The Evolution of Defining Rape in the United States
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The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2015 A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the African American Studies Commons, African History Commons, American Film Studies Commons, and the American Literature Commons Recommended Citation Hughes, Airic, "A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator" (2015). Theses and Dissertations. 1317. http://scholarworks.uark.edu/etd/1317 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Airic Hughes University of Arkansas Bachelor of Arts in History and African and African American Studies, 2011 July 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________ Dr. Calvin White Thesis Director __________________ __________________ Dr. Pearl Ford Dowe Dr. James Gigantino Committee Member Committee Member Abstract: Oscar Micheaux was a luminary who served as an agent of racial uplift, with a unique message to share with the world on behalf of the culturally marginalized African Americans. He produced projects that conveyed the complexity of the true black experience with passion and creative courage. His films empowered black audiences and challenged conventional stereotypes of black culture and potential. -
“For the Liberty of the Nine Boys in Scottsboro and Against Yankee
Canadian Journal of Latin American and Caribbean Studies, 2013 http://dx.doi.org/10.1080/08263663.2014.940718 “For the liberty of the nine boys in Scottsboro and against Yankee imperialist domination in Latin America”: Cuba’s Scottsboro defense campaign Frances Peace Sullivan* History and Literature, Harvard University, Cambridge, MA, USA (Received 15 January 2013; accepted 3 March 2014) In the spring of 1931, death sentences imposed on nine young African Americans arrested on trumped-up rape charges in Scottsboro, Alabama, ignited a worldwide wave of protest. This article explores Cuba’s Scottsboro defense campaign and argues that Scottsboro protests were a means of criticizing rising anti-black racism on the island from within the narrow confines of permissible racial dialogue in Cuban society. Additionally, it contends that the communist-led defense campaign became a vehicle for a broad range of actors to condemn imperialism and participate in a wider pan-American surge in oppositional politics. Ultimately, popular outrage over the convictions and sentences boosted the communist party’s appeal in Cuba during a time of heightened restiveness on the island and cemented the ideological link between anti-racism and anti-imperialism for future generations of radical activists. Au printemps 1931, on condamna à mort pour viol neuf jeunes Afro-Américains de Scottsboro, Alabama, sur la foi de témoignages falsifiés. L’événement provoqua une vague de soutien à travers le monde entier. Cet article explore la campagne de soutien aux “Scottsboro Boys” menée à Cuba et démontre que les manifestations cubaines ont été, dans le cadre restreint de liberté d’expression touchant aux questions raciales, un moyen de critiquer un racisme anti-noir croissant sur l’île. -
January 24, 2020 Research Paper
January 24, 2020 Research Paper The United States has gone through a long period of racial prejudice, since its creation when Natives were forcefully taken off their land. Specifically in the 1930s, the race relations were at an extreme high due to the continuous poor treatment of Black people, who were considered “inferior” to White people, an unreasonable assumption. This is an extremely prevalent concept in the novel To Kill a Mockingbird which highlights the innocence of these minorities who do nothing to negatively contribute to society. Written and published in the 1960s, the brink of the Civil Rights Movement, Lee wrote the novel with the intention of raising awareness to the blatant racism occurring, which no one was acting upon, using characters that readers grew to love. Harper Lee used numerous historical events in order to develop the plot and characters of To Kill a Mockingbird specifically Emmett Till, the Scottsboro Boys, along with their trial and the Ku Klux Klan. To begin with, the case of Emmett Till was used to influence major characters of the novel, To Kill a Mockingbird by Harper Lee. Emmett Till was only 14, while visiting his family, was accused of flirting with a white woman. He was abducted by the relatives of the woman and they used extreme violence and shot him. Emmett Till’s mother decided to have an “open-casket funeral” in order to allow people around the world to be more aware of the extreme racial injustices that were occurring, which were often neglected(History.Com Editors 1). In comparison, the novel revolves the case of Tom Robinson, a 25 year old black man who was accused of the rape of Mayella Ewell. -
Contested Representations of the Scottsboro Trials
Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 5-2016 Belle Versus or Tramp Versus Child?: Contested Representations of the Scottsboro Trials Henry Guston Kemp Broege Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Broege, Henry Guston Kemp, "Belle Versus or Tramp Versus Child?: Contested Representations of the Scottsboro Trials" (2016). Women's History Theses. 11. https://digitalcommons.slc.edu/womenshistory_etd/11 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. 1 Belle Versus Beast or Tramp Versus Child?: Contested Representations of the Scottsboro Trials Henry Guston Kemp Broege Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, May 2016 2 In June of 2015, while I was in Montgomery doing research for my master’s thesis, an act of terrorism was carried out by Dylann Roof, a twentyoneyearold White supremacist man, who entered the Emanuel African Methodist Episcopal Church in Charleston, South Carolina and shot to death nine Black churchgoers during their service.1 When asked about his motives, Roof said, “I have to do it. You rape our women and -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
• Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta Mcgee • the Blaxploitation Era • Paul Robeson •
• Interview with Lorenzo Tucker. Remembering Dorothy Dandridge. • Vonetta McGee • The Blaxploitation Era • Paul Robeson •. m Vol. 4, No.2 Spring 1988 ,$2.50 Co-produced with the Black Film Institute of the University of the District of Columbia .,.... ~. .# • ...-. .~ , .' \ r . t .• ~ . ·'t I !JJIII JlIf8€ LA~ ~N / Ul/ll /lOr&£ LAlE 1\6fJt1~ I WIL/, ,.,Dr 8~ tATE /lfVll" I h/ILl kif /J£ tlf1E M/tl# / wlU ~t11' BE 1II~ fr4lt11 I k/Ilt- /V6f Ie tJ]1f. 1t6/tlfV _ I WILL No~ ~'% .,~. "o~ ~/~-_/~ This is the Spring 1988 issue of der which we mail the magazine, the Black Fzlm Review. You're getting it U.S. Postal Service will not forward co- ~~~~~ some time in mid 1988, which means pies, even ifyou've told them your new',: - we're almost on schedule. - address. You need to tell us as well, be- \ Thank you for keeping faith with cause the Postal Service charges us to tell us. We're going to do our best not to us where you've gone. be late. Ever again. Third: Why not buy a Black Fzlm Without your support, Black Fzlm Review T-shirt? They're only $8. They Review could not have evolved from a come in black or dark blue, with the two-page photocopied newsletter into logo in white lettering. We've got lots the glossy magazine it is today. We need of them, in small, medium, large, and your continued support. extra-large sizes. First: You can tell ifyour subscrip And, finally, why not make a con tion is about to lapse by comparing the tribution to Sojourner Productions, Inc., last line of your mailing label with the the non-profit, tax-exempt corporation issue date on the front cover. -
Beck Center for the Arts Produces the Scottsboro Boys Marking the Ninth Collaboration with Baldwin Wallace Music Theatre Program Running February 7 Through 23, 2020
17801 Detroit Avenue Lakewood, OH 44107 beckcenter.org 216.521.2540 CONTACT: Julie Gilliland, 216.521.2540 x22 or [email protected] FOR IMMEDIATE RELEASE: December 16, 2019 Beck Center For The Arts Produces The Scottsboro Boys Marking The Ninth Collaboration With Baldwin Wallace Music Theatre Program Running February 7 through 23, 2020 Lakewood, OH–Beck Center for the Arts is pleased to produce The Scottsboro Boys with the esteemed Baldwin Wallace University Music Theatre Program. This limited engagement runs February 7 through 23, 2020 in the Mackey Theater. Show times are 8 p.m. Fridays and Saturdays and 3 p.m. Sundays. Special Wednesday and Thursday performances will take place at 8 p.m. on February 13, 19, and 20. Buy early and save with promo code: TRIAL to receive $5 off each adult or senior ticket purchased by February 6. Preview performance is the Thursday before opening night, February 6. Tickets range from $10 Smart Seats ® to $33 each. Group and student discounts are available. Tickets are on sale now. With a book by David Thompson, The Scottsboro Boys holds the distinction of the last production created by venerable songwriting team of composer John Kander and lyricist Fred Ebb. They were primarily known for stage musicals, such as the poignant Cabaret and sexy Chicago. The Scottsboro Boys is a musical with the framework of a minstrel show. This powerful musical is based on the true story of nine young black men in a landmark case that helped give rise to the civil rights movement and changed history. This production was nominated for the 2010 Drama Desk Award for Outstanding Musical and Outstanding Book of a Musical, as well as nominations for 2010 Tony Award Best Musical, Best Book of a Musical, and Best Original Score. -
From Racial Trauma to Melodrama
From Racial Trauma to Melodrama: Representations of Race in Oscar Micheaux’s Within Our Gates, Hebert Biberman’s Salt of the Earth, and Rainer Werner Fassbinder’s Ali: Fear Eats the Soul Emmanuel Roberts Approved by: Advisor: Dr. Barbara Mennel Reader: Dr. Amy Ongiri ABSTRACT Emmanuel Roberts: From Racial Trauma to Melodrama: Representations of Race in Oscar Micheaux’s Within Our Gates, Hebert Biberman’s Salt of the Earth, and Rainer Fassbinder’s Ali: Fear Eats the Soul The origins of melodrama come from theater; therefore the genre has many negative associations with exaggeration and manipulation of emotions. Unfortunately, these associations developed an unwarranted reputation for melodrama. While early filmmakers in general showed interest in spectacle and entertainment, Oscar Micheaux, developed social critical melodramas that presented a political perspective on racial trauma. His anti-racist film Within Our Gates (1920) uses melodrama in response to other racist films, such as D.W. Griffith’s Birth of a Nation (1915), which relies on melodrama in order to develop a negative attitude against African Americans. Oscar Micheaux inverts the damaging perspective of Birth of a Nation by relying on an African American cast with a mixed race female protagonist. He creates sympathy towards African Americans by making them the innocent victims of the Caucasians violent regime. The same inversion occurs in Herbert Biberman’s Salt of the Earth, in which the protagonists, Mexican-American miners, suffer at the hands of their Anglo employer, who refuses to grant them equality with White miners. Melodrama relies on exaggerated emotion; yet, the filmmaker can employ the genre to articulate trauma in a way that resonates with the viewers. -
Effacing the Scottsboro Boys: Censorship As Discourse Ellen G
Effacing the Scottsboro Boys: Censorship as Discourse Ellen G. Landau, Case Western Reserve University With his adaptation around 1968 of social critique expressed in a deliberately clumsy cartoonish style, many in the New York art world considered the career of acclaimed Abstract Expressionist Philip Guston to have taken a surprising turn. Unknown to most, however, by “introducing” Ku Klux Klan hoods into his iconography at this juncture, Guston was choosing to revisit his own personally complicated connections with political repression. Born in Montreal of Russian immigrant parents who fled Cossack pogroms, Guston moved with his family to Los Angeles in the 1920s, an era of social instability marked in Southern California by the visible rise of paranoid and exclusionary right-wing social behavior. Non-whites and Jews were routinely barred from acceptance and upward mobility; radically “other,” many (like Guston’s father, a suicide) could never assimilate nor shed an outsider’s sense of vulnerability. Standard accounts of Guston’s development have not analyzed in sufficient depth the considerable implications for his own artistic trajectory as a result of the sadistic and unconstitutional suppression in 1933 of portable murals slated for exhibition at the Hollywood branch of the Communist-affiliated John Reed Clubs. These were created by then-20-year-old Philip Goldstein along with a group of like-minded friends including, among others, Harold Lehman, Murray Hantman and Reuben Kadish. All novice painters, Guston’s cohort was aided by Luis Arénal, brother-in-law of David Alfaro Siqueiros, the famed Mexican revolutionary muralist who’d recently spent time in Los Angeles. -
The NAACP's Rape Docket and the Origins of Criminal Procedure
UNIVERSITY OF PENNSYLVANIA JOURNAL OF LAW ANDSOCIAL CHANGE Volume 24, Number 3 2021 THE NAACP’S RAPE DOCKET AND THE ORIGINS OF CRIMINAL PROCEDURE BY SCOTT W. STERN* Abstract. This Article provides the definitive account of the surprisingly voluminous docket of rape cases argued by the National Association for the Advancement of Colored People (NAACP). It argues, for the first time, that the NAACP’s rape docket was central to the development of modern criminal procedure—to the establishment of the right to counsel, the right to remain silent, the right to a trial free from mob violence or influence, the right against self-incrimination via a coerced confession, and the right to a jury of one’s peers selected without discrimination. Drawing on original archival research, this Article demonstrates that all of these rights have their origins in the hundreds of cases argued by the NAACP on behalf of Black men accused of sexual assault by white women. This Article also argues that these cases were central to the development of the NAACP’s legal department, the relationships between local branches and the national office, and the careers of the famous civil rights attorneys—from Charles Hamilton Houston to Jack Greenberg—who rose to national prominence with the NAACP. Thus, these cases were central to the development of civil rights litigation itself. Indeed, the first significant Supreme Court case argued for the NAACP by a Black attorney was an interracial rape case. The first Supreme Court case ever argued by a Black woman, Constance Baker Motley, was an interracial rape case. -
The Scottsboro Boys: Injustice in Alabama
The Scottsboro Boys INJUSTICE IN ALABAMA By Jay Bellamy ith scant media coverage and little fanfare, on November 22, 2013, a three-judge pan Wel of the Alabama Board of Pardons and Paroles posthumously pardoned Haywood Patterson, Charlie Weems, and Andy Wright, three black men wrongly convicted of raping and assaulting two white women more than 82 years earlier. Although long deceased, the three were the last of a larger group to have their convictions cleared from the official record. Many believe the Scottsboro Boys, as they would become known, were the catalyst for the civil rights movement in the United States. This is their story. The Scottsboro Boys case began on March 25, 1931, when nine young black men and boys hopped aboard a Southern Railway train in search of work in Memphis, Tennessee. The youngest were 13-year-olds Eugene Williams and Roy Wright. The other seven were Charlie Weems, 19; Andy Wright (Roy’s brother), 19; Clarence Norris, 19; Haywood Patterson, 18; Olen Montgomery, 17; Willie Roberson, 17; and Ozie Powell, 16. Patterson, Williams, and the Wright brothers traveled together; the others were Georgia natives unknown to each other. As the train passed through northern Alabama, a fight broke out between the young black men and a group of white youths. One of the white men, walking atop a tank car, stepped on the hand of Patterson, who was hanging from the side. After an exchange of angry words, the whites jumped off when the train slowed and began pummeling Patterson and the others with gravel before jumping back on.