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Interstate Road Project, Single-State History: Tammy Ingram's Look at the Dixie Highway

...budget. Federal promises in the 1890s to develop an elaborate Rural Free Delivery system failed to materialize. Dixie Highway details how Good Roads activism (fueled by a fragile coalition of...

Africana Archives: Making Art at the Schomburg

...and scholarship in today's Africana archives eco-system. All that's needed are fresh questions and a creative imagination; the stories and objects are there for the taking, promoting, and interpreting. Africana...

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

...In addition to musical recording and touring, Leavell manages his pine forested Charlane Plantation located in Twiggs County, Georgia. To help shape policy and to promote sound forestry management practices...

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

...This world is the Texas that Rust claims as his origin, a place reminiscent of the imagined "Western" hells in Cormac McCarthy's Blood Meridian or No Country for Old Men....

Nearly exhausted sulphur vat from which railroad cars are loaded, Freeport Sulphur Co., Hoskins Mound, Texas, 1943

Mississippi as Metaphor: State, Region, and Nation in Historical Imagination

Mississippi as Metaphor Part 2: The limits of James Silver’s image of Mississippi as “the closed society” Part 3: The idea of Mississippi as America writ large: did the “Mississippi...

COVID-19 Vaccine and the Right to Public Health

...the babies in the line waiting for vaccines, they camp overnight at the clinic to get a vaccine . . . even the anti-vaccination Brazilians vaccinate in secret."7Kiratiana Freelon, "Opinion:...

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

...runaway slave from Georgia, hiding the fact that he was once a free man from most of the people he met in order to avoid even more brutal treatment. Northup's...

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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