Militant Visions examines how, from the 1940s to the 1970s, the cinematic figure of the black soldier helped change the ways American moviegoers saw black men, for the first time presenting African Americans as vital and integrated members of the nation. In the process, Elizabeth Reich reveals how the image of the proud and powerful African American serviceman was crafted by an unexpected alliance of government propagandists, civil rights activists, and black filmmakers. Contextualizing the figure in a genealogy of black radicalism and internationalism, Reich shows the evolving images of black soldiers to be inherently transnational ones, shaped by the displacements of diaspora, Third World revolutionary philosophy, and a legacy of black artistry and performance. Offering a nuanced reading of a figure that was simultaneously conservative and radical, Reich considers how the cinematic black soldier lent a human face to ongoing debates about racial integration, black internationalism, and American militarism. Militant Visions thus not only presents a new history of how American cinema represented race, but also demonstrates how film images helped to make history, shaping the progress of the civil rights movement itself.

From fighting the black shirt fascists in war-torn Croatia after WWI, to organizing the meatpacking industry in 1930s Chicago, to opposing the Vietnam War and racism in the 60s, the March family has fought for social justice. Their family story informs and inspires us and helps us carry on the struggle.

Militant and Triumphant fills a major gap in the historical record of American Catholicism by presenting a vivid, objective portrait of Cardinal William Henry O'Connell and his significance in the church and his times. Focusing on both the triumphs and controversies of O'Connell's career, James M. O'Toole chronicles the history of the Catholic Church in Boston in the first half of the twentieth century. The biography begins with a lively discussion of O'Connell's Irish immigrant youth and education and his early positions as rector of the American College in Rome and bishop of Portland, Maine. O'Toole convincingly demonstrates that as bishop, O'Connell actively built his own public image while ambitiously campaigning for the position of archbishop of Boston. The most enduring success, O'Toole argues, of O'Connell's 37-year tenure as archbishop of Boston--despite a sexual and financial scandal surrounding his nephew, the archdiocesan chancellor--was his elaboration of "a personal style of leadership that was different from that of earlier bishops, changing the expectations for Catholic bishops in America by thrusting on them the role of public figures they have generally south to play since." Throughout, the book examines O'Connell's cultural and symbolic leadership of New England's Catholic population, and describes O'Connell's role in defining American Catholicism as both "militant and triumphant": asserting its cultural vision beyond narrow denominational boundaries into broad areas of public morality, and confident of its eventual triumph over secular standards.

By 1952 the Chinese Communist Party had suppressed all organized resistance to its regime and stood unopposed, or so it has been believed. Internal party documents—declassified just long enough for historian Paul Mariani to send copies out of China—disclose that one group deemed an enemy of the state held out after the others had fallen. A party report from Shanghai marked “top-secret” reveals a determined, often courageous resistance by the local Catholic Church. Drawing on centuries of experience in struggling with the Chinese authorities, the Church was proving a stubborn match for the party. Mariani tells the story of how Bishop (later Cardinal) Ignatius Kung Pinmei, the Jesuits, and the Catholic Youth resisted the regime’s punishing assault on the Shanghai Catholic community and refused to renounce the pope and the Church in Rome. Acting clandestinely, mirroring tactics used by the previously underground CCP, Shanghai’s Catholics persevered until 1955, when the party arrested Kung and 1,200 other leading Catholics. The imprisoned believers were later shocked to learn that the betrayal had come from within their own ranks. Though the CCP could not eradicate the Catholic Church in China, it succeeded in dividing it. Mariani’s secret history traces the origins of a deep split in the Chinese Catholic community, where relations between the “Patriotic” and underground churches remain strained even today.

In Militant Citizenship: Rhetorical Strategies of the National Woman's Party, 1913-1920, Belinda A. Stillion Southard explores the ways in which the militant NWP negotiated institutional opposition and secured such a prominent position in national politics.

Born into slavery during the Civil War, Mary Church Terrell (1863–1954) would become one of the most prominent activists of her time, with a career bridging the late nineteenth century to the civil rights movement of the 1950s. The first president of the National Association of Colored Women and a founding member of the NAACP, Terrell collaborated closely with the likes of Frederick Douglass, Ida B. Wells, and W. E. B. Du Bois. Unceasing Militant is the first full-length biography of Terrell, bringing her vibrant voice and personality to life. Though most accounts of Terrell focus almost exclusively on her public activism, Alison M. Parker also looks at the often turbulent, unexplored moments in her life to provide a more complete account of a woman dedicated to changing the culture and institutions that perpetuated inequality throughout the United States. Drawing on newly discovered letters and diaries, Parker weaves together the joys and struggles of Terrell's personal, private life with the challenges and achievements of her public, political career, producing a stunning portrait of an often-under recognized political leader.

This history covers the filmmaking tradition often referred to as cinéma militant, which emerged in France during the events of May 1968 and flourished for a decade. While some films produced were created by established filmmakers, including Chris Marker, Jean-Luc Godard, and William Klein, others were helmed by left-wing filmmakers working in the extreme margins of French cinema. This latter group gave voice to underrepresented populations, such as undocumented immigrants (sans papiers), entry-level factory workers (ouvriers spécialisés), highly intellectual Marxist-Leninist collectives, and militant special interest groups. While this book spans the broad history of this uncharted tradition, it particularly focuses on these lesser-known figures and works and the films of Cinélutte, Les groupes medvedkine, Atelier de recherche cinématographique, Cinéthique, and the influential Marxist filmmaker Jean-Pierre Thorn. Each represent a certain tendency of this movement in French film history, offering an invaluable account of a tradition that also sought to share untold histories.