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Three Black Towns: An Excerpt from Black Landscapes Matter

After the end of the Civil War, recently freed Black people endeavored to create their own communities. During Reconstruction, and with newfound access to political and economic power, Black towns...

Cajun South Louisiana

...the Canary Islands, and such Native American tribes as the Houma, Bayou Goula, and Choctaw. A big aligator, about 800 lbs. Photograph by ST Blessing. Courtesy of The Miriam and...

Good-Bye to All That?

...the number of challengers in 2016 is likely to decline even further. Our neighboring South Carolina offers a window into the future. In this most recent election less than 25...

Flatlands in the Outlands: Photographs from the Delta and Bayou

...Delta and Bayou in "Outlands."4James Agee, Let Us Now Praise Famous Men (Boston: Houghton Mifflin, 2001), 178. Clay not only had a desire to document the vestiges of an older...

African American Suburban Development in Atlanta

African American Suburbanization Part 2: Dr. Wiese traces how Black suburbs faced intensified segregation and isolation from the post-WWII period through the 1960s Part 3: Dr. Wiese discusses how Black neighborhoods grew...

Selma Bridge: Always Under Construction

...was wonderful to meet him, but no, I think another has my vote."1Charles J. Dean, "In Black Belt, McCain Wins Hearts, Not Votes," Birmingham News, April 22, 2008. Edmund Pettus...

Preserving the Memory of Ybor City, Florida

...of their architecture and the gorgeous weather that characterized their location. La Gaceta Collection http://digital.lib.usf.edu/lagaceta La Gaceta 11/174, July 22, 1933. La Gaceta, founded by Cuban immigrant and lector Victoriano...

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

...Macomb, which was raised in 1822 and abandoned in 1871. See Ella Morton, "The Real Location of True Detective's Carcosa," Atlas Obscura, Slate, March 11, 2014, http://www.slate.com/blogs/atlas_obscura/2014/03/11/here_s_the_real_location_of_true_detective_s_carcosa.html. But to rule...

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

...Epps. Viewers numbed by years of cheap thrills need a film like this to remind them that horror is real and persistent, especially if you try to ignore it. About...

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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