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Copyright by Jennifer Nichole Asenas 2007 Copyright by Jennifer Nichole Asenas 2007 The Dissertation Committee for Jennifer Nichole Asenas Certifies that this is the approved version of the following dissertation: The Past as Rhetorical Resource for Resistance: Enabling and Constraining Memories of the Black Freedom Struggle in Eyes on the Prize Committee: Dana L. Cloud, Supervisor Larry Browning Barry Brummett Richard Cherwitz Martha Norkunas The Past as Rhetorical Resource for Resistance: Enabling and Constraining Memories of the Black Freedom Struggle in Eyes on the Prize by Jennifer Nichole Asenas, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2007 Dedication For Jeff and Marc Acknowledgements This dissertation is the product of many kind souls with brilliant minds who agreed to helped me throughout this process. I would like to thank my advisor, Dana Cloud, for being a living example of a scholar who makes a difference. I would also like to thank my committee members: Barry Brummett, Richard Cherwitz, Martha Norkunas, and Larry Browning for contributing to this project in integral and important ways. You have all influenced the way that I think about rhetoric and research. Thank you Angela Aguayo, Kristen Hoerl, and Lisa Foster for blazing trails. Jaime Wright, your inner strength is surpassed only by your kindness. Johanna Hartelius, you have reminded me how special it is to be loved. Lisa Perks, you have been a neighbor in all ways. Amanda Davis, your ability to speak truth to power is inspiring. Katie Feyh and Bryan McCann have shown me what the love of justice looks like. SooHye Han, thank you for teaching me balance. Martha Berry, thank you for laughing with me. Thank you Amy Young, Jay Childers, Nicole Laster, Gretchen Clark, Roger Gatchet, Diana Martinez, Jonah Feldman, and Meredith Bagley for being my friends. I don’t know how I would have done this without all of you. While I was writing this dissertation I lost my cousin Marcos Morales. His death reminded me how important family is and how lost I would be without mine. Thank you mom (Joy Asenas) and dad (Gabriel Asenas) for always listening and reminding me to keep my chin up. Thank you Jeff, Phillip, Steven, Laura, and Elizabeth for keeping me grounded. I would also like to thank the Johnson family for their love and support. I am proud to be a part of your family. Kevin Johnson, there are not words to express my admiration, gratitude, and love for you. You are my sunshine. v The Past as Rhetorical Resource for Resistance: Enabling and Constraining Memories of the Black Freedom Struggle in Eyes on the Prize Publication No._____________ Jennifer Nichole Asenas, PhD The University of Texas at Austin, 2007 Supervisor: Dana L. Cloud I began this project with the question of how today’s social justice activists might find a useable history in a massively influential text like Eyes on the Prize. Thus, the broad question that motivated this rhetorical inquiry was: what means are available to people interested in social change, but whose access to the resources to influence society is limited? One important resource that oppressed peoples can lay claim to is a shared sense of the past. Through a critical analysis of Eyes on the Prize, this dissertation examines shared memory as a resource for rhetorical production. I am interested not only in how the past is re-presented in the documentary, but also what resources the documentary provides its audience to consider and take action for social change. The films present memories that complicate or run counter to the dominant narrative of the black freedom struggle and thereby make available a reservoir of rhetoric power for a political present. vi My analysis suggests that Eyes on the Prize does not contradict public memory’s dominant values of the black freedom struggle, but it does resist their blind adherence. The documentary does not force viewers to take sides on divisive issues like separation/integration or violence/nonviolence. Instead it allows them to realize that these concepts are dialectical. These are, in my estimation, productive tensions. Eyes on the Prize is an excellent pedagogical tool for producing citizen activists. Although activism gives way to electoralism by the end of the documentary, activism is portrayed positively in the documentary. There are certainly costs to activism, as some activists experienced in the most extreme way. However, the heroes of Eyes on the Prize are certainly the activists. In an analysis of a text’s rhetorical potential, it is also necessary to acknowledge how the text limits rhetorical possibility. Significantly, Eyes on the Prize inadequately addresses the importance of class in the black freedom struggle. The lacuna of class in the documentary neglects fundamental changes in the goals and tactics of the black freedom struggle and limits the material and psychological structures that maintain racism. vii Table of Contents Keeping Our Eyes on the Prize: Recalling the Black Freedom Struggle in Hurricane Katrina's Wake................................................................................................1 RHETORICAL AGENCY AND INVENTION ............................................6 CHAPTER OVERVIEW ……………………………………………………8 Chapter 1: Rhetorical Invention in Presentations of the Past ...............................12 SOCIAL MEMORY AND HISTORY .........................................................13 THE HEGEMONY OF PUBLIC MEMORY...............................................14 DISPUTING IDEOLOGY: THE POLITICAL POSSIBILITIES OF COUNTER-MEMORY .......................................................................16 OPENING UP OPPOSITIONAL READINGS: POLYVALENCED MEMORIES AND RHETORICAL INVENTION .............................19 THE RHETORIC OF DOCUMENTARY FILM.........................................22 THE STRUGGLE FOR REPRESENTATION AND DOCUMENTARY FILM ..............................................................................................................24 IMAGING EVIDENCE: VISUAL RHETORICS AND ARGUMENT ......26 TELEHISTORY AS EVIDENCE ................................................................28 Media Framing and Official Memory..................................................29 The Ambivalence of News Coverage of the Black Freedom Struggle 32 ORAL HISTORY AS EVIDENCE .............................................................34 OLD SOCIAL MOVEMENTS: INSTRUMENTAL ACTION, MATERIAL CHANGE.............................................................................................37 NEW SOCIAL MOVEMENTS: SYMBOLIC ACTION, CULTURAL CHANGE.............................................................................................39 THE BLACK FREEDOM STRUGGLE: INSTRUMENTAL AND SYMBOLIC CHANGE.............................................................................................40 DEBATE OVER THE F[UTILITY] OF RE-MEMBERING THE BLACK FREEDOM STRUGGLE.....................................................................42 AGENCY, PUBLIC MEMORY, AND SOCIAL CHANGE.......................46 RACE, EQUALITY, AND THE AMERICAN SYMBOLIC ORDER........48 viii CONCLUSION.............................................................................................50 Chapter 2: Public Memory of the Black Freedom Struggle and Eyes on the Prize 53 PUBLIC MEMORY OF THE BLACK FREEDOM STRUGGLE..............54 THE PAST COMES ALIVE? THE HISTORY CHANNEL ON THE BLACK FREEDOM STRUGGLE.....................................................................57 Video Clips of the Black Freedom Struggle........................................58 Tracing the Movement: The Chain of Events on the History Channel Website ................................................................................................62 INNOCENT WHITES: FORREST GUMP AND RESPONSIBILITY FOR RACISM ..............................................................................................65 BUILDING A COLORBLIND DREAM: THE PROPOSED MEMORIAL TO DR. MARTIN LUTHER KING, JR. ON THE NATIONAL MALL..68 THE BLACK FREEDOM STRUGGLE: THE SAME OLD STORY.........70 THE LONG MEMORY OF CIVIL RIGHTS ON FILM: EYES ON THE PRIZE ..............................................................................................................73 EYES ON THE PRIZE: AMERICA'S CIVIL RIGHTS YEARS..................74 Awakenings (1954-1956).....................................................................74 Fighting Back (1957-1962)..................................................................74 Ain't Scared of Your Jails (1960-1961) ...............................................75 No Easy Walk (1962-1966) .................................................................76 Mississippi: Is This America? (1962-1964).........................................78 Bridge to Freedom (1965)....................................................................79 EYES ON THE PRIZE II: AMERICA AT THE RACIAL CROSSROADS.....80 The Time Has Come (1964-1966) .......................................................80 Two Societies (1965-1968)..................................................................81 Power! (1966-1968).............................................................................83 The Promised Land (1967-1968).........................................................84 Ain't Gonna Shuffle No More (1964-1972).........................................86 A Nation of Law? (1968-1971)............................................................86
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