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Not Even Past

Love in the Time of Texas Slavery

By María Esther Hammack

An earlier version of this story was published on Fourth Part of the World.

I wasn’t looking to find a story of abounding love when researching violent episodes of Texas history. Then I ran across a Texas newspaper article that shed a brief light on the lives of a Black woman and a Mexican man who had lived as husband and wife in the 1840s, twenty-five miles northeast of Victoria, Texas. She was a woman forced to live in bondage in Jackson County, near the town of Texana, in present day Edna, Texas. Her husband was a Mexican man who was likely indentured, employed, or a peon in that same vicinity.

The report, unsurprisingly, did not fully document their lives, experiences, or bonds of intimacy. It did, however, document a glimpse of two lives whose stories and relationship often go untold in the archive. This glimpse and the many questions the source delivered compelled me to further explore this couple’s relationship and harrowing flight to freedom. As a historian whose work investigates the experiences of enslaved and free Black women, men, and children who sought freedom across transnational frontiers, I wanted to learn more about this couple. I was interested in knowing more about the woman and her origins. Was she born enslaved in Texas? How long was she held in bondage near Texana? Had she tried to run to freedom before? What was her trade? How many languages did she speak? The archive has a history of silencing the Black experience and Texas has historically engaged in a disconcerting suppression of its Black past. Answers to my many questions, therefore, proved daunting tasks that led me to creative ways to study this couple’s narrative. I turned to investigate the environment and history of the geographic localities where this woman was held in order to learn more about her life, what she may have witnessed, and her tragic journey to freedom.

A 1856 map of Jackson County, Texas depicting Texana, Texas
1856 Jackson County TX Map showing Texana. Texas General Land Office.

The region where this courageous Black woman was held enslaved had been largely inhabited by Tonkawa and Lipan Apache tribal communities up until the 1830s, when they were unsettled by a group of Anglo colonizers who arrived as part of Stephen F. Austin’s Old Three Hundred colonization program. In 1832, these Anglo-settlers led the Sandy Creek assault against the native communities living in the area and destroyed remaining Tonkawa and Lipan Apache settlements. Six slave holding families, originally from Alabama, consolidated power over the area. These six families redeveloped the region’s agricultural, cattle, and trading industries through the labor of the people they held in bondage. Was this fearless Black woman brought enslaved from Alabama? Was her family forced to move to Texas alongside her? How did she come to meet the Mexican man? It is likely that she was forced to toil in both sugar and cotton crops, staples that turned high profits in Jackson County during that time. Perhaps she may have worked in any of the many groups of enslaved people who packed, prepared and carried the products of said crops to the local port on the Lavaca River. She may have played a central role in the trade that was sent out weekly on the steamboat that ran from Texana, through the pass of Matagorda Bay, to other parts of Texas, Louisiana and the Gulf South.

This daring woman was one of hundreds of enslaved individuals who turned this locality into a successful trading hub. In the early 1850s, Texana was made the seat of Jackson County, a place that became an important military and trading center that linked Texas to the rest of the US South. During that period, 34% of its population was enslaved, and only a decade later, in the 1860s, the enslaved population had risen to be half of the total population because cotton and sugar drove the land’s economic affluence. After the Civil War, when slavery ended, this prosperous area, developed by enslaved people, became a ghost town. Yet, in 1848, when this story takes place, the region was booming and welcoming of visitors and settlers, except Black and Brown. The people governing the county were certainly hostile to enslaved and free Blacks and expressly militant against settlers of Mexican descent. Interestingly, the Mexican man in this story, by 1848, had managed to live across that county for several years. Why? What was his experience upon arrival? How did he end up living in Jackson County, Texas?  Where did he come from? How did he come to meet his wife? While we may never know where this couple met, how their lives intertwined, or how their plan to run away was devised and developed, we do know that this couple ultimately fled together. It is imaginable that both desired a future where they were free. A future far removed from Texas slavery.

In the summer of 1848, and perhaps for years before, these two lovers carefully planned their escape, surely detailing every trail, bend, and river they would encounter and need to traverse on their journey to freedom. In early July of that same year, they took two horses and rode them southward, hoping to leave Texas behind and reach safe havens beyond the Mexican border.

Image of the painting A Ride for Liberty by Eastman Johnson from the Brooklyn Museum
Eastman Johnson. A Ride for Liberty. Brooklyn Museum.

They made their way towards Mexican territory, but as they reached the Lavaca river they were intercepted and pursued by a group of slave hunters, unscrupulous employees of a highly profitable profession. They were quickly surrounded. They stood no chance and received no mercy. The Romeo of this story was lynched. His body was returned to the place where authorities claimed he had “stolen” his enslaved wife. His body was then hung and displayed as a public reminder and threat to all others who hoped, braved, or even thought to run away. In this story, Juliet faced an unimaginable fate. Tortured and robbed of the freedom she almost secured for herself across a Mexican frontier, she was forcibly returned to her ruthless enslaver. The rest of her story remains hidden, silent, until it is found, and told.

The report of this couple’s story is but a fragment, a tiny visible thread in the vast unknown tapestry of the lives and experiences of thousands of women, men, and children who faced, fought, resisted and survived (or failed to survive) enslavement in Texas. It offers us a window into the vibrant, diverse and porous composite that was Texas, during a time when the institution of slavery thrived and consolidated on this side of the border, and freedom existed just a few miles south, on the other side.

Theirs was a story of bravery, of life and death: a harrowing tale of sacrifice, impassioned desire for freedom, and heartbreak different from any I have ever encountered in the archive. We know very little about their relationship. Did they have children? How did he envision freedom at their destination? Was family waiting for them in Mexican territory? Although reconstructing their background and the extent of their intimacy may not be possible, we do know that in their story love was empowering, death was swift and its perpetrators vicious. They sought freedom, yet instead they found a macabre ending committed by Texas vigilantes and sanctioned by laws that protected and promoted the institution of slavery in Texas. Theirs was a story raw, fleeting, and heartbreaking; one where freedom was worth the most violent “‘til death do us part.” Their lives and death are a love story shaped by slavery, freedom, and resistance; marked with blood and violence and no happily ever after. This record documents a rare biography of a couple’s partnership existing amongst a burning desire for freedom. It is a memoir of love in time of Texas slavery.

Other Articles by María Esther Hammack:

The Illegal Slave Trade in Texas
Textbooks Texas, and Discontent 

You May Also Like:

The Paperwork of Slavery
Slavery in America: Back in the Headlines
Slavery and Freedom in Savanna 


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

Texas is Adopting New History Textbooks: Maybe They Should Be Historically Accurate

Exploring the Silk Road

The Ottoman Age of Exploration by Giancarlo Casale (2010)

What’s Missing from ‘Argo’ (2012)

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

Sanctuary Austin: 1980s and Today

Beyonce as Historian: Black Power at the DPLA

Remembering Willie “El Diablo” Wells and Baseball’s Negro League

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.

Driven Toward Madness: The Fugitive Slave Margaret Garner and Tragedy on the Ohio by Nikki M. Taylor (2016)

In January of 1856, a prolonged period of frigid temperatures in northern Kentucky—the coldest in sixty years—froze the Ohio River creating a bridge to freedom for enslaved people daring enough to cross it. On Sunday, January 27, 1856, Margaret Garner and seven members of her family made the arduous eighteen-mile journey that separated their lives of enslavement in Kentucky from freedom in Ohio. After only a few hours on free soil, the Garners found themselves facing imminent capture. When the chaos subsided and the Garners were subdued, Mary, a toddler, lay dead and the Garners’ three surviving children all bore wounds of various degrees and intensity. Margaret had attacked her own children. Examining the events that shaped Garner’s decision and the subsequent legal battle that propelled her, if only briefly, into the national spotlight, Nikki M. Taylor offers a nuanced study of Margaret Garner’s life and the impact of the trauma of enslavement on the enslaved.

The title of Taylor’s work suggests a causal relationship between slavery and the “madness” that inspired Garner to kill her daughter. In the introduction, Taylor asserts unequivocally that “slavery caused trauma.” This is a significant aspect of Taylor’s analysis as she argues that understanding Margaret Garner’s trauma is critical to understanding her reaction to the threat of capture. When federal marshals and the Garners’ enslavers surrounded the house where the Garners hid, Margaret and Robert both reacted violently—Taylor, however, reads an important distinction into their respective actions. Robert, using a pistol stolen from his enslaver, fired at the slave catchers as they forced their way into the house. Margaret also responded with deadly force, but unlike Robert, Margaret’s attention focused inside the house. Taylor cogently applies trauma theory first espoused by Sigmund Freud and later expanded by Cathy Caruth to examine this gendered distinction.

Article from the February 2, 1856 issue of the Anti-Slavery Bugle (via Ohio Memory)

Driven Toward Madness explores the intimate aspects of Margaret Garner’s life and fleeting celebrity by tracing the arc of the Garners’ flight, capture, legal controversy, and removal to Louisiana. Taylor insightfully considers the psychological effects of enslavement and sexual abuse and the meaning of infanticide in asking whether murder can be considered resistance. Reconstructing Garner’s life from interviews and articles published in contemporary newspapers, fugitive slave hearings, criminal indictments, and personal papers, Taylor employs a variety of methodological approaches that integrate black feminist theory, trauma studies, pain studies, genetics, history of emotions, and literary criticism to explore the trauma Garner experienced as an enslaved woman, and the violence that Garner endured and enacted. Taylor’s focus on the interconnected themes of motherhood, sexual vulnerability, trauma, and violence, and her attention to Garner’s mental state and perceived psychological trauma push slavery studies into new territory—the psychological impact of enslavement on the enslaved—that until recently has remained under-explored. This interpretative approach presents a challenging line to walk—one that requires the historian to stay true to the extant records yet acknowledge the unavoidable silences and absences within the archive that often obscure enslaved women’s lives. The result is a work that reconsiders enslaved motherhood and how we conceptualize resistance.

Although the specific nature of the violence Garner experienced at the hands of Archibald Gaines is absent from the written record, Taylor persuasively reconstructs a psychological profile of the enslaver. She painstakingly tracks recorded incidents of his violent temper to establish that Gaines was prone to violent outbursts. She describes the scars on Margaret’s face, as evidence of violence that was both up-close and personal; those scars offered silent testimony to the physical abuse she endured.

Margaret’s reproductive history tells of another kind of abuse. Describing Margaret as “perpetually pregnant” from the birth of her first child in 1850 to her escape in 1856, Taylor documents Margaret’s pregnancies as evidence of the sexual abuse she likely experienced. This is perhaps Taylor’s most impressive analytical work. Building on the method of reading the record Annette Gordon-Reed used in her ground-breaking study of Sally Hemings and Thomas Jefferson, Taylor establishes the probability that Gaines fathered at least two of Margaret’s children. Enslaved within different households, Margaret and Robert lived apart. They had what was commonly known as an “abroad marriage.” This meant that their time together was often infrequent and subject to their enslavers’ discretion. Additionally, Robert was often hired out, resulting in frequent and prolonged absences. Citing these absences, Taylor questions the paternity of the child in Margaret’s womb and her two youngest children, Mary and Cilla, who were often described as so fair they appeared white. To support the assertion that Gaines likely impregnated Margaret, Taylor engages in genetic analysis that includes a detailed examination of the probability that Robert (a dark-skinned man) and Margaret (a light-skinned woman) produced two extremely fair-skinned children. Taylor acknowledges the imprecise nature of this type of analysis—but her discussion of genetics, skin color, sexual abuse, court testimony, masculine honor, community complicity and silence, and sexual access point to an answer.

Driven Toward Madness is well-written and thoroughly researched. For scholars of slavery, Taylor’s examination of Margaret Garner’s life within the midwestern community of small-slaveholding households is an insightful examination of motherhood, sexual abuse, violence, and trauma created by the institution of slavery. She brings into clear focus the political implications of the jurisdictional conflict between national and state authorities concerning the Fugitive Slave Law and federal authority that contextualized Garner’s prosecution. Taylor’s work attempts to fill the substantial silences in the record that point to what is ultimately unknowable—that is, how enslavement traumatized Garner to the extent that when faced with capture, Garner picked up a knife, and then a shovel, and attacked her children rather than see them return to enslavement.

More Post You Might Like:

Empire of Cotton 
Slavery in Indian Country
Slavery and its Legacy in the United States

Episode 119 – Beatlemania and the 55th Anniversary of the First Beatles Tour to the US

The Beatles arrived for their first concert in the United States on February 11, 1964, to rabid fanfare. Legions of screaming women greeted John Lennon, Paul McCartney, George Harrison, and Ringo Starr at every stop of the U.S. tour, leading to observers dubbing the period “Beatlemania.” As one of the most commercially successful and influential musicians of all time, almost every pop music artist cites their influence over their music. Yet who were the Beatles? What was their music like? And why were they so popular?

Ph.D. student in history Eddie Watson and host Augusta Dell’Omo take us deep into the history of the Beatles’ first tour in the United States and reveal why we should understand these popular cultural movements. But, perhaps most importantly, Eddie tells us who is the best Beatle, reveals their greatest hits, and regales us of his own attempt at the Beatle bowl cut.

City in a Garden: Environmental Transformations and Racial Justice in Twentieth-Century Austin, Texas by Andrew M. Busch (2017)

Austin is a global city, home to some of the most technologically advanced and successful corporations in the world as well as a renowned university system that provides highly trained and educated employees to those same top companies. All the while, Austin’s constant obsession with building a sustainable and environmentally friendly city contributes to the growth of a largely white upper-middle class demographic who can afford living in proximity to Austin’s finest and natural recreational spaces. A look at Austin’s past reveals a pattern of racial discrimination as the city constantly places the needs of white residents, boosters, developers, and investors above those of Black and Latino residents.

the book's front cover

Andrew M. Busch’s new book, City in a Garden traces one hundred years of Austin’s urban, environmental, political, and social history. Busch explains that Austin’s investment in big business and innovative environmental development projects was and still is an investment in the social construction of whiteness that has paid off beautifully for upper-middle class white people. Busch argues that no matter how sustainable Austin is, or remains, there is a troubling “shadow” constantly growing behind the “garden” that combines the urban and the natural. The shadow is a century of racial discrimination in the form of federal, state, and local urban development policies that built an environmentally sustainable and desirable playground for white upper-middle class people.  Simultaneously these policies and city planning projects kept Black and Latinx people out of any real decision making processes, leaving them with the least desirable spaces in the city, spaces that remain underfunded and subject their residents to constant threat of removal and displacement.

Busch’s main purpose is to expose the complexities that arise when space is racialized through the process of urbanization. He foregrounds Austin as an exceptional case that further complicates the relationships between city leaders and developers, environmentalists, and the Black and Latinx communities as they all make claims for their ideas of how Austin’s space should be utilized. Furthermore, Busch suggests that the “history of human-environment interaction in Austin has revolved around managing water as well as enhancing access to and preserving unique environmental characteristics that have high use and exchange value” (14). This is apparent from the beginning of Austin’s city planning history.

From the late 1890s to the 1930s, city leaders focused on subduing the water system in and around Austin and successfully dammed the Colorado River. The project signified the capability of harnessing nature to provide residents, farmers, and especially companies with cheap power and flood control. In the 1930s, as the population grew, and new land became available to build on and to accommodate new types of labor, suburbanization and the Federal Housing Association (FHA) continued to place white communities’ needs above all others. While the FHA demarcated Black and Latinx spaces as “dilapidated” and ripe for redevelopment, the Home Owners Loan Corporation made sure that white neighborhoods remained white through restrictive covenants and other illegal methods that kept most people of color in south and east Austin. By the 1950s, rampant deindustrialization in Austin made working-class industrial jobs harder to get in the city. The process of ridding Austin’s inner city of heavy industry incentivized middle and upper-class labor and the companies that would employ them with new recreational spaces, the convenience of suburban life, and tax breaks for oil and high-tech companies. For Black and Latinx communities, the removal and redevelopment projects that resulted from mid-century urban renewal  only served to exacerbate racial segregation as new housing was built on the east side of Austin.

Downtown from Austin's Famous Zilker Park
Downtown from Austin’s Famous Zilker Park. Source: Wikimedia.

As the book enters the 1960s, Busch strengthens his argument. Austin’s environmentalists started to challenge urban and environmental projects that posed a threat to the natural environment and recreational spaces. The best example here is their fight to ban motorized vehicles from the west side of Town Lake while the east side had to contend with massive motorboat races that drew thousands of people throughout the year and posed a threat to Latinx communities. Destroying the east Town Lake community’s park to build a stadium for the races sparked the organization of people in the community as well as organizations active in the Chicano and Civil Rights Movements. After six years of protest, the city finally moved the boat races without the aid of white environmentalists who never considered the negative effects that their efforts had on Latinx communities. Overall, the 60s and 70s proved that liberalism fell short for marginalized communities and white environmentalists only considered natural spaces as an environment in need of protection from city development projects.

In the 1980s, Austin leaders began to aggressively diversify the local economy as defense, oil, and high-tech industries effectively sparked the process of globalization. The University of Texas was integral in this economic transformation and supplied these new industries with skilled labor and state-of-the-art research capabilities funded mostly by federal defense contracts. This massive shift caused the city’s white population to expand residential areas in the north and the west. While these residential areas began to threaten physical spaces that environmentalists considered pristine and worthy of protecting, Black and Latinx residents living to the east and south saw production facilities move in to their neighborhoods making life more hazardous.

In examining the 1990s, Busch focuses on the bifurcation of the environmental movement in the fight against aggressive private and federally funded urban expansion. Traditional white environmentalists took on the encroachment of private development in pristine and untouched natural space. For this group, unchecked development threatened the Edwards Aquifer, an essential source of water and important part of Austin’s ecosystem. East Austin environmentalists agreed that the aquifer needed protection but added that their communities needed just as much protection from both old and new environmental hazards facing Black and Latinx people.  For eastsiders, environmental injustice was a civil rights issue. They constructed “the environment as a hybrid landscape, one where natural and built reinforced one another and combined to undermine minorities health and access to jobs, education, and recreation…” (226). But, as Busch argues in the epilogue, eastside environmentalists lost to their white counterparts as the 2000s saw an increased development in east Austin because building east would not disturb any protected environments, eased the increasingly expensive housing crisis, and proved to be extremely profitable. Using the epilogue as a kind of policy proposal, Busch argues for a more equitable city planning and economic structure by way of creating jobs that do not just serve a certain sector of Austin’s growing population. He asserts that historical exclusion should be met with contemporary inclusion in every aspect and that gentrification poses an immediate threat to impoverished communities who are already being pressured to leave because of a lack of economic opportunity. Busch suggests that rent control, direct subsidies, and other mechanisms should be employed to create “a holistically livable environment” for all Austinites.

Busch’s book is important for students in a variety of disciplines, residents interested in city development and planning, city planners, housing and economic justice activists, as well as environmental activists. City in a Garden also leaves the history of Austin ripe for further research. In what ways did Black and Latinx residents challenge, participate, and/or survive the growing spatial disparities of their white counterparts? A research project on the historically Black Wheatsville community could provide some answers. What was life like in pre-WWII Austin for residents living in areas affected by environmental changes and hazards? An inquiry in to Mexican agricultural workers living in colonias around Austin might shed light on how changes in Austin’s economy – transitions from agricultural, to industrial, and in to oil and technology – affected where Latinos’ in Austin lived and worked over time. Readers interested in education might also be intrigued by the brief mentions of educational segregation and its lasting problems in Austin. With a hundred-year historical sweep the questions this book fosters seem endless, which is an excellent problem to have.

Overall, City in a Garden reveals a complicated past littered with good and bad decisions in hopes that people in the present and future might reckon with and correct the inequality literally built in to Austin’s city limits.

_________________________________________________________________________________________

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.

You might also like:

Changes in the Land: Indians, Colonists, and Ecology of New England
The Environment on History and the History of Environment

Also by Micaela Valadez:

Dreaming with the Ancestors: Black Seminole Women in Texas and Mexico

White Women and the Economy of Slavery

In 1849, sixty-five “ladies of Fayette County” Tennessee wanted their State legislature to know that a central dimension of patriarchy was failing. In a collective petition, they highlighted the ways that this failure was unfolding and how it impacted the lives of Tennessee women, particularly those who were married or who were soon to be wed. At the center of their petition were “thoughtless husbands” who fell far short of patriarchal ideals. These men, through “dissipation or improvident management,” created circumstances that compelled their new wives to endure lives plagued by “destitution,” “hardship, and suffering.”

The signatories went on to draw astonishing contrasts between the patriarchs of old and those of a new age and the ways that these different generations of men treated the women in their lives. The young women they purported to represent entered marriages with “competent estates descended to them from the estates of their deceased fathers,” noblemen who accumulated their wealth and property through years of labor, diligence, and frugality. They waxed nostalgic about those hardworking men of their father’s generation who hoped to pass the fruits of their extensive and admirable efforts onto their children. Yet, within no more than two years of marriage, they alleged, their husbands had wasted it all. Playing to the legislature’s fatherly sentiments, the Fayette County ladies told its members that the men whom they entrusted their daughters to were inept, thieving failures who stole their fortunes and financial legacies and left their most vulnerable children in “want and suffering.”

The legal doctrine of coverture and the constraints it imposed upon married women were central to the failures of which they spoke. Coverture provided that when a woman married, her assets or wages became her husband’s. If she acquired any property after she married, those assets would belong to her husband as well. In other words, the legal doctrine of coverture robbed married women of their independent legal and economic identities.

These sixty-five Fayette County women challenged the tenets of coverture and asked the legislature to consider whether the elements of this legal doctrine were “based on the principle of equity and justice.” They queried whether it was “right and justice to subject the patrimony of married Ladies to the payment of the debts of the husbands which often exist before marriage.” Their line of questioning made it clear that, in their eyes, it was not. They called upon the legislature to “devise and enact some Law for the State” whereby “the personal estates of females [would] be placed upon a similar basis as their Real estate, and so protected and secured that it cannot be sold, and taken from them without their consent.”

There was a specific reason why they deemed this “placement” necessary: slavery and the region’s dependency upon it. Slave-owning parents typically gave their daughters more slaves than land, and as a result, slaves were profoundly important to women’s personal stability. These women asked the legislature to protect the kind of property that was worth the most to them because, in light of “peculiar Southern institutions, manners, and customs, it [wa]s in most cases a much greater privation and inconvenience to the married ladies to be deprived of their slaves than of their land.”

Negro Life at the South – Oil on canvas, by Eastman Johnson.
Source: Wikimedia Commons

The petition put forth by these sixty-five “ladies” was exceptional because of its collective nature, but the arguments and circumstances they laid bare in this document echoed those that married slave-owning women voiced in their homes and communities as well as in the individual bills of complaint they filed in nineteenth-century chancery courts throughout the South. In the not-so-private conversations at home and in their petitions, married slave-owning women throughout the South repeatedly made it clear that their husbands were robbing them of their slaves, squandering their assets, and violating what these women believed to be their property rights in enslaved people.

They explained how they came to own the slaves in question—i.e. whether they were inherited, given as gifts, or purchased—as well as the kind of control they exercised over them. They provided documents such as bills of sale, wills, and deeds to support their claims. With striking candor, they informed family, friends, and judges alike that their husbands came to their marriages impoverished and slave-less. It was women, they argued, who owned the slaves in their households, not their husbands. And when it was necessary, they produced witnesses whose testimony substantiated their assertions. One by one, at home and in court, married slave-owning women throughout the South did what the sixty-five women from Fayette County, Tennessee did collectively; they called upon family, friends, and judges throughout the region to help to secure their ownership of slaves and shield their property from their husbands’ ineptitude and misuse.

Daguerreotype, New Orleans, 1850s
Daguerreotype, New Orleans, 1850s.
Source: The Burns Archive via Wikimedia Commons.

White slave-owning women were not the only ones to insist on their profound economic investments in the institution of slavery; the enslaved people they owned and white members of southern communities did too. The testimony of formerly enslaved people and other narrative sources, legal documents, and financial records dramatically reshape current understandings of white women’s economic relationships to slavery, situating those relationships firmly at the center of nineteenth-century America’s most significant and devastating system of economic exchange. These sources reveal that white parents raised their daughters with particular expectations related to owning slaves and taught them how to be effective slave masters. These lessons played a formative role in how white women conceptualized their personal relationships to human property, imagined the powers that they would possess once they became slave owners in their own right, and shaped their techniques of slave control.

These lifelong processes of indoctrination make it clear why some white women did not feel compelled to relinquish control over their slaves to their spouses once they married, why they sought to manage and “master” their slaves, why they felt completely comfortable buying and selling enslaved people, and why they sued their husbands in court over their slaves, too. The ownership of slaves was gendered: white women slave owners played roles in the trans-regional domestic slave trade and nineteenth-century slave markets. They responded to the Civil War and adapted to its economic aftermath in ways that were often different from their husbands, fathers, and brothers.

The Petition of Ladies of Fayette County, Tennessee, November 9, 1849, is Document Number: 19-1849-1, Legislative Petitions, Tennessee State Library and Archives, Nashville, Tennessee, Accession #: 11484907 Race and Slavery Petitions Project, Series 2, County Court Petitions.

Stephanie E. Jones-Rogers was a Harrington Fellow at The University of Texas at Austin from 2018 to 2019. She is the author of They Were Her Property: White Women as Slave Owners in the American South.

—

Books for Further Reading

Walter Johnson, Soul by Soul: Life Inside the Antebellum Slave Market (1999) is the most recent and comprehensive study of southern slave markets to date. Johnson examines the interplay between white sellers, buyers, and enslaved people within the context of the slave market and the interstate slave trade.

Steven Deyle, Carry Me Back: The Domestic Slave Trade in American Life (2007) complements Johnson’s study by exploring the ways in which the slave market permeated every town, city, and rural landscape. By doing so, Deyle makes visible how the indifferent calculations of white southerners and the trauma that these calculations brought about in the lives of enslaved people occurred far beyond the slave market and often via private sales between members of southern communities.

Edward Baptist, The Half Has Never Been Told: Slavery and the Making of American Capitalism (2016) lays bare the human impact and toll of the slave trade and how the forced migration and labor of enslaved people in the West and Lower South, and the violence white southerners perpetrated against them in order to get them to do that work, proved fundamental to American capitalism.

Daina Ramey Berry, The Price for their Pound of Flesh: The Value of the Enslaved, from Womb to Grave, in the Building of a Nation (2017) studies the actual human cost of slavery via the prices affixed and values assigned to enslaved people from conception to after death. Ramey Berry’s study also reveals that enslaved people developed their own systems of value that forthrightly challenged those imposed upon them.

_______________________________________________________________________________________

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.

 

Letter to the Editor: Remarks on Jesse Ritner’s “Paying for Peace: Reflections on the ‘Lasting Peace’ Monument.”

Not Even Past will publish letters to the editor with educational or scholarly merit. When the letter concerns a post on Not Even Past, the author of the article will be invited to respond. We encourage letter writers to refrain from ad hominem discourse. 

—Joan Neuberger, Editor.

Remarks on Jesse Ritner’s “Paying for Peace: Reflections on the ‘Lasting Peace’ Monument.“

Having designed a class that engages students with original texts surrounding the Meusebach-Comanche Treaty, I read Jesse Ritner’s contribution with great interest. He makes valuable observations about the political position of the Comanche, and attempts to take on the Native American perspective which happens far too seldom. I believe, however, that we should recognize the significance of the Treaty of Fredericksburg.

An image of the Meusebach-Comanche Treaty of 1847
The Meusebach-Comanche Treaty of 1847. Texas State Library and Archives Commission

Germans in 1847 did not see themselves as “Anglo-European” settlers. Accordingly, Meusebach launched his expedition without consent of the government (Neighbors and the Delaware followed him), arranged for his own Mexican translator and designated a German Indian agent who remained with the Comanche. The effect was interesting. In a quote attributed to Penateka chief Kateumsi, he finds the Germans to be “less reserved” than the Americans.[1] The Penateka also noticed other cultural differences. A Houston newspaper of May 1847 reads: “[The Comanche] say they are more willing for the Germans to settle in their country than the Texians, for the former settle in towns and villages and do not scatter over the countryside and kill the game as the Texians do.”[2] Money was never the only consideration.

As a German freethinker, Meusebach brought a very exceptional view to Texas. None of his letters indicate he wanted a military solution. It is true that the “Comanche did not forfeit land rights in the treaty.” But he had no expectation that they should. Meusebach suggested a treaty of integration, not of separation. Engraved in the treaty was the spirit of the idealistic European revolutions of 1848. During a speech delivered at the negotiations, Meusebach exhibited racial sensibilities that differed radically from his contemporaries. He suggested intermarriage between Germans and the Comanche, spoke of the unimportance of skin color and mused about young Germans learning the Comanche language.[3]

One of the first settlements in the grant area was founded by German Forty-Eighters. Among the group was a doctor named Ferdinand Herff who successfully performed cataract surgery on a Comanche chief.[4] The episode further strengthened trust. Evidence that Germans were viewed favorably for a few years also comes from a travel account by Friedrich Schlecht from 1848. When he encountered a band of Comanche, the chief shared coffee with him, and told him that had he been of “those who […] had broken their treaties on numerous occasions” he would not have hesitated to scalp him.[5] The Comanche not only understood geopolitics, they also recognized differences in ethnicity and attitude among those they dealt with.

Whether the treaty remains unbroken is a different question. As Roemer predicted, violence erupted as early as 1850.[6] The significance of the treaty, however, and the reason it is still celebrated by Comanche and German descendants, is that it points to a conceivable alternative to the ethnic cleansing of most Native Americans from Texas territory that eventually occurred.

David Huenlich, Research Fellow, Institut für Deutsche Sprache, Zentrale Forschung, (Ph.D. UT Austin, 2016)

[1] Penninger (1896), Fest-Ausgabe zum 50-Jährigen Jubiläum der Gründung der Stadt Friedrichsburg, p. 91
[2] Daily Telegraph and Texas Register [Houston, TX], Monday, May 10, 1847
[3] Penninger (1896), Fest-Ausgabe zum 50-Jährigen Jubiläum der Gründung der Stadt Friedrichsburg, p. 104f
[4] Handbook of Texas Online, Glen E. Lich, “BETTINA, TX,” accessed October 22, 2018, http://www.tshaonline.org/handbook/online/articles/hvb55
[5] Schlecht (1851), Mein Ausflug nach Texas, p. 74
[6] Wurster (2011), Die Kettner Briefe, p. 19f


Jesse Ritner Replies

I would like to thank David Huenlich for his thoughtful response to my article on the Meusebach-Comanche Treaty of 1847 and the “Lasting Peace” monument that commemorates it in Fredericksburg, Texas. I appreciate his insight into the role of the Indian Agent, R.S. Neighbors. Neighbors was sent by the governor of Texas specifically to stop the treaty, if possible, and to mitigate any negative effects that might have occurred if the treaty could not be stopped. The goals of the German-Texans were certainly at odds with the goals of the Anglo-Texans and U.S. Government, which was precisely why Meusebach needed to make a treaty with the Comanche. In addition, I never intended to question Meusebach’s role as a “German free thinker.” However, the evidence that Huenlich presents in his discussion of Meusebach’s speech during negotiations, should be read with caution. The reliability of information on his speech is difficult to determine. Most accounts that I know of awere either written by German-Texan boosters or were written almost fifty years later, when relations with Native Americans were profoundly different, and the rhetoric of removal had changed. That being said, Meusebach likely mused about the possibilities of Comanche and German co-existence. In this he was not alone. In 1847, there were still people throughout the nation who believed that Native Americans and Europeans could and would live side by side.

Huenlich is also correct to point out that Germans in Texas in 1847 did not see themselves as “Anglo-European.” Too often we think of Texas as Anglo, rather than as the diverse polity it was during the Mexican-American War. What is so interesting about this treaty, and what drew me to it in the first place, was precisely the ways in which it exists outside typical Anglo-Comanche relations. The presence of Americans, Mexicans, Germans, Comanche, and Delaware makes for a fascinating mixture of people, cultures, and political goals. As a result, when looking at this treaty, we must try and imagine an immensely complex world, in which the two of the three biggest political and military actors were at war, and the German-Texans were trying to protect their future access to certain lands.

In this context, Meusebach could only work within prevailing geopolitical systems. On one side were the Comanche, who were undoubtedly feared by both Native Americans and Europeans in the region. On the other, were the U.S. Government and the German Emigration Company, who despite conflicts with each other, agreed on what determined legal ownership of land. The German Emigration Company, which Muesebach represented, had been given a grant of land from the former Republic of Texas, which if they failed to settle, they would lose. As a result, despite the language in the treaty, Meusebach must have been aware that settling the land would, in the eyes of western law, guarantee German-Texan access to it in the future. He would also have been aware, that by German and Anglo reasoning, the company already had rights to own land that was already promised by the U.S. Government to the Comanche.

When we take a step back, and think about Comanche motivation for signing this treaty, two things become apparent. One is the fact that the Comanche saw a very different future for themselves in Texas than the German-Texans saw. The other is that there were existing presumptive rights to land already at work by the time Meusebach entered treaty negotiations. Meusebach was not concerned with money, per se, but he was deeply concerned with property rights, and those property rights were to land that another nation already owned.

Even as Meusebach imagined a future in which the Comanche and Germans lived at peace together, that very desire denied a future in which the Comanche continued to be in control of Comanche land. In order to write a story that does not repeat the removal of people from their land by removing them from history, we must take as our first premise that Europeans, Anglos, German, Spanish, French, etc., had zero right to Indigenous lands. Once we do this, it becomes impossible to see either the Comanche or the Germans as simply friendly and well meaning, and as a result allows us to see how, in 1847, each group imagined radically different futures for themselves and each other than the future that came to pass.

The Comanche imagined a future in which their horse herds still roamed the plains and buffalo still prospered in the American West, in which trade fairs in the center of Comancheria were still economic and cultural centers, and the Comanche military was still feared the way the U.S. military is feared today. It is only once we acknowledge that this was a possibility, and that even well-meaning settlers aspired to lands that were never theirs, that we can begin to understand the violence that settler societies unleashed on North America.

The history I offered in my first article aspired to such an imagination. It is based on this premise that I proposed that the treaty’s significance was greater than its value to German-Texas. The treaty does not point to an alternative future because some German-Texans chose friendship over violence, it points to an alternative future because it gives us insight into myriad possibilities that the Comanche imagined for themselves.


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.

US History at the Movies

banner image for US history at the movies

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 

movie poster for sweet liberty
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)
movie poster for bury my heart at wounded knee
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)

movie poster for all the president's men
movie poster for cesar chavez
movie poster for frost/nixon

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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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)

Black Women in Black Power

By Ashley Farmer

One has to only look at a few headlines to see that many view black women organizers as important figures in combating today’s most pressing problems. Articles urging mainstream America to “support black women” or “trust black women” such as the founders of the Black Lives Matter Movement are popular. Publications, such as Time, laud black women’s political leadership—particularly when they mount a challenge to the status quo such as Stacey Abrams’ victory in the Georgia Democratic Governor primary. At the core of these sentiments is the recognition that black women have developed and sustained a liberal democratic politics that is conscious of and responsive to the interconnected effects of racism, capitalism, and sexism and that their approach can offer insight into current socio-political issues. The media often frames these and other women’s efforts as a manifestation of the current political moment divorced from the longer tradition of black women agitators and organizers to which they belong. Many of the black women making headlines today for their work in advancing civil rights and social justice ideals draw from these earlier traditions, including from the Black Power Movement of the 1960s and 70s.

Portrait of Angela Davis spray-painted on a wall.

Portrait of Angela Davis (Photo: Thierry Ehrmann / Flickr)

Although often thought of as civil rights’ “evil twin,” in the words of historian Peniel Joseph, Black Power was a diverse and diffuse collection of organizations, activists, and ideas. This movement spanned the political spectrum, states and continents, and stretched into both the grassroots and national arenas. Despite these variations, activists across the globe were united in support of the central pillars of Black Power—black community control, black self-determination, and black self-defense—broadly defined. In the latter half of the twentieth century, a bevy of organizations ranging from the Black Panther Party to the All-African People’s Party supported and advanced these principles.

Black women were at the epicenter of this movement. Some joined national organizations and served in both rank-and-file and leadership roles. Others found a way to enact ideals like community control and self-determination through local neighborhood or welfare rights organizations. Whatever avenue they chose, female Black Power activists were not only vital to the infrastructure of the movement, they also advanced gender-specific interpretations of its governing axioms. Complicating common assumptions about their marginalization in the movement, black women activists fought for more inclusive understandings of Black Power, ultimately causing many organizations to adopt a more radical critique of racism, sexism, and capitalism.

Members of the Third World Women’s Alliance marching in NYC in 1972 with a banner reading Welfare Rights Organization (Credit: Luis Garza).

Members of the Third World Women’s Alliance in NYC in 1972 (Credit: Luis Garza).

Women in the Black Panther Party exemplified this gender-conscious ethos. Huey Newton and Bobby Seale founded the party in October 1966 in Oakland, California in response to rampant police brutality. However, the Black Panther Party quickly became a collective with a more expansive vision that included defending the black community, developing community programs to increase self-sufficiency, and fostering political education—albeit with a masculinist framing. Women joined the group a year after its founding, participating in all aspects of its programming and endorsing its principles. The first female member, Tarika Lewis, participated in political education classes, attended rallies, and was an artist for the party newspaper, The Black Panther. As the party developed, other women including Ericka Huggins and Elaine Brown joined the group. By the 1970s, Huggins edited the newspaper and Brown ran the party. Indeed, women became Panthers in droves, eventually comprising about two-thirds of the rank-and-file across forty chapters. As they organized, they challenged their male counterparts to rethink their commitment to patriarchal ideas of leadership, activism, and revolution, openly debating sexism within the movement and developing artwork and articles that framed black women as the consummate political actors. Their efforts worked. The Black Panther Party, often thought to be an exemplar of Black Power sexism, adopted more egalitarian polices toward women in both name and practice.

Members of the Third World Women’s Alliance in NYC marching in 1972 and carrying a banner that reads "Hands off Angela Davis" (Credit: Luis Garza)

Members of the Third World Women’s Alliance in NYC in 1972 (Credit: Luis Garza)

Other women, such as members of the Third World Women’s Alliance (TWWA), chose to engender and re-gender Black Power through what historian Stephen Ward calls, “Black Power feminist” groups. This organization originated as a women’s caucus within the Student Non-Violent Coordinating Committee (SNCC), which, by the late 1960s, advocated for globally-minded, anti-imperialist politics expressed through Black Power principles and positions. As it developed it became a collective of “black and other third world women” fighting “all forms of racist, sexist, and economic exploitation.” Through their newspaper, Triple Jeopardy, members developed an ideological platform and activist agenda that interpreted Black Power principles through this global, gender-specific, and intersectional lens. Articles about anatomy and reproductive rights fostered gender-specific understandings of self-determination; images of black and brown women arming themselves supported a capacious understanding of self-defense. These publications, as well as their collaborations with other Black Power era groups, helped produce more nuanced understandings of Black Power. Their multi-faceted approach to liberation also laid the groundwork for what we now call intersectionality.

Female Black Power organizers’ diverse organizing efforts are visible in activism today. The grassroots networks that progressive candidates like Abrams used to win the primary, as well as her endorsement of universal pre-K and affordable housing, build on the efforts of women such as Huggins and Brown, who dedicated much of their lives to developing capacious forms of community control. More radical organizers, such as the three women founders of the Black Lives Matter movement, carry on TWWA-like traditions of global anti-imperialist solidarity, intersectionality, and black self-determination through self-definition.

My new book, Remaking Black Power: How Black Women Transformed an Era, examines these and other women activists in order to better understand black activism past and present. It centers on black women’s ideas and organizing in order to foreground how they might help us rethink the historical and historic uses of Black Power in addressing all facets of oppression. Understanding the historical activism of black women organizers can reveal new sites of theoretical and organizational possibilities and shine light on the ways that we might move toward different and more equitable worlds today.

Ashley D. Farmer,  Remaking Black Power: How Black Women Transformed an Era

“Online roundtable on Ashley Farmer’s Remaking Black Power,” in Black Perspectives, the blog of the African American Intellectual History Society, April 13, 2018.

For more on black women and Black Power, Prof. Farmer recommends these.

Robyn C. Spencer, The Revolution Has Come: Black Power, Gender, and the Black Panther Party in Oakland (2016).
A great book for anyone looking to learn more about the gender politics of the Black Panther Party. 

Dayo F. Gore, Jeanne Theoharis, Komozi Woodard, Want to Start a Revolution? Radical  Women in the Black Freedom Struggle (2009).
A
 strong collection of essays that explore black power and black radicalism from its origins to its apex.

Assata Shakur, Assata: An Autobiography (1988, 2001)
The life story of Assata Shakur, her journey into activism, membership in the Black Panther party, and her arrest and her current exile in Cuba. 

Elaine Brown, A Taste of Power: A Black Women’s Story (1993).
A great autobiography that describes Brown’s journey to becoming a leading Black Power activist and leader of the Black Panther Party 

Nico Slate ed. Black Power Beyond Borders: the Global Dimensions of the Black Power Movement (2012)
A collection of essays that speak to the global scope and reach of U.S-centered ideas of Black Power. 


Featured image photo credit:  Black Panthers at a rally in Oakland, Calif., in 1969, from the documentary “The Black Panthers: Vanguard of the Revolution.” (Photo: Pirkle Jones and Ruth Marion-Baruch).

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

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