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Education

Ch 19 The Vitality and Turmoil of Urban Life By Jung Woo Park

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6 The movie-made Movement: civil rites of passage Sharon Monteith Memory believes before knowing remembers. (William Faulkner) Forgetting is just another kind of remembering. (Robert Penn Warren) Film history cannibalises images, expropriates themes and tech- niques, and decants them into the contents of our collective memory. Movie memories are influenced by the (inter)textuality of media styles – Fredric Jameson has gone so far as to argue that such styles displace ‘real’ history. The Civil Rights Movement made real history but the Movement struggle was also a media event, played out as a teledrama in homes across the world in the 1950s and 1960s, and it is being replayed as a cinematic event. The interrela- tionship of popular memory and cinematic representations finds a telling case study in the civil rights era in the American South. This chapter assesses what films made after the civil rights era of the 1950s and 1960s express about the failure of the Movement to sus- tain and be sustained in its challenges to inequality and racist injus- tice. It argues that popular cultural currency relies on invoking images present in the sedimented layers of civil rights preoccupa- tions but that in the 1980s and 1990s movies also tap into ‘struc- tures of feeling’. Historical verisimilitude is bent to include what Tom Hayden called in 1962 ‘a reassertion of the personal’ as part of the political, but it is also bent to re-present the Movement as a communal struggle in which ordinary southern white people are much more significant actors in the personal and even the public space of civil rights politics than was actually the case. Historical facts as we retrieve and interpret them are only one facet of the movie-made Movement. Sharon Monteith - 9781526137531 Downloaded from manchesterhive.com at 11/19/2022 05:48:34AM via free access The movie-made Movement 121 In a reception-driven analysis, film genres and sub-genres do not exist until they become necessary. It would be impossible to argue that something called ‘civil rights cinema’ existed before the end of the 1980s, by which time a provisional sub-genre of feature films had begun to develop around race and rights with reference out to the Movement. In the 1960s films that examined civil rights struggles in any guise at all were usually reviewed as ‘small town movies’ or ‘southern melodrama’ or ‘social problem pictures’. Over the last two decades of the twentieth century, there has developed a criti- cally self-conscious body of work on commemoration and retrieval and it is during this period that, as Richard Rorty has observed, ‘the novel, the movie and the TV program . . . gradually but steadily replaced the sermon and the treatise as the principal vehicles of moral change and progress’.1 Before this, movies with plots incor- porating civil rights struggles could turn up in any popular genre from westerns to courtroom dramas, and even comedies. Slowly a small but distinct body of f.

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Overview of the History of Gay Theatre in America It seems almost inconceivable today, with the abundance of openly gay playwrights and gay-themed plays, that less than 50 years ago a drama critic for The New York Times felt the need to call for “social and theatrical convention” to be “widened so that homosexual life may be as freely dramatized as heterosexual life, may be as frankly treated in our drama as in contemporary fiction.” EARLY GAY PLAYWRIGHTS: Oscar Wilde, Noel Coward, Tennessee Williams, William Inge, and Edward Albee, Lanford Wilson, Robert Patrick. Doric Wilson. Pansy Craze: By the end of the 1920s much of the public image of gay people was still limited to the various drag balls in Greenwich Village and in Harlem, but the early 1930s saw a new development within a highly commercial context, bringing the gay subculture of the enclaves of Greenwich Village and Harlem onto the mainstream stages of midtown Manhattan in a veritable Pansy Craze from 1930 until the repeal of prohibition in 1933. Hay’s Code: After the repeal of prohibition, this tolerance waned. Any sympathetic portrayal of gay characters (termed sexual perverts) was prohibited by the Motion Picture Production Code (or Hays Code) from being included in Hollywood films. Performer Ray Bourbon was arrested many times for his act, considered tame by today's standards. It seems almost inconceivable today, with the abundance of openly gay playwrights and gay-themed plays, that less than 50 years ago a drama critic for The New York Times felt the need to call for “social and theatrical convention” to be “widened so that homosexual life may be as freely dramatized as heterosexual life, may be as frankly treated in our drama as in contemporary fiction.” EARLY GAY PLAYWRIGHTS: Oscar Wilde, Noel Coward, Tennessee Williams, William Inge, and Edward Albee, Lanford Wilson, Robert Patrick. Doric Wilson. At the height of the Pansy Craze in the late 1920s, Mae West penned The Drag, a “social problem” play that argued for sympathetic treatment of homosexuals. However, after out-of-town tryout runs, the play received a scandalous reception. Never making it to the Great White Way, The Drag was censored, and West was arrested. Draconian measures from City Hall, including the passage of New York City’s 1927 “padlock bill,” prohibited homosexual subject matter on the Broadway stage. A few years later, the Hays Code of 1934 banned images of homosexuality on the Hollywood screen. Consequently, censorship of gay themes in theater and film was the norm in the U.S. from the 1930s through the 1960s. Expanding on the concept of the coffeehouse as a forum for beatnik poetry readings, Joe Cino opened his small Cornelia Street café in 1958 with the intention of creating a space where theater artists could develop their individual voices and form a community. The Caffe Cino’s locale rendered it out-of-the-way enough to feel like a private sanctuary and accessible enough for urban audiences ...

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“What is a City?” Architectural Record (1937) Lewis Mumford Editors’ Introduction Lewis Mumford (1895–1990) has been called the United States’ last great public intellectual – that is, a scholar not based in academia who writes for an educated popular audience. Beginning with the publication of his first book The Story of Utopias in 1922 and continuing throughout a career that saw the publication of some twenty- five influential volumes, Mumford made signal contributions to social philosophy, American literary and cultural history, the history of technology and, preeminently, the history of cities and urban planning practice. Born in Brooklyn and coming of age at a time when the modern city was reaching a new peak in the history of urban civilization, Mumford saw the urban experience as an essential component in the development of human culture and the human personality. He consistently argued that the physical design of cities and their economic functions were secondary to their relationship to the natural environment and to the spiritual values of human community. Mumford applied these principles to his architectural criticism for The New Yorker magazine and his work with the Regional Planning Association of America in the 1920s and 1930s, his campaign against plans to build a highway through Washington Square in New York’s Greenwich Village in the 1950s, and his lifelong championing of the environmental theories of Patrick Geddes and the Garden City ideals of Ebenezer Howard. In “What is a City?” – the text of a 1937 talk to an audience of urban planners – Mumford lays out his fundamental propositions about city planning and the human potential, both individual and social, of urban life. The city, he writes, is “a theater of social action,” and everything else – art, politics, education, commerce – serve only to make the “social drama . . . more richly significant, as a stage-set, well-designed, intensifies and underlines the gestures of the actors and the action of the play.” The city as a form of social drama expressed as much in daily life as in revolutionary moments – it was a theme and an image to which Mumford would return over and over again. In The Culture of Cities of 1938, he rhapsodized about the artist Albrecht Dürer witnessing a religious procession in Antwerp in 1519 that was a dramatic performance “where the spectators were also communicants.” And in “The Urban Drama” from The City in History of 1961, he reflected on the ways that the social life of the ancient city established a kind of dramatic dialogue “in which common life itself takes on the features of a drama, heightened by every device of costume and scenery, for the setting itself magnifies the voice and increases the apparent stature of the actors.” Mumford was quick to point out that the earliest urban dialogue was really a one-way “monologue of power” from the king to his cowering subjects. Such an absence of true dialogue, he wrote, was “bound to have a fat.

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ch 19

1. Ch 19 The Vitality and Turmoil of Urban Life By Jung Woo Park

2. Product specialization

3. Electric Trolley

4. Electric interurban railway

5. Urban growth

6. African American migration

7. “ New” immigration

8. Residential mobility

9. Occupation mobility

10. Acquisition of property

11. Urban borderlands

12. Ghettos

13. Denis Kearney

14. Chinese Exclusion Act

15. Geary Act

16. Barrios

17. Conservative Judaism

18. New York State tenement legislation

19. Model tenements

20. Public Health Regulations

21. Steel frame construction

22. Urban poverty

23. Charity Organization Societies

24. Rufus Minor

25. Urban crime and violence

26. East St. Louis riot of 1917

27. City engineers

28. Professional law enforcement

29. Political machines

30. Urban reform movement

31. Mayors Hazen Pingree, Samuel Jones, and Tom Johnson

32. Social reformers

33. Settlement house

34. Jane Hunter and Modjeska Simkins

35. City Beautiful movement

36. Family and household structure in late 19 th and 20 th century

37. Birthrate decline

38. Practice of boarding

39. Importance of kinship

40. Gay subculture

41. Stages of life

42. Board games

43. Sports

44. Intercollegiate Athletic Association

45. Circus

46. Popular drama

47. Musical comedies

48. George Cohan

49. Vaudeville

50. Eva Tanguay

51. Minstrel Show

52. Burt Williams

53. Motion pictures

54. Birth of a Nation

55. Still Camera

56. Phonograph

57. Joseph Pulitzer and William Randolph Hearst

58. Yellow journalism

59. Telephone

60. Cultural pluralism

ch 19

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