History of Southwest Kansas and Northwest Oklahoma prior to and during settlement. One family's story of the pioneer experience and a cowboys perspective of the open range from 1879 to 1935.

Progressive Oklahoma traces Oklahoma’s rapid evolution from pioneer territory to statehood under a model Progressive constitution. Author Danney Goble reasons that the Progressive movement grew as a reaction to an exaggerated species of Gilded Age social values—the notion that an expanding marketplace and unfettered individualism would properly regulate progress. Near the end of the territorial era, that notion was challenged: commercial farmers and trade unionists saw a need to control the market through collective effort, and the sudden appearance of new corporate powers convinced many that the invisible hand of the marketplace had become palsied. After years of territorial setbacks, Oklahoma Democrats readily embraced the Progressive agenda and swept the 1906 constitutional convention elections. They went on to produce for their state a constitution that incorporated such landmark Progressive features as the initiative and referendum, strict corporate regulation, sweeping tax reform, a battery of social justice measures, and provisions for state-owned enterprises. Goble is keenly aware that the Oklahoma experience was closely related to broader changes that shaped the nation at the turn of the century. Progressive Oklahoma examines the elemental changes that transformed Indian Territory into a new kind of state, and its inhabitants into Oklahomans—and modern Americans.

In Reconstructing American Historical Cinema: From Cimarron to Citizen Kane, J. E. Smyth dramatically departs from the traditional understanding of the relationship between film and history. By looking at production records, scripts, and contemporary reviews, Smyth argues that certain classical Hollywood filmmakers were actively engaged in a self-conscious and often critical filmic writing of national history. Her volume is a major reassessment of American historiography and cinematic historians from the advent of sound to the beginning of wartime film production in 1942. Focusing on key films such as Cimarron (1931), The Public Enemy (1931), Scarface (1932), Ramona (1936), A Star Is Born (1937), Jezebel (1938), Young Mr. Lincoln (1939), Gone with the Wind (1939), Stagecoach (1939), and Citizen Kane (1941), Smyth explores historical cinema's connections to popular and academic historigraphy, historical fiction, and journalism, providing a rich context for the industry's commitment to American history. Rather than emphasizing the divide between American historical cinema and historical writing, Smyth explores the continuities between Hollywood films and history written during the first four decades of the twentieth century, from Carl Becker's famous "Everyman His Own Historian" to Howard Hughes's Scarface to Margaret Mitchell and David O. Selznick's Gone with the Wind. Hollywood's popular and often controversial cycle of historical films from 1931 to 1942 confronted issues as diverse as frontier racism and women's experiences in the nineteenth-century South, the decline of American society following the First World War, the rise of Al Capone, and the tragic history of Hollywood's silent era. Looking at rarely discussed archival material, Smyth focuses on classical Hollywood filmmakers' adaptation and scripting of traditional historical discourse and their critical revision of nineteenth- and twentieth-century American history. Reconstructing American Historical Cinema uncovers Hollywood's diverse and conflicted attitudes toward American history. This text is a fundamental challenge the prevailing scholarship in film, history, and cultural studies.

Personal recollections recreate experiences of two Dust Bowl communities