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At the River I Stand
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This film reconstructs the events that led to the climax of the Civil Rights Movement.
Part Four: Interracial Democracy
Scholars discuss how African Americans and whites initially worked together within Reconstruction governments.
White Rose Resistance Group
Hans Scholl, Sophie School, and Christoph Probst conversing outdoors in 1942
Hans Scholl, Sophie Scholl, and Christoph Probst in June 1942. They were members of the White Rose, a resistance group that condemned Nazism.
Part One: The World the War Made
Scholars discuss the effects that the changes brought about by the Civil War had on the identities of American citizens.
Part Six: The Legacies of Reconstruction
Scholars discuss the legacies of the Reconstruction era as part of Facing History & Ourselves’ work on the period.
"Of Course He Votes the Democratic Ticket" (1876)
A political cartoon by Thomas Nast from Harper’s Weekly depicts the intimidation techniques that the Democratic Party used to suppress the votes of Black Southerners in the election of 1876.
"Of Course He Votes the Democratic Ticket” (en español)
Wood engraving by Thomas Nast from Harper’s Weekly (1876)
The Road to Brown
This film shows the legal case against segregation that launched the civil rights movement.
Glenn Ligon, Untitled - Four Etchings [A]
In this white on black etching, Glenn Ligon repeats "I do not always feel colored," a phrase from Zora Neale Hurston's essay "How It Feels to Be Colored Me."
Glenn Ligon, Untitled - Four Etchings [B]
This black-on-white etching quotes Zora Neale Hurston's essay "How It Feels to be Colored Me."
Glenn Ligon, Untitled - Four Etchings [C]
In this black-on-black etching, Glenn Ligon uses Ralph Ellison's quote from the prologue of his novel, Invisible Man (1952): "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus side-shows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only themselves, or figments of their imagina-"