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Walking into History: The Beginning of School Desegregation in Nashville

Introduction At high noon, Nashville time, on Monday, May 17, 1954, all nine justices of the United States Supreme Court in Washington joined in a declaration that legally-sanctioned racial segregation...

Landscapes and Ecologies of the US South: Essays in Eco-Cultural History

...memorialized notes the collective and willful forgetting by Americans about slavery. Taking off from the installation of the first public civil rights monument at the market "honoring the struggle for...

Gold Records in Deep Space

...film footage of roots music before the advent of television is scarce, many recent documentaries incorporate reenactments. The 2005 PBS documentary The Carter Family, for instance, reenacts early recording sessions....

References
1.	Wenders, Wim. "The Soul of a Man," in Martin Scorsese Presents the Blues: A Musical Journey (New York: Amistad, 2003), 161.
2.	Ibid.
3.	Wenders, 159-160.
4.	Despite the technical similarity between the authentic footage and the reenactments, it's obvious that the scenes featuring Johnson and James are staged. The camera setups are seamless, and it makes no sense that the musicians sing and play but are never heard speaking. While the clips are almost perfect technical simulations of archival footage, the narrative action and the editing of the clips reveal that they are obviously staged.
5.	Some recent documentaries have caused controversy by passing off fake, manufactured archival footage as authentic material. It was revealed that the filmmakers for the 2004 Oscar-nominated documentary The Children's March had manufactured a large portion of archival footage, which caused the Academy of Motion Picture Arts and Sciences to review the veracity of the film.
6.	Wenders, 162.
7.	The festishization of roots music traces hits its peak in the 2003 documentary Desperate Man Blues. As opposed to The Soul of a Man, which at least purports to be about musicians, Desperate Man Blues is about the adventures and tastes of a collector of roots music records. For a large chunk of the film, we simply watch this collector, Joe Bussard, as he listens to records in his basement. Director Edward Gillan includes one reenactment, not of an event in the life of a classic musician, but a reenactment of the time when Bussard discovered the rarest and most valuable record in his collection (a 78 of "Original Stack O' Lee Blues" by the Down Home Boys). Bussard believes that the real roots music stopped being produced in the early fifties, and so, all we're left with are the magical spinning discs and the nostalgic reminiscences of a collector's career.
8.	Filene, Benjamin. "O Brother, What Next? Making Sense of the Folk Fad," Southern Cultures 10 (Summer 2004), 56-57.
9.	D'Angelo, Joe. "Johnny Cash Says Unlike Most Videos, 'Hurt' Wasn't Too Painful." MTV.com. 26 August 2003. MTV. 10 January 2008.

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