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Something True about Louisiana: HBO's True Detective and the Petrochemical America Aesthetic

...the murdering, but who was only a relative of one the real masterminds: a cabal of politicians, nonprofit leaders, businessmen, police, and meth cookers who stage gruesome murders, kidnap children,...

Family Forestry in Twiggs County, Georgia / Live in Macon at the Douglass Theatre

...way to Muscle Shoals, Alabama's legendary studios where he played on several records, including Freddy North's soul classic "Don't Take Her, She's All I've Got." In 1969 Chuck moved to...

The Makers of the Sacred Harp

...In the case of the “revival spiritual songs” that began to appear in great numbers in 1840s tunebooks, including The Sacred Harp, Steel speculates that some may have had their...

Envisioning Faulkner and Southern Literature

...realization of race and class continues to be Sutpen's epiphany in Absalom, Absalom! after he is turned away, pointedly classified, by the well-dressed doorkeeper of a Tidewater residence and sent...

Psychiatry in the Wake: Racism and the Asylumed South

...health and healing where there were small numbers of Black patients.11Fett, Working Cures. Gonaver warns us not to read Galt's attitude as any kind of emancipatory rhetoric, but as representing...

Preserving the Memory of Ybor City, Florida

...Hillsborough County The Burgert Brothers Photographic Collection http://digitalcollections.hcplc.org/cdm/landingpage/collection/p15391coll1 The Burgert Brothers photography studio, originally located at 1310 1/2 7th Avenue in the heart of Ybor City's business district, operated from...

LiFT Art Salon: Hammonds House

...spaces for job talks and self-improvement classes, and ubiquitous coffee shops and bars. These developments are creating new buzz about Atlanta's future. The Hammonds House Museum, Atlanta, Georgia. Photograph courtesy of...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...with slasher films or low-budget thrillers like Paranormal Activity, which are practically minting money at the box office. Instead, it combines gothic terror tropes with classic Hollywood narrative and aesthetic...

References
1.	David Denby, "Privilege and Bad Manners," The New Yorker, January 7, 2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film critics are using the concocted incident as a chance to convene a "Communist-style special 'Emergency Meeting' supposedly in the interest of legislating 'decorum'—a meeting based entirely upon something that none of them actually heard and one that is really intended to purge me from the Circle." See Scott Feinberg, "Embattled Film Critic Armond White: I Never Heckled Steve McQueen," The Hollywood Reporter, January 7, 2014, http://www.hollywoodreporter.com/race/embattled-film-critic-armond-white-669032.
2.	Pitt's presence in the film is one of 12 Years a Slave's few missteps. Having such a recognizable star come in and play a kind of angel figure distracts us from both the miracle of Northup's staying alive and the power of Ejiofor's performance. Had the role been played by a younger, less well-known actor, it would have highlighted the randomness of Northup's delivery from bondage. This problematic choice to cast Pitt (perhaps made by Pitt himself in his role as producer) has had repercussions outside of the film itself, as a poster advertising 12 Years a Slave's Italian release featured a huge headshot of Pitt looming over a much smaller full-body profile of Ejiofor. The poster was quickly recalled, but not before it led to a backlash from critics who felt the marketing was focusing on the film's white stars (there was also a poster featuring Michael Fassbender, who at least has a lot of screen time) at the expense of its two black leads, Ejiofor and Lupita Nyong'o. The poster was made by a third-party distributor and reflects a long-term problem Hollywood has had in marketing films focusing on people of color, particularly in international markets.
3.	Recently, Phil Robertson, one of the stars of the astoundingly popular A&E television show Duck Dynasty, gave an interview to GQ in which he said (among many other things) that: "I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash. We're going across the field. . . . They're singing and happy. I never heard one of them, one black person, say, 'I tell you what: These doggone white people'—not a word! . . . Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues." See Drew Magary, "Duck Dynasty's Phil Robertson Gives Drew Magary a Tour," GQ, January 2014, http://www.gq.com/entertainment/television/201401/duck-dynasty-phil-robertson.

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