“A commendably comprehensive analysis of the issue of Hollywood’s ability to shape our minds . . . invigorating reading.” ?Booklist Film has exerted a pervasive influence on the American mind, and in eras of economic instability and international conflict, the industry has not hesitated to use motion pictures for propaganda purposes. During less troubled times, citizens’ ability to deal with political and social issues may be enhanced or thwarted by images absorbed in theaters. Tracking the interaction of Americans with important movie productions, this book considers such topics as racial and sexual stereotyping; censorship of films; comedy as a tool for social criticism; the influence of “great men” and their screen images; and the use of film to interpret history. Hollywood As Historian benefits from a variety of approaches. Literary and historical influences are carefully related to The Birth of a Nation and Apocalypse Now, two highly tendentious epics of war and cultural change. How political beliefs of filmmakers affected cinematic styles is illuminated in a short survey of documentary films made during the Great Depression. Historical distance has helped analysts decode messages unintended by filmmakers in the study of The Snake Pit and Dr. Strangelove. Hollywood As Historian offers a versatile, thought-provoking text for students of popular culture, American studies, film history, or film as history. Films considered include: The Birth of a Nation (1915), The Plow that Broke the Plains (1936), The River (1937), March of Time (1935-1953), City Lights (1931), Modern Times (1936), The Great Dictator (1940), The Grapes of Wrath (1940), Native Land (1942), Wilson (1944), The Negro Soldier (1944), The Snake Pit (1948), On the Waterfront (1954), Dr. Strangelove (1964), Who’s Afraid of Virginia Woolf? (1966), and Apocalypse Now (1979). “Recommended reading for anyone concerned with the influence of popular culture on the public perception of history.” ?American Journalism

Motion picture images have influenced the American mind since the earliest days of film, and many thoughtful people are becoming ever more concerned about that influence, as about the pervasive influence of television. In eras of economic instability and international conflict, the film industry has not hesitated to use motion pictures for definite propaganda purposes. During less troubled times, the American citizen's ability to deal with political and social issues has been enhanced or thwarted by images absorbed in the nation's theatres. Hollywood As Historian tracks the interaction of Americans with important motion picture productions. Considered are such topics as racial and sexual stereotyping, censorship of films, comedy as a tool for social criticism, the influence of great men and their screen images, and the use of film to interpret history. Opportunities for future study are suggested for those who wish to conduct their own examinations of American film in a cultural context. Hollywood As Historian benefits from a variety of approaches. Literary and historical influences are carefully related to The Birth of a Nation (1915) and Apocalypse Now (1979), two highly tendentious epics of war and cultural change. How political beliefs of filmmakers affected cinematic styles is illuminated in a short survey of documentary films made during the Great Depression. Historical distance has helped analysts to decode messages unintended by filmmakers in the study of The Snake Pit (1948) and Dr. Strangelove (1964). While pluralism of approach has been encouraged, balance has also been a goal: a concern for institutional and thematic considerations never obscures matters of film aesthetics. In twelve chapters dealing with more than sixteen films, Hollywood As Historian offers a versatile text for classes in popular culture, American studies, film history, or film as history. The visual awareness promoted by this text has immediate application, in that students can begin to consider the impact of motion pictures (and television) on their own lives. The films considered: The Birth of a Nation (1915), The Plow that Broke the Plains (1936), The River (1937), March of Time (1935-1953), City Lights (1931), Modern Times (1936), The Great Dictator (1940), The Grapes of Wrath (1940), Native Land (1942), Wilson (1944), The Negro Soldier (1944), The Snake Pit (1948), On the Waterfront (1954), Dr. Strangelove (1964), Who's Afraid of Virginia Woolf? (1966), and Apocalypse Now (1979).

" Freddie Maas's revealing memoir offers a unique perspective on the film industry and Hollywood culture in their early days and illuminates the plight of Hollywood writers working within the studio system. An ambitious twenty-three-year-old, Maas moved to Hollywood and launched her own writing career by drafting a screenplay of the bestselling novel The Plastic Age for ""It"" girl Clara Bow. On the basis of that script, she landed a staff position at powerhouse MGM studios. In the years to come, she worked with and befriended numerous actors and directors, including Norma Shearer, Joan Crawford, and Eric von Stroheim, as well as such writers and producers as Thomas Mann and Louis B. Mayer. As a professional screenwriter, Fredderica quickly learned that scripts and story ideas were frequently rewritten and that screen credit was regularly given to the wrong person. Studio executives wanted well-worn plots, but it was the writer's job to develop the innovative situations and scintillating dialogue that would bring to picture to life. For over twenty years, Freddie and her friends struggled to survive in this incredibly competitive environment. Through it all, Freddie remained a passionate, outspoken woman in an industry run by powerful men, and her provocative, nonconformist ways brought her success, failure, wisdom, and a wealth of stories, opinions, and insight into a fascinating period in screen history.

Presenting Hollywood as one of our most influential interpreters of history, Toplin offers a close examination of Mississippi Burning, JFK, Sergeant York, Missing, Bonnie and Clyde, Patton, All the President's Men, and Norma Rae.--Distributed by Syndetics Solutions, LLC.

Debunking myths in U.S. history : will the real story of Pocahontas please rise? / Nancy Sardone -- The new world, gender roles, and issues of point-of-view / Anne Perry -- Pocahontas saves John Smith / Kristen Wobler -- Myth busters : the Salem witch trials / Brianna Scatorchia and Nancy Sardone -- The various roles of African Americans in the American Revolution / Paul J. Yoder, Katrina Yoder, and Aaron P. Johnson -- Contributions of African Americans during the Revolutionary War / Ryan Warriner -- John Henry vs. the machine / Kristal Curry -- Years a slave: using film to explore freedom and (in)humanity / Gregory and Amy Samuels -- Did he really create the Great Lakes? Tall tales and their place in history / Megan Cullen -- Portrayals of American slavery in film : a study of Gone with the wind, Roots, and Unchained memories / Dennis Urban -- Women and the wild, wild west / James Nunez -- The ox bow incident : a historiographical lesson in vigilantism and due process / Michael Lovorn -- Suffragettes parade for the vote / Michele Celani and Elizabeth Blackmon -- The iron jawed angels and the fight for women's suffrage / Wendy Rouse -- The economic and social effects of the Dust Bowl / Rebecca Bidwell -- "The greater good" : using Flags of our fathers for critical thinking and historical inquiry / Mark Percy -- Rosa's refusal : serendipity or sustained activism? / Eric Groce, Theresa Redmond, and Robin Groce -- Chicano power and youth resistance : walking out for civil rights / Tim Monreal -- Amish neighbors / Ronald Morris -- Exploring the lives of others in the social studies classroom : where dissent and technology intersect in contemporary America / Rory P. Tannebaum.

The challenges of teaching history are acute where we consider the world history classroom. Generalized world history courses are a part of many, if not most, K-12 curricular frameworks in the United States. While United States history tends to dominate the scholarship and conversation, there are an equally wide number of middle-level and secondary students and teachers engaged in the study of world history in our public schools. And the challenges are real. In the first place, if we are to mark content coverage as a curricular obstacle in the history classroom, generally, then we must underscore that concern in the world history classroom and for obvious reasons. The curricular terrain to choose from is immense and forever expanding, dealing with the development of numerous civilizations over millennia and across a wide geographic expanse. In addition to curricular concerns, world historical topics are inherently farther away from most students’ lives, not just temporally, but often geographically and culturally. Thus the rationale for the present text, Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach World History. The reviews of the first volume Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach Untied States History strategy have been overwhelmingly positive, especially as it pertains to the application of the strategy for practitioner. Classroom utility and teacher practice have remained our primary objectives in developing the Hollywood or History? strategy and we are encouraged by the possibilities of Volume II and the capacity of this most recent text to impact teaching and learning in world history. We believe that students’ connection to film, along with teachers’ ability to use film in an effective manner, will help alleviate some of the challenges of teaching world history. The book provides 30 secondary lesson plans (grades 6-12) that address nine eras in world history.

The author makes an argument for clemency in judging Hollywood's interpretations of history and thoroughly investigates its serious limitations and opportunities to construe history.