Library of the Yazoo Library Association| 310 N

Total Page:16

File Type:pdf, Size:1020Kb

Library of the Yazoo Library Association| 310 N Ghosts of Mississippi Contents: • Newspaper articles Location: Vertical Files at B.S. Ricks Memorial Library of the Yazoo Library Association| 310 N. Main Street, Yazoo City, Mississippi 39194 VERTICAL FILE Gho^/s- SSrSSr^^' [^^ZXPO 6, THE YAZOO HERALD, SATURDAY, MAY 11,1996 Hollywood comes to Yazoo County H olljnvood came to Yazoo County this week as Castle Rock Productions shot scenes for an as yet unnamed film. Film crews have scoured the county this week bringing to life the story of slain civil rights leader Medgar Evers and the subsequent trail that convicted his killer, Byron de la Beckwith. Light, camera, action has been the call as the film's direc tor, Rob Reiner, has been calling on actors James Woods, Whoppi Goldberg and Alec Baldwin to play the major roles in telling the story here in Yazoo County. They started in downtown Yazoo City on Main Street Tuesday by re-creating the parade Beckwith received upon returning from his two mistrials in the 1960s. Prior to shooting downtown, the production company painted and fixed up several buildings. Yazooans got an up close look at Woods and Reiner in ac tion. Yazoo native Willie Morris was among the spectators. The crew then drove through the county with a specially designed car set to film some additional scenes before moving Wednesday to a set in Satartia. That town will remember the night Whoopi came to the store and the day Alec Baldwin was at the Presbyterian Church-Gas Station. Shooting individual scenes there and on the Yazoo River Bridge in Satartia, the film crew moved to Bentonia on Thursday. In Bentonia, the filming captured parts of the com munity's downtown area and Blue Front Cafe. The week was also filled with "sighting" movie stars throughout the county and will forever be remembered in Yazoo County. "CUT!" James Woods, playing the part of Byron de la Beckwith, is greeted during parade scene shot Tuesday on Main Street 1 About 200 extras helped recreate a 1960s style parade in downtown Yazoo City V W Nw ■%- About 200 extras helped recreate a 1960s style parade in downtown Yazoo City .. f- jm t I - r - /• •t H- ■ 2f.- - ^ S.rv'' =-* • _••*•. v Production company recreated a gas station in Satartia on edge of cotton field Photos by Gordon Denman Director Rob Reiner, left, watches action on set as extra Stewart Norquist, daughter of Griffin and jane Norquist, plays the part of a parade-goer. Satartia bridge refurbished for background scene Extras dresseded right out of their parent's yearbooks for the movie Willie Morris, Jep Barber talk about movie-making process as they watch filming Pictured from left, Ashley Spinks, Lisa Smithart, Julie Smithhart and Laura Buchanan Movie filming set next week Some Yazoo City streets in the downtown area will be closed Tuesday for the filming of a scene in an upcoming major mo tion picture. Part of Main Street will be closed at the request of the crew of the not yet titled production. At approximately 6 a.m. Tuesday the filming and production crew will close Main Street, between Jefferson and Commer cial, until around noon. The street will remain closed until the filming and production crews are completely finished. Downtown businesses in the affected area will remain open Tuesday morning, but only to foot traffic. Once the filming is completed, normal vehicular traffic will be back to normal. Filming of the scene is scheduled to take around six hours ac cording to a representative of the Yazoo County Convention and Visitors Bureau. The filming will be of a parade scene. Other sites around the county scheduled for filming include Bentonia and Satartia. Satartia's part in the film is set for Tuesday afternoon and continue on Wednesday, May 8. Bentonia's part in the filming is set for the entire day of Thursday, May 9. quicK fivacuations and fast dorm fire at Seton Hall in terns in every dorm "would deyjjinv^^l^y^i^Q^t|inePi|?|ispSji |^^®-^^^^hOrange, officials, N.J., campus MSU said,withoutsupplyingacostcost a significant sum," Tice otd^ensema*bia^efWuf*rsiJ pWrclrthe Sj;arkville ^e estimate. "We are very effec- Man linked toKKK had role in Evers fiim ■ Caston, serving time for 1960s slaying, helped on Ghosts set By J«rry Mltch«li Clarlon-lKclger Staff Wrilar Purported Klansman James "Doc" Caston helped Hollywood portray a crime from the past in the 1P96 movie Ghosts ofMississippJ, What was Caston''' had commit ted his own cr ime almost three decades ear Patrice Goode says she tikes home schooling for her daugh-! Ji Caston lier. ter Brighton, 11, because it allows for a more creative and On Nov. 13,a Humphreys Countyjury convicted Caston, 66, of Satartia, his brother,Charles E. Caston,64, of Holly Bluff, Home-schoollnd and their half brother, Hal Crimm, 51, of Vicksburg ■ State count reveals * "We had decided that at each of manslaughter for the 12.5 percent drop least by high school, we 1970 killing of JElainey Pool were going to let him go to near Louise. Circuit Judge to 7,000 students school." said Eric's father, Jannie Lewis sentenced each Alan."We felt like we could ofthem to 20 years in prison. By Tony Plohotski n't provide the proper sci Clarlon-Ledg«r Staff Wrilor Ghosts ofMississippi told ence and math education the story of the reopening of Eric Bowen is 12 years that he needed at home." the 1963 assassination of old and a sixth-grader, but Eric, who has quietly set- Medgar Evers through the until this year he'd hardly tled in at Mount Salus eyes of then-Assistant Dis ever been in a classroom. Christian School, could trict Attorney Bobby Bowen and his two sis help accoimt for 1,000 stu DeLaughter, now a Hinds ters were instead hunkered dents state education offi Countyjudge. around their kitchen table cials say were being home In 1994, a Panola County as their mother, using a schooled last year but whc jury convicted Klansman home-school curriculum, weren't part of a count Byron De La Beckwith of taught them how to read, taken in September. State Evers' killing. Beckwith is write and do math. education officials suspect serving a life sentence in the Although the parents of many of them returned tc Central Mississippi Correc the Clinton children say more formal classroom set tional Facility in Rankin the arrangement was suit tings. County — the same prison able and they thought Eric Peggy Peterson, directo] where the Castons and was learning all he should, of the office of compulsorj Crimm are serving their time. they also thought it was school attendance anc Jack Stevens of Jackson, time to put their eldest enforcement for the Missis who worked with the crew on child in a more traditional sippi Department of Edu Ghosts, said "Doc" Caston school last August. cation, said she is hesitan See CASTON,llA ,a$ton: Hollywood choicessecond-guessed before p...jnilA other game,Stevens said. Time To 2217involved 6,000 extras, lis paia aDout $75 for renting Caston told them restaurants in said Ward Emling,who heads Mis ips for several days."There's no New Orleans paid him top dollar sissippi's film office. jstion," he said."That's exactly for the turtles,Stevens said. The man who resurrected the iioitwas." "Hewas adamnfascinatingfellow. Pool case. District Attomey James man fitting Caston's physical He was never mean,"Stevens said. Powell of Durant, never knew of [description appeared in a book , Stevens said filmmakers never Caston's assistance to filmmakers. lut&e making ofthe movie, The knew about Caston's involvement "Well," Powell said last week,"I osts ofMedgarEviers,written by in Pool's killing or FBI documents guess if they ever make his movie, late Willie Morris. that claim Caston was a Klansman. hell have all the props." According to the book,fi lmmak- In 1998, Stevens saw Caston's News of Caston's involvement — apparently imable to find a arrest on TV and telephoned Mor surprised Fred ZoUo of New York undown service station in the ris: "I was trembling the night I City, who produced both Ghosts belta—decided to build their own called Willie. I told Mm,'Remem and Mississippi Burning. learSatartia. ber kindly ol'Doc? This is the same "That makes me feel bad," said As filmmakers collected props fellow.'" Zollo,now working on the film Pur ^m a bygone era, they happened Ifs not the first time for Holly ple Man Road, which could be I hppn "an old fisherman and trap- wood to second-guess choices of filmed, at least partly, on Missis Pper who lived in a house trailer on those who helped on films in the sippi's GulfCoast. f[cluttered premises a quarter of a Magnolia State. Zollo said, however, he's happy 'mUe firom the set, a macho fellow In the 1988 film Mississippi Caston sharesthe same prison with with slicked-back hair, tattoos, Burning, Larry Shoemake served Beckwith, who let filmmakers mustache, gold-framed glasses, as an extra, shown in the movie know during the shooting of Ghosts somebody Stanley KowalsM might helping carry the bodies ofthe three in spring 1996 in Jackson that he have played cards with on poker slain civil rights workers. wanted to meet and talk with the night.He hand-wrestled big catfish Eight years later, Shoemake actor portraying him. James in the Yazoo River £ind boiled his holed himself up in an abandoned Woods refused and later won an own chitterlings. For the upcoming restaurant in Jackson and opened Oscar nomination for his role.
Recommended publications
  • Jeff Atmajian - Orchestration Credits
    Jeff Atmajian - Orchestration Credits Feature Films: Directed By: Composer: Year: Distinctions: The Bucket List R. Reiner M. Shaiman 2007 The Water Horse: Legend of the Deep J. Russell J. N. Howard 2007 Hairspray A. Shankman M. Shaiman 2007 1408 M. Hafstrom G. Yared 2007 The Reaping S. Hopkins J. Frizzell 2007 Miss Potter C. Noonan R. Portman 2006 Blood Diamond E. Zwick J. N. Howard 2006 Angel F. Ozon P. Rombi 2006 My Super Ex Girlfriend I. Reitman T. Castelucci 2006 The Lady in the Water M. N. Shyamalan J. N. Howard 2006 The LakeHouse A. Agresti R. Portman 2006 King Kong P. Jackson J. N. Howard 2005 Golden Globe Nom. Infamous D. McGrath R. Portman 2005 Freedomland J. Roth J. N. Howard 2005 The Shaggy Dog B. Robbins A. Menken 2005 Rumor Has It R. Reiner M. Shaiman 2005 Oliver Twist R. Polanski R. Portman 2005 The Interpreter S. Pollack J. N. Howard 2005 Because of Winn Dixie W. Wang R. Portman 2004 Shall We Dance P. Chelsom G. Yared 2004 Collateral M. Mann J. N. Howard 2004 The Village M. N. Shyamalan J. N. Howard 2004 Oscar Nominee The Manchurian Candidate J. Demme R. Portman 2004 Troy (Unused) W. Peterson G. Yared 2004 The Passion of The Christ M. Gibson J. Debney 2004 Oscar Nominee Peter Pan P. J. Hogan J. N. Howard 2003 Big Fish T. Burton D. Elfman 2003 Oscar Nominee Mona Lisa Smile M. Newell R. Portman 2003 Hidalgo J. Johnston J. N. Howard 2003 Hulk A. Lee D. Elfman 2003 Alex and Emma R.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 09/26/2021 02:14:10AM Via Free Access the Movie-Made Movement 121
    6 The movie-made Movement: civil rites of passage Sharon Monteith Memory believes before knowing remembers. (William Faulkner) Forgetting is just another kind of remembering. (Robert Penn Warren) Film history cannibalises images, expropriates themes and tech- niques, and decants them into the contents of our collective memory. Movie memories are influenced by the (inter)textuality of media styles – Fredric Jameson has gone so far as to argue that such styles displace ‘real’ history. The Civil Rights Movement made real history but the Movement struggle was also a media event, played out as a teledrama in homes across the world in the 1950s and 1960s, and it is being replayed as a cinematic event. The interrela- tionship of popular memory and cinematic representations finds a telling case study in the civil rights era in the American South. This chapter assesses what films made after the civil rights era of the 1950s and 1960s express about the failure of the Movement to sus- tain and be sustained in its challenges to inequality and racist injus- tice. It argues that popular cultural currency relies on invoking images present in the sedimented layers of civil rights preoccupa- tions but that in the 1980s and 1990s movies also tap into ‘struc- tures of feeling’. Historical verisimilitude is bent to include what Tom Hayden called in 1962 ‘a reassertion of the personal’ as part of the political, but it is also bent to re-present the Movement as a communal struggle in which ordinary southern white people are much more significant actors in the personal and even the public space of civil rights politics than was actually the case.
    [Show full text]
  • Crossroads Film and Television Program List
    Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge.
    [Show full text]
  • Art 8 Vol III Is 2
    Qualitative Sociology Review Volume III, Issue 2 – August 2007 Wendy Leo Moore Texas A&M University, USA Jennifer Pierce University of Minnesota, USA Still Killing Mockingbirds: Narratives of Race and Innocence in Hollywood’s Depiction of the White Messiah Lawyer Abstract Through a narrative analysis of movies confronting issues of race and racism in the post-civil rights era, we suggest that the movie To Kill a Mockingbird ushered in a new genre for movies about race which presented an image of a white male hero, or perhaps savior, for the black community. We suggest that this genre outlasted the era of the Civil Rights Movement and continues to impact popular cultural discourses about race in post-civil rights America. Post-civil rights films share the central elements of the anti-racist white male hero genre, but they also provide a plot twist that simultaneously highlights the racial innocence of the central characters and reinforces the ideology of liberal individualism. Reading these films within their broader historical context, we show how the innocence of these characters reflects not only the recent neo-conservative emphasis on “color blindness,” but presents a cinematic analogue to the anti-affirmative action narrative of the innocent white victim. Keywords Race; Racism; Film; Popular culture; Whiteness The film, To Kill a Mockingbird , based on Harper Lee’s eponymous book, was produced in the early 1960s, in the midst of the civil rights movement. Its narrative focuses on the valiant efforts of a small town lawyer, Atticus Finch, who defends Tom Robinson, a black man wrongfully accused of rape, against the racism of the Jim Crow South.
    [Show full text]
  • WHAT I LEARNED at the MOVIES ABOUT LEGAL ETHICS and PROFESSIONALISM by Anita Modak-Truran
    WHAT I LEARNED AT THE MOVIES ABOUT LEGAL ETHICS AND PROFESSIONALISM By Anita Modak-Truran HOW I GOT HERE I’ve been fortunate. I practice law. I make movies. I write about both. I took up my pen and started writing a film column for The Clarion-Ledger, a Gannett-owned newspaper, back in the late 90s, when I moved from Chicago, Illinois, to Jackson, Mississippi. (It was like a Johnny Cash song… “Yeah, I’m going to Jackson. Look out Jackson Town….”) I then turned my pen to writing for The Jackson Free Press, an indie weekly newspaper, which provided me opportunities to write about indie films and interesting people. I threw down the pen, as well as stopped my public radio movie reviews and the television segment I had for an ABC affiliate, when I moved three years ago from Jackson to Nashville to head Butler Snow’s Entertainment and Media Industry Group. During my journey weaving law and film together in a non-linear direction with no particular destination, I lived in the state where a young lawyer in the 1980s worked 60 to 70 hours a week at a small town law practice, squeezing in time before going to the office and during courtroom recesses to work on his first novel. John Grisham writes that he would not have written his first book if he had not been a lawyer. “I never dreamed of being a writer. I wrote only after witnessing a trial.” See http://www.jgrisham.com/bio/ (last accessed January 24, 2016). My law partners at Butler Snow have stories about the old days when Mr.
    [Show full text]
  • Unforgettable Journeys Saturday, May 2 at 3:00 P.M
    SELECTED SHORTS GETTY 2009 UNFORGETTABLE JOURNEYS Saturday, May 2 at 3:00 P.M. TODAY’S ARtists Beryl Bainbridge is a British author living in North London. She has written eighteen novels, including Unexpected Adventures The Dressmaker and The Bottle Factory Outing, four books of nonfiction, and two collections of short stories. Her awards include the Guardian Fiction Prize, the WH Smith Literary Award, the Whitbread Novel Award, “Cary Grant’s Suit” and the James Tait Black Memorial Prize. She is a five-time nominee for the Booker Prize. by Todd McEwen performed by James Cromwell Kate Burton was nominated for Tony Awards for her work in Hedda Gabler, The Elephant Man, and The Constant Wife. Her other Broadway work includes Present Laughter (Theatre World Award); The Beauty Queen of Leenane; Jake’s Women; Company; and Some Americans Abroad (Drama Desk nomination). She “The Man Who Blew Away” appeared in Three Sisters at London’s West End, and her off-Broadway work includes David Mamet’s by Beryl Bainbridge Boston Marriage. Her screen credits include Max Payne, Spooner, Stay, Quid Pro Quo, Sherry Baby, The Night performed by Joe Mantegna Listener, Swimfan, Unfaithful, Celebrity, The Ice Storm, August, and Big Trouble in Little China. She appeared in the HBO film Empire Falls, and her other television work includes Notes for My Daughter (Emmy Award); The Practice; The West Wing; Law & Order; Grey’s Anatomy (Emmy nomination); and Rescue Me. INteRmissiON James Cromwell received a Best Supporting Actor Oscar nomination for his performance as Farmer Hoggett in the movie Babe. His motion picture work includes Black Ball, Angels in America, Space Cowboys, “Which Is More Than I Can Say About Some People” The Green Mile, The General’s Daughter, and Snow Falling on Cedars.
    [Show full text]
  • Memory and Identity in the Reconstruction of the Civil Rights Movement
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2005 Uncivil War: Memory and Identity in the Reconstruction of the Civil Rights Movement. Joanne Sarah Barclay East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Political History Commons Recommended Citation Barclay, Joanne Sarah, "Uncivil War: Memory and Identity in the Reconstruction of the Civil Rights Movement." (2005). Electronic Theses and Dissertations. Paper 999. https://dc.etsu.edu/etd/999 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. UnCivil War – Memory and Identity in the Reconstruction of the Civil Rights Movement A thesis presented to the faculty of the Department of History East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in History by Joanne Sarah Barclay May 2005 Dr. Stephen Fritz, Chair Dr. Dale Schmitt Dr. Andrew Slap Keywords: Memory, Identity, Commemoration, Civil Rights Movement ABSTRACT UnCivil War – Memory and Identity in the Reconstruction of the Civil Rights Movement by Joanne Sarah Barclay Memory is constructed to solidify a certain version of the past in the collective identity. History and memory occupy a controversial role in the New South, with battles over the legacy of the Civil War and the reassertion of Confederate symbols in the wake of the Civil Rights Movement’s challenge to the status quo.
    [Show full text]
  • Cleansing Moments and Retrospective Justice
    Michigan Law Review Volume 101 Issue 5 2003 Cleansing Moments and Retrospective Justice Margaret M. Russell Santa Clara University School of Law Follow this and additional works at: https://repository.law.umich.edu/mlr Part of the Civil Rights and Discrimination Commons, Law and Race Commons, Legal History Commons, and the Supreme Court of the United States Commons Recommended Citation Margaret M. Russell, Cleansing Moments and Retrospective Justice, 101 MICH. L. REV. 1225 (2003). Available at: https://repository.law.umich.edu/mlr/vol101/iss5/5 This Essay is brought to you for free and open access by the Michigan Law Review at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. CLEANSING MOMENTS AND RETROSPECTIVE JUSTICE Margaret M. Russell* I. INTRODUCTION: "RE-TRYING" RACE We live in an era of questioning and requestioning long-held assumptions about the role of race in law, both in criminal prosecu­ tions specifically and in the legal process generally. Certainly, the foundational framework is not new; for decades, both legal literature and jurisprudence have explored in great detail the realities of racism in the legal system.1 Even among those who might prefer to ignore the role of race discrimination in more than two centuries of American law, denial is no longer a viable or intellectually defensible option. Rather, debate now centers upon whether or not the extensive history of American jurisprudential race discrimination should affect the way we interpret or resolve current doctrinal dilemmas.
    [Show full text]
  • Laws of Race/Laws of Representation: the Construction of Race and Law in Contemporary American Film, 11 Tex
    UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 1-1-2010 Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film, 11 Tex. Rev. Ent. & Sports L. 219 (2010) Cynthia D. Bond John Marshall Law School Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, Law and Race Commons, and the Law and Society Commons Recommended Citation Cynthia D. Bond, Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film, 11 Tex. Rev. Ent. & Sports L. 219 (2010). https://repository.law.uic.edu/facpubs/43 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film CYNTHIA D. BOND* "Racial imagery is central to the organi[z]ation of the modem world." -Richard Dyer, White "[T]his utterly inevitable species of schizophrenia is but one of the many manifestations of the spiritual and historical trap, called racial, in which all Americans find themselves, and against which, some of us, some of the time, manage to arrive at a viable and honorable identity." -James Baldwin, The Devil Finds Work ABSTRACT Popularfilm has a lot to teach us about social narrativesof law.
    [Show full text]
  • Burning Mississippi Into Memory? Cinematic Amnesia As a Resource for Remembering Civil Rights Kristen Hoerl Auburn University, [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 3-2009 Burning Mississippi into Memory? Cinematic Amnesia as a Resource for Remembering Civil Rights Kristen Hoerl Auburn University, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Hoerl, Kristen, "Burning Mississippi into Memory? Cinematic Amnesia as a Resource for Remembering Civil Rights" (2009). Papers in Communication Studies. 193. http://digitalcommons.unl.edu/commstudiespapers/193 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Critical Studies in Media Communication 26:1 (March 2009), pp. 54–79; doi: 10.1080/15295030802684059 Copyright © 2009 National Communication Association; published by Routledge/Taylor & Francis. Used by permission. Published online February 25, 2009. Burning Mississippi into Memory? Cinematic Amnesia as a Resource for Remembering Civil Rights Kristen Hoerl School of Communication and Journalism, Auburn University, Auburn, Alabama, USA Abstract The 1988 film Mississippi Burning drew extensive criticism for its misleading portrayal of the FBI’s investigation of three murdered civil rights activists in 1964. As critics noted, the film ignored the role of Black activists who struggled for racial justice even as it graphically depicted the violence that activists and other Blacks faced during the civil rights era.
    [Show full text]
  • 379 /Vb/D /Io, 9V35
    379 /vB/d /io, 9V35 MEDGAR EVERS (1925-1963) AND THE MISSISSIPPI PRESS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By John R. Tisdale, B.S., M.A. Denton, Texas December, 1996 379 /vB/d /io, 9V35 MEDGAR EVERS (1925-1963) AND THE MISSISSIPPI PRESS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By John R. Tisdale, B.S., M.A. Denton, Texas December, 1996 John R. Tisdale, Medgar Evers (1925-1963) and the Mississippi Press. Doctor of Philosophy (History), December, 1996, 153 pp., 99 titles. Medgar Evers was gunned down in front of his home in June 1963, a murder that went unpunished for almost thirty years. Assassinated at the height of the civil rights movement, Evers is a relatively untreated figure in either popular or academic writing. This dissertation includes three themes. Evers's death defined his life, particularly his public role. The other two themes define his relationship with the press in Mississippi (and its structure), and his relationship to the various civil rights organizations, including his employer, the National Association for the Advancement of Colored People. Was the newspaper press, both state and national, fair in its treatment of Evers? Did the press use Evers to further the civil rights agenda or to retard that movement, and was Evers able to employ the press as a public relations tool in promoting the NAACP agenda? The obvious answers have been that the Mississippi press editors and publishers defended segregation and that Evers played a minor role in the civil rights movement.
    [Show full text]
  • Mississippi's Social Transformation in Public Memories of the Trial Against Byron De La Beckwith for the Murder of Medgar Ever
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 1-2008 Mississippi’s Social Transformation in Public Memories of the Trial against Byron de la Beckwith for the Murder of Medgar Evers Kristen Hoerl Auburn University, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Hoerl, Kristen, "Mississippi’s Social Transformation in Public Memories of the Trial against Byron de la Beckwith for the Murder of Medgar Evers" (2008). Papers in Communication Studies. 195. http://digitalcommons.unl.edu/commstudiespapers/195 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Western Journal of Communication 72:1 (January–March 2008), pp. 62–82; doi: 10.1080/10570310701828966 Copyright © 2008 Western States Communication Association; published by Routledge/Taylor & Francis. Used by permission. Published online March 11, 2008. Mississippi’s Social Transformation in Public Memories of the Trial against Byron de la Beckwith for the Murder of Medgar Evers Kristen Hoerl Department of Communication and Journalism, Auburn University, Auburn, Alabama, USA Corresponding author – Kristen Hoerl, Department of Communication and Journalism, 0336 Haley, Auburn University, Auburn, AL 36849-5211, USA, email [email protected] Abstract In 1994, Byron de la Beckwith was convicted for the 1963 murder of civil rights activist Medgar Evers.
    [Show full text]