The Usage of Film in Teaching History through the Lens of the Civil Rights Movement
Elizabeth Sullivan
Film, in the wake of the 21st Century, has become a highly popular type of media to portray historical events. Society has evolved to a point in which it is a visual culture. No longer are we represented by oral and written means; visual communication is much more popular. Traditional school experiences juxtapose this idea. Students are still bound by books and written texts in order to receive information. Educators need to be willing to continue to learn how to introduce new modes of expression in their classroom.
Topics like the Civil Rights Movement are often whitewashed in educational texts. Because most films are produced outside of K-12 schooling environments, producers are able to recreate controversial situations, relationships, and people. This paper will provide summaries and analyses of three modern films depicting different aspects of the American Civil Rights movement. It will then discuss why showing these films in classrooms are worthwhile.
Introducing the films
Historical film projects have created controversial figures and taken controversial figures and turned them into likable characters. The Civil Rights movement has been portrayed in film time and time again, each with a slightly different take. The Help tells the story of a White woman in Jackson recording the stories of Black maids, and ultimately publishes them. This film creates white saviors, a specific character type in media, often seen in pieces that discuss issues pertaining to people of color. One Night in Miami focuses on four prominent Black men in the 1960s; Malcolm X takes the main stage. The film wrestles with Malcolm’s stiff exterior and anxious personal life. Selma tells the story of the Selma Marches in 1964. The film highlights Martin Luther King’s actions and how they led to the passing of the Voting Rights Act of 1965. Each protagonist in these three films is understood by audiences differently. How a Civil Rights activist is appreciated in film greatly depends on the general public’s pre-existing opinion of the character. Regardless of a production team’s goals, an activist’s infamy or other characteristics influence the audience.
The Help
The Help was directed by Taylor Tate and released in 2011, grossing $216 million worldwide and receiving positive reviews from critics.[1] The movie takes place in Jackson, Mississippi during the 1960s.[2] Eugenia “Skeeter” Phelan, a new college graduate, wants to become a writer. She is given the chance to have a book published, but the story hinges on Black maids being willing to speak to her about their experiences working for White families. The issue lies in finding Black help that was willing to risk their livelihoods for Skeeter’s writing.[3] Minny Jackson begins to work for Celia Foote after being fired by a different White woman.[4] After gathering enough stories, Skeeter publishes her book, which is a massive hit. Skeeter chooses to stay in Jackson instead of moving to New York City with the promise of a job in a publishing agency.[5]
Hollywood has a tendency to find a newsworthy topic and exploit it; despite the Civil Rights Movement being a “hot” topic in America for decades, it was mostly left out of the film industry.[6] However, in recent years, stories about the era of civil rights have graced screens. The development of white savior stories has become prevalent in American films. These stories amplify (or overamplify) a white character’s influence regarding issues faced by people of color.[7] The white character rescues non-white characters, often learning more about the problem than they originally knew and evaluating how they contributed to the problem. It makes the white character appear as the hero of the story, despite the size of their role, or the danger the characters of color face fighting issues.
The Help created two white savior characters: Skeeter and Celia. The women become white saviors through different experiences. Skeeter is meant to be portrayed as a young woman who does a great service by exposing the nature of treatment White employers subjected their Black help to. She does this without realizing the importance of what she is doing. The film also emphasizes how she will be viewed in the White community, breezing past the reality Black women will face if the location of the book is revealed. Skeeter’s risks are overplayed (especially because she is promised a job if the book sells well) while the maid’s risks are underplayed, painting Skeeter ultimately as the hero of the film. This imagery is only furthered as Skeeter chooses not to accept her dream job working in a New York publishing firm to stay in Jackson and help the women who gave her stories for her book.
Celia is slightly different. She hires Minny after being unable to find help for her house. She wants to impress her husband and the women of Jackson. She treats Minny with kindness and does not seem to grasp certain societal expectations, like the help and employers eating at different tables and the help and employers not being “friends.” During one specific scene, Celia takes Minny by the arm, walks her into the house, and offers her a coke.[8] In another scene, Celia and her husband offer Minny a meal (prepared by Celia) at their dining room table.[9] The film alludes to the idea that because of Celia’s kindness, Minny’s problems are lessened or completely gone. This then creates the idea that a white woman’s kindness solves issues that are systemic racial issues, when in reality, Minny and the rest of the Black community face issues that could only be corrected through legislative changes.
However, different from most narratives, both of these characters are women. By regendering the white savior, two things occur. The first is the idea that they may not be able to be saviors because they also come from oppressed communities. Because they are not men, it is assumed they do not have the power to overcome societal beliefs regarding their own womanhood, let alone fight against anti-Blackness. The second is that they become harder to identify because of tropes surrounding what a woman is supposed to be and how she is supposed to act.[10] Both of these women hold stereotypical traits, such as kindness and empathy. Celia also yearns to be a mother, another trait that has been associated with femininity. Because they have “female” characteristics, audiences need to decipher what aspects are stereotypes and which are aspects of the white savior trope.
Despite having stereotypical personality traits, the women defy traditional womanhood in different ways, making it easy to see how they fill their white-savior roles. Skeeter is considered a tom-boy; she is a college graduate who does not plan to marry until she has established her career. She grew up in Jackson and, after graduating from college, returned, continuing to be well-liked until she gave a voice to Black maids.[11] Celia moved to Jackson and married her husband because of an unplanned pregnancy. She is also one of the loudest women in the movie, trying to push herself into Jackson’s social circle. Until hiring Minny, she did not have help in her house. Because of this, she is regarded as an outsider by most White women but yearns to be accepted.[12]
Ultimately, the regendering of the white savior in The Help created a character that was not as easily identified as in other films, such as Green Book and Hidden Figures. The two women appear as outcasts who do not fully understand societal roles, instead of two women extending a hand to the Black community in Jackson. The audience feels its heartstrings being tugged at as Celia is outcasted by other women in Jackson, both because of her own identity and because she hired Minny.[13] Skeeter is threatened by another White woman after realizing that the book featured her home.[14] If Skeeter and Celia had been written as male characters, it is much more likely that this character trope would be more apparent. As a result, Skeeter and Celia become characters that are endearing to the audience; the two women are effective in their roles of “hero.”
One Night in Miami
Starkly different from the two White women of The Help are the four men of Regina King’s One Night in Miami. More specifically, the four Black men in the film. Malcolm X, Sam Cooke, Jim Brown, and Cassius Clay (more famously known as Muhammad Ali) are the focus of this 2020 film. It was released directly to Amazon Prime Video streaming, receiving glowing reviews from critics and the general audience.[15]
The four men unite in Miami, Florida in 1964 to watch Cassius Clay box in the championship round.[16] After Clay wins, the men return to X’s motel room to celebrate. Instead of celebrating, the men have a serious night. Coming from different backgrounds (one activist, one football player, one singer, and one boxer) the men have curt conversations about the Civil Rights Movement and Black support of the movement. Paranoia, racism, and Islamophobia are all commented on in the film, as Malcolm criticizes his friends but also speaks to them about his decision to leave the Nation of Islam.[17]
Going into production, director Regina King had a unique problem. How does one create a positive protagonist out of a man disliked or misunderstood by many Americans? Malcolm X’s legacy is often misinterpreted or never properly learned. Media pushes X’s original ideas, many of which the Nation of Islam was responsible for propagating. The figure seen in much of American media is a representation of Malcolm X prior to his revelation about black and white segregation, “white devils,” and many of his polarizing ideas.[18] King directed a film that humanized X, showing anxiety, paranoia, and friendship as a way to create a likable (or at least neutral) film character.
Casual Islamophobia arises throughout the film as X’s friends Cooke and Brown try to discourage Clay from converting to Islam; Muslims do not drink, smoke, or “have fun.”[19] If a friend does not accept you for something as personal as religion, it makes an onlooker feel sorry. This usage of stereotyping lends itself to the audience feeling empathetic toward Malcolm X.
One Night in Miami was a refreshing media perspective of Malcolm X. The film shows how Malcolm was a polarizing figure but did not villainize him, which is an overarching theme across Hollywood film. The activist has been painted as one who advocated for violence, black-and-white separation, and the Nation of Islam. Time and time again, the media forgets that X gave up those ideas after his journey to Mecca to complete Hajj, an important Muslim pilgrimage. He gave a voice to “the subterranean fury, [gave] it a voice, not a gun… and [staved] off the rising violence with which he and every human being must struggle when men are brutalized by men.”[20] However, it is important to keep in mind that many audience members may not have this complex understanding of X and how his ideas evolved before his assassination. The movie ultimately portrays this; Malcolm Xnever advocates for the men to pick up arms and storm cities, he implores his friends to use their fame and resources as a voice for the voiceless.[21]
One Night in Miami also does an excellent job of portraying Malcolm X as the man most people know. Known for being strong-headed throughout his life, Malcolm X is presented as a man firm in his stances and was not afraid to tell someone if they did not align with what he thought was right. Because of this, he was often seen as judgmental towards his friends and American society.[22] He and Sam Cooke butt heads several times as Malcolm chastises him for not doing enough for the Black community and Civil Rights Movement. “…He longed for peace and believed it could only come when men were honest with each other.”[23]
This chastisement could turn audiences against Malcolm X, or there could be a moment of realization that he was not the man that the media at the time painted him as. Shortly after his assassination, James Loomis wrote to the editor of the New York Times explaining that Malcolm X was not the violent figure that White media made him out to be during his life. Loomis did admit that the activist was set in his ways; he set the way for future Civil Rights activists “much as the Old Testament laid the foundation for the New Testament.”[24] If a film viewer was somewhat familiar with X after his Hajj, they would understand, much as Loomis did, that X’s original separatist ideas were not the ideas that he died with. One Night in Miami portrays Malcolm X in a light that allows the audience to better understand his purpose, looking past the “harsh” exterior of his words.
Selma
Selma was directed by Ava DuVernay and released in 2014. It was popular with critics and well-liked by general audiences, grossing more than $66 million worldwide.[25] The film opens in 1963 with four girls running down a stairway. A bomb is set off, killing all four girls; the 16th Street Baptist Church Bombing sets the emotional tone for the remaining film.[26] It then moves to 1965 in Selma, Alabama, where Black Americans are being turned away from voting. Martin Luther King Jr. was called down to help advocate for voting rights legislation that would protect Black Americans from poll taxes and tests.[27] After arriving in Selma, he quickly butts heads with local activist groups. There are several scenes in which King meets with President Lyndon B. Johnson to pressure him to pass voting rights legislation.[28] Eventually, King and other activists plan to walk from Selma to the state capitol, Montgomery. During the first attempt, protestors are brutally beaten by police officers and rush back to Selma to escape said violence.[29] During the second march, King decides to turn the group around to avoid traps set by police or White aggressors along the way.[30] Finally, backed by the state, King and thousands of protestors completed the 50-mile march from Selma to Montgomery, Alabama.[31] The movie closes with the signing of the Voting Rights Act of 1965 and King’s speech in Montgomery.[32]
King had relationships with powerful White individuals, such as President Johnson. Often, an activist who has this kind of support will be much more successful in their cause because it seems reasonable. Selma highlighted these relations, showing the president and his advisors in several scenes.[33] This association implies backing from the federal government. It creates a positive air around King, something that the audience can recognize and absorb.
Martin Luther King gathered more support than other activists during the Civil Rights Movement. As seen in Selma, King directs a group and few and far in between are the decisions made by the other members. Even fewer are activists not in King’s posse. Malcolm X, for example, was mentioned but never seen. [34] President Johnson makes a negative comment about X, saying King is better suited for the American people because he is not as radical.[35] The audience can speculate who Johnson means when he says “American people,” but if the president sees King as a more palatable Black activist, it can be assumed that America is synonymous with White and not all Americans. Little else is said about X; his ideas, policies, speeches, and actions are not mentioned. If an audience member has little knowledge about the other activist, it is likely that they would have a much more positive thought process about King and his actions from there on.
Selma, much like the other two films, casts its main protagonist in a neutral, if not positive light. However, part of this positive atmosphere around King may have been from the lack of other important stars in the Selma March. The film never refers to the other celebrities that came down to Alabama, many of whom were actors. The decision to not feature more of Hollywood in Selma enlarges the light shown on King.[36] This issue continues throughout the film; DuVernay wanted to create a “‘demonstration of our moral certainty’ – sacred art,” so, while she wanted to produce a history piece, she had other motives.[37]
By creating a piece about King and the people of Selma, the director chose to eliminate other aspects of the historical narrative.[38] DuVernay does not change King’s actions, making him a historically accurate figure in the film, but she does omit aspects of events that bolster King’s role, which ultimately pushes him to the front of the film and enlarges his moral character.[39] Historians took issue with this because it “egregiously distorts a significant element of that history,” changing the emphasis each individual carried within the Civil Rights Movement.[40]
What does this all mean?
The film industry, after long avoiding The Civil Rights movement, has begun to produce film after film about it. The Help focuses on Skeeter, with Black maids as supporting characters despite their stories being the reason for her success. This paints Skeeter as the hero of the movie, emphasizing her role as a White savior. Minny is influenced by a second White savior, Celia, as the woman’s kindness seems to alleviate Minny of all problems. The two White women sneak under the radar as saviors because their gender makes their powerlessness evident. One Night in Miami attempts to show Malcolm X in a more humane light, in an attempt to make audiences more willing to understand him and his goals as an activist. The United States has a perverse idea of X; Regina King’s film attempts to display how X’s frustration and curt way of speaking was only because of his passion and desire to find equality and Black rights in America. Selma creates a reverent picture of Martin Luther King by maximizing his role in the Selma Marches in 1964. Differently from X, King already has a respected and positive legacy, making the production much more palatable to many more people. The four protagonists in these three films produce different reactions from an audience. The way a Civil Rights activist is able to be understood and appreciated in film greatly depends on the general public’s pre-existing opinion of the character of character-type.
Applying these films to teaching
Film differs from written sources because it has the ability to bring people, places, and events to life. Too often educators rely on students being able to read well to understand the deeper nuances and feeling of the writer or the details being described. Choosing to present information through visual sources evens the playing field for many students because they do not need to rely on their reading skills. Using film provides a new way to learn; it provides auditory and visual learners a positive experience. Captions can provide students who are hard of hearing or in need of written reinforcement to read what is being said. Film has the ability to serve as a platform that benefits many types of learning.
As mentioned in the previous section, the film industry has recently started to embrace the production of film that focuses on the United States Civil Rights movement and the treatment of People of Color in American history. Due to this, there has been an uptick in historically accurate films that celebrate influential members of the Black American community. Often, film directors have much more freedom than textbook creators do. Films are able to incorporate aspects of history that have been whitewashed or completely removed from educational sources. The United States has a heavy history of whitewashing curriculum related to the Civil Rights Movement. The three films described in the first section are films that I have deemed as accessible and useful to teaching. Each film provides viewers with a different understanding and line of inquiry regarding civil rights and the role in which people played in the movement.
The Help conveys an important message about the white savior complex. Despite financially providing for the Black women who shared their stories with her, Skeeter would never have suffered the same backlash and potential violence that these women would have if it became apparent that these stories were from Jackson. Skeeter’s race keeps her away from loss of employment, finances, and the potential for violent retaliation. Class lectures or discussions about how history has shown that identities dramatically shape a person’s quality of life can be related to the way Black women were forced to work in harsh conditions and Skeeter was able to write about these experiences and create a best-seller. In addition to this, class discourse after viewing could include a conversation about the introduction of White characters in Black stories and the space they then take away from Black individuals. The Help serves as an introduction to race and the way it shapes experiences.
One Night in Miami retells the story of Malcolm X, Jim Brown, Sam Cooke, and Muhammad Ali reuniting in Miami for the boxing match. However, the film does something that most media does not. Malcolm X has been villainized throughout American media. This film allows Malcolm to be seen as a person with emotions, fears, and friendships. This humanizing aspect disrupts the narrative that most textbooks create. Very rarely does media, especially literature, acknowledge Malcolm’s humanity. They paint him as a hard radical. This film could also be used as a segue into Malcolm X’s life and ideas after his hajj, a Muslim pilgrimage to Mecca.
Selma takes place in Alabama before the Voting Rights Act of 1965 was passed. It focuses on Martin Luther King Jr., but also incorporates activists that are taught about less often such as John Lewis. Showing this film allows students to understand that MLK did not act alone and was often called to areas to act as the face of a movement. The film also illustrates the violence against Black Americans and Americans that supported integration and equal rights. It does so in a matter that makes viewers understand the severity, but it does so with becoming too explicit. For instance, the film opens with the 16th Street Baptist Church Bombing. It shows the four young girls that would be killed but the bombing does not show the individuals.
As discussed, the usage of film can be an effective use of media in the classroom. It is used far too often; written sources are no longer reflective of today’s society. With the recent boom of media representing the Civil Rights Movement or racial inequality, it seems clear that film needs to be present in classrooms while teaching these events and concepts.
References
DuVernay, Ava, director. Selma. Pathé, Plan B Entertainment, Harpo Productions, Ingenious Media, Celador, Cloud Eight Films, 2014. 2 hr., 33 min. https://www.showtime.com/movie/3505943
“The Help.” IMDb. IMDb.com, August 10, 2011. https://www.imdb.com/title/tt1454029/?ref_=nv_sr_srsg_0.
Horne, Gerald. “‘Myth’ and the Making of ‘Malcolm X.” The American Historical Review 98, no. 2 (April 1993): 440–50. https://doi.org/10.1086/ahr/98.2.440.
Housley, Jason. “Hollywood and The Civil Rights Movement.” Black Camera 19, no. 1 (2004): 7–8. http://www.jstor.org/stable/27761632.
King, Regina, director. One Night in Miami. Amazon Studios, 2020. 1 hr., 55 min. https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e8badd0e-9d87-114a-934b-54a31210c34f?autoplay=0&ref_=atv_cf_strg_wb
Knapp, Jeffrey. “Selma and the Place of Fiction in Historical Films.” Representations 142, no. 1 (2018): 91–123. https://doi.org/10.1525/rep.2018.142.1.91.
Loomis, James. “New York Times,” February 27, 1965.
“One Night in Miami…” IMDb. IMDb.com, January 8, 2021. https://www.imdb.com/title/tt10612922/.
Reed, Adolph. “The Strange Career of the Voting Rights Act.” New Labor Forum 24, no. 2 (2015): 32–41. https://doi.org/10.1177/1095796015579201.
Seekford, Brett. “To Kill a Mockingbird, The Help, and the Regendering of the White Savior.” James Madison Undergraduate Research Journal 4, no. 1 (2016): 6–12. https://doi.org/https://commons.lib.jmu.edu/jmurj/vol4/iss1/1/.
“Selma.” IMDb. IMDb.com, January 9, 2015. https://www.imdb.com/title/tt1020072/.
Taylor, Tate, director. The Help. DreamWork Pictures, Touchstone Pictures, Walt Disney Studios Motion Pictures, Paramount Vintage, StudioCanal UK, 2011. 1 hr., 35 min. https://play.hbomax.com/page/urn:hbo:page:GYe7uAgqQlZyQwgEAAAAf:type:feature?source=googleHBOMAX&action=play
[1] “The Help,” IMDb (IMDb.com, August 10, 2011), https://www.imdb.com/title/tt1454029/?ref_=nv_sr_srsg_0.
[2] Taylor, Tate, director. The Help. DreamWork Pictures, Touchstone Pictures, Walt Disney Studios Motion Pictures, Paramount Vintage, StudioCanal UK, 2011. 1 hr., 35 min. https://play.hbomax.com/page/urn:hbo:page:GYe7uAgqQlZyQwgEAAAAf:type:feature?source=googleHBOMAX&action=play
[3] Taylor, Tate, director. The Help.
[4] Taylor, Tate, director. The Help.
[5] Taylor, Tate, director. The Help.
[6] Housley, Jason. “Hollywood and The Civil Rights Movement.” Black Camera 19, no. 1 (2004): 7.
[7] Taylor, Tate, director. The Help.
[8] Taylor, Tate, director. The Help.
[9] Taylor, Tate, director. The Help.
[10] Brett Seekford, “To Kill a Mockingbird, The Help, and the Regendering of the White Savior,” James Madison Undergraduate Research Journal 4, no. 1 (2016): pp. 6-12, https://doi.org/https://commons.lib.jmu.edu/jmurj/vol4/iss1/1/.
[11] Taylor, Tate, director. The Help.
[12] Taylor, Tate, director. The Help.
[13] Taylor, Tate, director. The Help.
[14] Taylor, Tate, director. The Help.
[15] “One Night in Miami…,” IMDb (IMDb.com, January 8, 2021), https://www.imdb.com/title/tt10612922/.
[16] King, Regina, director. One Night in Miami. Amazon Studios, 2020. 1 hr., 55 min. https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e8badd0e-9d87-114a-934b-54a31210c34f?autoplay=0&ref_=atv_cf_strg_wb
[17] King, Regina, director. One Night in Miami.
[18] Gerald Horne, “‘Myth’ and the Making of ‘Malcolm X,” The American Historical Review 98, no. 2 (April 1993): pp. 442-444.
[19] King, Regina, director. One Night in Miami.
[20] James Loomis, “Letter to the Editor – Death of Malcolm X,” n.d.
[21] King, Regina, director. One Night in Miami.
[22] King, Regina, director. One Night in Miami.
[23] James Loomis, “Letter to the Editor – Death of Malcolm X,” n.d.
[24] James Loomis, “Letter to the Editor – Death of Malcolm X,” n.d.
[25] “Selma,” IMDb (IMDb.com, January 9, 2015), https://www.imdb.com/title/tt1020072/.
[26] DuVernay, Ava, director. Selma. Pathé, Plan B Entertainment, Harpo Productions, Ingenious Media, Celador, Cloud Eight Films, 2014. 2 hr., 33 min. https://www.showtime.com/movie/3505943
[27] DuVernay, Ava, director. Selma.
[28] DuVernay, Ava, director. Selma.
[29] DuVernay, Ava, director. Selma.
[30] DuVernay, Ava, director. Selma.
[31] DuVernay, Ava, director. Selma.
[32] DuVernay, Ava, director. Selma.
[33] DuVernay, Ava, director. Selma.
[34] DuVernay, Ava, director. Selma.
[35] DuVernay, Ava, director. Selma.
[36] Jeffrey Knapp, “Selma and the Place of Fiction in Historical Films,” Representations 142, no. 1 (2018): pp. 113.
[37] Jeffrey Knapp, “Selma and the Place of Fiction in Historical Films,”114.
[38] Adolph Reed, “The Strange Career of the Voting Rights Act,” New Labor Forum 24, no. 2 (August 2015): pp. 33.
[39] Jeffrey Knapp, “Selma and the Place of Fiction in Historical Films,” 92-94.
[40] Adolph Reed, “The Strange Career of the Voting Rights Act,” 34.
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