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poster

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7.1

/89/

72

/4/

73

/3/

For over 100 years, Hollywood cinema has crafted the ultimate "villain"- the Indian, as they were labeled in early Westerns. Confined almost exclusively to this genre, the Western became a vehicle for American racism, obscuring the genocide upon which the United States was built. In this documentary, only Native Americans are given a voice to share their story, one that has been overshadowed by Hollywood's portrayal. Their narrative, part of the larger American story, highlights how cinema has long been used as a powerful propaganda tool, distorting history and perpetuating harmful stereotypes.

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7.5

/32/

The story behind the novel and the film Johnny Got His Gun by Dalton Trumbo.

poster

57

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8.1

/152/

15

/2/

77

/3/

A look at the confluence of the Red Scare, McCarthyism, and blacklists with the post-war activism by African Americans seeking more and better roles on radio, television, and stage. It begins in Harlem, measures the impact of Paul Robeson and the campaign to bring him down, looks at the role of HUAC, J. Edgar Hoover and of journalists such as Ed Sullivan, and ends with a tribute to Canada Lee. Throughout are interviews with men and women who were there, including Dick Campbell of the Rose McLendon Players and Fredrick O'Neal of the American Negro Theatre. In the 1940s and 1950s, anti-Communism was one more tool to maintain Jim Crow and to keep down African-Americans.

poster

?

In his Lost Coast home, Alexander Cockburn recounts a personal history of Beat the Devil, the John Huston movie. When Lennard first read Beat the Devil – the book – she was amazed to discover James Helvick was the pseudonym for journalist Claud Cockburn, father of her friend Alexander. 2014, Elizabeth Lennard and CounterPunch.

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