Iam in the process of finalizing my elective for the next trimester, which begins after we return from Thanksgiving break. It’s a course that I am calling Civil War Memory. Last year I taught it as a straightforward readings course and this year the plan was to use it as a platform for doing some digital history. Unfortunately, I am nowhere near to being ready to teach this kind of course. I simply don’t feel comfortable enough with some of the technology necessary to make this a successful course. Hopefully I can implement it next year. This leaves me with the question of how to structure this year’s course. As successful as last year’s version of the course was, I prefer to stay away from a readings course. So, I am planning on teaching a course that emphasizes Civil War memory and popular culture through film. This way, I can still utilize the books that have been ordered, especially Blight’s Race and Reunion, along with selections from recent books by Gary Gallagher and Brian Wills.
Episode Summary for The Red Badge of Gayness: “Cartman has visions of glory as he suits up for the Confederacy in the annual reenactment of a Civil War battle, and leads the drunken rebels to defeat the union.” [Originally aired on 11/24/99] If you have twenty minutes and are looking for a good laugh than sit back and enjoy. Click the link for the full episode.
While looking through some “sexually explicit” images related to the Civil War I came across this interesting collection by artist, Justine Lai. The artist is based in San Francisco. Lai has this to say about her first Online exhibit titled, “Join or Die”:
In Join Or Die, I paint myself having sex with the Presidents of the United States in chronological order. I am interested in humanizing and demythologizing the Presidents by addressing their public legacies and private lives. The presidency itself is a seemingly immortal and impenetrable institution; by inserting myself in its timeline, I attempt to locate something intimate and mortal. I use this intimacy to subvert authority, but it demands that I make myself vulnerable along with the Presidents. A power lies in rendering these patriarchal figures the possible object of shame, ridicule and desire, but it is a power that is constantly negotiated.
You can find the rest of the collection here. Of course, if you are easily offended or of Puritan descent I would refrain from clicking through and move on. Although I don’t find this to be that interesting, I am always struck by the ways we choose to remember our collective past. I guess it gives new meaning to the widely held belief that the public is constantly getting screwed by the government.
Just wanted to follow up with a few thoughts that didn’t make it into yesterday’s re-published post. The pay crisis scene in the movie, Glory, is a significant moment in the film. When the soldiers of the 54th Massachusetts learn that they will be paid less than white soldiers protest erupts and leads to the tearing up of pay vouchers. Tripp (played by Denzel Washington) leads the protest and represents the beginning of his transition to identifying with the rest of the men in the regiment. Colonel Shaw’s (played by Matthew Broderick) decision to join his men by tearing up his own voucher symbolizes his growing identification with his men and their cause. The scene fits neatly into the movie’s broader theme of triumph over adversity and the challenge of building unit cohesion. This theme evolves throughout the movie in scenes involving white officers and black enlisted soldiers, between white and black enlisted soldiers, and even with the ranks of the enlisted black soldiers of the 54th Massachusetts. [Click here if you are looking for an easy way edit YouTube videos.]
The climax of the movie involving the unit’s failed attack at Battery Wagner marks their final triumph over adversity and their collective sacrifice around the flag. Thomas confidently declares that he will carry the flag in battle if necessary; Tripp dies while holding the flag and after rejecting an earlier offer from Shaw to carry it into battle; and Shaw falls after holding it briefly in the midst of a desperate attempt to rally his men just outside the fort. The unit’s “Glory” not only comes through sacrifice, but in the movie director’s decision as to where and when to end the story. The final scenes that include Shaw being buried with his men juxtaposed against Augustus Saint-Gaudens beautiful monument to the regiment leave the audience with feelings of national pride and a sense that the men did indeed triumph over adversity from within in order to take part in a war for freedom and against a government that would return them to bondage if successful. The only story that was possible to tell in 1989, and perhaps even today, is one that fits within our understanding of who was right and who was wrong. However, such simplistic moral distinctions usually come with a price tag and in the case of Glory it is in the way that facts/events are manipulated.
This post was published last year at this time and since my students are preparing essays on the subject I thought I might offer it once again.
Today my Civil War classes finished watching the movie Glory, which is still my all-time favorite Civil War movie. Students enjoy the movie in part because of the heroic story of the unit and the performances by Denzell Washington, Morgan Freeman, and Matthew Broderick. The movie does a very good job of addressing the discrimination faced by the 54th Massachusetts as well as their heroic performance at Battery Wagner in July 1863. Like all historical movies Glory gets certain things right and certain things wrong. One of the themes that the movie captures is the slow progress that Col. Robert G. Shaw experienced in learning to more closely empathize with his men as well as the gradual changes that took place among white Union soldiers as they questioned their own racial outlook in response to the battlefield prowess of black regiments like the 54th. This is an issue that my students recently read about in an article by Chandra Manning. As for problems, well, they abound throughout the movie such as the profile of the regiment, which is presented primarily as a unit of fugitive slaves. Most of the men were free blacks from Massachusetts. Other problems include the time frame for the raising and training of the regiment which began in 1863 rather than 1862 as well as the failure to acknowledge Shaw’s marriage at any point in the movie.