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Or rather, this is best understanding of these experts and professional historians, since the philosophy and discipline of history is like any other philosophy and discipline that has its best understanding and best theories. There are movies based on almost every historical period.

Some of them are based on historical novels or biographies or autobiographies, Some are based on newspaper accounts. Others are original screenplays written by screenplay writers who research the history and write about it. Many of these are fictional versions of history, with much creative license. However, these films can be used to teach history, and to argue the true history. Even spiritual history is not without debate and reassessment as is found in the controversy regarding The Da.

Vinci Code and like novels and texts and throughout history. These debates have been going on for centuries and probably only appear new to a modern- day audience who thought that these canonical questions had already been settled, among Catholics and Protestants alike. However, biblical and theological historians are continuing their research, and certainly when new documents are discovered and/or rediscovered. As for historical movies, whether secular or spiritual, we can also discuss, for example, Spike Lee’s Malcolm X. This is indeed Spike Lee’s Malcolm X. A movie portrayal of Malcolm X is not necessarily the true Malcolm X.

Don Steele (The True Meaning of Malcolm X) has a review of the Spike Lee movie that makes this very clear. It’s available from Lulu Press, http: //www. No doubt there are other reviews of the movie that make clear the distinction between history and creative license, even though the Spike Lee movie is a tremendous effort and the performance of Denzel Washington is certainly the greatest role of his career and a fine performance. No fictional role can compete with this, and certainly not the role he received an Academy Award for, even though it demonstrates his versatility, as hero and anti- hero, and certainly the anti- heroic is a much a staple of film making, national and international, as the heroic. We don’t know if the History Channel has ever included Malcolm X among its repertoire (maybe during Black History Month?) and discussed it with historians, but this would be a good movie to discuss, and to discuss the historical veracity, and not just during Black History Month.

How much is true history, how much is creative and filmmic license, and how much is just Spike Lee’s Malcolm X, and just Spike Lee’s imagination or lack of imagination. And maybe how much is Denzel Washington’s Malcolm X, although, again, he gives a very powerful performance, and many agree that he’s a leading actor of this generation. Certainly Spike Lee is a notable and talented filmmaker, but as with all filmmaker he has to decide if a project is truly for him–as with Oprah Winfrey’s efforts with the Great Books of African American fictional tradition in her film productions of the works of Toni Morrison or Zora Neale Hurston, both literary icons. It’s acceptable for filmmakers to make movies.

Nevertheless, it’s also acceptable for movies to be remade. Perhaps Oprah’s versions, although controversial now, might very well become classics, as is true not only in film history but literary history. The great Zora Neale Hurston, for example, had to be rediscovered. Although Their Eyes Were Watching God is considered her “canonical” work, many of her other works, such as Moses Man of the Mountain are being re- evaluated also. If Their Eyes Were Watch God is the great feminine (feminist?) text–and has certainly been used by feminists of every variety to promote an agenda; Moses Man of the Mountain might be at some point regarded as the great masculine (masculinist) text, and her truer and more balanced appreciation and knowledge of African American culture and civilization recognized. In her anthropological stories, for example, she collected not only the stories of women of almost every variety and type, but the stories of men of almost every variety and type and throughout the African Diaspora.

Her true stature as a novelist, short story writers, playwright, folklorist, anthropologist (student of Franz Boas at Barnard College, Barnard graduate 1. What White Publishers Won’t Print.”There are many Moses movies, as we know; it would be interesting to have a film of this rendition of the Moses story.

And if filmmakers were to decide to make this into a comedy it had better be a “Cosmic Comedy.” However, Moses (Moshe) as spiritual archetypal prophet/liberator in the Hebrew pantheon, who ” is the figure who dominates the Torah,” has also had an important role in African American history, secular and spiritual, and their strategies of liberation and rebellion. When people become “historical figures” so to speak and are no longer perceived as a “threat”–again, so speak–many make great claims. The Moses story is continued to be made and remade and every historical period has a new image of Moses integrated with the original. However, this is the job of ethical historians to distinguish fact from fiction. Even with the great prize fighter Muhammad Ali–who is no longer in his prime, so to speak (an elder can be in their “spiritual prime” however), nevertheless is a great difference now in how people treat and perceive him than in his more controversial youth. He’s no longer the “upstart” young man–again, so to speak. He even has President George W.

Bush giving him the Presidential Medal of Freedom, and has many people making great claims. For many he’s a contemporary, but he’s also a “historical figure.” And it should be noted that he also has his role in “The Malcolm X Story.” This role might continue to be assessed and reassessed. But you cannot make a movie about Mohamed Ali without mentioned the Malcolm X connection. Read or reread “The Autobiography of Malcolm X.” If you only have a recent edition, try to also find the original edition. This is a first example of teaching history and “historical figures” via film and also the problem of distinguishing filmmic reality from so- called reality. It is not our role in this essay merely to introduce this topic, but it is something for the teachers of history and the professional historians and those who participate in history and connect to “historical figures” to consider.

Also, people who meet so- called historical think that this means they “know” them; this just means that they meet them. It doesn’t mean they “know” them. However, they can present their assessments. No doubt there are many people who meet Muhammad Ali and think they know him. Maybe many who interview him and think they know him from some interview. These people probably don’t know him at all, nor do they have a true means of getting to know him. They have to try to be honorable historians and honorable historical journalists.

There’s a question on the history channel website of whether journalists embedded with the troops in Iraq can be objective. Possibly not. Nor can most of the other American journalists. Nor can Iraq’s journalists be objective. Perhaps many think they are and pretend to be. An objective journalist would have to be a journalist neither American nor Iraqi, nor an ally of either. That’s like imagining a cowboy journalist to be objective when they’re going after Geronimo.

Maybe many many generations later. Also, few Native American would be objective, neither the ones helping the cowboys to capture Geronimo, nor the ones fighting with Geronimo. Think about it. Every generation has its “cowboys & Indians.” Every nation has its “cowboys & Indians.” Think about it. And, by the way, who’s your “Geronimo”? Part of the history of immigrants and pilgrims has been people trying to escape the “role” assigned to them of having to play “the Indians.” Almost every group has had to play “the Indians,” in somebody’s history. And someone has also had to play “Geronimo.” Think about it.