HIST190: FILM AND US HISTORY
Professor Karine Walther [email protected] Office: OD54 Phone: 4457-8378 Course Meeting Time and Location: 0A07 Wednesdays, 5-7:30 p.m. Office Hours: Wednesdays 1-2:30 and by appointment.
COURSE DESCRIPTION: Film has always played an important role in shaping how people understand and interpret the past. This course will specifically analyze Hollywood films as historical texts and will examine what these sources reveal about the time in which they were made and the historical narratives they seek to put forward about the past. The course will focus on several moments in history to understand how the past has been represented by and shaped Hollywood film, including Native American history, slavery, the Civil War and Reconstruction, WWII, the Cold War, McCarthyism, Vietnam, Civil Rights and recent US foreign policy. WARNING: Some of the movies students will have to watch as part of the course requirements include portrayals of graphic violence, nudity, profanity and explicit sexual content. Some or the movies include material that may trigger victims of sexual assault or students with PTSD. This course is an elective, not a requirement – students who sign up for this course must therefore understand that by choosing to take this course, they are accepting to watch all assigned movies, regardless of content. No student may “opt out” of watching an assigned movie. Students uncomfortable with watching this material should NOT sign up for this class.
COURSE OBJECTIVES: This course will teach students to understand and analyze films as primary and secondary sources and contextualize them historically. Students will learn how films use various elements (lighting, dialogue, camera angle, music, etc.) to elicit emotional responses from viewers and shape their understanding of specific historical moments. Students will also learn to think about how films contribute to larger historical narratives in the United States by comparing specific films with broader historiographical trends in US history.
COURSE REQUIREMENTS: 30% Participation/Presentation 40% 4500-6000 word Paper (due April 23rd at 5pm) 30% Quizzes In order to pass the class, students must complete all required assignments.
INSTRUCTIONAL CONTINUITY Should individual classes have to be cancelled due to unforeseen circumstances, I will send out information about how the class will proceed, either through online discussion or through a scheduled make-up class. If a student is scheduled to present on the day of the class, s/he will be able to present via an online software system where the entire class will be expected to sign-in and watch the presentation. http://georgetown.zoom.us/ Please familiarize yourself with this software.
REQUIRED TEXTS: Trevor B. McCrisken and Andrew Pepper, American History and Contemporary Hollywood Film Eric Foner and Lisa McGirr, American History Now Howard Zinn, The Bomb Course pack – The course pack is available on blackboard. All readings labeled CP can be found in your course pack
ASSIGNMENTS
PARTICIPATION: Participation in class discussion is a crucial element of this course and counts for 30% of your overall grade. Historical knowledge and understanding is gained through active and close reading of both primary and secondary texts. Close and active reading involves underlining key moments, making marginal comments and taking thorough notes that include summaries of what you have read or watched, questions that arise from the reading or films and your own critical thoughts and responses. It is essential that you complete the reading assignments and watch the films prior to the class meeting. You should bring copies of all readings to class on the day they are assigned.
QUIZZES: At the beginning of each class, there will be a short quiz on the readings and the film. Usually, there will be no more than 7-12 questions on the quiz and if students have carefully completed the readings and watched the film, the questions should not be challenging.
FILM PRESENTATION: The presentation will be on a movie chosen by the student who is to present that day from the list of movies at the end of each week’s readings in the course schedule. Only the presenter needs to watch the movie – the rest of the class does not have to watch it. The student must prepare a short one-paragraph synopsis of the movie and hand it to the class at the beginning of class on the day they present. During the presentation, students will analyze how the movie they have chosen conforms or challenges historiographical interpretations of the moment. Each student will have 20 minutes to present – TIME LIMITS WILL BE STRICTLY OBSERVED. Presentations should include the following elements: 5 minutes: Discuss this movie within the larger context of the theme under discussion. How does this film contribute to our understanding of the historical period in question? How does it reflect the time period in which it was made – if at all? How does the movie challenge or reinforce specific historiographical narratives? 5-10 minutes: Choose one scene from the movie and play it for the class. Introduce the scene you have selected to play for us. Ideally, your scene should be anywhere between 1 minute and 3 minutes. You should choose a scene that you find particularly important or that represents a critical moment or theme in the movie and that reinforces your overall argument. 5 minutes: Analyze the scene and tell us how this scene contributes to our understanding of the movie as a whole and the historical moment that it depicts and/or the narrative it is trying to present. How does the film reflect the time in which it was made? Students should consider some of the following in their analysis: music, dialogue, overall narrative, character portrayals, editing, shots/camera angles, lighting, etc. You can feel free to replay very small segments (5-10 seconds) of the movie to emphasize a certain point.
PAPER: Students will watch two movies from a chosen topic (topics and list of movies can be found at the end of this syllabus) and write a paper that analyzes how these movies represent a particular historical moment or narrative. Students should integrate their analysis of the film within a larger discussion of US historiography. They will want to compare and contrast the various films and offer a nuanced explanation of how these films represent the particular moment in American history the film is depicting, how the narrative conforms or challenges a particular interpretation of history, and/or how the film represents the time in which it was made. To supplement their argument, students should analyze specific scenes from the films and the larger “message” implicit in the film’s narrative. It is recommended, but not mandatory, that students write their paper on one the themes on which they have presented. Papers should be a minimum of 4500 words but should not exceed 6000 words. Students should consult primary and secondary sources to supplement their analysis (at a minimum, I expect students to cite 12-15 sources). Although students are encouraged to cite secondary sources that analyze the film in question, they should make sure they offer an original argument that does not replicate that source’s analysis. PLEASE NOTE: Late papers will suffer a penalty of one full grade per day they are late. Students submitting papers after 5:05 pm on the day they are due will be counted as one day late. ALL PAPERS should be submitted electronically by 5pm on April 23.
REQUIREMENTS FOR WRITTEN ASSIGNMENTS: All written assignments should have a title, be stapled, typed in standard font (12 point), double-spaced with 1 inch margins and citations should follow the form specified by the Chicago Manual of Style (footnotes, bottom of each page). Please do not include extra spaces between paragraphs. A guide for proper citation style can be found in your course pack. HONOR CODE : Every student is expected to understand and abide by the SFS-Qatar Honor System. Please review it in your Honor System booklet or at http://qatar.sfs.georgetown.edu/academics/42037.html. Suspected violations of the Honor System will be reported to the Honor Council. If a student is found in violation of the Honor System I reserve the right to reduce the student’s grade on the assignment and / or the course (in addition to any sanction the Honor Council may impose). All students should place the following sentence at the very end of their paper and sign:
“In the pursuit of the high ideals and rigorous standards of academic life, I commit myself to respect and uphold the Georgetown University Honor System: To be honest in any academic endeavor, and To conduct myself honorably, as a responsible member of the Georgetown community, as we live and work together. Upon my honor, I attest that this assignment was completed in full conformity with the academic standards set out by Georgetown SFS-Qatar.” Student’s signature
PAPER DRAFTS: I will accept paper drafts if students send them to me at least one week before the paper is due. Please note: Students who turn in paper drafts must conform to the requirements listed under “Rules for Submission of Paper First Drafts” at the end of the syllabus.
CLASSROOM ETIQUETTE AND ATTENDANCE: In order to maintain an atmosphere of learning and respect, please refrain from engaging in individual conversations during the class period, particularly when one of your fellow students is presenting or speaking in class. In addition, students must adhere to the following rules inside the classroom:
o Attendance: Attendance is mandatory. Each unexcused absences will lower your participation grade by 10%. All excused absences must be approved by your academic dean. THREE ABSENCES – EXCUSED OR UNEXCUSED WILL RESULT IN A FAILING GRADE IN PARTICIPATION. MORE THAN THREE ABSENCES WILL RESULT IN A FAILING GRADE FOR THE CLASS.
o Tardiness: The class will begin promptly at 4:20. Each late arrival will lower your participation grade by 5%.
o Leaving during class time: Other than for breaks or for reasons discussed with me ahead of time, students should not leave the classroom during class.
o Cell phones: All cell phones should be on silent mode during class time and put away. If I see a phone, I will confiscate it and return it at 5 p.m. that day. If a student’s phone rings during class time, they will be asked to write a 4-page paper and present for 10 minutes on an outside reading assigned by the professor in one of the following class periods (to be determined by the professor). The paper and presentation will be graded and will contribute to the student’s overall course grade. I will grant each student one pass on this rule. Students who are caught texting during class will be assigned an 8-page research paper on a topic assigned by the professor, which they will present to the class on an assigned date. Students will also have their cell phones (including sim cards) confiscated for 24 hours. Repeat offenses will reduce the overall course grade by a full 10% for each offense and will result in confiscation of phones for one week. I will not grant any passes on this rule.
o Laptops are not to be used during class time. The only exception to this rule is if students decide to use a computer as part of their presentation.
GRADING Overall Average Final Grade 93.0-100% A 90.0-92.9% A- 86.0-89.9% B+ 83.0-85.9% B 80.0-82.9% B- 76.0-79.9% C+ 73.0-75.9% C 70.0-72.9% C- 60.0-69.9% D <60% F
EVALUATION: If you would like to know how I will be grading your papers, the following description should give you a relatively good idea. A: Amazing! There are usually very few papers that achieve this level of exceptional work. Papers that receive an A grade are exceptional in every way: the writing is flawless (grammar, spelling, coherence, flow), the argument is original, well-organized and clear, and there is a strong personal voice. The student has demonstrated a mastery of the evidence s/he has rallied to support the central argument. A-: Outstanding paper – most of the elements above have been met, but there are weaknesses in one area (argument, voice, polish). B+: Well Above average: the student has written an exemplary paper in certain areas (argument, evidence, polish). Unfortunately, the process led to a paper that was exemplary in a limited sense. B: Above average: The student completed the assignment and the paper has some distinctive features or a paper with exceptional aspects but a shortcoming that lessens the impact. B-: An average paper, not exceptional in any particular way. The paper satisfies the specific requirements of the assignment without adding anything original or interesting to the reader, or a paper with a balance of exceptionally good and exceptionally bad elements. C+: A below average paper. The final product lacks depth or balance. The research is superficial, the paper is badly written, or the argument is poorly structured. C: A flawed paper, a paper without a main point (or with the main point hidden), with polish so poor that it is impossible to imagine that it occurred by design, a paper generating little interest or reaching an illogical conclusion. C-: A seriously flawed paper. A paper with several important flaws limiting the value of the paper. D: A paper wrought with problems and/or a tangential focus on the assigned topic. F: On balance, a totally failed effort (or lack of effort) with no redeeming features.
In addition, please note the following grading penalties: Failure to turn in the paper on time: (1 grade per day – starting 5 minutes after it was due). After 48 hours, the paper will receive an automatic F. Incorrect citation format: (1 full grade) Lack of sources in final paper: 5% per missing source. Please note, inappropriate internet sources (such as Wikipedia) will not count as acceptable sources. Students may email me if they have questions about internet sources.
SCHEDULE
1/10: Course Introduction
1/17: Film as History, History as Film - Hayden White, “The Historical Text as Literary Artifact,” from Tropics of Discourse: Essays in Cultural Criticism (1978) CP - James L. Smith, “General Historiography in U.S. History,” http://www.whyteachhistory.com/resources/Presentations-Content/General- Historiography.pdf CP - Chapter 3: Spectatorship, Power and Knowledge in Marita Sturken and Lisa Cartwright, Practices of Looking: An Introduction to Visual Culture CP - “The Shot: Mise-en-Scene” from David Bortwell and Kristen Thomas, Film Art: An Introduction (2004) CP - Human Remains (2008) Director Jay Rosenblatt – We will watch this film in-class.
1/24: The Frontier, Westerns and Native Americans - Film: Stagecoach (1939) - Introduction, in American History and Contemporary Hollywood Film - Frederick Jackson Turner, “The Significance of the Frontier in American History,” - Stephen Aron, “Frontiers, Borderlands, Wests,” Chapter 12, Foner and McGirr, American History Now - Ned Blackhawk, “American Indians and the Study of U.S. History,” Chapter 17, Foner and McGirr, American History Now - “Introduction,” Jane Tompkins, West of Everything (CP) - “Geronimo” CP List of Movies for Presenter: Dances with Wolves (1990); Wind River (2017); Pocahontas (1995)
1/31: Slavery - Film: Amistad (1997) & Twelve Years a Slave (2013) - Chapter 4, “1850-1865: Slavery and Civil War,” in Paul S. Boyer, American History: A Very Short Introduction (CP) - Chapter 2, “Rattling the Chains of History,” in American History and Contemporary Hollywood Film - Adam Rothman, “Slavery, The Civil War and Reconstruction,” pgs. 75-81 in American History Now - Kevin Gaines, “African-American History,” pgs. 400-406 in American History Now - Frantz Fanon, “The Fact of Blackness,” in Black Skin, White Masks CP List of Movies for Presenter Beloved (1998); Django Unchained (2012); The Birth of a Nation (2016)
2/7: The Civil War - Film: Glory (1989) - Adam Rothman, “Slavery, The Civil War and Reconstruction,” pgs. 81-91 in American History Now - Kevin Gaines, “African-American History,” pgs. 406-417 in American History Now - Michele Wallace, “The Good Lynching and the Birth of a Nation,” Cinema Journal 43:1 (2003), 85-104 CP - Eric Foner, “The Civil War in Post-Racial America,” The Nation, October 10, 2011 - Chapter 3, “Hollywood’s Civil War dilemma: To Imagine or Unravel the Nation?” in American History and Contemporary Hollywood Film - Eric Foner, “Confederate Statues and ‘Our’ History,” New York Times, Aug. 20, 2017 List of Movies for Presentation: The Birth of a Nation (1915); Lincoln (2012)
2/14: The Great Depression - Chapter 7, “1920-1945: From Conflict to Global Power,” in Paul S. Boyer, American History: A Short Introduction (CP) - Lisa McGirr, “The Interwar Years,” and Sven Beckert, “History of American Capitalism” in American History Now - “This Land is Your Land,” Woodie Guthrie (watch on you tube) - Gregory Black, “Hollywood Censored: The Production Code Administration and the Hollywood Film,” Film History (1989) (CP) - Film: The Grapes of Wrath List of Movies for Presentation: Modern Times (1936); Bonnie and Clyde (1967); To Kill a Mockingbird (1962)
2/21: WWII READINGS: - Chapter 4, “Saving the Good War: Hollywood and World War II in the post-Cold War World,” in American History and Contemporary Hollywood Film - Howard Zinn, “Hiroshima: Breaking the Silence” and “The Bombing of Royan” in The Bomb (2010) - Film: Flags of Our Fathers (2006) AND Letters from Iwo Jima (2006) List of Movies for Presentation: Pearl Harbor (2001); Saving Private Ryan (1998); Inglorious Basterds (2009)
2/28: McCarthyism and The Cold War READINGS: - Chapter 8, “1945-1968: Affluence and Social Unrest,” in Paul S. Boyer, American History: A Short Introduction (CP) - Chapter 7, “The Uncertain Future of American Politics, 1940-1973,” in American History Now - Belton, “Hollywood and the Cold War” in American Cinema/American Culture (CP) - Michael Rogin, “Kiss Me Deadly: Communism, Motherhood, and Cold War Movies,” in Representations 6 (1984) CP Film: Manchurian Candidate (1962) **PLEASE NOTE** Watch the 1962 version, NOT the 2004 version. List of Movies for Presentation: Dr. Strangelove (1964); Good Night and Good Luck (2005); Invasion of the Body Snatchers (1956)
SPRING BREAK 3/14: Civil Rights READINGS: - Films: Selma (2014) - Footage of March 7th Bloody Sunday march (you can mute song if you wish): https://www.youtube.com/watch?v=P7vrrYVyN3g - Chapter 6, “From Civil Rights to Black Nationalism: Hollywood v. Black America?” American History and Contemporary Hollywood Film - Amy Davidson, “Why Selma is More than Fair to L.B.J.” The New Yorker, Jan. 22, 2015 - Dee Lockett, “How Accurate is Selma?” (click on links within article as appropriate) - Martin Luther King, “Beyond Vietnam” April 4, 1967 - “Alabama Puts Up More Hurdles for Voters,” New York Times, Oct. 8, 2015 - Scott Helman, “Letter from Selma” Boston Globe, June 25, 2013 List of Movies to Present: (two presentations possible this week) Malcolm X (1992); Mississippi Burning (1988); The Butler (2013); 42 (2013); The Long Walk Home (1990)
3/21: Vietnam - Phillip E. Catton, “Refighting Vietnam in the History Books: The Historiography of the War” OAH Magazine of History, 18:5 (Oct., 2004), 7-11 (CP) - Chapter 5, “Oliver Stone and the decade of trauma” in American History and Contemporary Hollywood Film - Excerpts and background, Joseph Conrad’s Heart of Darkness: http://www.historyteacher.net/HistoryThroughFilm/FilmReadings/ExcerptsFro mJosephConrad-HeartOfDarkness.pdf (CP) - Viet Thanh Nguyen, Chapter 4, “On War Machines,” in Nothing Ever Dies: Vietnam and the Memory of War - Film: Apocalypse Now (1979) List of Movies to Present: Platoon (1986); Full Metal Jacket (1987); Born on the Fourth of July (1989)
3/28: Islam and the Middle East in American Film - “Crusaders and Saracens: The Persistence of Orientalism in Historically Themed Motion Pictures about the Middle East” in Lights, Camera, History: Portraying the Past in Film CP - Daniel Ibn Zayd, “Sacha Cohen and Arab Minstrelsy,” Loonwatch, May 2012 (CP) - American History and Contemporary Hollywood Film, Chapter 7 - Edward Said, “The Iran Story,” in Covering Islam (CP) - Aziz Ansari, “On Acting, Race and Hollywood,” New York Times, Nov. 10, 2015 CP - Film: Not Without My Daughter (1991) List of Movies to Present: The Sheik (1921); Argo (2012) 4/4: US Foreign Policy and the Global War on Terror - Marilyn Young, “In the Combat Zone,” from Hollywood and War: The Film Reader CP - Peter Schmidt, “Historians Criticized as Often AWOL From Public Debate Over ‘War on Terror,’” Chronicle of Higher Education, Jan. 12, 2011 CP - Chapter 7, “Hollywood’s post-Cold War History,” American History and Contemporary Hollywood Film - Film: Zero Dark Thirty (2012) Extra Credit (3 pts on quiz scores) for watching American Sniper (there will be extra quiz questions for those seeking extra credit). List of Movies to Present: Rendition (2007); American Sniper (2014)
4/11: Invented histories - Film: Avatar (2009) - Fabriel Rosenfeld, “Why Do We Ask ‘What if?’ Reflections on the Function of Alternate History,” in History and Theory (December, 2002) 90-103 (course pack) - David Price, “Going Native: Hollywood’s Human Terrain Avatars” Counterpunch, December 23, 2009 CP - David Price, “Human Terrain Systems Dissenter Resigns, Tells Inside Story of Training’s Heart of Darkness,” Counterpunch, February 15, 2010 CP List of Movies to Present: C.S.A.: The Confederate States of America (2006); The Inglorious Bastards (20091); World War Z (2013) ; Robocop (2014)
4/18: Conclusion
PAPER TOPICS
Native Americans The Searchers Little Big Man Stagecoach
1 If film not presented on during WWII week. The Last of the Mohicans The Thin Red Line Thunderheart Casablanca Dances with Wolves Schindler’s List Bridge on the River Kwai The Civil War Inglorious Basterds Birth of a Nation Lincoln Civil Rights Gone with the Wind Malcolm X The Red Badge of Courage Ali Mississippi Burning Vietnam Guess Who’s Coming to Dinner Platoon The Butler Born on the Fourth of July 42 The Deer Hunter Full Metal Jacket Hollywood and Arabs/Muslims Heaven and Earth The Siege Rules of Engagement The Cold War The Sheik Invasion of the Body Snatchers Delta Force Dr. Strangelove Syriana The Day the Earth Stood Still American Sniper High Noon
McCarthyism Iraq/GWOT Good Night and Good Luck The Hurt Locker On the Waterfront Home of the Brave High Noon Redacted Invasion of the Body Snatchers American Sniper Guilty by Suspicion Invented/Alternative Histories Inglorious Bastards C.S.A: The Confederate States of America White Man’s Burden World War II Red Dawn Saving Private Ryan Robocop (either version)
Rules for Submission of Paper First Drafts
1. First drafts must be sent to me 7 days before the paper is due in an email with the attached document in word (not a pdf).
2. Students must underline or highlight the topic sentence in each paragraph.
3. Students should highlight the paragraph where they identify their central thesis argument.
4. Students must have read their paper aloud, to themselves, before sending me their draft. This is a good way of identifying major problems in writing, including overuse of commas, incomplete sentences, or lack of clarity. When reading aloud, you should pause every time you see a comma. This is a good way of identifying if you are a chronic over-user of commas!
5. In general, it is best to avoid the first person when writing history papers, unless you are writing a paper in which you are pretending to write from that time period.
6. Please avoid extensive direct quotes from secondary sources – unless absolutely necessary. This information should be paraphrased and cited in the footnote.
7. Students should identify at least 3 questions/problems they have about their draft that they want me to address.
8. I will only look at one draft by students – I will not reexamine subsequent drafts.
9. Students must be aware and CORRECT the following BEFORE turning in their papers: a. Passive voice: http://writingcenter.unc.edu/handouts/passive-voice/ b. Correct footnoting of all material (see syllabus) c. Straw man arguments: http://www.nizkor.org/features/fallacies/straw-man.html d. Correct formatting as described on syllabus (including but not limited to double spacing, font size, margins, no extra spacing between paragraphs) e. Please make sure you check your punctuation before sending me the draft (notably, semicolons).
Finally – please note – I spend a great deal of time and effort reading and commenting on your drafts. If I notice that you resubmit your final draft without incorporating major corrections, this will be taken into account in your final grade.
CHICAGO STYLE ANNOTATION GUIDE
WHEN TO USE NOTES: Direct quotations from both primary and secondary sources must be identified in a note. (Direct quotations from secondary sources should be used very sparingly. Rather than quote directly from secondary texts, it works better in almost every case to frame the point you are taking from a secondary author in your own (concise) words and then to note the source(s) of your paraphrase, giving the author, work, and page you are drawing from in the note, just as you would with a direct quotation.) You must provide notes for ideas and interpretations that you have discovered in reading your sources, as well as for direct quotations. You should not, however, provide sources for facts that are widely known. If you wish to quote a primary source that you have found in a secondary work, you should give credit to the author of the secondary work. [Example: Charles H. Cooley, "Reflections upon the Sociology of Herbert Spencer," American Journal of Sociology 26 (1920): 129, as quoted in Richard Hofstadter, Social Darwinism in American Thought [1944] (New York: Beacon Press, 1955), 33.]
WHERE TO PLACE THE NUMBER OF A NOTE: Place note numbers at the end of the sentence in which cited material appears. The number should appear slightly above the line in the text and should not be enclosed in parentheses. If your note contains more than one source, list them in the order in which they are cited in the text. The footnote should come after the period.
WHETHER TO PLACE NOTES AT THE BOTTOM OF THE PAGE OR AT THE END OF THE PAPER: If you were to submit your essay for publication, you would be asked to double-space your notes at the end of the text. For the purposes of this paper, however, you should print your notes in single-spaced form at the bottom of each page, as they would appear in print.
PROPER FORMAT FOR NOTE REFERENCES: The first time you use any source, cite it in full. You need to use a full citation only the first time you cite any work. Every time thereafter, you should use the abbreviated short title form (see the section under this heading below).
FULL BOOK CITATION Author's full name (first name, initial, last name) Complete title of the book (either underlined or in italics—whichever you choose, be consistent) Editor, compiler, or translator, if any Name of series in which book appears, if any, and volume or number in the series Edition, if other than the first Number of volumes Facts of publication -- city where published, publisher (if you wish), date of publication Page number(s) of the particular citation
EXAMPLES OF FULL CITATIONS FOR BOOKS: Author: The first time an author's name appears it should be written in full. For footnotes, place the first name first and the last name last. (Only in the Bibliography should you place the last name first.) If a work has more than three authors, use the first author’s name and follow it with "et al.": 1. Judith A. Baer, Equality Under the Constitutions: Reclaiming the Fourteenth Amendment (Ithaca: Cornell University Press, 1983), 105-130. All book titles must either italicized or underlined (choose one or the other and then be consistent throughout). Note Well: There must be a comma after the author’s name, a comma between the place and date of publication, a comma after the parenthesis containing the publication place and date (but no comma before this or any other parenthesis), and a period at the conclusion of every note. Editors and Translators: The names of editors and translators appear after the title, unless that person had primary responsibility for preparing the book for publication: 2. Marc Bloch, Feudal Society, trans. L. A. Manyon (Chicago: University of Chicago Press, 1961), 69. 3. Thomas W. Copeland, ed., The Papers of James Madison, 1 (Chicago: University of Chicago Press, 1962), 49. 4. Deborah L. Rhode, ed., Theoretical Perspectives on Sexual Difference (New Haven: Yale University Press, 1990), 257-260. Edition: References should generally be to a hardbound edition. If an edition other than the first is used, the number should be given: 5. John W. Hazard, The Soviet System of Government, 4th ed. rev. (Chicago, University of Chicago, 1968), 25. Reprint: If you are using a book that has been reprinted, include the original date of publication, as well as the date of reprinting: 6. Gunnar Myrdal, Population: A Problem for Democracy [1940] (Gloucester, Mass.: Peter Smith, 1956), 15. Multivolume Works: Works of more than one volume should be identified in notes by the number of volumes in the work and the number of the volume from which a quote has been taken. Some multivolume works have a general title and individual titles for each volume; in that case list the general title and then the particular title to which the note refers. Notes for books that are part of a series should list the title of the book in italics, followed by the title of the series in roman letters: 7. Edward T. James et al. eds., Notable American Women: A Biographical Dictionary, 3 vols. (Cambridge: Harvard University Press, 1971), 1:119. 8. Fernand Braudel, The Identity of France, vol. 2, People and Production, trans. Sian Reynolds (New York: Harper Collins, 1990), 237-238. 9. James Losh, The Diaries and Correspondence of James Losh, ed. Edward Hughes, 2 vols., Publications of the Surtees Society, vols. 171, 172 (Durham, England: Andrews & Co. for the Society, 1962-63), 2:200-212.
FULL CITATION FORM FOR ALL ARTICLES: (To be used only the first time a work is cited. Every time thereafter, use the Short Title citation form as outlined below. Author's Full Name (first name, initial, last name) Title of the Article (in quotation marks) Name of the periodical (either underlined or in italics) Number of the volume or issue Date of the volume or of the issue (year in parenthesis) Page number(s) of the particular citation EXAMPLES OF FULL CITATIONS FOR ARTICLES Article in a Scholarly Journal: 9. Mary Louise Roberts, "Samson and Delilah Revisited: The Politics of Women's Fashion in 1920's France," American Historical Review, 98 (1993): 657. Note Well: First name first; comma after the author’s name; comma after the title of the article (should be placed inside the quotation marks); the name of the periodical must be placed either in Italics or underlined (choose one but be consistent); comma after the name of the periodical; comma (or semicolon) after the date of the periodical in parethesis; period at the conclusion of the footnote. Chapter in a Book: 10. Patricia O'Brien, "Michel Foucault's History of Culture," in Lynn Hunt, ed., The New Cultural History (Berkeley: University of California Press, 1989), 25. Article in a Magazine: 11. Lucy Eisenberg, "Scientists vs. Animal Lovers: The Conflict That Never Ends," Harper's, November 1966, 101-10. Citing a Newspaper: 12. New York Times, 11 August 1965, p. B3. Citing a Government Publication: 13. U.S. Congress, Senate, Congressional Record, 9 October 1987, pp. 14011-12. Citing a Court Case: (Complex citation. Please follow carefully the form you have found in the secondary works you have consulted.) Citing a Book Review: 15. Ronald M. Radano, review of The Creation of Jazz by Burton W. Puretti, Reviews in American History, 21 (December 1993): 671. Citing a Well Known Reference Book: 16. Encyclopedia Britannica, 11th ed., s.v. "Prayers for the Dead." Citing Dissertations: 17. Anna Louise Bates, "Protective Custody: A Feminist Interpretation of Anthony Comstock's Life and Laws" (Ph.D. diss., State University of New York at Binghamton, 1991), 34. Unpublished Papers: 18. Poshek Fu, "Struggle to Entertain: The Ideological Ambivalence of the Wartime Shanghai Film Industry, 1942-1945" (paper delivered at the 108th Annual Meeting of the American Historical Association, San Francisco, California, January 8, 1994), 15.
FULL CITATION FOR UNPUBLISHED MANUSCRIPTS : Title of document, if any, and date Folio number (or box number) Name of collection Depository and city where it is located EXAMPLES: 17. Lawrence E. Skelly to Joseph L. Hetzel, 6 March 1947, American Civil Liberties Union Papers, Mudd Manuscript Library, Princeton University, Princeton, N.J. 18. Diary of Lewis Tappan, 23 February 1836, Tappan Papers, Library of Congress, Washington D.C. 19. Joan Hayes, "Abortion Law: A Case History," January 1970, Box 3, National Abortion Rights Action League Papers, New York Public Library, New York, NY. 20. Thurgood Marshall, interview with Ed Edwin, February-June 1977, Washington, D.C., Columbia Oral History Program, Columbia University, New York, NY. ======
*SHORT TITLE CITATIONS*: After the first reference to a particular source of whatever kind, all subsequent references should be shortened. The shortened reference to a book should include only: Last name of the author Shortened title of the book (underlined or in italics) Page number of the reference. Example: For the first citation of any book use the Book, Full Title: Judith A. Baer, Equality Under the Constitution: Reclaiming the Fourteenth Amendment (Ithaca: Cornell University Press, 1983), 105-130. For all succeeding citations use the Book, Short Title: Baer, Equality Under the Constitution, 105-130. Example 2: Book, Full Title: Deborah L. Rhode, ed., Theoretical Perspectives on Sexual Difference (New Haven: Yale University Press, 1990), 257-260. Book, Short Title: Rhode, ed., Theoretical Perspectives, 257-60. SHORT TITLE CITATIONS FOR ALL ARTICLES: The shortened reference to an article should include only: Last name of the author, Short title of the article, Page numbers of the reference. Example: Article, Full Title Citation: Mary Louise Roberts, "Samson and Delilah Revisited: The Politics of Women's Fashion in 1920's France," American Historical Review, 98 (June 1993): 657. Article, Short Title Citation: Roberts, "Samson and Delilah," 657. A shortened reference to a manuscript source should include only the title and name of the collection.
APPENDIX B: BIBLIOGRAPHY FORM: At the end of your paper you should provide a list of the books and other references you have used. You may find it convenient to divide your bibliography into categories, such as Manuscripts, Interviews, Books, and Articles. Within each category works should be arranged alphabetically, by the author's last name. SOME TYPICAL BIBLIOGRAPHICAL ENTRIES: The basic information given in a bibliographic entry parallels that given in a footnote, but note the differences in format. Note, for instance, that lines after the first are indented. Books by a Single Author: Cafe, William H. Never Stop Running: Allard Lowenstein and the Struggle to Save American Liberalism. New York: Basic Books, 1993. Books by Two or More Authors (Note that each name appears in inverse order, and that semi-colon is used with three or more names). Adler, J.H., et al. The Pattern of U.S. Import Trade since 1923. New York: Federal Reserve Bank of New York, 1952. More than One Work by the Same Author: Mead, Margaret. Blackberry Winter: My Early Years. New York: Simon and Schuster, 1972. ______. Coming of Age in Samoa: A Psychological Study of Primitive Youth. New York: Morrow, 1928. Editor or Translator Named in Addition to Author: Ariès, Philippe. Centuries of Childhood: A Social History of Family Life. Translated by Robert Baldick. New York: Alfred A. Knopf, 1962. Multivolume Work: Hall, G. Stanley. Adolescence: Its Psychology and Its Relations to Physiology, Anthropology, Sociology, Sex, Crime, and Education. 2 vols. New York: Appleton, 1904. Association as "Author": American Historical Association. Directory of American Historians. Washington, D.C.: American Historical Association, 1994. Edition other than the First: Crews, Frederick, and Sandra Schor. The Borzoi Handbook for Writers. 2nd ed. New York: McGraw Hill, 1989. When Paperback Reprint Is Used: May, Henry. The End of American Innocence: A Study of the First Years of Our Own Time, 1912-1917. [1959]. Reprint, New York: Quadrangle, 1964. Volume in a Series: Lloyd, T.O. Empire to Welfare State: English History, 1906-1985. 3rd. edition. The Short Oxford History of the Modern World. Edited by J.M. Roberts. Oxford: Oxford University Press, 1986. BIBLIOGRAPHY FORMAT FOR ALL ARTICLES: Article in a Scholarly Journal: Tonomura, Hitomi. "Black Hair and Red Trousers: Gendering the Flesh in Medieval Japan." American Historical Review 99 (February 1994): 129-154. Article in a Popular Magazine: Hamilton, Ian. "Spender's Lives." The New Yorker, 28 February 1994, pp. 72-84. ======Manuscript Material: William J. Brennan Papers, Manuscript Division, Library of Congress, Washington, D.C. Unpublished Paper: Ditz, Toby. "Secrecy and Candor in the Mercantile Writing of Eighteenth-Century Philadelphia." Paper read at the Eighty-Seventh Annual Meeting of the Organization of American Historians, 14-17 April 1994, in Atlanta, Georgia. Interviews: Appel, Cheri. Interview with Ellen Chesler, 1 February 1989, New York, NY. Sophia Smith Collection. Smith College, Northampton, Massachusetts.