancock)

In 1836 Gen. Sam Houston (Dennis Quaid) organizes a rebel army to liberate Texas from the brutal rule of Mexican dictator General Santa Anna (Emilio Echevarría). Though vastly outnumbered, Gen. Houston’s volunteer army includes such folkloric figures as Jim Bowie (Jason Patric) and Davy Crockett (Billy Bob Thornton). As Santa Anna’s forces advance on San Antonio, the legendary general and his men prepare for a final heroic standoff at a battle-worn mission called the Alamo. (via Google)

Industrial Age (1871-1914)

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The Winds of Kitty Hawk (1978, E.W. Swackhamer)

After many years of trying, Orville and Wilbur Wright succeed in making their heavier-than-air aircraft fly, south of Kitty Hawk, on December 17, 1903. They later try to sell their invention to the US government (via IMBD)

Far and Away (1992, Ron Howard)

Nicole Kidman and Tom Cruise play Irish immigrants who take part in the Land Run of 1893.

Gangs of New York (2002, Martin Scorsese)

In 1863, Irish immigrant Amsterdam Vallon returns to the Five Points area of New York City seeking revenge against Bill the Butcher, his father’s killer (via IMBD)

WWI-Depression (1914-1940)

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All Quiet on the Western Front (1930, Lewis Milestone)

The film follows a group of German schoolboys, talked into enlisting at the beginning of World War I by their jingoistic teacher. The story is told entirely through the experiences of the young German recruits and highlights the tragedy of war through the eyes of individuals. (via Google)

Cinderella Man (2005, Ron Howard)

During the Great Depression, ex-boxer James J. Braddock (Russell Crowe) works as a day laborer until his former manager Joe Gould (Paul Giamatti) offers him a one-time slot against a rising young contender. After he wins a shocking upset, Braddock goes back into the ring full time, against the wishes of his frightened wife, Mae (Renée Zellweger). Dubbed “The Cinderella Man” for his rags-to-riches story, Braddock sets his sights on the defending champion, the fearsome Max Baer (Craig Bierko). (via Google)

The Grapes of Wrath (1940, John Ford)

The film tells the story of the Joads, an Oklahoma family, who, after losing their farm during the Great Depression in the 1930s, become migrant workers and end up in California (via Wikipedia)

The Long Grey Line (1955, John Ford)

High-spirited Irish immigrant Marty Maher (Tyrone Power) is an awkward misfit at West Point until he’s taken in as an assistant by kindly athletic director Capt. Herman J. Koehler (Ward Bond). A budding romance that turns into a happy marriage to a fellow Irish immigrant, housemaid Mary O’Donnell (Maureen O’Hara), also helps Maher mellow into a beloved and long-standing fixture at the military academy, where his career as an officer and mentor spans 50 years. This film is based on a true story (via IMBD).

Greatest Game Ever Played (2005, Bill Paxton)

Blue-collar Francis Ouimet (Shia LaBeouf) fights class prejudice while mastering golf, a game guarded by the upper crust. Employed as a caddy at the exclusive Brookline Country Club, Francis fine-tunes his skills during off hours. His father, Arthur (Elias Koteas), disapproves, but a few admirers help Francis enter the 1913 U.S. Open. The underdog competes against British star Harry Vardon (Stephen Dillane) and finds common ground with his boyhood idol. The film is based on a true story. (via Google)

Iron Jawed Angels (2004, Katja von Garnier)

Fiery American suffragette Alice Paul lights a fire under the older women’s leaders in Washington DC. President Wilson refuses to give all women the vote, but Paul is prepared to go to prison for her cause (IMBD)

Life (1999, Ted Demme)

During Prohibition, loudmouth Harlem grifter Ray (Eddie Murphy) and the no-nonsense Claude (Martin Lawrence) team up on a bootlegging mission to Mississippi that could bring them big bucks. But they run into trouble when a crooked lawman hits them with a phony murder charge. Ray and Claude are given life sentences and shipped off to jail, where they must think of a way to prove their innocence and avoid the brutal guards while battling their biggest enemies — their opposing personalities. (via Google)

Matewan (1987, John Sayles)

Dramatization of the Battle of Matewan, a coal miners’ strike of 1920 in a small West Virginian town.

Modern Times (1936, Charlie Chaplin)

The main character struggles to survive in the modern, industrialized world in the aftermath of the Great Depression.

Paths of Glory (1957, Stanley Kubrick)

During World War I, commanding officer General Broulard (Adolphe Menjou) orders his subordinate, General Mireau (George Macready), to attack a German trench position, offering a promotion as an incentive. Though the mission is foolhardy to the point of suicide, Mireau commands his own subordinate, Colonel Dax (Kirk Douglas), to plan the attack. When it ends in disaster, General Mireau demands the court-martial of three random soldiers in order to save face. (via Google)

Red-Headed Woman (1932, Jack Conway)

Starring Jean Harlow, this film follows a woman who uses sex to advance her social position.

Seabiscuit (2003, Gary Ross)

In the midst of the Great Depression, a businessman (Jeff Bridges) coping with the tragic death of his son, a jockey with a history of brutal injuries (Tobey Maguire) and a down-and-out horse trainer (Chris Cooper) team up to help Seabiscuit, a temperamental, undersized racehorse. At first the horse struggles to win, but eventually Seabiscuit becomes one of the most successful thoroughbreds of all time, and inspires a nation at a time when it needs it most. (via Google)

Sgt. York (1941, Howard Hanks)

Prize-winning Tennessee marksman Alvin York (Gary Cooper), a recent convert to Christianity, finds himself torn between his non-violent beliefs and his desire to serve his country when recruited to fight in World War I. Kindly Major Buxton (Stanley Ridges) convinces York to engage in battle, where the pacifist’s prowess with a rifle earns him honors as he continues to struggle with his decision to kill. Howard Hawks directs this adaptation of the real York’s memoirs.

Within Our Gates (1920, Oscar Micheaux)

In this early silent film from pioneering director Oscar Micheaux, kindly Sylvia Landry (Flo Clements) takes a fundraising trip to Boston in hopes of collecting $5,000 to keep a Southern school for impoverished black children open to the public. She then meets the warmhearted Dr. Vivian (William Smith), who falls in love with Sylvia and travels with her back to the South. There, Dr. Vivian learns about Sylvia’s shocking, tragic past and realizes that racism has changed her life forever. (via Google)

WWII (1941-1945)

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Bless Me, Ultima (2013, Carl Franklin)

Set in New Mexico, A young man and an elderly medicine woman try to end the battle between good and evil that is waging out of control through their village during World War II. (via Google)

Casablanca (1942, Michael Curtiz)

Rick Blaine (Humphrey Bogart), who owns a nightclub in Casablanca, discovers his old flame Ilsa (Ingrid Bergman) is in town with her husband, Victor Laszlo (Paul Henreid). Laszlo is a famed rebel, and with Germans on his tail, Ilsa knows Rick can help them get out of the country. (via Google)

Flags of our Fathers (2006, Clint Eastwood)

In February and March of 1945, U.S. troops fight and win one of the most crucial and costly battles of the war on the island of Iwo Jima. A photo of U.S. servicemen raising the flag on Mount Suribachi becomes an iconic symbol of victory to a war-weary nation. The individuals themselves become heroes, though not all survive the war and realize it (via IMBD).

From Here to Eternity (1953, Fred Zinnermann)

At an Army barracks in Hawaii in the days preceding the attack on Pearl Harbor, lone-wolf soldier and boxing champion “Prew” Prewitt (Montgomery Clift) refuses to box, preferring to play the bugle instead. Hard-hearted Capt. Holmes (Philip Ober) subjects Prew to a grueling series of punishments while, unknown to Holmes, the gruff but fair Sgt. Warden (Burt Lancaster) engages in a clandestine affair with the captain’s mistreated wife (Deborah Kerr). (via Google)

The Great Escape (1963, John Sturges)

Imprisoned during World War II in a German POW camp, a group of Allied soldiers are intent on breaking out, not only to escape, but also to draw Nazi forces away from battle to search for fugitives. (via Google)

Hacksaw Ridge (2016, Mel Gibson)

The true story of Pfc. Desmond T. Doss (Andrew Garfield), who won the Congressional Medal of Honor despite refusing to bear arms during WWII on religious grounds. Doss was drafted and ostracized by fellow soldiers for his pacifist stance but went on to earn respect and adoration for his bravery, selflessness and compassion after he risked his life — without firing a shot — to save 75 men in the Battle of Okinawa. (via Google)

Hiroshima (1995, Roger Spottiswoode, Koreyoshi Kurahara)

After the death of Franklin Delano Roosevelt, Vice President Harry Truman (Kenneth Welsh) is suddenly forced to deal with the difficult task of taking control of the United States during the closing stages of World War II. Though the Germans have been beaten down and are on the verge of surrender, Japanese forces refuse to back down. Meanwhile, President Truman is getting conflicting advice regarding the necessity of dropping a nuclear bomb on Hiroshima. (via Google)

Letters from Iwo Jima (2006, Clint Eastwood)

Long-buried missives from the island reveal the stories of the Japanese troops who fought and died there during World War II. Among them are Saigo (Kazunari Ninomiya), a baker; Baron Nishi (Tsuyoshi Ihara), an Olympic champion; and Shimizu (Ryô Kase), an idealistic soldier. Though Lt. Gen. Tadamichi Kuribayashi (Ken Watanabe) knows he and his men have virtually no chance of survival, he uses his extraordinary military skills to hold off American troops as long as possible. (via Google)

Patton (1970, Franklin J. Schaffner)

Biopic of General George S. Patton.

Pearl Harbor (2001, Michael Bay)

This sweeping drama, based on real historical events, follows American boyhood friends Rafe McCawley (Ben Affleck) and Danny Walker (Josh Hartnett) as they enter World War II as pilots. Rafe is so eager to take part in the war that he departs to fight in Europe alongside England’s Royal Air Force. On the home front, his girlfriend, Evelyn (Kate Beckinsale), finds comfort in the arms of Danny. The three of them reunite in Hawaii just before the Japanese attack on Pearl Harbor. (via Google)

Red Tails (2012, George Lucas, Anthony Hemingway)

During World War II, the Civil Aeronautics Authority selects 13 black cadets to become part of an experimental program at the Tuskegee Institute in Alabama. The program aims at training “colored personnel” to become fighter pilots for the Army. However, discrimination, lack of institutional support and the racist belief that these men lacked the intelligence and aptitude for the job dog their every step. Despite this, the Tuskegee Airmen, as they become known, more than prove their worth. (via Google)

Saving Private Ryan (1998, Steven Spielberg)

Captain John Miller (Tom Hanks) takes his men behind enemy lines to find Private James Ryan, whose three brothers have been killed in combat. Surrounded by the brutal realties of war, while searching for Ryan, each man embarks upon a personal journey and discovers their own strength to triumph over an uncertain future with honor, decency and courage. (via Google)

Tora! Tora! Tora! (1970, Richard Fleischer, Kinji Fukasaku, Toshio Masuda)

This dramatic retelling of the Pearl Harbor attack details everything in the days that led up to that tragic moment in American history. As United States and Japanese relations strain over the U.S. embargo of raw materials, Air Staff Officer Minoru Genda (Tatsuya Mihashi) plans the preemptive strike against the United States. Although American intelligence agencies intercept Japanese communications hinting at the attack, they are unwilling to believe such a strike could ever occur on U.S. soil. (via Google)

Watch on the Rhine (1943, Herman Shumlin)

Anti-Fascist German engineer Kurt Muller (Paul Lukas), with his American-born wife, Sara (Bette Davis), and their three children, returns to the United States in 1940 after spending 17 years in Europe, where Kurt has engaged in underground resistance to the rising Nazi threat. Unscrupulous Romanian count Teck de Brancovis (George Coulouris), a houseguest of Sara’s family in Washington, D.C., discovers Kurt’s secret and threatens to expose his activities to his contacts at the German embassy. (via Google)

Postwar to Cold War (1945-1960s)

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Best Years of Our Lives (1946, William Wyler)

Fred, Al and Homer are three World War II veterans facing difficulties as they re-enter civilian life. Fred (Dana Andrews) is a war hero who, unable to compete with more highly skilled workers, has to return to his low-wage soda jerk job. Bank executive Al (Fredric March) gets into trouble for offering favorable loans to veterans. After losing both hands in the war, Homer (Harold Russell) returns to his loving fiancée, but must struggle to adjust. (via Google)

Desert Bloom (1986, Eugene Corr)

In post-World War II Las Vegas, the Chismore family teeters on the brink of collapse, headed by alcoholic stepfather Jack (Jon Voight) and his wife, Lily (JoBeth Williams). Teen daughter Rose (Annabeth Gish), powerless to change the horrific cycle of abuse in the household, takes comfort in a budding romance with local boy Robin (Jay Underwood). Rose’s family life undergoes a significant transformation, however, when her somewhat quirky Aunt Starr (Ellen Barkin) arrives. (via Google)

Dr. Strangelove (1964, Stanley Kubrick)

A film about what could happen if the wrong person pushed the wrong button — and it played the situation for laughs. U.S. Air Force General Jack Ripper goes completely insane, and sends his bomber wing to destroy the U.S.S.R. He thinks that the communists are conspiring to pollute the “precious bodily fluids” of the American people (IMBD)

Easy Rider (1969, Dennis Hopper)

Wyatt (Peter Fonda) and Billy (Dennis Hopper), two Harley-riding hippies, complete a drug deal in Southern California and decide to travel cross-country in search of spiritual truth. On their journey, they experience bigotry and hatred from the inhabitants of small-town America and also meet with other travelers seeking alternative lifestyles. After a terrifying drug experience in New Orleans, the two travelers wonder if they will ever find a way to live peacefully in America. (via Google)

Edgar (2001, Clint Eastwood)

As head of the FBI for nearly 50 years, J. Edgar Hoover (Leonardo DiCaprio) becomes one of America’s most-powerful men. Serving through eight presidents and three wars, Hoover utilizes methods both ruthless and heroic to keep his country safe. Projecting a guarded persona in public and in private, he lets few into his inner circle. Among those closest to him are his protege and constant companion, Clyde Tolson (Armie Hammer), and Helen Gandy (Naomi Watts), his loyal secretary. (via Google)

Fences (2016, Denzel Washington)

Troy Maxson (Denzel Washington) makes his living as a sanitation worker in 1950s Pittsburgh. Maxson once dreamed of becoming a professional baseball player, but was deemed too old when the major leagues began admitting black athletes. Bitter over his missed opportunity, Troy creates further tension in his family when he squashes his son’s (Jovan Adepo) chance to meet a college football recruiter. (via Google)

Goodnight, and Goodluck (2005, George Clooney)

Drama film following conflict between veteran radio and television host Edward R. Murrow and Senator Joseph McCarthy.

The Graduate (1967, Mike Nichols)

Benjamin Braddock (Dustin Hoffman) has just finished college and, back at his parents’ house, he’s trying to avoid the one question everyone keeps asking: What does he want to do with his life? An unexpected diversion crops up when he is seduced by Mrs. Robinson (Anne Bancroft), a bored housewife and friend of his parents. But what begins as a fun tryst turns complicated when Benjamin falls for the one woman Mrs. Robinson demanded he stay away from, her daughter, Elaine (Katharine Ross). (via Google)

Inherit the Wind (1960, Stanley Kramer)

In the 1920s, Tennessee schoolteacher Bertram Cates (Dick York) is put on trial for violating the Butler Act, a state law that prohibits public school teachers from teaching evolution instead of creationism. Drawing intense national attention in the media with writer E. K. Hornbeck (Gene Kelly) reporting, two of the nation’s leading lawyers go head to head: Matthew Harrison Brady (Fredric March) for the prosecution, and Henry Drummond (Spencer Tracy) for the defense. (via Google)

JFK (1991, Oliver Stone)

This acclaimed Oliver Stone drama presents the investigation into the assassination of President John F. Kennedy led by New Orleans district attorney Jim Garrison (Kevin Costner). When Garrison begins to doubt conventional thinking on the murder, he faces government resistance, and, after the killing of suspected assassin Lee Harvey Oswald (Gary Oldman), he closes the case. Later, however, Garrison reopens the investigation, finding evidence of an extensive conspiracy behind Kennedy’s death. (via Google)

Mr. Blandings Builds His Dream House (1948, H.C. Potter)

When advertising executive Jim Blandings (Cary Grant) discovers his wife’s (Myrna Loy) plan to redecorate their New York apartment, he counters with a proposal that they move to Connecticut. She agrees, and the two are soon conned into buying a house that turns out to be a complete nightmare. Construction and repair bills accumulate quickly, and Jim worries that their future hangs in the balance unless he can come up with a catchy new jingle that will sell ham. (via Google)

The Man in the Grey Flannel Suit (1956, Nunnally Johnson)

Tom Rath (Gregory Peck) is a suburban father and husband haunted by his memories of World War II, including a wartime romance with Italian village girl Maria (Marisa Pavan), which resulted in an illegitimate son he’s never seen. Pressed by his unhappy wife (Jennifer Jones) to get a higher-paying job, Rath goes to work as a public relations man for television network president Ralph Hopkins (Fredric March). Drawn into poisonous office politics, Tom finds he must choose his career or his family. (via Google)

Mission to Moscow (1943, Michael Curtiz)

Joseph E. Davies (Walter Huston) is the American ambassador to the Soviet Union between World War I and World War II. Moving to the communist state, Davies records his impressions of Soviet life, politics and foreign policy. (via Google)

My Family (1995, Gregory Nava)

A second-generation Mexican immigrant narrates his family history, beginning with the journey of his father, Jose (Jacob Vargas), across Mexico to Los Angeles where he meets Maria (Jennifer Lopez) and starts a family. Each subsequent generation contends with political and social hardships, ranging from illegal deportations in the 1940s to racial tensions and gang fights in the ’60s and ’70s. Yet through it all, or perhaps because of it, the family remains strong. (via Google)

On the Waterfront (1954, Elia Kazan)

Crime drama starring Marlon Brando focusing on union violence and corruption on the waterfronts of Hoboken, New Jersey. (via Google)

Salt of the Earth (1954, Herbert J. Biberman)

At New Mexico’s Empire Zinc mine, Mexican-American workers protest the unsafe work conditions and unequal wages compared to their Anglo counterparts. Ramon Quintero (Juan Chacon) helps organize the strike, but he is shown to be a hypocrite by treating his pregnant wife, Esperanza (Rosaura Revueltas), with a similar unfairness. When an injunction stops the men from protesting, however, the gender roles are reversed, and women find themselves on the picket lines while the men stay at home (via Wikipedia)

12 Angry Men (1957, Sidney Lumet)

Courtroom drama film in which 12 jurors decide the fate of a man on trial for the murder of his father. Each of the jurors expose their own prejudices and character flaws – produced in pandemonium of McCarthyism, threat from within, citizen responsibility. (via Google)

To Kill a Mockingbird (1962, Robert Mulligan)

Scout Finch (Mary Badham), 6, and her older brother, Jem (Phillip Alford), live in sleepy Maycomb, Ala., spending much of their time with their friend Dill (John Megna) and spying on their reclusive and mysterious neighbor, Boo Radley (Robert Duvall). When Atticus (Gregory Peck), their widowed father and a respected lawyer, defends a black man named Tom Robinson (Brock Peters) against fabricated rape charges, the trial and tangent events expose the children to evils of racism and stereotyping. (via Google)

West Side Story (1961, Jerome Robbins, Robert Wise)

A musical in which a modern day Romeo and Juliet are involved in New York street gangs. On the harsh streets of the upper west side, two gangs battle for control of the turf. The situation becomes complicated when a gang members falls in love with a rival’s sister. (via Google)

Civil Rights, Segregation, Jim Crow

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The Butler (2013, Lee Daniels)

After leaving the South as a young man and finding employment at an elite hotel in Washington, D.C., Cecil Gaines (Forest Whitaker) gets the opportunity of a lifetime when he is hired as a butler at the White House. Over the course of three decades, Cecil has a front-row seat to history and the inner workings of the Oval Office. However, his commitment to his “First Family” leads to tension at home, alienating his wife (Oprah Winfrey) and causing conflict with his anti-establishment son. (via Google)

The Color Purple (1985, Steven Spielberg)

An epic tale spanning forty years in the life of Celie (Whoopi Goldberg), an African-American woman living in the South who survives incredible abuse and bigotry. After Celie’s abusive father marries her off to the equally debasing “Mister” Albert Johnson (Danny Glover), things go from bad to worse, leaving Celie to find companionship anywhere she can. She perseveres, holding on to her dream of one day being reunited with her sister in Africa. Based on the novel by Alice Walker (IMBD).

Detroit (2017, Kathryn Bigelow)

In the summer of 1967, rioting and civil unrest starts to tear apart the city of Detroit. Two days later, a report of gunshots prompts the Detroit Police Department, the Michigan State Police and the Michigan Army National Guard to search and seize an annex of the nearby Algiers Motel. Several policemen start to flout procedure by forcefully and viciously interrogating guests to get a confession. By the end of the night, three unarmed men are gunned down while several others are brutally beaten. (via Google)

Criticism in HuffPost: https://www.huffingtonpost.com/entry/detroit-is-the-most-irresponsible-and-dangerous-movie-this-year_us_5988570be4b0f2c7d93f5744

Freedom Riders (2010, Stanley Nelson Jr)

Renowned director Stanley Nelson chronicles the inspirational story of American civil rights activists’ peaceful fight against racial segregation on buses and trains in the 1960s. (via Google)

Freedom Song (2000, Phil Alden Robinson)

Owen (Vicellous Reon Shannon) is a young man living in Mississippi at the dawn of the civil rights movement. Surrounded by racism, Owen looks for inspiration in dealing with oppression, while his father, Will (Danny Glover), prefers to keep his head down after his bad luck with protests in the past. Will expects his son to follow suit, but their relationship is put to the test when Owen starts joining in peaceful protests organized by the Student Non-Violent Coordinating Committee. (via Google)

Ghosts of Mississippi (1996, Rob Reiner)

Tells the story of the murder of Medgar Evans in 1963.

Guess Who’s Coming to Dinner (1964, Stanley Kramer)

When Joanna Drayton (Katharine Houghton), a free-thinking white woman, and black doctor John Prentice (Sidney Poitier) become engaged, they travel to San Francisco to meet her parents. Matt Drayton (Spencer Tracy) and his wife Christina (Katharine Hepburn) are wealthy liberals who must confront the latent racism the coming marriage arouses. Also attending the Draytons’ dinner are Prentice’s parents (Roy E. Glenn Sr., Beah Richards), who vehemently disapprove of the relationship. (via Google)

The Help (2011, Tate Taylor)

In 1960s Mississippi, Southern society girl Skeeter (Emma Stone) returns from college with dreams of being a writer. She turns her small town on its ear by choosing to interview the black women who have spent their lives taking care of prominent white families. Only Aibileen (Viola Davis), the housekeeper of Skeeter’s best friend, will talk at first. But as the pair continue the collaboration, more women decide to come forward, and as it turns out, they have quite a lot to say. (via Google)

Hidden Figures (2016, Theodore Melfi)

Three brilliant African-American women at NASA — Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe) — serve as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn (Glen Powell) into orbit, a stunning achievement that restored the nation’s confidence, turned around the Space Race and galvanized the world. (via Google)

I am Not Your Negro (2016, Raoul Peck)

In 1979, James Baldwin began writing “Remember This House,” a radical account of the lives and assassinations of three men he was quite close to: Medgar Evers, Malcolm X and Martin Luther King Jr. However, Baldwin had only written 30 pages of the manuscript before passing away in 1987. This documentary, narrated by Samuel L. Jackson, imagines what could have come of this never-finished book. (HuffPost)

The Jackie Robinson Story (1950, Alfred E. Green)

After a successful baseball career in college and as a coach in the military, Jackie Robinson (playing himself) attracts the attention of Major League Baseball’s Branch Rickey (Minor Watson). Rickey wants Robinson to play in the minor leagues, believing he can become the first player to break the color barrier and play in the majors. The only catch: He is forbidden from defending himself against racial bigotry. Supported by his wife (Ruby Dee), Robinson is steadfast in his determination to win. (via Google)

The Loving Story (2012, HBO Documentary)

On June 2, 1958, a white man named Richard Loving and his part-black, part-Cherokee fiancée Mildred Jeter travelled from Caroline County, VA to Washington, D.C. to be married. At the time, interracial marriage was illegal in 21 states, including Virginia. Back home two weeks later, the newlyweds were arrested, tried and convicted of the felony crime of “miscegenation.” To avoid a one-year jail sentence, the Lovings agreed to leave the state; they could return to Virginia, but only separately (via HBO)

Malcolm X (1992, Spike Lee)

A tribute to the controversial black activist and leader of the struggle for black liberation. He hit bottom during his imprisonment in the ’50s, he became a Black Muslim and then a leader in the Nation of Islam. His assassination in 1965 left a legacy of self-determination and racial pride. (via Google)

Mississippi Burning (1988, Alan Parker)

When a group of civil rights workers goes missing in a small Mississippi town, FBI agents Alan Ward (Willem Dafoe) and Rupert Anderson (Gene Hackman) are sent in to investigate. Local authorities refuse to cooperate with them, and the African American community is afraid to, precipitating a clash between the two agents over strategy. As the situation becomes more volatile, the direct approach is abandoned in favor of more aggressive, hard-line tactics. (via Google)

Mudbound (2017, Dee Rees, Netflix)

“In the post-World War II Jim Crow South, two families, one black and one white, struggle to keep their farms and lives intact in rural Mississippi. Featuring Mary J. Blige, directed and written by black creatives and nominated for four Oscars (including Best Picture)..” (HuffPost)

Remember the Titans (2000, Boaz Yakin)

In Virginia, high school football is a way of life, an institution revered, each game celebrated more lavishly than Christmas, each playoff distinguished more grandly than any national holiday. And with such recognition, comes powerful emotions. In 1971 high school football was everything to the people of Alexandria. But when the local school board was forced to integrate an all black school with an all white school, the very foundation of football’s great tradition was put to the test (IMBD).

Rosewood (1997, John Singleton)

Rosewood, Florida, is a small, peaceful town with an almost entirely African-American population of middle-class homeowners, until New Year’s Day 1923, when a lynch mob from a neighboring white community storms the town. Among the carnage, music teacher Sylvester (Don Cheadle) and mysterious stranger Mann (Ving Rhames) stand tall against the invaders, while white grocer John (Jon Voight) attempts to save the town’s women and children. The film is based on a true story.

Selma (2014, Ava DuVernay)

Although the Civil Rights Act of 1964 legally desegregated the South, discrimination was still rampant in certain areas, making it very difficult for blacks to register to vote. In 1965, an Alabama city became the battleground in the fight for suffrage. Despite violent opposition, Dr. Martin Luther King Jr. (David Oyelowo) and his followers pressed forward on an epic march from Selma to Montgomery, and their efforts culminated in President Lyndon Johnson signing the Voting Rights Act of 1965. (via Google)

Something the Lord Made (2004, Joseph Sargent)

Although Vivien Thomas (Mos Def), a black man in the 1930s, is originally hired as a janitor, he proves himself adept at assisting the “Blue Baby doctor,” Alfred Blalock (Alan Rickman), with his medical research. When Blalock insists that Thomas follow him to Johns Hopkins University, they must find a way to skirt a racist system to continue their study of infant heart disease. Thomas is indispensable to Blalock’s progress, but Blalock is the only one who is allowed to receive the acclaim. (via Google)

Walkout (2006 Edward James Olmos)

A teacher (Michael Peña) becomes a mentor to Chicano high-school students protesting injustices in public schools in 1968. (via Google)

1960s-1970s (Vietnam)

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All the President’s Men (1976, Alan J. Pakula)

Two green reporters and rivals working for the Washington Post, Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman), research the botched 1972 burglary of the Democratic Party Headquarters at the Watergate apartment complex. With the help of a mysterious source, code-named Deep Throat (Hal Holbrook), the two reporters make a connection between the burglars and a White House staffer. Despite dire warnings about their safety, the duo follows the money all the way to the top. (via Google)

Apollo 13 (1995, Ron Howard)

This Hollywood drama is based on the events of the Apollo 13 lunar mission, astronauts Jim Lovell (Tom Hanks), Fred Haise (Bill Paxton) and Jack Swigert (Kevin Bacon) find everything going according to plan after leaving Earth’s orbit. However, when an oxygen tank explodes, the scheduled moon landing is called off. Subsequent tensions within the crew and numerous technical problems threaten both the astronauts’ survival and their safe return to Earth. (via Google)

Apocalypse Now (1979, Francis Ford Coppola)

In Vietnam in 1970, Captain Willard (Martin Sheen) takes a perilous and increasingly hallucinatory journey upriver to find and terminate Colonel Kurtz (Marlon Brando), a once-promising officer who has reportedly gone completely mad. In the company of a Navy patrol boat filled with street-smart kids, a surfing-obsessed Air Cavalry officer (Robert Duvall), and a crazed freelance photographer (Dennis Hopper), Willard travels further and further into the heart of darkness. (via Google)

Argo (2012, Ben Affleck)

On Nov. 4, 1979, militants storm the U.S. embassy in Tehran, Iran, taking 66 American hostages. Amid the chaos, six Americans manage to slip away and find refuge with the Canadian ambassador. Knowing that it’s just a matter of time before the refugees are found and likely executed, the U.S. government calls on extractor Tony Mendez (Ben Affleck) to rescue them. Mendez’s plan is to pose as a Hollywood producer scouting locations in Iran and train the refugees to act as his “film” crew. (via Google)

Born on the Fourth of July (1989, Oliver Stone)

In the mid 1960s, suburban New York teenager Ron Kovic (Tom Cruise) enlists in the Marines, fulfilling what he sees as his patriotic duty. During his second tour in Vietnam, he accidentally kills a fellow soldier during a retreat and later becomes permanently paralyzed in battle. Returning home to an uncaring Veterans Administration bureaucracy and to people on both sides of the political divide who don’t understand what he went through, Kovic becomes an impassioned critic of the war. (via Google)

Casualties of War (1989, Brian De Palma)

Pvt. Max Eriksson (Michael J. Fox) is stationed in Vietnam under Sgt. Tony Meserve (Sean Penn). Though Meserve saves Eriksson’s life during battle, the two men clash when the callous senior officer orders the abduction of Than Thi Oanh (Thuy Thu Le), a young Vietnamese woman, to be used as a sex slave. When Eriksson refuses to take part in the abuse of Oanh, tensions between him, Meserve and the rest of the unit heat up and finally explode during a firefight with Viet Cong troops. (via Google)

Cesar Chavez (2014, Diego Luna)

Famed labor organizer and civil-rights activist Cesar Chavez (Michael Peña) is torn between his duty to his family and his commitment to securing a living wage for farm workers. (via Google)

Coming Home (1978, Hal Ashby)

Fonda plays a woman whose husband serves in active combat in Vietnam and volunteers at a local VA hospital. There she meets (and begins an affair with) a paraplegic Vietnam vet who struggles to reconcile his experience in the war—and his re-introduction to a country in which he feels unwelcome (via Esquire).

Crooklyn (1994, Spike Lee)

There are so few coming-of-age movies about young black girls, which makes Spike Lee’s “Crooklyn” such a vital part of black movie history. Starring Zelda Harris and Alfre Woodard, the film is set in the 1970s and follows the young tomboy Troy (Harris) during her both idyllic and difficult childhood in Brooklyn. (HuffPost)

The Deer Hunter (1978, Michael Cimino)

In 1968, Michael (Robert De Niro), Nick (Christopher Walken) and Steven (John Savage), lifelong friends from a working-class Pennsylvania steel town, prepare to ship out overseas following Steven’s elaborate wedding and one final group hunting trip. In Vietnam, their dreams of military honor are quickly shattered by the inhumanities of war; even those who survive are haunted by the experience, as is Nick’s hometown sweetheart, Linda (Meryl Streep). (via Google)

Frost/Nixon (2008, Ron Howard)

In 1977, three years after the Watergate scandal that ended his presidency, Richard Nixon (Frank Langella) selects British TV personality David Frost (Michael Sheen) to conduct a one-on-one, exclusive interview. Though Nixon believes it will be easy to mislead Frost, and the latter’s own team doubts that he can stand up to the former president, what actually unfolds is an unexpectedly candid and revealing interview before the court of public opinion.

Full Metal Jacket (1987, Stanley Kubrick)

Stanley Kubrick’s take on the Vietnam War follows smart-aleck Private Davis (Matthew Modine), quickly christened “Joker” by his foul-mouthed drill sergeant (R. Lee Ermey), and pudgy Private Lawrence (Vincent D’Onofrio), nicknamed “Gomer Pyle,” as they endure the rigors of basic training. Though Pyle takes a frightening detour, Joker graduates to the Marine Corps and is sent to Vietnam as a journalist, covering — and eventually participating in — the bloody Battle of Hué. (via Google)

Good Morning, Vietnam (1988, Barry Levinson)

a DJ who goes to Vietnam to bring an inspired liveliness and entertainment to the Armed Forces Radio. He naturally clashes with the top brass who find his comic delivery too unorthodox for such a serious environment. But he also experiences the realities of war first-hand in his interaction with the Vietnamese, and slowly learns the truths that don’t wind up on the broadcast (Esquire)

The Green Berets (1968, John Wayne, Ray Kellogg, Mervyn LeRoy)

A cynical reporter (David Janssen) who is opposed to the Vietnam War is sent to cover the conflict and assigned to tag along with a group of Green Berets. Led by the tough-as-nails Col. Mike Kirby (John Wayne), the team is given a top-secret mission to sneak behind enemy lines and kidnap an important Viet Cong commander. Along the way, the reporter learns to respect why America is involved in the war and helps to save the life of a war orphan whose life has been destroyed by the conflict. (via Google)

Hamburger Hill (1987, John Irvin)

Over the course of 10 days in May 1969, an infantry squad led by Lt. Frantz (Dylan McDermott) and composed of both seasoned troops and new recruits, attempts to take a hill during the Vietnam War. In between attacks, the squad members deal with the other psychological stresses of the war, including the effect on morale of the antiwar movement back home and flashes of racial hostility between white and African-American soldiers, all mediated by the cool-headed medic, Doc (Courtney B. Vance). (via Google)

Hearts and Minds (1974, Peter Davis)

Many times during his presidency, Lyndon B. Johnson said that ultimate victory in the Vietnam War depended upon the U.S. military winning the “hearts and minds” of the Vietnamese people. Filmmaker Peter Davis uses Johnson’s phrase in an ironic context in this anti-war documentary, filmed and released while the Vietnam War was still under way, juxtaposing interviews with military figures like U.S. Army Chief of Staff William C. Westmoreland with shocking scenes of violence and brutality. (via Google)

The Ice Storm (1997, Ang Lee)

In the 1970s, an outwardly wholesome family begins cracking at the seams over the course of a tumultuous Thanksgiving break. Frustrated with his job, the father, Ben (Kevin Kline), seeks fulfillment by cheating on his wife, Elena (Joan Allen), with neighborhood seductress Janey (Sigourney Weaver). Their teenage daughter, Wendy (Christina Ricci), dabbles in sexual affairs too — with Janey’s son Mikey (Elijah Wood). The family’s strained relations continue to tauten until an ice storm strikes.

In the Valley of Elah (2007, Paul Haggis)

A police detective (Charlize Theron) helps a retired Army sergeant (Tommy Lee Jones) search for his son, a soldier who went missing soon after returning from Iraq. Hank Deerfield, a Vietnam War veteran, learns that his son may have met with foul play after a night on the town with members of his platoon. (via Google)

The Killing Fields (1985, Roland Joffe)

New York Times reporter Sydney Schanberg (Sam Waterston) is on assignment covering the Cambodian Civil War, with the help of local interpreter Dith Pran (Haing S. Ngor) and American photojournalist Al Rockoff (John Malkovich). When the U.S. Army pulls out amid escalating violence, Schanberg makes exit arrangements for Pran and his family. Pran, however, tells Schanberg he intends to stay in Cambodia to help cover the unfolding story — a decision he may regret as the Khmer Rouge rebels move in. (via Google)

Norma Rae (1979, Martin Ritt)

Fictionalized account of the textile workers union’ campaign to unionize the J.P. Stevens textile mills in the 1970s. Norma Rae, a young Southern woman working at a cotton mill, encounters a union organizer and decides to join the effort to reform working conditions. (via Google)

Platoon (1986, Oliver Stone)

Chris Taylor (Charlie Sheen) leaves his university studies to enlist in combat duty in Vietnam in 1967. Once he’s on the ground in the middle of battle, his idealism fades. Infighting in his unit between Staff Sergeant Barnes (Tom Berenger), who believes nearby villagers are harboring Viet Cong soldiers, and Sergeant Elias (Willem Dafoe), who has a more sympathetic view of the locals, ends up pitting the soldiers against each other as well as against the enemy. (via Google)

Rambo (2008, Sylvester Stallone)

Having long-since abandoned his life as a lethal soldier, John Rambo (Sylvester Stallone) lives a solitary life near the Thai border. Two weeks after guiding a missionary (Julie Benz) and her comrades into Burma, he gets an urgent call for help. The missionaries have not returned and although he is reluctant to embrace violence again, Rambo sets out to rescue the captives from the Burmese army. (via Google)

Rescue Dawn (2006, Werner Herzog)

During the Vietnam War, German-born US pilot Dieter Dengler is shot down over Laos and taken prisoner. Tortured and starved, Dieter resolves to escape with fellow prisoners Duane and Gene. When they finally make their daring break into the jungle, the escapees discover that the dense, humid rainforest can be a terrifying prison in itself. (via Google)

The Spook Who Sat by the Door (1973, Ivan Dixon)

A former CIA agent (Lawrence Cook) organizes black teenagers into well-trained guerrilla bands bent on overthrowing the white establishment. (via Google)

Spotlight (2015, Tom McCarthy)

In 2001, editor Marty Baron of The Boston Globe assigns a team of journalists to investigate allegations against John Geoghan, an unfrocked priest accused of molesting more than 80 boys. Led by editor Walter “Robby” Robinson (Michael Keaton), reporters Michael Rezendes (Mark Ruffalo), Matt Carroll and Sacha Pfeiffer interview victims and try to unseal sensitive documents. The reporters make it their mission to provide proof of a cover-up of sexual abuse within the Roman Catholic Church. (via Google)

Taxi Driver (1976, Martin Scorsese)

Suffering from insomnia, disturbed loner Travis Bickle (Robert De Niro) takes a job as a New York City cabbie, haunting the streets nightly, growing increasingly detached from reality as he dreams of cleaning up the filthy city. When Travis meets pretty campaign worker Betsy (Cybill Shepherd), he becomes obsessed with the idea of saving the world, first plotting to assassinate a presidential candidate, then directing his attentions toward rescuing 12-year-old prostitute Iris (Jodie Foster). (via Google)

We Were Soldiers (2002, Randall Wallace)

Based upon the best-selling book “We Were Soldiers Once … and Young” by Lt. Gen. Harold G. Moore (Ret.) and journalist Joseph L. Galloway, this compelling war drama depicts the true story of the first major battle between the United States and North Vietnamese forces. It is a film about uncommon valor and nobility under fire, loyalty among soldiers, and the heroism and sacrifice of men and women both home and abroad. (via Google)

Zoot Suit (1981, Luis Valdez)

Mexican-American gangster Henry Reyna (Daniel Valdez) and others in his group are accused of a murder in which they had no part. They are then rounded up by the police because of their race and their choice of clothing. The gang members are thrown into prison and put through a racist trial. As Henry considers his fate, he has a conversation with El Pachuco (Edward James Olmos), a figure from his own conscience who makes him contemplate a choice between his heritage and his home country. (via Google)

1980s-present

movie poster for bos n the hood
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movie poster for Paris is burning

9 to 5 (1980, Colin Higgins)

Office satire about three female secretaries who decide to get revenge on their tyrannical, sexist boss by abducting him and running the business themselves. The trio, one of whom has been passed over for promotion because she is a woman, spend a night together having drug-induced fantasies of killing the slave-driving chauvinist. One of them panics the following day when she suspects she really has poisoned the tyrant. (via Google)

American Beauty (1999, Sam Mendes)

A telesales operative becomes disillusioned with his existence and begins to hunger for fresh excitement in his life. As he experiences a new awakening of the senses, his wife and daughter also undergo changes that seriously affect their family. (via Google)

American History X (1998, Tony Kane)

Living a life marked by violence and racism, neo-Nazi Derek Vinyard (Edward Norton) finally goes to prison after killing two black youths who tried to steal his car. Upon his release, Derek vows to change his ways; he hopes to prevent his younger brother, Danny (Edward Furlong), who idolizes Derek, from following in his footsteps. As he struggles with his own deeply ingrained prejudices and watches their mother grow sicker, Derek wonders if his family can overcome a lifetime of hate. (via Google)

Do the Right Thing (1989, Spike Lee)

Salvatore “Sal” Fragione (Danny Aiello) is the Italian owner of a pizzeria in Brooklyn. A neighborhood local, Buggin’ Out (Giancarlo Esposito), becomes upset when he sees that the pizzeria’s Wall of Fame exhibits only Italian actors. Buggin’ Out believes a pizzeria in a black neighborhood should showcase black actors, but Sal disagrees. The wall becomes a symbol of racism and hate to Buggin’ Out and to other people in the neighborhood, and tensions rise. (via Google)

Falling Down (1993, Joel Schumacher)

A middle-aged man dealing with both unemployment and divorce, William Foster (Michael Douglas) is having a bad day. When his car breaks down on a Los Angeles highway, he leaves his vehicle and begins a trek across the city to attend his daughter’s birthday party. As he makes his way through the urban landscape, William’s frustration and bitterness become more evident, resulting in violent encounters with various people, including a vengeful gang and a dutiful veteran cop (Robert Duvall). (via Google)

The Ballad of Gregorio Cortez (1982, Robert M. Young)

After Gregorio Cortez (Edward James Olmos), who speaks no English, is falsely accused of stealing a horse by Texas Rangers, a scuffle breaks out in which Gregorio kills a sheriff and his own brother is shot. Now forced to go on the run, Gregorio has to leave his family and set out alone. Meanwhile, a reporter starts to piece together the story and realizes the incident stemmed from a tragic misunderstanding. Eventually, Gregorio is caught and put on trial for murder. (via Google)

Barry (2016, Vikram Ghandi)

Barack Obama arrives in New York in the fall of 1981 for his junior year at Columbia University. He struggles to stay connected to his mother, his estranged father and his classmates. (via Google)

Black Hawk Down (2001, Ridley Scott)

The film takes place in 1993 when the U.S. sent special forces into Somalia to destabilize the government and bring food and humanitarian aid to the starving population. Using Black Hawk helicopters to lower the soldiers onto the ground, an unexpected attack by Somalian forces brings two of the helicopters down immediately. From there, the U.S. soldiers must struggle to regain their balance while enduring heavy gunfire. (via Google)

Boyz in the Hood (1991, John Singleton)

Tre (Cuba Gooding Jr.) is sent to live with his father, Furious Styles (Larry Fishburne), in tough South Central Los Angeles. Although his hard-nosed father instills proper values and respect in him, and his devout girlfriend Brandi (Nia Long) teaches him about faith, Tre’s friends Doughboy (Ice Cube) and Ricky (Morris Chestnut) don’t have the same kind of support and are drawn into the neighborhood’s booming drug and gang culture, with increasingly tragic results. (via Google)

Crash (2004, Paul Haggis)

Writer-director Paul Haggis interweaves several connected stories about race, class, family and gender in Los Angeles in the aftermath of 9/11. (via Google)

Flight 93 (2006, Peter Markle)

In this dramatization, unsuspecting passengers of United Airlines Flight 93 board the aircraft on the fateful morning of Sept. 11, 2001. After three other planes strike their intended targets, al-Qaida terrorists on Flight 93 make their move, threatening the passengers into submission by claiming to have an explosive onboard. But calls to loved ones reveal the truth, and the passengers — including Todd Beamer (Brennan Elliott) and Tom Burnett (Jeffrey Nordling) — plan to take back the flight. (via Google)

Paris is Burning (1991, Documentary)

This classic 1991 documentary gives a vivid and dynamic (though cursory) glimpse into the gay ballroom culture of the ‘80s and ‘90s that was dominated by young queer black and Latino people who used the scene as not only a form of escape, but also survival. (HuffPost)

Selena (1997, Gregory Nava)

In this biographical drama, Selena Quintanilla (Jennifer Lopez) is born into a musical Mexican-American family in Texas. Her father, Abraham (Edward James Olmos), realizes that his young daughter is talented and begins performing with her at small venues. She finds success and falls for her guitarist, Chris Perez (Jon Seda), who draws the ire of her father. Seeking mainstream stardom, Selena begins recording an English-language album which, tragically, she would never complete. (via Google)

Three Kings (1999, David O. Russell)

Just after the end of the Gulf War, four American soldiers decide to steal a cache of Saddam Hussein’s hidden gold. Led by cynical Sergeant Major Archie Gates (George Clooney), three of the men are rescued by rebels, but Sergeant Troy Barlow (Mark Wahlberg) is captured and tortured by Iraqi intelligence. The Iraqi rebels beg for the American trio to help fight against the impending arrival of Hussein’s Elite Guard. The men agree to fight in return for help rescuing Troy. (via Google)

The Hurt Locker (2008, Kathryn Bigelow)

Following the death of their well-respected Staff Sergeant in Iraq, Sergeant JT Stanborn and Specialist Owen Eldridge find their Explosive Ordnance Disposal unit saddled with a very different team leader. Staff Sergeant William James is an inveterate risk-taker who seems to thrive on war, but there’s no denying his gift for defusing bombs. (via Google)

The Watermelon Woman (1996, Cheryl Dunye)

An aspiring black lesbian filmmaker (Cheryl Dunye) researches an obscure 1940s black actress billed as the Watermelon Woman. (via Google)

The Public Archive: The Paperwork of Slavery

Millions of tweets and millions of state documents. Intimate oral histories and international radio addresses. Ancient pottery and yesterday’s memes. Historians have access to this immense store of online material for doing research, but what else can we do with it? In Spring 2018, graduate students in the Public and Digital History Seminar at UT Austin experimented with ways to make interesting archival materials available and useful to the public; to anyone with access to a computer. Over the Summer, Not Even Past will feature each of these individual projects.

Slave passes were an early form of racialized surveillance, small pieces of paper with the power to decide where black men and women could travel, who they could meet, and whether they might be subject to violence. Digitized by Galia Sims, The documents in “Guards and Pickets: Paperwork of Slavery” provide a glimpse into the paperwork created to control the movement and relationships of the enslaved, like passes, jail fees, marriage certificates, patrol invoices.

More on Sims’ project and The Public Archive here.

You may also like:

The Price for Their Pound of Flesh by Daina Ramey Berry
Missing Signatures: The Archives at First Glance by Alina Scott
The Illegal Slave Trade in Texas, 1808-1865 by Maria Hammack

Longfellow’s Great Liberators: Abraham Lincoln and Dante Alighieri

By Guy Raffa

“We breathe freer. The country will be saved.” Henry Wadsworth Longfellow’s response to the reelection of Abraham Lincoln in 1864 is a timely reminder of how, while they all matter, some presidential elections matter much more than others.

Five years earlier Longfellow was one of many who believed the time for peace had passed with John Brown’s execution for attempting to arm slaves with weapons from the federal arsenal at Harpers Ferry. “This will be a great day in our history,” he wrote on Dec. 2, 1859, the day of the hanging, “the date of a new Revolution” needed to move the nation farther toward the Constitution’s goal of “a more perfect Union.” Even “Paul Revere’s Ride,” his famous poem on the Revolutionary War, was “less about liberty and Paul Revere, and more about slavery and John Brown,” writes historian Jill Lepore, “a calls to arms, rousing northerners to action.” This rallying cry serendipitously appeared on newsstands on Dec. 20, 1860, the day South Carolina seceded from the Union.

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Henry Wadsworth Longfellow (via Wikimedia Commons).

Longfellow had voted early on Nov. 6, 1860 and was overjoyed by the news of Lincoln’s “great victory,” calling it “the redemption of the country.” His diary marks steps toward fulfilling the promise of this victory, from enactment of the Emancipation Proclamation on Jan. 1, 1863 (“A great day”) and passage of the Thirteenth Amendment, formally abolishing slavery, on January 31, 1865 (“the grand event of the century”) to General Lee’s surrender at Appomattox on April 9, 1865: “So ends the Rebellion of the slave-owners!”

Longfellow had gained notice in abolitionist circles two decades earlier with publication of his Poems on Slavery. He judged his verses “so mild that even a Slaveholder might read them without losing his appetite for breakfast,” but still they triggered a “long and violent tirade” in a South Carolina newspaper and were left out of an 1845 edition of the author’s collected works to avoid offending readers in the south and west.

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First Reading of the Emancipation Proclamation of President Lincoln, by Francis Bicknell Carpenter, 1864 (via Wikimedia Commons).

In 1863, New York’s Evening Post cast Longfellow as the nation’s prophet. Crediting the poet’s “discerning eye” for foreseeing “the inevitable result of that institution of American slavery which was the black spot on the escutcheon of our republican government,” the paper lamented that his words had gone “unheeded, until the black spot spread into a cloud of portentous dimensions, and broke over the land in a storm of blood and desolation.”

1863 also saw Longfellow complete a draft of his translation of Dante’s Divine Comedy. Working closely with Dante’s poem helped him cope with the traumatic loss of his beloved wife. On July 9, 1861, Fanny had suffered fatal injuries when her dress caught fire as she melted wax to seal a lock of her daughter’s hair. The translation provided “refuge” from an ordeal “almost too much for any man to bear,” he wrote to a friend.

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Dante, poised between the mountain of purgatory and the city of Florence, a detail of a painting by Domenico di Michelino, Florence 1465 (via Wikimedia Commons).

Living with Dante’s vision of the afterlife also gave Longfellow some perspective on the war. On May 8, 1862, soon after translating Paradiso, he reflected, “Of the civil war I say only this. It is not a revolution, but a Catalinian conspiracy. It is Slavery against Freedom; the north against the southern pestilence.” The reality of this moral disease hit home when he visited a local jeweler’s shop. There he saw “a slave’s collar of iron, with an iron tongue as large as a spoon, to go into the mouth.” “Every drop of blood in me quivered,” he wrote, “the world forgets what Slavery really is!”

The war to eradicate slavery by suppressing this “conspiracy” brought its own set of horrors. Longfellow was acutely aware of the high toll of death and mutilation on both sides, the destruction extending far beyond the war zone. “Every shell from the cannon’s mouth bursts not only on the battle-field,” he lamented, “but in faraway homes, North or South, carrying dismay and death. What an infernal thing war is!”

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Charles Longfellow in Uniform (1st Massachusetts Artillery), March 1863. Courtesy National Park Service, Longfellow House-Washington’s Headquarters National Historic Site.

The hell of war weighed heavily on Longfellow’s mind when he finally turned to translating Dante’s Inferno—he saved this first part of the Divine Comedy for last—on March 14, 1863. He began during an especially “sad week”: Charles, his eighteen-year-old son, had left home, unannounced, to join the Army of the Potomac in Washington. Initially attaching himself to an artillery regiment, “Charley” benefited from family connections to receive a commission as second lieutenant in the cavalry. “He is where he wants to be, in the midst of it all,” wrote the worried father. During this first month of Charley’s military service, Longfellow translated a canto of Inferno each day. Amid “many interruptions and anxieties,” he completed all thirty-four cantos by April 16, 1863. Two weeks later Charles Norton, Longfellow’s friend and fellow Dante expert, urged him to hold back publication of the translation until 1865 so it could be presented during Italy’s celebration of the poet’s six-hundredth birthday in Florence.

On December 1, 1863, Longfellow received a telegram from Washington saying his son had been “severely wounded.” He immediately left Cambridge with his younger son Ernest and headed south to find Charley and learn the extent of his injuries. The soldier, who had already survived a bout of the ever-dangerous “camp fever” the previous summer, made another “wonderful escape,” as his relieved father put it. Fighting near the front lines in the Mine Run Campaign, Charley took a Confederate soldier’s bullet in the shoulder. He returned home in one piece and slowly recovered from his wounds, but his fighting days were over.

As the war continued and congress worked to repeal the fugitive slave acts of 1793 and 1850, Longfellow resumed editing his translation in preparation for the Dante anniversary. He admired Charles Sumner’s speech on the proposed amendment to abolish slavery: “So long as a single slave continues anywhere under the flag of the Republic I am unwilling to rest.” Longfellow shared his friend’s relatively expansive view of liberty, observing on April 20, 1864: “Until the black man is put upon the same footing as the white, in the recognition of his rights, we shall not succeed, and what is worse, we shall not deserve success.” The following year Longfellow asked Sumner for assistance in having a privately printed edition of the first volume of his translation delivered to Italy in time for the Dante festivities. In the same letter of February 10, 1865, he thanked the senator for his role in abolishing slavery, proclaiming that “this year will always be the Year of Jubilee in our history.”

Longfellow’s translation of Dante’s Inferno took its place among the works by eminent foreigners on display in Florence to honor the poet’s birth. Three days of festivities in 1865 doubled as a celebration of Italy’s independence while the nation awaited the additions of Venice (1866) and Rome (1870) to complete the unification begun in 1859-61. At a banquet for foreign dignitaries, an American speaker drew rousing applause from his Italian hosts and their guests when he toasted the “Re-United States”—a poignant reminder that Italy was taking its first steps as an independent and (mostly) unified nation just as America emerged from the greatest test of its own unity and promise of freedom.

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The statue of Dante Alighieri that today stands in the Piazza Santa Croce in Florence was unveiled in 1865 during the festival (via Wikimedia Commons).

Dante’s prominence in these parallel national struggles was clear to Longfellow, as it was to the abolitionist leader Frederick Douglass, the poet H. Cordelia Ray, and other black “freedom readers,” the title of Dennis Looney’s book on the African American reception of Dante and his poem. Longfellow wrote six sonnets on Dante to accompany the commercial publication of his translation of the Divine Comedy in 1867. The final sonnet, composed on March 7, 1866, glorifies Dante as the “star of morning and of liberty,” his message of freedom reaching “all the nations” as his “fame is blown abroad from all the heights.”

“Hideous news.” This was Longfellow’s reaction to Abraham Lincoln’s death on the morning of April 15, 1865, from the bullet fired by John Wilkes Booth the night before at Ford’s Theatre. Star of morning and of liberty: Longfellow’s epithet for Dante would have sounded like a fine description of Abraham Lincoln to millions of Americans who mourned the slain president.
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Featured Image: Henry Wadsworth Longfellow in his study, 1868. Courtesy National Park Service, Longfellow House-Washington’s Headquarters National Historic Site.
Sources: “Complete Writings of Henry Wadsworth Longfellow”; “Life of Henry Wadsworth Longfellow,” ed. Samuel Longfellow; “Letters of Henry Wadsworth Longfellow”, ed. Andrew Hilen; “Poet’s Warning,” The Evening Post Jan. 20, 1863; Henry Clark Barlow, “The Sixth Centenary Festivals of Dante Allighieri in Florence and at Ravenna”; Dennis Looney, “Freedom Readers: The African American Reception of Dante Alighieri and the Divine Comedy”
For more information on Dante and Longfellow, see the special edition of Dante Studies on this topic (vol. 128 in 2010), edited by Arielle Saiber and Giuseppe Mazzotta.

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You may also like:

Jacqueline Jones discusses Civil War Savannah.
Marc Palen debates the causes of the Civil War.
Alison Frazier suggests some “lightly fictionalized” books about the Italian Renaissance.

Check out Guy Raffa’s multi-media journey through the three realms of Dante’s afterlife, via Thinking in Public.
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Historical Perspectives on The Birth of a Nation (2016)

“They killing people everywhere for no reason at all but being black.”

—Cherry (the wife of Nat Turner played by Aja Naomi King)

By Ronald Davis

The number of books, novels, articles, plays and movies committed to the life and times of Nat Turner is vast. None of these sources is without controversy.  It should be no surprise that Nate Parker’s latest rendition has found its way into the controversy surrounding the life of Nat Turner.  Turner and the insurrection he led challenged the perception of the enslaved as passively accepting their enslavement.  Early twentieth-century scholars of African-American history often ignored or dismissed the Turner rebellion as an anomaly, as not representative of the institution of slavery in the United States.  These writers — U.B. Phillips, Frank Tannebaum, and Stanley Elkins, to name a few — point to the prevalence of revolt in the Caribbean and South America, where large-scale rebellions of the enslaved took place.  These scholars deduced that slavery in the United States was mild in comparison to the other slave societies in the Americas because here, in the United States, there were only two or three insurrections of note. Besides the Turner revolt, most early twentieth-century scholars only considered the Denmark Vesey conspiracy and the John Brown slave revolt at Harpers Ferry, West Virginia as evidence of slave discontent and evidence of martial organization. All these revolts, including that of Nat Turner in Southampton, Virginia always stood as a reminder that some enslaved people would kill, bleed, and die to establish freedom.

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Illustration of Nat Turner’s capture (via Wikimedia Commons).

Nate Parker refashions the memory of Nat Turner, in a sense reclaiming the “fiend,” as described by Thomas R. Gray in The Confessions of Nat Turner, and creating a hero.  Parker is not the first (nor I suspect the last) to attempt this revision of Turner.  In his 1947 seminal work on enslaved resistance, Herbert Aptheker describes Nat Turner as one of history’s greatest leaders because “he sensed the mood and feelings of the masses of his fellow beings, not only in his immediate environment but generally.” Aptheker’s Nat Turner is an undervalued hero,  a  man of revolution and liberty: a leader who was able to rouse his compatriots and create in them the desire to fight, and eventually die, for their liberty.

Throughout his life, Nat Turner was the human property of Benjamin Turner, Samuel Turner, Putnam Moore and Joseph Travis.  However, in Parker’s film, the audience is presented with only one enslaver, Samuel Turner. Parker portrays Samuel Turner through several different lenses. As children, Nat and Sam are depicted as playmates. Several narratives of the enslaved recount how, in childhood, they played with their enslaver’s children.  As Nat and Sam aged, their relationships began to reflect the societal differences between the races. James Curry, a successful runaway from North Carolina, related playing with his enslaver’s children and the feeling of brotherhood between black and white as children.  Curry relates that as the children aged they were separated, with white children attending school and black children remaining on the plantation.  According to Curry, the children “learn that slaves are not companions for them…the love of power is cultivated in their hearts by their parents, the whip is put into their hands, and they soon regard the negro in no other light than as a slave.” (Slave Testimony 130). After depicting childhood friendship, throughout the remainder of the film, Parker’s Nat Turner wields an almost supernatural influence over Samuel Turner. Parker demonstrates Nat’s psychological influence over Samuel when Nat convinces Samuel to purchase an enslaved woman who eventually became his wife. The depiction of influence continues until Samuel Turner realizes he can commodify not only Nat Turner’s physical labor, but also his mental labor as a preacher to the enslaved.

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Armie Hammer as Samuel Turner and Nate Parker as Nat Turner in The Birth of a Nation (Fox Searchlight Pictures via wbur).

Perhaps the most historically accurate portion of The Birth of a Nation is Nate Parker’s depiction of various enslavers. Parker sketches the enslavers as violent, when enslaved men are forced fed during a hunger strike; as paternalistic, in the case of Samuel Turner; and as sexually predatory, when Samuel Turner offers the wife of an enslaved man for intercourse with one of the guests at his party.  The different types of enslavers portrayed are not all-encompassing; however, within the limitations of movies and film, Parker made specific choices to expand the American public’s understanding of slavery’s cruelties and daily life.

Given the limitations of filmmaking (budget, time constraints on character exploration, and film length) Parker simplified some aspects of slavery while complicating enslaved masculinity and resistance.  At times Parker’s representation of enslaved women simplifies the complexities of womanhood in the Antebellum South, leaving much to be desired. Although his movie is essentially one of raw masculinity, the decision to minimize the intellectual influence of enslaved women does a disservice to the strength of women as agitators, resistors, and participants in the Antebellum South’s peculiar institution.  By contrast, some women play a very important role in the film; Nat’s mother, grandmother, and wife are integral to his life. However, Parker makes the decision to limit the viewer’s understanding of enslaved women’s complex humanity. There are moments in the film where it appears that Parker forgets that mothers, wives, and daughters performed the same arduous labor as men.

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Aja Naomi King as Cherry (via NCR).

Nat Turner was a father, husband, son, and revolutionary. No one word can describe him except “complex.”  Parker, however, makes no attempt to complicate Nat Turner; he wants to create a hero. Parker’s Nat Turner makes this reviewer wonder if slavery is a pretext to depict contemporary African-American masculinity in the film.  Parker’s desire is to demonstrate that enslaved men were not passive receptors of slavery but active fighters against an unjust institution.  The filmmaker emphasizes one trope of masculinity: to fight until the death for freedom.  He inscribes his Nat Turner with this type of masculinity and creates a character full of compassion for the downtrodden and rage at injustice.  In one scene, when Nat Turner is helping a young white child, the child’s father notices and begins to hit Turner.  Turner does not flinch from the blows but stands tall in the face of injustice.  Parker’s Nat Turner begins his insurrection because his wife is raped and beaten beyond recognition (the image of Cherry, Nat Turner’s wife, is reminiscent of the beaten face of deceased Emmett Till).  Parker makes the impetus for revolution not the rape of his wife but the power structure that would allow this type of brutality to go unpunished.  Although there is no evidence to suggest that this was the historic Nat Turner’s inspiration, it remains plausible that Turner or his co-conspirators fought for the mothers, sisters, and daughters sold or raped by enslavers.

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Henry Moore’s 1862 picture of slaves on James Hopkinson’s plantation (via Wikimedia Commons).

The Nat Turner of historical record is somewhat different than Nate Parker’s representation.  Much of what we know of Nat Turner relies on his confession to the attorney Thomas R. Gray (available for free from Project Gutenberg).  It is important to interrogate this source, to question Turner’s voice as presented in the text and the motivations of Thomas Gray: was it profit, fame, or a desire for truth that led him to Turner’s prison?  As with much of the story of the enslaved, the historical record is woefully incomplete and often clouded in mystery.

Can a movie created for entertainment and education accurately reflect a historical record full of silences?  Do the archival silences (i.e. Nat Turner speaking for himself, not as interpreted by another person) of Nat Turner’s life give license to an entertainer; license to create a hero and remove the stain of villainy associated with his memory? Parker does not hesitate to refashion Nat Turner.

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Historical marker in Southhampton, VA (via TheClio).

Scholars can and should take issue with many aspects of The Birth of a Nation’s historicity.  The film takes wide liberties with history while portraying underrepresented aspects of slavery accurately. However, as a film it also moves into the realm of popular history and some members of the audience inevitably will absorb the film as a factual representation of nineteenth-century Virginia.  This is a problem of the film and filmmaking about historic events in general.  However, I would challenge myself and other scholars to view Parker’s movie as an opportunity to further affect the public’s understanding of history.  It is an opportunity for historians to have a dialogue with the nation about America’s past and to better explain the complexities of American institutions.

Is Nate Parker’s The Birth of a Nation historically accurate?  No. But what historical drama can lay claim to 100% accuracy? Nate Parker did not set out to make a documentary, nor did he write a history of American slavery.  He created a movie at a particular moment in American history.  A moment where black lives are confined to prisons at disproportionate rates.  A moment when much of the African-American population is frustrated with the callousness of society.  The Birth of a Nation is a beginning; it is a chance to continue the conversation about racial inequality.  Nate Parker’s The Birth of a Nation should be seen not for its historic content but for its commentary of this moment in American history.

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Sources:
John W. Blassingame, ed. Slave Testimony: Two Centuries of Letters, Speeches, Interviews, and Autobiographies (1977).

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You may also like:
Daina Ramey Berry and Jermaine Thibodeaux review Nat Turner: A Troublesome Property (2002).
Mark Sheaves discusses Slavery and its Legacy in the United States.
Not Even Past contributors offer an overview of articles about the history of slavery in the United States.
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Slavery and its legacy in the USA

By Mark Sheaves

Not Even Past has published many feature articles, book and film reviews, and podcasts on slavery and its legacy in the USA.  The history of slavery is an important issue today, and the articles we publish aim to make publicly available the academic research and historical perspectives on this topic produced by graduate students and faculty at UT Austin. This body of work provides an overview of key issues important for anyone wanting to understand slavery and its legacy in the USA.

How has slavery shaped racial politics today? What was it like to be a slave? How different was the experience of slavery on plantations and in cities? Was the Emancipation Proclamation successful? How has slavery been portrayed in popular culture? Can slavery be mapped? Below you will find a thematic list of articles we have published offering some answers to these key questions.

Race and slavery’s lasting legacy:

Jacqueline Jones discusses her book A Dreadful Deceit: The Myth of Race from the Colonial Era to Obama’s America, an exploration of the way that the idea of race has been used and abused in American history.

Daina Ramey Berry and Jennifer L. Morgan offer historical perspectives on the casual killing of Eric Garner, highlighting slavery’s lasting legacy and the historical value of black life.

Concerned by misconceptions about slavery in public debate, Daina Ramey Berry dispels four common myths about slavery in America.

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Shippensburg University student Cory Layton, a junior from Harrisburg, Pennsylvania, paints his face with the slogan “Black Lives Matter” at the ‘Fight for Human Rights and Social Equity’ rally at Shippensburg University in Shippensburg, Pennsylvania, on Thursday, December 4, 2014. (AP Photo/Public Opinion, Ryan Blackwell)
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Urban Slavery:

In their article Slavery and Freedom in Savannah, Leslie M. Harris and Daina Ramey Berry explain the importance of understanding urban slavery: “Because of the great economic and social dominance of rural plantation-based slavery in the Americas, historians have long assumed that slave labor was not suited to cities and therefore slavery in American cities was insignificant. But a re-examination of slavery in cities throughout the Atlantic World has demonstrated the importance of urban areas to the slave economy and the adaptability of slave labor and slave ownership to metropolitan regions, especially port cities such as Savannah. Urban slavery was part of, not exceptional to, the slave-based economies of North America and the Atlantic world.”

Interested to learn more about urban slavery? You may also like:

Jacqueline Jones discusses her book Saving Savannah: The City and the Civil War, a study of the unanticipated consequences of the Civil War for Confederate slaveholders and the dramatic efforts of the city’s black people to live life on their own terms in Savannah.

Tania Sammons’ essay on Andrew Cox Marshall, a former slave who went on to become a successful businessman and religious leader in pre-Civil War period Savannah.

 

From 15 Minute History, Daina Ramey Berry talks about Urban Slavery in the Antebellum U.S.

 

Daina Ramey Berry and Leslie Harris offer further reading recommendations on Urban Slavery.

Going to Market- A Scene Near Savannah, Georgia. Harper’s Weekly, 1875 Courtesy of the Library of Congress, Miscellaneous Items in Hight Demand collection, Prints and Photographs Division, LC-USZ62-102153
Going to Market- A Scene Near Savannah, Georgia. Harper’s Weekly, 1875 Courtesy of the Library of Congress, Miscellaneous Items in Hight Demand collection, Prints and Photographs Division, LC-USZ62-102153

Experiencing Slavery:

Slavery is often discussed in terms of numbers and dates, human rights abuses, and its lasting impact on society. To be sure, these are all important aspects to understand, but one thing that is often given relatively short shrift is what it was like to actually be a slave. What were the sensory experiences of slaves on a daily basis? How can we dig deeper into understanding the lives of slaves and understand the institution as a whole?

On 15 Minute History, Daina Ramey Berry discusses teaching the “senses of slavery,” a teaching tool that taps into the senses in order to connect to one of the most important eras in US history and bring it to the present

You may also like:

Let the Enslaved Testify: Daina Ramey Berry discusses the use of former slave narratives as a “valid” historical source.

Rosa and Jack Maddox (Briscoe Center for American History, UT Austin)
Rosa and Jack Maddox (Briscoe Center for American History, UT Austin)

Labor and Gender:

Daina Ramey Berry discusses her book Swing the Sickle, an incisive look into the plantation lives of enslaved women and men in antebellum Georgia.

For further reading, consult this list of classic studies, new works and a few novels on labor and gender and the institutions of slavery in the United States.

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Emancipation Proclamation:

On the afternoon of January 1, 1863, President Abraham Lincoln signed The Emancipation Proclamation, freeing approximately three million people held in bondage in the rebel states of the Confederacy. The Emancipation Proclamation was a huge step towards rectifying the atrocity of institutionalized slavery in the United States, but it was only one step and it had a mixed legacy, as these essays by UT Austin historians remind us.

George Forgie discusses the political wrangling that accompanied the Emancipation Proclamation, the work it left undone, and the need – that seems so obvious today, but was so deeply contested at the time – for a law abolishing slavery altogether.

Jacqueline Jones takes us right into Savannah’s African American community on New Year’s Eve, to see and hear how Black Americans there anticipated the momentous news.

Laurie Green brings us up to 1963 to show us how civil rights activists in the 1960s saw the work of the Emancipation Proclamation as still unfinished. One hundred years after it was signed, they viewed the civil rights movement as an effort to fulfill its original intent to bring not only legal freedom, but economic justice and individual dignity to the descendants of US slaves.

Daina Ramey Berry looks at Quentin Tarantino’s sensationalist and willfully inaccurate treatment of slavery in Django Unchained and she offers us alternative sources for learning about the historical violent abuses of slave life.

Juliet E. K. Walker examines the contrast between the legal and economic consequences of the Emancipation Proclamation.

You might also like:

Jacqueline Jones on The Freedmen’s Bureau: Work After Emancipation

Henry Wiencek recommends Eric Foner’s The Fiery Trial

 

Slavery in Popular Culture:

Historical films and books always distort the historical record for dramatic purposes. Sometimes that doesn’t matter and sometimes it does. How has the history of slavery been presented in historical films?

Jermaine Thibodeaux reviews 12 Years a Slave (2013) and talks about the difficulty of dramatizing the ‘Peculiar Institution’.

Daina Ramey Berry, Tiffany Gill, and The Associate of Black Women Historians comment on The Help (2011).

Nicholas Roland offers historical perspectives on Spielberg’s Lincoln (2012).

Daina Ramey Berry and Jermaine Thibodeaux discuss Nat Turner: A Troublesome Property (2002) and Haile Gerima’s film Sankofa (1993)

Mapping Slavery:

Henry Wiencek recommends two significant digitalization projects that help capture broad trends related to slavery and emancipation in the US:

Mapping the Slave Trade using Emory University’s Trans-Atlantic Slave Trade Database.

Visualising Emancipation(s)‘, a new digital project from the University of Richmond that maps the messy, regionally dispersed and violent process of ending slavery in America.

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First photo via The Texas Tribune

Mapping The Slave Trade: The New Archive (No. 10)

By Henry Wiencek

Roughly 12 million Africans were forcibly transported to Europe, Asia, the Caribbean, and the Americas. It’s hard to conceptualize so many men and women being uprooted from their homes. But Emory University’s Trans-Atlantic Slave Trade Database helps users understand the vast proportions of this perverse exodus. The site pieces together historical data from 35,000 slave voyages between 1500 and 1900 and arranges them onto graphs and maps, offering readers a geographic, demographic, and even environmental context for the slave trade.

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Screenshot of “Overview of the slave trade out of Africa, 1500-1900” (Emory University)

While people may assume that one singular “slave trade” took place, the database maps demonstrate that many existed. And not just across the Atlantic, but around the globe. Overview of the slave trade out of Africa, 1500-1900 charts the routes slave traders followed from Africa to various international ports. But you might be surprised at some of their destinations—traders ventured from East Africa to Arabia, Yemen, the Persian Gulf, and even various ports in India. Although the largest number of slaving ships do land in Brazil or the Caribbean, this map demonstrates that Africa’s slave trade was very much feeding a world market. The variety of international ports participating in the trade is also striking. This was not a black market undertaken by a depraved few, but rather a thriving worldwide industry that brought ships, employment and wealth to numerous communities on both sides of the Atlantic. The maps make this point visually with striking impact.

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Screenshot of “Wind and ocean currents of the Atlantic basins” (Emory University)

The site also reminds readers that the process of moving enslaved Africans across the ocean was as much an environmental process as an economic one. The map, Wind and ocean currents of the Atlantic basins reveals how oceanic forces played a role in determining the travel routes for slave ships. Red and blue lines respectively denote winds and currents swirling between Africa and the Americas, facilitating particular geographic courses better suited for crossing the ocean. These natural forces effectively created two separate “slave-trading systems,” as the site identifies them: one originating in Europe and North America and the other originating in Brazil. Historians have certainly detailed the racism and greed motivating the slave trade, but comparatively little time examining the environmental processes that made it possible. Particular centers of trade emerged along the coasts of Brazil, the Caribbean and West Africa to meet an economic need, but also to harness the currents and winds essential to moving so many men and women such vast distances.  And here too, the visual character of the map makes it easy to see how natural forces worked to shape the historical events.

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Numerical timeline graphing the number of African captives in the trans-Atlantic slave trade between 1500 to 1866 (Emory University)

In addition to these visual aids, the site also includes a more quantitative rendering of this nefarious business. A timeline graphs the number of captives who embarked and disembarked between 1500 and 1867. Users can make the information even more precise by expanding or contracting the time frame or manipulating different variables, including sites of disembarkation, embarkation, and nationality of the slave ship. This visual tool reveals a steadily growing trade, with the number of embarked Africans peaking at around 115,000 in 1792. You will also find a chilling disparity between the number of “Embarked” and “Disembarked” Africans in the statistics—a powerful indication of the deadly voyages these individuals were forced to endure.

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A white slave trader inspecting an African male up for sale, ca. 1854 (Wikimedia Commons)

The sheer numbers documented in the Trans-Atlantic Slave Trade Database are astonishing. With much of the globe participating, an elaborate network of ports, ships and trade routes uprooted millions of African souls with ruthless efficiency. Some users might find the site’s emphasis on graphs and maps to be sanitizing or dehumanizing to the enslaved individuals—too many numbers and figures, not enough people. But the story this site wants to tell is a big and highly important one. The African slave trade had a global reach; it was an environmental force as well as an economic one; and it displaced millions upon millions of men and women from their homes. Visualizing the statistics makes the global reach of their human toll palpable in new ways.

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Earlier editions of the New Archive:

Charley Binkow reads through declassified CIA documents relating to the creation of Radio Free Europe

And Henry Wiencek explores a new, more visual, way of understanding emancipation in America

Black Loyalists and “The Book of Negroes”

by Cassandra Pybus

The Book of Negroes is an extraordinary historical resource, a meticulous list drawn up by the British authorities between May and November 1783, in which they recorded the personal details of some 3,000 African Americans evacuated from New York. The great majority of these people were originally enslaved workers who had defected to the British and were now leaving America as free people. The most significant thing about the Book of Negroes is that most people are recorded with surnames that allow them to be tracked through the archives. It is organized by ship with each person given a name, in many cases with a surname, age, brief description, owner’s name, date of absconding, geographic location and, where appropriate, the name of a loyalist sponsor. Even though the surnames of listed individuals are often misheard, the ages are wildly inaccurate and the time of absconding is ambiguous, we simply don’t have demographic data like this about enslaved people in the eighteenth century in any other source.

In addition to the Book of Negroes, a related resource is the muster of black settlers at Birchtown 1783/1784, which was created by the British authorities for the purposes of distributing rations at the biggest black settlement in Nova Scotia. This list provides first names and surnames, ages and sometimes occupations and, crucially, it is organized by households with the names and ages of wives, children and other household members. In addition, the British archives yield other lists of black refugees including Revolutionary musters, land grant schedules in Nova Scotia; Nova Scotia parish records of the settlements of Birchtown, Digby and Annapolis and lists of people migrating to Sierra Leone. These are all partial lists and frustratingly opaque, but they all provide surnames and some demographic information.

In order to interpret the data and unlock the meanings and implications of the vital demographic information contained in the Book of Negroes and other British sources, the data on each person needs to be read against American colonial sources such as lists of tithable slave property, minutes of county Committees of Safety, runaway notices, parish vestry books, wills and probate records, letters and diaries of prominent individuals, petitions to government, shipping records, plantation records, court records, and county militia records. The seemingly impossible task of locating individuals and their kin is made viable for the largest single cohort from the Lower Chesapeake region of Virginia.  By a stroke of luck the Norfolk Tithable lists from 1730 to 1780 survive largely intact and these provide a single name for slave property, aged between 16 years and 60 years, belonging to heads of households in Norfolk County.

By meticulous cross referencing the information in the Book of Negroes and other British sources I have been able to construct life trajectories, kin relationships, naming patterns and religious affiliations for hundreds of people. These biographies form the first phase of the website Black Loyalist, a repository of historical data about the African American loyalist refugees whose names are recorded in the Book of Negroes

A passport for Cato Ramsay to emigrate to Nova Scotia in 1783. Black refugees behind British lines needed passports to leave the United States. Without this document, they risked a return to their place of origin, which meant a return to enslavement. Source: Nova Scotia Archives

Here is brief sketch of one individual: 

James Jackson is said to be fifty years old in the Book of Negroes and described as “Formerly slave to late Robert Tucker, Norfolk, Virginia; left him with Lord Dunmore when he left that country & was employed as a pilot.” In 1775 his owner was the Norfolk merchant and mariner Robert Tucker Jr, and he was inherited from Colonel Robert Tucker, whose extensive estate was mostly sold after his death in 1767. He must have defected to Lord Dunmore sometime between June and November 1775 when Lord Dunmore had taken refuge on a British warship in the James River, just offshore from Norfolk.

Years later the widow to Robert Tucker Jr lodged a claim for property lost to the British at the burning of Norfolk in December 1775 and during the British occupation of the spit of land known as Tucker’s Mill Point in April 1776. The property list includes the names of nine enslaved men, two women and a boy but does not list James, who is appeared in Tucker’s tithables in 1774. This evidence strongly implies that, like several other pilots, James Jackson had defected to Dunmore earlier in the conflict.

During the revolution James Jackson worked as a pilot for the Royal Navy and in 1783 he travelled to Nova Scotia in the company of Captain Henry Mowatt, commander of HMS La Sophia. Travelling with him was another pilot named London Jackson, aged 32, who was apparently his brother and was described as “Formerly slave to William Ballad, Hampton, Virginia; left him two years past.” According to the Norfolk Tithables, London’s owners were Daniel Barraud and his son William, merchants in Norfolk and Hampton, who had close business and kin connections to Robert Tucker. He would have have defected to General Leslie who made a foray into Hampton in 1781. The Jackson brothers did not go to Birchtown but were given a land grant on nearby Nutt Island where they settled with their respective families.

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John Murray, 4th Earl of Dunmore, depicted in 1765 by Sir Joshua Reynolds. Dunmore’s Proclamation of 1775 offered freedom to American slaves who joined the Loyalist cause.

Also travelling with London and James Jackson is a woman named Nelly Jackson, aged 33, said to be “Formerly slave to Hampstead Bailie, Hampton, Virginia; left him two years past.” She appears to have run away with London Jackson, but there is no apparent connection between their owners to suggest a kinship connection, and she does not settle at Nutt Island or Birchtown. It is most likely that Nelly was actually the wife of John Jackson who was travelling on the Clinton, which sailed some months later. He was said to be 26 and described as “Formerly the property of Anthony Walk, Princess Ann, Virginia left him 3 years ago.”  He must have run to the British forces of General Leslie in late 1780 at the same time as London Jackson; there is a difference in the stated time they ran because of John Jackson’s later departure from New York. He settled at Birchtown where he was said to be 41, with his wife Nancy, aged 32, whom I believe to be the same woman as Nelly Jackson. Johnny can be found in the Tucker Tithables 1765 and in Tucker’s estate in 1768 and listed with Tucker’s widow until 1774. After Mrs Tucker’s death in 1779 he must have been sold to Anthony Walke, who lived in Princess Anne County Norfolk, who also had a mercantile business in Norfolk with connections to Tucker.

The strong circumstantial evidence — close connections between their owners, their shared occupation, the times and places at which they defected—lead me to conclude that these Jackson men are all from one family. There was no reason for me to presume a connection between this family and several other Jacksons from Norfolk who settle at Birchtown. Then I made the chance discovery of a land transfer deed for the Nutt Island grant that states that Jane Thompson was the mother of James Jackson and by extension the mother of London and John.

Jane Thomson was said to be aged 70 and worn out. The Book of Negroes indicates that she was travelling with a five-year-old grandchild and that she  “Says she was born free; lived with Col. Tucker, Norfolk, Virginia; left him 6 years ago.” Jane Thompson is one of the oldest members of the cohort of Black Loyalists from Virginia evacuated to Nova Scotia. At Birchtown she is living with Hannah Jackson and two grandchildren, Robert and Peter Jackson. Close examination of the opaque and fragmentary documentary record about Jane Thompson in colonial Virginia reveals an extraordinary narrative of determination and family resilience.

For more on the Book of Negroes, the Black Loyalists, and the historical recovery of the lives of African American slaves, see the website Black Loyalist: http://www.blackloyalist.info

And Cassandra Pybus, Epic Journeys of Freedom: Runaway Slaves of the American Revolution and Their Global Quest for Liberty

Images via Wikimedia Commons.

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