By Allison schoen
What styles emerge in media assurance and personality depiction of Southern women and men, blacks and whites, within the years among 1954 and 1976? How do portrayals of the area and the equivalent rights move light up the spirit and adventure of the South―and of the country as a complete? In Framing the South, Allison Graham examines the ways that the media, relatively tv and movie, provided Southerners throughout the interval of the civil rights revolution.
Graham analyzes depictions of southern race and social category in quite a lot of Hollywood films―including A Streetcar Named Desire, The 3 Faces of Eve, and A Face within the Crowd from the Nineteen Fifties; later movies like Cool Hand Luke, In the warmth of the Night, and Mississippi Burning; and MGM's Elvis Presley automobiles. She strains how movies have confronted―or avoided―issues of racism through the years, paralleling Hollywood depictions with the tamer characterization of the likeable "hillbilly" popularized in television's The actual McCoys and The Andy Griffith Show. Graham reinforces the political effect of those fictional representations by way of interpreting media assurance of civil rights demonstrations, together with the documentary Crisis: in the back of the Presidential Commitment, which stated the conflict among Robert Kennedy and Governor George Wallace over the mixing of the collage of Alabama. She concludes with a provocative research of Forrest Gump, deciding upon the preferred movie as a retelling of post-World battle II Southern historical past.
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Extra resources for Framing the South: Hollywood, Television, and Race during the Civil Rights Struggle
A number of lms were still 42 “The Purest of God’s Creatures” Image not available. Segregationists’ response to national “misrepresentations” of the South. The Citizens’ Councils of America Newsletter (Jackson, Mississippi), July 1956. From the McCain Library and Archives, University of Southern Mississippi. FIGURE 9. banned or severely re-edited in portions of the South in the 1950s, but, in general, the Production Code Administration fretted over the representation of black Americans and did remarkably little to rock conservative white southern attitudes.
Indeed, Blanche’s story varies little from that of Pinky (who also returns to a southern home to confront the truth of her past), or those of Julie, Sarah Jane, or Monique (all of whom lose suitors when that truth is exposed). Ironically, though, Blanche’s attempt to “pass” is undermined by the blatant transparency of her masquerade. The white poses of the other women are entirely successful, ruined only by the unearthing of background information. Blanche’s persona, unlike theirs, is clearly a mask, and a badly applied one, an observation that begs a question central to the representation of race in such lms: If passing is the white lie that dishonors a “true” black self, what color is the “self” of whites who also, in essence, pass?
How could producers of a Hollywood lm like The Three Faces of Eve purport to paint a documentarylike portrait of a contemporary southerner without at least recognizing the social and psychological crisis of the region? In light of the lm’s historical context, the story of the battle between “Eve White” and “Eve Black” for the “mastery” (in the narrator’s words) White Women, Blood Pollution, and Southern Sexuality 43 of one woman’s “character” seems an almost blatant indicator of the era’s racial hysteria.