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The past is never dead. It's not even past

Not Even Past

US History at the Movies

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

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

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

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

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

Jump to:

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

Medieval North America, Colonial America, American Republic 

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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

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Andersonville (1996, John Frankenheimer)

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

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

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

Birth of a Nation (2016, Nate Parker)

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

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

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

Cold Mountain (2003, Anthony Minghella)

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

The Conspirator (2010, Robert Redford)

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

Fort Apache (1948, John Ford).

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

Free State of Jones (2016, Gary Ross)

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

Friendly Persuasion (1956, William Wyler)

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

Gettysburg (1993, Ronald F. Maxwell)

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

Gods and Generals (2003, Robert F. Maxwell)

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

Gone With the Wind (1940, Victor Fleming)

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

Glory (1989, Edward Zwick)

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

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

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

Lincoln (2013, Steven Spielberg).

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

The Keeping Room (2014, Daniel Barber)

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

The Outlaw Josey Wales (1976, Clint Eastwood)

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

The Red Badge of Courage (1951, John Huston)

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

Ride with the Devil (1999, Ang Lee)

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

Rio Lobo (1970, Howard Hanks)

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

Shenandoah (1965, Andrew V. McLaglen)

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

Slavery

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12 Years a Slave (2013, Steve McQueen)

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

Amistad (1997, Steven Spielberg, USA)

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

Beloved (1998, Johnathan Demme)

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

Django Unchained (2012, Quentin Tarantino)

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

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

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

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

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

Expansion and Westward Movement

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Dances with Wolves (1990, Kevin Costner).

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

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

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

High Noon (1952, Fred Zinnemann)

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

Red River (1948, Howard Hawks)

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

The Searchers (1956, John Ford)

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

Powwow Highway (1989, Jonathan Wacks)

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

Santa Fe Trail (1940, Michael Curtiz)

Follows abolitionist John Brown.

Stagecoach (1939, John Ford)

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

Shane (1953, George Stevens)

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

Little Big Man (1990, Arthur Penn)

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

Unforgiven (1992, Clint Eastwood)

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

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

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

The Alamo (2004, John Lee Hancock)

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

Industrial Age (1871-1914)

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

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

Far and Away (1992, Ron Howard)

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

Gangs of New York (2002, Martin Scorsese)

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

WWI-Depression (1914-1940)

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

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

Cinderella Man (2005, Ron Howard)

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

The Grapes of Wrath (1940, John Ford)

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

The Long Grey Line (1955, John Ford)

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

Greatest Game Ever Played (2005, Bill Paxton)

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

Iron Jawed Angels (2004, Katja von Garnier)

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

Life (1999, Ted Demme)

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

Matewan (1987, John Sayles)

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

Modern Times (1936, Charlie Chaplin)

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

Paths of Glory (1957, Stanley Kubrick)

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

Red-Headed Woman (1932, Jack Conway)

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

Seabiscuit (2003, Gary Ross)

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

Sgt. York (1941, Howard Hanks)

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

Within Our Gates (1920, Oscar Micheaux)

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

WWII (1941-1945)

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Bless Me, Ultima (2013, Carl Franklin)

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

Casablanca (1942, Michael Curtiz)

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

Flags of our Fathers (2006, Clint Eastwood)

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

From Here to Eternity (1953, Fred Zinnermann)

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

The Great Escape (1963, John Sturges)

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

Hacksaw Ridge (2016, Mel Gibson)

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

Hiroshima (1995, Roger Spottiswoode, Koreyoshi Kurahara)

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

Letters from Iwo Jima (2006, Clint Eastwood)

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

Patton (1970, Franklin J. Schaffner)

Biopic of General George S. Patton.

Pearl Harbor (2001, Michael Bay)

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

Red Tails (2012, George Lucas, Anthony Hemingway)

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

Saving Private Ryan (1998, Steven Spielberg)

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

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

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

Watch on the Rhine (1943, Herman Shumlin)

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

Postwar to Cold War (1945-1960s)

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Best Years of Our Lives (1946, William Wyler)

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

Desert Bloom (1986, Eugene Corr)

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

Dr. Strangelove (1964, Stanley Kubrick)

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

Easy Rider (1969, Dennis Hopper)

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

Edgar (2001, Clint Eastwood)

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

Fences (2016, Denzel Washington)

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

Goodnight, and Goodluck (2005, George Clooney)

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

The Graduate (1967, Mike Nichols)

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

Inherit the Wind (1960, Stanley Kramer)

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

JFK (1991, Oliver Stone)

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

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

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

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

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

Mission to Moscow (1943, Michael Curtiz)

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

My Family (1995, Gregory Nava)

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

On the Waterfront (1954, Elia Kazan)

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

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

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

12 Angry Men (1957, Sidney Lumet)

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

To Kill a Mockingbird (1962, Robert Mulligan)

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

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

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

Civil Rights, Segregation, Jim Crow

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The Butler (2013, Lee Daniels)

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

The Color Purple (1985, Steven Spielberg)

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

Detroit (2017, Kathryn Bigelow)

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

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

Freedom Riders (2010, Stanley Nelson Jr)

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

Freedom Song (2000, Phil Alden Robinson)

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

Ghosts of Mississippi (1996, Rob Reiner)

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

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

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

The Help (2011, Tate Taylor)

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

Hidden Figures (2016, Theodore Melfi)

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

I am Not Your Negro (2016, Raoul Peck)

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

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

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

The Loving Story (2012, HBO Documentary)

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

Malcolm X (1992, Spike Lee)

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

Mississippi Burning (1988, Alan Parker)

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

Mudbound (2017, Dee Rees, Netflix)

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

Remember the Titans (2000, Boaz Yakin)

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

Rosewood (1997, John Singleton)

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

Selma (2014, Ava DuVernay)

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

Something the Lord Made (2004, Joseph Sargent)

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

Walkout (2006 Edward James Olmos)

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

1960s-1970s (Vietnam)

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

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

Apollo 13 (1995, Ron Howard)

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

Apocalypse Now (1979, Francis Ford Coppola)

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

Argo (2012, Ben Affleck)

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

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

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

Casualties of War (1989, Brian De Palma)

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

Cesar Chavez (2014, Diego Luna)

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

Coming Home (1978, Hal Ashby)

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

Crooklyn (1994, Spike Lee)

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

The Deer Hunter (1978, Michael Cimino)

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

Frost/Nixon (2008, Ron Howard)

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

Full Metal Jacket (1987, Stanley Kubrick)

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

Good Morning, Vietnam (1988, Barry Levinson)

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

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

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

Hamburger Hill (1987, John Irvin)

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

Hearts and Minds (1974, Peter Davis)

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

The Ice Storm (1997, Ang Lee)

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

In the Valley of Elah (2007, Paul Haggis)

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

The Killing Fields (1985, Roland Joffe)

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

Norma Rae (1979, Martin Ritt)

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

Platoon (1986, Oliver Stone)

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

Rambo (2008, Sylvester Stallone)

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

Rescue Dawn (2006, Werner Herzog)

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

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

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

Spotlight (2015, Tom McCarthy)

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

Taxi Driver (1976, Martin Scorsese)

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

We Were Soldiers (2002, Randall Wallace)

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

Zoot Suit (1981, Luis Valdez)

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

1980s-present

movie poster for bos n the hood
movie poster for nine to five
movie poster for Paris is burning

9 to 5 (1980, Colin Higgins)

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

American Beauty (1999, Sam Mendes)

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

American History X (1998, Tony Kane)

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

Do the Right Thing (1989, Spike Lee)

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

Falling Down (1993, Joel Schumacher)

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

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

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

Barry (2016, Vikram Ghandi)

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

Black Hawk Down (2001, Ridley Scott)

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

Boyz in the Hood (1991, John Singleton)

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

Crash (2004, Paul Haggis)

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

Flight 93 (2006, Peter Markle)

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

Paris is Burning (1991, Documentary)

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

Selena (1997, Gregory Nava)

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

Three Kings (1999, David O. Russell)

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

The Hurt Locker (2008, Kathryn Bigelow)

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

The Watermelon Woman (1996, Cheryl Dunye)

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

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

The Littlefield Lectures 2018: Abolition and the Making of Southern Reaction (Day 1)

On February 26-27 2018, The History Department at the University of Texas at Austin was pleased to welcome Dr. Manisha Sinha, Professor and James L. and Shirley A. Draper Chair in American History at the University of Connecticut, as the featured speaker for the Littlefield Lecture Series.

Watch Professor Sinha’s first lecture on Not Even Past, titled “Abolition and the Making of Southern Reaction:”

Dr. Manisha Sinha was born in India and received her Ph.D. from Columbia University where her dissertation was nominated for the Bancroft prize. She was awarded the Chancellor’s Medal, the highest honor bestowed on faculty and received the Distinguished Graduate Mentor Award in Recognition of Outstanding Graduate Teaching and Advising from the University of Massachusetts, Amherst, where she taught for over twenty years.

Her recent book The Slave’s Cause: A History of Abolition, winner of the 2017 Frederick Douglass Prize, is a groundbreaking history of abolition that recovers the largely forgotten role of African Americans in the long march toward emancipation from the American Revolution through the Civil War.

Her first book, The Counterrevolution of Slavery: Politics and Ideology in Antebellum South Carolina, was a Finalist for both the Avery O. Craven Award for Best Book on the Civil War Era, Organization of American Historians, and the George C. Rogers Award for Best Book on South Carolina History. It was named one of the ten best books on slavery in Politico in 2015.

Dr. Sinha’s research interests lie in United States history, especially the transnational histories of slavery and abolition and the history of the Civil War and Reconstruction. She is a member of the Council of Advisors of the Lapidus Center for the Historical Analysis of Transatlantic Slavery at the Schomburg, New York Public Library, co-editor of the “Race and the Atlantic World, 1700-1900,” series of the University of Georgia Press, and is on the editorial board of the Journal of the Civil War Era. She has written for The New York Times, The New York Daily News, Time Magazine, CNN, The Boston Globe, The Washington Post, and The Huffington Post, and been interviewed by The Times of London, The Boston Globe, and Slate.

In 2014, she appeared on Jon Stewart’s The Daily Show. She was an adviser and on-screen expert for the Emmy nominated PBS documentary, The Abolitionists (2013), part of the NEH funded Created Equal film series. In 2017, she was named one of Top Twenty Five Women in Higher Education by the magazine Diverse: Issues in Higher Education. Professor Sinha is currently working on her new book on abolition and the making of Radical Reconstruction.

You may also like:

15 Minute History Episode 105: Slavery and Abolition with Dr. Manisha Sinha
Reconstruction in Austin: The Unknown Soldiers by Nicholas Roland
Work Left Undone: Emancipation was not Abolition by George Forgie


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.

The Public Archive

Doing History Online and In Public

by Joan Neuberger

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.

Links to their projects can all be found below on this page.

We built these digital, public projects in four main steps.

First, with the help of UT librarians, the students identified collections related to their research that were not yet available to the public. These collections of documents come from the many wonderful archives on our campus: the Harry Ransom Center, the Lyndon Baines Johnson Presidential Library, the Perry-Castañeda Library, the Briscoe Center for American History, and the Nettie Lee Benson Latin American Collection. Then we digitized them.

Second, we each wrote a series of blog-essays to share our archival finds with the public. Each blog is meant to show something historically significant about our documents and to open them up in ways that any curious reader, without any background in the subject, can understand and appreciate.

Third, we wrote lesson plans based on our documents to allow educators at the K-12 and college levels to bring our archives into their classrooms.

Finally, we each built a website to introduce our topics, to share our digitized documents, and to make our blogs and lesson plans openly available.

Here are the results:

Qahvehkhaneh: Reading Iranian Newspapers: by Andrew Akhlaghi

The coffeehouse, qahvehkhaneh, was an important political and cultural institution in Iran. As men drank coffee, played backgammon, and discussed business, they also listened to impassioned pleas for democracy and reform from newspapers published in the Ottoman Empire, Russian Caucasus, and British India, smuggled into Iran and read aloud. This qahvehkhaneh is meant to spread the issues of one newspaper, Etella’at, to those curious about Iran.

Bureaucracy on the Ground: the Gálvez Visita of 1765:  by Brittany Erwin.

This project examines the localized consequences and on-the-ground implications of the royal inspection, or visita general, administered by José de Gálvez in New Spain from 1765-1771.

After the Silence: María Luisa Puga and the 1985 Mexico City Earthquake by Ashley Garcia

María Luisa Puga (1944-2004) was a talented Mexican novelist from the Post-Boom movement whose personal notebooks, manuscripts, correspondence, and related documents are held in the Benson Latin American Collection. On this site you will find digitized selections from Cuaderno 118, which contains both Puga’s coverage of the earthquake that struck Mexico DF (now Mexico City) in 1985 and her reflections on those original pages, written in 2002.

Building a Jewish School in Iran: The Barmaïmon-Hamadan Manuscript by Isabelle Headrick

Where do you go when you want to change the world? For Isaac and Rebecca Bassan in 1900, the destination was Hamadan, Iran, to establish a French-language, Jewish school for the small Jewish community in that city. About  fifty years another teacher at the school, Isaac Barmaïmon, wrote an 81-page manuscript that describes the first twenty years of the school’s existence.

Food Migrations: Texas Czech Culinary Traditions by Tracy Heim

Texans with Czech heritage have been able to preserve their culture in America through organizations, cultural events, church groups, and especially through food.  Two books of recipes and other documents contextualize the process of migration into life in Texas and create a framework for understanding the Texas Czech culture.

Indian Revolt of 1857 by Anuj Kaushal.

South Asia witnessed an event during 1857 which altered the history of India, Britain, and the British East India Company. The event, known as a mere “mutiny” by the British and as an anti-colonial revolt by Indians, was reported in the English language press around the world.

The Road to Sesame Street by Peter Kunze

The Road to Sesame Street features government documents tracing the development of the Public Broadcast Act of 1967, the landmark legislation that established the Corporation for Public Broadcasting, PBS, and NPR. Using materials from the Lyndon B. Johnson Presidential Library in Austin, this project provides a behind-the-scenes view of the power players, interest groups, and decisions that laid the groundwork for American public media.

Animating Italian Immigration: Sicilian-American Puppetry by Megan McQuaid.

Attending a puppet theatre performance with familiar characters acting out well-known stories gave some Italians living in New York City a regular taste of the homeland they had left behind.

Frederic Allen Williams: Citizen-Artist with a Magic Lantern by Jesse Ritner

Frederic Allen Williams (1898-1955) was a prominent sculptor, lecturer, intellectual, and rodeo rider based in New York City, where he became known for his talks on Native American art, illustrated with magic lantern slides, which he gave in his midtown studio near the then recently built Museum of Modern Art.

Woven Into History: Living Cultural Fabrics by Alina Scott

The nineteenth and twentieth-century Navajo rugs in this collection aims to provide a platform for respectful collaboration and discourse to recenter the discussion of Navajo culture and commodity production around them and to diversify traditional conversations about Navajo textiles and their communities.

Mercenary Monks by Jonathan Seefeldt

These texts are windows into a thriving monastic world whose varied activities included: raising mercenary armies, caring for widows and child brides, providing credit and other banking services, collecting tax revenue from farmers, providing merit and prestige to an emerging merchant class, and asserting a (short-lived) form of political independence.

Guards and Pickets: The Paperwork of Slavery by Gaila Sims.

The documents in this collection provide a glimpse into the paperwork created to control the movement and relationships of the enslaved, as well as the financial documentation used to make money off the institution of slavery.

Acknowledgments

We would like to thank the following people for sharing their expertise in digital and public history with us: Dale Correa, Liza Talbot, Ian Goodale, Stephanie Malmros, Christina Bleyer, Albert Palacios, Andrea Gustavson, Elizabeth Gushee, Astrid Ruggaldier, Penne Restad, and Stacy Vlasits.

Miss O’Keeffe

Miss O'Keeffe by Nathan Stone

I remember Georgia O’Keeffe.  I couldn’t have been but three, first time I met her.  She was already an older woman by then, or late middle age, at least.  She was tall and perfectly centered, with a slender frame and grey hair pulled back in a tight bun.  She wore long sleeves and dark jeans.  She smoked only the best Cuban cigars.  Women weren’t supposed to smoke cigars at all.  But she got away with it.  She and Frida Kahlo.

Miss O’Keeffe got her smokes from La Habana.  They were already hard to get in ’61. The trade embargo was not yet in place, but things were already getting sticky with Fidel.  The State Department didn’t like the combat fatigues, and the mob wanted their casinos back. I think they drove Fidel into Soviet arms.  After that, Ché Guevara went to Angola, with a habanero in his teeth, just like Miss O’Keeffe.  Cuban cigars became contraband.  Reserved for drug traffickers and CIA agents.  I suspect Miss O’Keeffe had some stashed away for a rainy day.  But in the summertime, it rained every afternoon on the high plains of New Mexico.  You learned to bide your time.  You knew that’s just the way it was going to be.

Georgia O'Keeffe looks directly at the camera, resting her head on her hands.
Georgia O’Keeffe, 1932, Gelatin silver print (via the Met)

Back then, people might have said that Georgia O’Keeffe dressed like a man, if she weren’t so strikingly feminine.  Sometimes, she switched the jeans for a long dark skirt, the sort Jean Harlow might have worn in a Western.  Her perfume was something classic from the 1920s, sprayed on with granny’s atomizer, a little pungent, perhaps, but a good combination with the juniper and piñon all around us.  We would meet her often at the Piggly Wiggly in Santa Fe.

She drove her pickup truck down from Ghost Ranch to Santa Fe about once a week for provisions.  Ghost Ranch was her home in Abiquiu, north of Española.  We rode in with Mom from Tesuque.  In a 1960 turquoise Volkswagen.  It wasn’t that we would just see her and comment that there goes a famous person.  She would always speak, and she remembered our names, and we would remember her.  I even remember a plane ride to Midland, sitting in the same row with Miss O’Keeffe.  To go to Houston, back then, you flew from Santa Fe to Midland and there, you took the train.  I don’t know where Miss O’Keeffe was going.  Probably, New York.  She had to check in with the art world once in a while.

Georgia O'Keeffe's home and studio
Georgia O’Keeffe’s home and studio, 1996 (via National Park Service)

One day, Daddy had to drive out to Abiquiu to fix Miss O’Keeffe’s hi-fi.  Stereo was still a dream of the future.  Daddy was good at fixing hi-fi systems.  And the old hi-fis were very good machines, but they needed attention.   You had to change the needle often, and when a vacuum tube burned out, you had to identify which one it was, buy the right replacement, and change it without electrocuting yourself.

Daddy was down on the floor, on his back, underneath Miss O’Keeffe’s hi-fi, and her German Shepherd walked into the room, growling, hackles raised.  Miss O’Keeffe was right behind him. Don’t move, she said, softly.  Instructions for the man on the floor, not for the dog.

She managed to call off her dog.  Daddy got it.  We had German Shepherds, too.  Far better than locks on the door for looking after yourself, or your wife and kids.  In what was left of the wild, wild west.  Aware of prowlers and mountain lions.

I suspect Sanders and Associates had sold Miss O’Keeffe her hi-fi, and that was why Daddy would drive out there to fix it.  He worked for them.  It was about an hour away.  Maybe it was just because he was a nice guy.  She didn’t let many people into her sanctuary.  Her dog knew that.

Georgia O'Keeffe side profile. She sits in front of firewood and looks to her right.
Georgia O’Keeffe, photographed by by Carl van Vechten (via Pixabay)

We often wondered, years later, what her music was.  Big bands or Aaron Copeland; maybe Stravinsky.  But Daddy’s gone now, and we never got around to asking him.

Igor Stravinsky came to Tesuque in ’61.  He was an elderly man, by then.  He came to direct his masterpiece at the Santa Fe Opera House.  It was three blocks from where we lived, so Mom and Daddy went.  They were young marrieds with three babies, no money and season tickets to the opera.  Where will you ever see that again?  Miss O’Keeffe was there, of course.

After that, Daddy bought a recording of the Rite of Spring to play for us at home on our hi-fi.  We just called it, the jungle record.  We played it over and over.  We hid behind the couch for the loud and rowdy parts.  Alongside that, the record changer dropped Toscanini’s Beethoven, Harry Belafonte’s Calypso and the complete The Kingston Trio.  It was all music to us.

Daddy worked for Sanders and Associates, a King Ranch subsidiary, which meant Alfred King was trying his hand at import-export in Santa Fe.  It folded because Mr. Sanders was cooking the books.  Daddy turned him in to Mr. King, and then we moved to Dallas. We watched Kennedy get shot while we were there.  Dealey Plaza was just a few blocks away.  Shit goes down that way in Texas.  JFK didn’t have a German Shepherd.  He sure needed one.

Cerro Pedernal, viewed from Ghost Ranch near Abiquiu, New Mexico
Cerro Pedernal, viewed from Ghost Ranch near Abiquiu, New Mexico (via Wikimedia Commons)

But this was supposed to be about Miss O’Keeffe.  She was lovely.  She had climbed the steep rock wall alone to get to the place where she was.  Her masculine dress, her artistic style, and her cigars were a testament to her eternal readiness for the ongoing struggle.  She possessed the peace that had cost her everything she had.  She had walked through the fire.

Miss O’Keeffe gave up painting as a young woman, after attending the Chicago Art Institute’s school for starving artists.  Said the smell of turpentine made her puke.  For a while, she drew for an advertising firm in Chicago, then she taught public school in Amarillo.  While she was in Amarillo, she started walking in the Palo Duro Canyon.  It seduced her heart back to beauty.

She contracted the Spanish Flu in 1918, along with 200 million others worldwide, but she survived.  She married Alfred Stieglitz, a photographer from New York, and he made many portraits of her.  But she couldn’t bear his snobby family, or his philandering, so she escaped to New Mexico every summer.  Hiking up high.  It was there that she started painting again.

When Stieglitz died in 1946, she settled permanently at Ghost Ranch.  She drove an old Model A until the wheels fell off.  Then she got a Ford pickup, the one I remember from the supermarket in Santa Fe.

Ghost Ranch was out near Los Alamos, where the atomic bomb was in the process of becoming a world-changing reality.  Los Alamos is the strangest city on the planet.  Complex, yet simple.  If you drive into town to buy supplies, someone follows you.  That is why Miss O’Keeffe preferred the supermarket in Santa Fe.  She was recognized in Los Alamos and not welcome, there.  She was recognized in Santa Fe and loved.

Georgia O'Keeffe—Hands and Horse Skull by Alfred Stieglitz
Georgia O’Keeffe—Hands and Horse Skull by Alfred Stieglitz, 1931 (via Met Museum)

Her life was an ongoing thermonuclear moment.  Once, the soil rebelled and burned her workshop to the ground.  Unable to finish a commissioned piece in New York, she had a nervous breakdown and spent two years in a psychiatric hospital.  Behind bars with all the other artistic souls.  Big Nurse, medication and electro-shock.  She emerged, changed, but unscathed.  She strode out of there with frightful courage, strong legs and unyielding decision.

That was 1932.  The year that changed everything for her.  From then on, she was determined, committed and, yes, maybe even, happy. More and more, she spent her time in the land that gave her life.  She was more alone, but not lonely.  She went back to New York to bury Stieglitz in 1946. After that, her only love was the the New Mexico desert. She painted it, smoked Cuban cigars, and watched the sun set, over and over again.

She died in 1984. She was 98 years old.  She was not painting anymore.  She would sit and watch the red desert cliffs on the high plane as the sun rose and set each day.  Taking care of the beauty around her, just watching, perennially caught up in its angel fire.


Also by Nathan Stone on Not Even Past:

The Tiger
The Battle of Chile
Rodolfo Valentín González Pérez: An Unusual Disappearance

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Dagmar Lieblova, Survivor by Dennis Darling
Digital Teaching: Mapping Networks Across Avant-Garde Magazines by Meghan Forbes
Policing Art in Early Soviet Russia by Rebecca Johnston

King: Pilgrimage to the Mountaintop by Harvard Sitkoff (2009)

by Tiana Wilson

As we approach the life and legacy of Martin Luther King, Jr. on the 50th anniversary of his death, April 4, 1968, it is crucial to appreciate King entirely. Beyond his push for nonviolent direct action and racial integration, we should recognize his expansive human rights activism, anti-war advocacy, and ground-breaking thinking.

Harvard Sitkoff’s biography of King shows him as a heroic but flawed leader and emphasizes his radicalism rather than his pacifism. Sitkoff does not shy away from King’s shortcomings. He brings attention to King’s adultery and highlights the criticism he faced from others within the movement. His portrait of King shows him to be a man who made mistakes, feared death, belittled women, gambled, partied, and often compromised. However, it was also clear that King was intelligent, strategic, pious, courageous, radical, well spoken, passionate, and loving at heart. Sitkoff argues that King’s view of the civil rights movement shifted. At the beginning of the movement, the goal was to end Jim Crow and obtain voting rights. However, after King’s experience in the urban north, he knew that the civil rights movement needed to expand to include economic and job security as well as housing reform. By the end of King’s life he was a firm advocate of anti-colonialism and opponent of war and he took a global perspective: “Injustice anywhere is a threat to justice everywhere.”

Martin Luther King, Jr. after meeting with President Johnson to discuss civil rights, at the White House, 1963. Source: Warren K. Leffler, Library of Congress

Stikoff’s book is organized around the key events that shaped King’s leadership. The most compelling argument Stikoff makes is that King was an activist first and then a preacher. He argues that King resisted becoming a pastor and only decided to go into ministry because he knew that it was the best strategic method to get his political agenda across. However, I do think that King was deeply spiritual and used religion to strengthen himself as he became the symbol of the movement and a target of its opponents. King also knew that the south was deeply religious and biblical references would appeal to his supporters. On the other hand, using the black church as the center point for the movement worked in the south but was unsuccessful in the north. De facto segregation complicated urban issues in Chicago and New York, where nonviolent direct action was not as effective as it had been in the south. Shadowing King’s life as the leader of the civil rights movement was was the infamous harassment of the FBI under J. Edgar Hoover. The FBI’s strict surveillance of King was made prevalent throughout the book, which shows how the system that was supposed to protect King was actually out to destroy him.

Reexamining the legacy and life of Martin Luther King gives us insight into the ways that social movements can be used to make radical changes in the United States and the ways those changes can make their leaders into targets.

You may also like:

1863 in 1963 by Laurie Green
Stokely Carmichael: A Life by Peniel Joseph
Matt Tribbe reviews Freedom Riders: 1961 and the Struggle for Racial Justice

Goddess of Anarchy: Lucy Parsons, American Radical

By Jacqueline Jones

The news headlines today tell an alarming if familiar story—of workers losing their jobs to machines, of the diminished power of labor unions, rising rates of economic inequality, and the inadequacy of the two-party system to address these issues in any meaningful way. The internet and other new electronic technologies might suggest that these are present-day challenges without historical precedent.  In fact, the plight of workers today echoes the plight of workers in America’s Gilded Age. Then, 150 years ago, an array of activists working outside the two-party system sought to confront the titans of industry and the politicians who did their bidding.

One of the most famous—and, to the self-identified “respectable classes,” infamous—of these activists was Lucy Parsons.  Who was this prolific writer and editor and a fearless defender of the First Amendment and why did her speeches attract adoring crowds and baton-wielding police officers?

Born to an enslaved woman in Virginia in 1851, Parsons promoted the interests of the white urban laboring classes throughout her long life, right up until her death in 1942. For generations Parsons’s historical legacy has been subsumed under that of her husband, Albert Parsons, hanged in 1887 for his alleged role in the Chicago Haymarket bombing the year before.  During a workers’ rally in May 1886, someone tossed a bomb into the crowd, killing seven police officers and four other people, and wounding many others.  The identity of the bomb-thrower was unknown at the time, and remains a mystery to this day, but a biased judge and jury proclaimed Chicago’s anarchists guilty of murder and conspiracy solely on the basis of their radical writings and speeches.

“Police charging the mob after the explosion, Explosion of the bomb, and Hospital scene. Border images include clockwise from left: A.R. Parsons, Louis Lingg, Inspector Bonfield, Captain Schaack, Sheriff Matson, Michael Schwab, August Spies, Samuel Fielden, Officer Mathias Degan, Mrs. Parsons, Oscar Neebe, Nina van Zandt, Captain Ward, George Engel, and Adolph Fischer. Pictorial West. Vol. 11, no. 11 (Nov. 20, 1887)

Lucy and Albert met in Waco, Texas, soon after the Civil War.  The two made an unlikely, couple. She was tall and (according to the black and white men and women who knew her) strikingly beautiful; he was short, wiry and dapper, with carefully trimmed hair and mustache. He was a veteran of the Confederate army and the brother of a famous Confederate general.  Lucy and Albert managed to marry in 1872, when Republicans sympathetic to black civil rights were in control of state politics; a year later the Democrats resumed power, and the couple fled to Chicago, where they settled in a German-immigrant community, embracing first socialism and then anarchism.

Lucy Parsons in 1886

Lucy Parsons defiantly declared to newspaper reporters, “I amount to nothing to the world and people care nothing for me.” In this she was deeply mistaken, for a media frenzy swirled around her wherever she appeared.  After Albert Parsons was jailed in the summer of 1886, Lucy embarked on a series of lecture tours in an effort to raise money for the defense of her husband and the other six defendants convicted with him.  She was a powerful speaker—impassioned and eloquent, able to hold large audiences in her thrall for hours at a time.

The immigrant workers of Chicago revered her, politicians reviled her, and the general public maintained an intense fascination with her—all for good reason. Parsons lived a life that was rife with contradictions. She denied that she was of African descent, instead claiming that her parents were Hispanic and Indian.  She remained largely indifferent to the injustices faced by black laborers, focusing her attention on the white workers of Chicago and other big cities. In private, she took lovers after the death of her husband, but in public presented herself as a prim Victorian wife and mother and a grief-stricken widow.  She glorified the bonds of family, yet did not hesitate to rid herself of her son Albert Junior when he threatened to embarrass her by joining the U. S. army. In 1899 she had Junior committed against his will to an insane asylum, where he died twenty years later.

She was a well-read, insightful critic of Gilded Age America, advocating small cooperative trade unions as the building blocks of a more just society.  At the same time, she became well known for her rhetorical provocations, urging the laboring classes to “Learn the use of explosives!” to protect themselves from predatory industrialists and police forces.  In describing her, Parsons’s enemies often evoked the Great Chicago Fire of 1871. She was a “firebrand” who delivered “fiery,” “red-hot,” “incendiary,” “inflammatory” speeches that her critics feared would spark a bloody uprising among her followers.

Lucy Parsons c1920

The contradictions between Parsons’ mysterious private life and her defiant public persona was rooted in the struggles she faced as a radical, a woman, and a former slave, beginning with her forced migration from the East to Texas during the Civil War and her teenage years in Waco. In Chicago, she began a rigorous course of self-education, reading widely in newspapers and popular magazines as well as in dense tracts on history and political theory.  Together with her husband, she participated in debates and discussions among leading radicals in the city.

In her writings, Lucy Parsons decried the effects of technological innovation on the workplace and the effects of money and influence on politics.  Committed to the free expression of ideas no matter how radical, she edited several anarchist newspapers and contributed to many others.  She impressed even those hostile to her and her ideas with her fluent denunciations of greedy capitalists and abusive bosses.  She took delight in nimbly dodging the police officers who hounded her and tried to silence her.  Her career reveals the challenges of promoting a radical message that would appeal widely to the toiling masses who were themselves divided by craft, religion, political loyalties, gender, and racial identity.

Lucy Parsons’s biography offers several overlapping narratives— a love story between a former slave and a former Confederate soldier, the rise and decline of radical labor agitation, the evolution of race as a political ideology and social signifier, and the trajectory of social reform from Reconstruction through the New Deal. She was a bold, enigmatic woman. Her power to inform and fascinate is enduring and her story, in all its complexity, remains a remarkable one for its useful legacies no less than its cautionary lessons.

Jacqueline Jones, Goddess of Anarchy: The Life and Times of Lucy Parsons, American Radical

For more about Lucy Parsons, anarchism, and labor, try these:

Paul Avrich, The Haymarket Tragedy (1984).  This is arguably the definitive account of the Haymarket bombing, written by the premier historian of American anarchism. Avrich covers all the major characters involved; workers’ movements in Gilded-Age Chicago; the rally on May 4, 1886; the subsequent trial; and the aftermath of the tragedy.

Gale Ahrens, ed., Lucy Parsons:  Freedom, Equality, and Solidarity:  Writings and Speeches, 1878-1937 (2004).  This edited volume provides a good introduction to Lucy Parsons’s writings and speeches.  She was a prolific writer of letters to the editor, essays and political commentary, and fiction.  She also edited two anarchist periodicals, and delivered hundreds of speeches over the course of her long life.

Lucy E. Parsons, ed., Life of Albert R. Parsons, With Brief History of Labor Movement in America (1889).  This book contains an autobiography of Albert Parsons, letters he sent to Lucy during his lecture tours, testimonials from comrades, and accounts of the Haymarket trial and its aftermath. Lucy published it to keep alive the memory of her martyred husband, and also to help support herself and her children.  A reprint is available on Amazon.

William D. Carrigan, The Making of a Lynching Culture:  Violence and Vigilantism in Central Texas, 1836-1916 ( 2006).  Carrigan examines the anti-black violence that pervaded the area where Lucy Parsons and her mother and brother lived during and after the Civil War—McLennan County, Texas.

Michael J. Schaak, Anarchy and Anarchists:  A History of the Red Terror, and the Social Revolution in America and Europe, Communism, Socialism, and Nihilism in Doctrine and Deed, the Chicago Haymarket Conspiracy and the Detection and Trial of the Conspirators (1889).  Schaak was a Chicago detective who helped fuel fear and hysteria in the general public over labor radicals such as Albert and Lucy the Parsons and their comrades. He takes note of Lucy’s prominence in Chicago anarchist circles.  This book is available online.

Margaret Garb, Freedom’s Ballot: African American Political Struggles in Chicago from Abolition to the Great Migration (2014).  The Chicago radicals, socialists as well as anarchists, represented the white urban laboring classes exclusively, and steadfastly ignored the plight of black workers, whom they demonized as strikebreakers.  Garb details the activism among black men and women in Chicago during this period.

Timothy Messer-Kruse, The Trial of the Haymarket Anarchists:  Terrorism and Justice in the Gilded Age (2011).  Messer-Kruse carefully examines the transcript Haymarket trial transcript, and argues that the defendants were complicit in the bombing, to varying degrees.  To some extent his argument relies on performances by Albert Parsons and other anarchists, who went out of their way to brag to undercover police about their possession of dynamite and willingness to use it.

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

By Luritta DuBois

When Hollywood media websites announced Chadwick Boseman would portray Thurgood Marshall in December 2015, people immediately slammed director Reginald Hudlin’s choice to select an actor who did not share Marshall’s phenotype. Boseman is brown skinned with 4b hair, while Thurgood Marshall was light skinned and had a 3b curl pattern. Those vast differences, the critics held, rendered the movie inauthentic because Thurgood Marshall benefited from light skinned privilege his entire life. Some even thought Boseman’s slender physique made him the wrong choice. I chuckled at that observation knowing that a glance at the movie’s synopsis and a Google image search would have easily cleared up their confusion. All jokes aside, I initially reacted to the news with curiosity and not disdain. I wanted to know whether a filmmaker could truthfully tell Marshall’s story without focusing on how colorism worked in his favor. In order to give a fair response to this question, I examined a variety of materials: a summary of the film; Chadwick Boseman’s interview on Jimmy Kimmel Live! (air date June 21, 2017), biographies Devil in the Grove by Gilbert King and Thurgood Marshall: American Revolutionary by Juan Williams; and the movie Marshall. I decided the scope of the film made such an undertaking possible.

The debate over light skin privilege stems from a practice common in the United States known as colorism, a form of discrimination in which people are treated differently based on the social meanings attached to skin color. This type of behavior is manifested in the preferential treatment given to African Americans who physically approximate whiteness. For example, in the early 20th century, brown paper bag and blue vein tests constituted an integral part of the application process for some Black institutions and organizations (i.e., universities, sororities, and fraternities) that afforded members opportunities to improve their social-economic situation. The ideal candidate had the following physical features: lighter than or the same color as a brown paper bag and visible veins because of light skin. People censuring Boseman’s casting most harshly argue that the color caste in America enabled Thurgood Marshall to accomplish important milestones like earning a law degree from Howard University, being a successful NAACP litigator (Marshall won 29 out of the 32 cases he tried before the Supreme Court), and becoming the first African American Supreme Court Justice.

While the complexion critique is valid, one cannot reduce Thurgood Marshall’s life to benefiting from light skin privilege. Devil in the Grove and Thurgood Marshall: American Revolutionary show there were limitations to his color entitlements, the most striking example being Marshall’s attempted lynching in Columbia, Tennessee. In 1946, the NAACP sent Marshall to Columbia to defend  two African American men accused of rioting and attempting to murder white law enforcement officers (Zephaniah Alexander Looby and Maurice Weaver served as co-counselors). Following their acquittal, an angry group of local whites, including some police officers, apprehended Marshall and his colleagues, but chose to lynch Marshall instead of the dark skinned Looby and Weaver, who was white. Fortunately for the Civil Rights icon, Looby’s protestations and the sound reasoning of a local magistrate stopped Marshall’s execution. This incident was one of many where Marshall’s French Vanilla hue could not protect him from experiencing the racial violence (real and threatened) and discrimination that come with being Black in America.

Thurgood Marshall in 1957 (via Library of Congress)

Since Marshall focuses on the areas in Thurgood Marshall’s life where colorism played an insignificant role, casting a dark-skinned actor does not dilute the story. The movie introduces us to Marshall’s personality, provides a glimpse into how he executed his legal genius, and sheds light on the challenges he faced as a Black lawyer. In exploring those aspects of Marshall’s life, the movie’s objective is not to deify him, but to bring him down to earth and capture his essence when he was a young lawyer for the NAACP.  The viewer sees this in a story centered on one criminal case he and Connecticut based attorney Samuel Friedman tried in 1941. The previous year, white Greenwich socialite Eleanor Strubing accused her Black American chauffeur and butler, Joseph Spell, of rape. She also claimed he attempted to kill her by throwing her into the Kensico Reservoir.  The NAACP took on the case not only to ensure an innocent man received a fair trial, but also to protect other African American domestic workers in Connecticut.  After Strubing’s allegations, the NAACP heard rumors of Northern white families firing their servants because they feared the presence of a sexual predator in their home. Given that domestic labor was the main source of income for African Americans in Connecticut, the NAACP felt compelled to prove Spell’s innocence. Lastly, high profile criminal cases expanded the organization’s membership and increased funding, which the NAACP needed in the early 1940s.

Although Marshall, like all Hollywood films based on historical events, took a few liberties, the Associated Press noted that the movie was, for the most part, faithful to the facts. This is especially true when it comes to the film’s depiction of Thurgood Marshall’s character, his skills as a litigator, and the hardships he endured. Gilbert King and Juan Williams describe him as folksy, charming, and always laughing. Looking at Marshall’s fondness for joking, King recounts a time when, after a legal victory, he opened a bottle of whiskey in the NAACP’s headquarters and amused his co-workers with impersonations of judges, opposing counsel, and dimwitted “uncle Tom” witnesses. In the movie, he is unpretentious and alluring in his interactions with everyone from the Connecticut Black family who hosted him to a woman he met in a local bar. Screenwriters Michael Koskoff and Jacob Koskoff (father and son) and director Reginald Hudlin also showcase Marshall’s comical side in the scenes where Sam Friedman picks him up from the Bridgeport train station and when both approached an angry group of whites in front of the courthouse. At the train station, Marshall asked Friedman to carry his luggage. Upon picking them up, the latter inquired if the suitcases contained cement because of their weight. Marshall, whose back is facing Friedman, answers “guns” with a devilish smile. He quickly ended the prank and assured his co-counselor that the luggage only had law books. Once the trial started, a mob who supported Mrs. Strubing greeted Marshall and Friedman, who was Jewish, with posters that had racist caricatures of them. Marshall walks up to a person holding a sign, turns to Friedman with a smirk and replies, “that doesn’t look anything like me, does it?”

Thurgood Marshall and other members of the N.A.A.C.P. legal defense team who worked on the Brown v. Board of Education case (via The New York Public Library)

Even though Marshall has light hearted moments, Hudlin and the Koskoffs balance the comedy with serious events. As a result, Marshall does not come across as a jester, but a layered man who could simultaneously joke about racism and use his legal expertise to diligently seek justice for wrongly accused Black Americans. The jury selection scene stands out in illuminating this quality about him. Friedman wanted to dismiss a woman because he felt the juror’s southern roots and gender made her biased towards Mrs. Strubing. Marshall, however, viewed those characteristics as unimportant. Instead he carefully examined the juror’s body language during her interview and noticed she reacted unpleasantly to Lorin Willis, the head prosecutor, but gave non-verbal signals that showed she valued Friedman’s opinions. Eventually, Marshall convinced his co-counselor to keep her and the decision boded well for them. Overall, the movie shows that it was Marshall’s keen observations of the evidence (depositions and the physical landscape where Spell allegedly tried to kill Strubing) that planted seeds of doubt in the minds of the all-white jury. You not only see the future Supreme Court Justice’s talents at work, but also an incredible amount of charisma.

Lastly, the film portrays the violence Marshall endured as a Black man on a Civil Rights crusade. In one of the opening scenes, a gang of white men fired gunshots to intimidate him as he left Hugo, Oklahoma after trying a sensational case. Later on during the Spell trial, two white men who sympathized with Eleanor Strubing assaulted him at a bar he visited to relax following a taxing day.

U.S. Supreme Court, 1976 (via Library of Congress)

Despite the effort that went into attending to the facts, Marshall is less than perfect. The main weaknesses are the underdevelopment of Marshall’s relationship with his first wife Vivian “Buster” Burey (Marshall became a widower in 1955 when she died from cancer) and the cursory glance given to Marshall’s performance in the courtroom. The viewer learns Buster had multiple miscarriages and Thurgood’s legal work kept him away from her for long periods. Since the movie aims to humanize Marshall, it could have benefited from more attention to how he and Buster coped with their fertility problems. Moreover, an in-depth depiction of Marshall’s struggle to reconcile his demanding job with his responsibilities as a husband would have given the audience a better understanding of the man behind the myth. Hudlin and the Koskoffs could have resolved the film’s second shortcoming by extending the scene where he represents W.D. Lyons, a black man coerced, through torture, into confessing he murdered a white family in Hugo, Oklahoma. In the movie, Sam Friedman talks during the Spell trial because the judge gagged Marshall. Although we see Marshall masterfully coordinate the defense’s strategy, the movie does not thoroughly show how he excelled at cross examining witnesses and presenting evidence to the jury. This was a missed opportunity: during Lyons’ case, Marshall’s skills as a trial lawyer were so great that local whites developed sympathy for the defendant and found exculpatory information for the NAACP’s lead attorney.

With all its flaws, Marshall is worth seeing. Chadwick Boseman deftly captures the spirit of Thurgood Marshall described in Gilbert King and Juan William’s biographies. Furthermore, actors Josh Gad and Sterling K. Brown give strong performances as Sam Friedman and Joseph Spell. In addition to being an enjoyable, well-acted legal drama, Marshall has value because it peels back the mythic veil surrounding Thurgood Marshall and gives viewers an introduction to the man. For those interested in Marshall’s life beyond his most noteworthy achievements, Brown v. Board of Education and becoming the first African American Supreme Court Justice, I recommend Marshall, Devil in the Grove, and Thurgood Marshall: American Revolutionary.

You may also like:

History Calling: LBJ and Thurgood Marshall on the Telephone
Jennifer Eckel reviews the HBO film Thurgood (2011)
12 Years a Slave and the Difficulty of Dramatizing the “Peculiar Institution”

Legacies of the Vietnam War

(via Flickr)

The Ken Burns and Lynn Novick documentary The Vietnam War (2017), shown in 10 parts on PBS, once again brought a divisive and contested conflict into American living rooms. Mark A. Lawrence, Associate Professor of History at the University of Texas at Austin and preeminent historian of the Vietnam War, recently wrote about what we are learning from historians’ renewed interest in the subject, especially with new scholarship based on Vietnamese sources. Last month, Lawrence discussed the legacies of the Vietnam War on a panel marking the 35th anniversary of the Vietnam Veterans Memorial at the National Archives in Washington D.C. and on a CSPAN program on the state of the war in 1967.

Watch: 35th Anniversary of the Wall

“In partnership with the Vietnam Veterans Memorial Fund (VVMF), we present a panel discussion about the history and legacy of the Vietnam Veterans Memorial, dedicated on November 13, 1982. Participating in the discussion will be Jan Scruggs, Founder and President Emeritus (VVMF), Jim Knotts, President and CEO (VVMF), author and historian Kristin Ann Hass (Carried to the Wall: American Memory and the Vietnam Veterans Memorial), and others.”

Watch: State of the War in 1967

“Historians Mark Atwood Lawrence of the University of Texas at Austin and Lien-Hang Nguyen of Columbia University responded to viewer calls and tweets about the state of the Vietnam War in 1967, President Lyndon B. Johnson’s strategy, and the politics and motivations of the North Vietnamese government and Viet Cong guerrilla forces.”

Also by Mark A. Lawrence on Not Even Past:

Studying the Vietnam War: How the Scholarship has Changed
Must Read Books on the Vietnam War
The Prisoner of Events in Vietnam
Changing Course in Vietnam – or not
LBJ and Vietnam: A Conversation

You may also like:

Aden Knaap reviews Kill Anything that Moves: The Real American War in Vietnam
Janet Davis on cultural memory and the Vietnam War
Clay Katsky reviews Kissinger’s Shadow

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