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Hollywood Imagines Revolutionary Haiti: The Forgotten Film Lydia Bailey (1952), Judith E. Smith

American Studies Faculty Publication Series

This essay explores the history of Lydia Bailey, the only US studio-made film to depict the Haitian Revolutionary period. It asks why, in the late 1940s and early 1950s, such an unlikely project might have seemed commercially promising enough to justify a significant production budget. The essay draws on private studio memos as well as public press discussions to shed light on the high stakes in debates over racial representation and colonialism/decolonization in the late 1940s and early 1950s, and to illuminate everyday assumptions of white supremacy as these shaped the making of the film and its promotion. Production files …

The Rape Of Recy Taylor [Film Review], Judith E. Smith

American Studies Faculty Publication Series

Nancy Buirksi’s documentary The Rape of Recy Taylor centers on a brutal sexual assault in Abbeville, Alabama in 1944. A 24-year-old African American wife and mother, coming home from a sanctified church service with a friend and her son, was forced into a car at gunpoint, and gang raped by six young white men. The beating heart of the film is the on-screen testimony of Taylor’s younger brother, Robert Corbitt, and her younger sister, Alma Daniels, who convey the unspeakably cruel and vicious character of the attack: Corbitt repeats the perpetrators’ directions to Recy: “They said they wanted her to …

The Making Of A Raisin In The Sun, Judith E. Smith

American Studies Faculty Publication Series

Lorraine Hansberry’s play A Raisin in the Sun premiered on the Broadway stage in January 1959 just as the edifice of national segregation was cracking open. Response to the momentous 1954 Supreme Court decision in Brown v. Bd. of Education included both the important early challenges to long-accepted practices of white supremacy and the intensified mobilization of widespread white defiance to the ruling. Black Bus boycotters in Montgomery, Alabama, and their young minister leader, Martin Luther King, Jr., and Black high school students attempting to attend Little Rock’s Central High and their families faced organized harassment and dangerous forms …

Civil Rights, Labor, And Sexual Politics On Screen In Nothing But A Man (1964), Judith E. Smith

American Studies Faculty Publication Series

The independently made 1964 film Nothing But a Man is one of a handful of films whose production coincided with the civil rights insurgency and benefited from input from activists. Commonly listed in 1970s surveys of black film, the film lacks sustained critical attention in film studies or in-depth historical analysis given its significance as a landmark text of the 1960s. Documentary-like, but not a documentary, it offers a complex representation of black life, but it was scripted, directed, and filmed by two white men, Michael Roemer and Robert Young.

This essay argues that the film’s unusual attention to labor …

Amelia [Film Review], Judith E. Smith

American Studies Faculty Publication Series

What is the cultural terrain staked out by Amelia, the recent Hollywood-distributed biopic about intrepid flyer Amelia Earhart? The quick shots that precede the opening credits direct attention to the particular themes that Producer Ted Waitt, director Mira Nair, and screenwriters Ron Bass and Anna Hamilton Phelan have emphasized in their 2009 feature about the flyer. Her airplane taking off into the dark gestures to the mystery of her last flight and disappearance without a trace. Her celebrity status is indicated by cheering crowds, radio interviews, and photographs, fusing seamlessly with her status as an object of heterosexual adoration once …

Judy Holliday's Urban Working Girl Characters In 1950s Hollywood Film, Judith E. Smith

American Studies Faculty Publication Series

A Jewish-created urban and cosmopolitan working girl feminism persisted in the 1950s as a cultural alternative to the suburban, domestic consumerism critiqued so eloquently by Betty Friedan in The Feminine Mystique. The film persona of Jewish, Academy Award-winning actress Judy Holliday embodied this working girl feminism. Audiences viewed her portrayals of popular front working girl heroines in three films written by the Jewish writer and director Garson Kanin, sometimes in association with his wife, the actress Ruth Gordon, and directed by the Jewish director George Cukor in the early 1950s: Born Yesterday (1950), The Marrying Kind (1952), and It …