The rationale for the present text, Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach About Inequality and Inequity Throughout History stems from two main things. First and foremost is the fact that the reviews of the first two volumes in the Hollywood or History? series have been overwhelmingly positive, especially as it pertains to the application of the strategy for practitioners. Classroom utility and teacher practice have continued to be the primary objectives in developing the Hollywood or History? strategy. The second thing is that this most recent volume in the series takes it in a new direction--rather than focusing on eras in history, it focuses on the themes of inequity and inequality throughout history, and how teachers can utilize the Hollywood or History? strategy to tackle some of the more complicated content throughout history that many teachers tend to shy away from.
There is a firm belief that students connection to film, along with teachers ability to use film in an effective manner, will help alleviate some of the challenges of teaching challenging topics such as inequity and inequality in terms of gender, race, socioeconomic status, and so much more. The book provides 30 secondary lesson plans (grades 6-12) that address nine different topics centered around inequity and inequality throughout history, many of which connect students to the world we are living in today. The intended audience for the book are teachers who teach social studies at the 6th-12th grade level both in the United States and other countries. An additional audience will be college and university social studies/history methods professors in the United States and worldwide.
Introduction to Hollywood or History? An Inquiry-Based Strategy for
Using Film to Teach About Inequality and Inequity Throughout History; Sarah
J. Kaka.
Section I. Gender.
Chapter
1. Be BRAVE: Exploring Persuasive Messaging About Marriage of Young
Women Through Film Clips and Source Analysis, FILM: Brave (2012); Nancy B.
Sardone and Haylee Vitale.
Chapter
2. Making Space for Gender Equality, FILM: Hidden Figures (2016); Amy
McGuffey and Lucas George.
Chapter
3. Words and Deeds: The Campaign for Suffrage in Both the United
States and Great Britain, FILMS: Iron Jawed Angels (2004) and Suffragette
(2015); Suzanne Shelburne and David Hicks.
Chapter
4. Rosie the Riveter goes to Hollywood,FILM: Swing Shift (1984);
Andrea S. Libresco.
Chapter
5. Druze, Gender, and Shifting Norms and Israel, Syria, and Borders,
FILM: The Syrian Bride (2004); Daniel Osborn.
Section II. Slavery.
Chapter
6. Take a Train Ride with Moses, FILM: Harriet (2019); Taylor Hawes.
Chapter
7. Antebellum Espionage: Black Women Abolitionists, FILM: Underground
Season 2 (2017); Gretchen Rudham and Candice Logan-Washington.
Chapter
8. SlaveryBeyond Mere Racial Inequality, FILM: 12 Years a Slave
(2013); Emmett V. Wilson.
Chapter
9. Reclaiming Cinematic Story with Birth of a Nation (2016), FILM:
Birth of a Nation (2016); Jason DeHart and Paul Sausville.
Section III. Race.
Chapter
10. How Does the Film Free State of Jones Depict the Agency of
Historical Actors During the Period of Reconstruction? FILM: Free State of
Jones (2016); Sara Evers.
Chapter
11. The Soul of Baseball: Investigating Race Relations Through
Baseball, FILM: Soul of the Game (1996); Lisa Pennington, David Hicks, Ann
Canning, and Suzanne Shelburne.
Chapter
12. Disney Cartoons With Minstrel Roots, FILM: Early Disney Cartoons,
Various (1928-1946); Kristal Curry.
Section IV. LGBTQ+.
Chapter
13. Building Empathy and Inspiration with The Imitation Game FILM:
The Imitation Game (2014); Jason DeHart and Paul Sausville.
Chapter
14. Understanding the Stonewall Riots Through Intersectionality,
FILMS: Moonlight (2016) & Stonewall (2015); Corey Sell and Sandra Leu
Bonanno.
Chapter
15. Love and Respect in Torch Song Trilogy, FILM: Torch Song Trilogy
(1988); Daniel Osborn.
Section V. Native American.
Chapter
16. The Lasting Legacy of Indian Removal, FILM: I Will Fight No More
Forever (1975); Elaine Alvey.
Chapter
17. Hostiles: Revisionist Views About Native Americans and U.S.
Government Relations at the Close of the Western Frontier, FILM: Hostiles
(2018); Janie Hubbard.
Chapter
18. Sitting Bull: Art is Life and Life is Art, FILM: Woman Walks
Ahead (2017); Candice Logan-Washington and Gretchen Rudham.
Section VI. Socioeconomic.
Chapter
19. Exploring Issues of Environmental and Socioeconomic Justice in
the Flint Water Crisis, FILM: Flint (2017); Elaine Alvey.
Chapter
20. The Pursuit of Happiness for the U.S. Homeless Sector, FILM: The
Pursuit of Happyness (2006); Janie Hubbard.
Chapter
22. Then I Knew We Had Won Something They Could Never Take Away:
Investigating Salt of the Earth, FILM: Salt of the Earth (1954); Tim Monreal
and Jesśs Tirado.
Section VII: Education.
Chapter
23. Inspired by a True Story: The Heroification of Educators in
Popular Film, FILMS: Dangerous Minds (1995), Remember the Titans (2000),
Stand and Deliver (1988); Scott L. Roberts and Charles Elfer.
Chapter
24. In the Shadow of Brown v. Board: The Integration of Little Rock
High School, FILM: Crisis at Central High School (1981) and The Ernest Green
Story (1993); Sarah J. Kaka.
Chapter
25. Hoop Dreams: Sports, Education and the American Dream, FILM: Hoop
Dreams (1994); Kent Willmann.
Section VIII: Child Labor.
Chapter
26. Princesses and Paupers: American Child Labor Revision and
Realities in A Little Princess, FILM: A Little Princess (1995); Anne
Aydinian-Perry.
Chapter
27. Child LaborExploitation and Inequality, FILM: Newsies (1992);
Emmett V. Wilson.
Chapter
28. Samantha: An American Girl Holiday: A Snapshot of the Progressive
Era, FILM: Samantha: An American Girl Holiday (2004); Monica Noraian.
Section IX: Intersectionalities.
Chapter
29. Equal Pay for Equal Work FILM: The Associate (1996); Nancy B.
Sardone and Daniel Ginchereau.
Chapter
30. Blood Will Out: The Intersections of Race and Class in Belle,
FILM: Belle (2013); Anne Aydinian-Perry.
Chapter
31. Zootopia: Exploring Themes, Perspectives & Intersectionality of
Contemporary American Society, FILM: Zootopia (2016); Monica Noraian.
About the Contributors.
Sarah J. Kaka, Ohio Wesleyan University
