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Last Stands from the Alamo to Benghazi examines how filmmakers teach Americans about the country s military past. Examining twenty-three representative war films and locating them in their cultural and military landscape, the authors argue that Hollywood s view of American military history has evolved in two phases. The first phase, extending from the very beginnings of filmmaking to the Korean War, projected an essential patriotic triumphalism. The second phase, from the Korean and Vietnam Wars to the present, reflects a retreat from consensus and reflexive patriotism. In...

A century and a half after the Civil War, Americans are still dealing with the legacies of the conflict and Reconstruction, including the many myths and legends spawned by these events. The Long Reconstruction: The Post-Civil War South in History, Film, and Memory brings together history and popular culture to explore how the events of this era have been remembered.

Looking at popular cinema across the last hundred years, The Long Reconstruction uncovers central themes in the history of Reconstruction, including violence and terrorism; the experiences of...

During the Civil War and Reconstruction, the pejorative term "scalawag" referred to white southerners loyal to the Republican Party. With the onset of the federal occupation of New Orleans in 1862, scalawags challenged the restoration of the antebellum political and social orders. Derided as opportunists, uneducated "poor white trash," Union sympathizers, and race traitors, scalawags remain largely misunderstood even today. In The Louisiana Scalawags, Frank J. Wetta offers the first in-depth analysis of these men and their struggle over the future of Louisiana. A significant assessment of...

Last Stands from the Alamo to Benghazi examines how filmmakers teach Americans about the country s military past. Examining twenty-three representative war films and locating them in their cultural and military landscape, the authors argue that Hollywood s view of American military history has evolved in two phases. The first phase, extending from the very beginnings of filmmaking to the Korean War, projected an essential patriotic triumphalism. The second phase, from the Korean and Vietnam Wars to the present, reflects a retreat from consensus and reflexive patriotism. In...