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Writing Appalachia

...region's literature isn't available. Poems, short stories, and novels are available electronically from a myriad of websites; however, even today's computer-savvy readers and students can flounder when the material they...

Ramp Hollow: The Ordeal of Appalachia

...whatever forested commons they can still find. The act is meant to promote this social ecology. By combining land and livelihood—by fostering possession against a history of dispossession—it would reconnect...

MARBL Highlights: The Black Comic Books Collection

Big City Bird’s Eye View. Artistic rendering by Dawud Anyabwile. Courtesy of Dawud Anyabwile. Antonio Valor. Character drawing by Dawud Anybwile. Courtesy of Dawud Anyabwile. Emory University’s Manuscript, Archives, and...

The Bulletin—June 12, 2012

...a Task Force on Digital Scholarship to assess the state of digital scholarship in the historical profession, evaluate tenure and promotion practices and graduate training, and issue guidelines for the evaluation...

No Country for Old Hippies: Jason Mellard's Progressive Country

Review Jason Mellard's Progressive Country: How The 1970s Transformed The Texan in Popular Culture broadens our understanding of this musical style's dynamic role in negotiating the political contentions of a...

Cultural Life in a "Chocolate City": A Review of Natalie Hopkinson's Go-Go Live

...Rather than focus on musicians, promoters, and others associated with the music industry, Hopkinson draws upon interviews with an array of participants—including collectors of live recordings, urban wear designers, suburban...

Collaborative Atlanta Studies Website Gathers Original Scholarship, Research, and Projects on Atlanta

...6. "The growth and the collaboration are a credit to the leadership Emory has shown in building a digital scholarship center and promoting digital humanities," Hatfield says. "All of our...

African Americans in Atlanta: Community Building in a New South City

...the shining example of Henry Grady's New South ideology — seeking industrialization through northern capital and promising racial justice through segregation. But in spite of the city's aggressive promotion of...

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

Review At the 2013 New York Film Critics Circle Awards (NYFCC), English filmmaker Steve McQueen was named Best Director for his stunning adaptation of Solomon Northup's 1853 memoir Twelve Years...

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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