This is the fourth in a series of film reviews reprinted from the Journal of American History. These reviews model ways of looking critically at popular films, documentaries, miniseries, and other history-based features.

Long awaited by both historians and buffs, the film Gods and Generals is a prequel to the 1993 film Gettysburg. As Gettysburg was based on the historical novel The Killer Angels (1974) by Michael Shaara, so Gods and Generals is based on the 1998 historical novel of that title written by Shaara's son Jeff. The new film's purpose is to sketch highlights of the Civil War in the eastern theater from Virginia's secession through the death of the Confederate general Thomas J. "Stonewall" Jackson.

The need to set the stage for Gettysburg influenced the choice of what to cover in the almost four-hour-long prequel. For example, Gods and Generals covers the battle of Fredericksburg while entirely omitting the much more pivotal battle of Antietam. This omission occurs in part because Fredericksburg was the first combat experience of the key Gettysburg protagonist, Joshua Lawrence Chamberlain, and because it was the event for which the Union repulse of Pickett's charge at Gettysburg was a suitable payback. One suspects that another reason the film skips Antietam is that it led to Abraham Lincoln's issuing the Emancipation Proclamation; coverage of that document might have led viewers to suspect that the war had something to do with slavery. Of this, more anon.

Like the Civil War soldiers it depicts, the film Gods and Generals has its triumphs and its defeats. In some ways it is an improvement over Gettysburg. Robert Duvall's portrayal of Robert E. Lee is infinitely superior to Martin Sheen's glassy-eyed performance in the earlier film. The makeup is better, too, so that the viewer does not see what appear to be beavers clinging to generals' chins, as in Gettysburg. And the artillery pieces actually recoil when fired.

On the other hand, Gods and Generals perpetuates some of its predecessor's weaknesses. Actors still deliver, in spoken form, lines that their characters composed for written communication, making some scenes even more stilted than the 19th century actually was. Other scenes have the feel of that favored entertainment of the mid-Victorians, the tableau vivant—but not very vivant. Sometimes it is like watching an animated wax museum.

The greatest triumph of Gods and Generals lies in Stephen Lang's splendid depiction of Stonewall Jackson. It is difficult to imagine a more authentic and convincing presentation of the renowned general. Eschewing popular mythology that makes Jackson a wild-eyed maniac, Lang presents an understandable character that is, in almost every case, true to what we know about Jackson. This is important to Gods and Generals because Jackson's role looms so large that the film might more accurately have been titled simply Stonewall Jackson.

When they wanted to do so, the makers of Gods and Generals were accurate in both detail and nuance. Unfortunately, the filmmakers preferred to spend much of the nearly four-hour running time of the movie doing a great deal of ax-grinding. The result is the most pro-Confederate film since Birth of a Nation, a veritable celluloid celebration of slavery and treason.

Gods and Generals brings to the big screen the major themes of Lost Cause mythology that professional historians have been working for half a century to combat. In the world of Gods and Generals, slavery has nothing to do with the Confederate cause. Instead, the Confederates are nobly fighting for, rather than against, freedom, as viewers are reminded again and again by one white southern character after another.

In stark contrast, the pro-Union, antislavery view of the war is expressed only once. In one example of this unequal presentation, viewers hear the Confederate defenders of the famous sunken lane at Fredericksburg exclaiming that they are fighting for freedom and independence, but the Union attackers, members of the renowned Irish Brigade, make only trivial comments. Yet historical sources document in the Irishmen's own eloquent words why they, as immigrants, believed they ought to fight for the Union. The filmmakers did not see fit to have any of the actors mouth those lines.
Similarly, the film depicts slaves as generally happy, vaguely desiring freedom at some future date, but faithful and supportive of their beloved masters and the cause of the Confederacy. Slaveholders in the film treat their slaves like family or better, and the slaves reciprocate by doing their best to protect their masters' property from the invading Yankees. The many thousand times more numerous slaves who eagerly sought freedom and aided Union soldiers are invisible in Gods and Generals.

Another aspect of Lost Cause mythology depicted in the film deals with religion. Echoing pro-Confederate claims since the war itself, the movie represents the South as being uniquely and sincerely Christian, while the North has at most a vague spirituality. In fact, both sides had about an equal representation of Christianity. Once again, Gods and Generals presents a skewed depiction of history through judicious omission. While the film—for the most part accurately—presents Stonewall Jackson as a saint in every sense of the word, viewers never learn that Oliver O. Howard, the Union general whose troops Jackson's men so savagely attacked at Chancellorsville, was an even more fervently evangelical soldier.

Jackson's attack at Chancellorsville is the dramatic climax to the film and a neo-Confederate's dream of paradise. As Jackson rides boldly forward flanked by staff officers, the mounted party gallops toward the viewer, larger than life, and the score swells, simultaneously triumphant and otherworldly, a fittingly Wagnerian style of accompaniment for this ride of the Confederate valkyries. Any lingering doubts as to the filmmakers' sympathies promptly vanish.

The final scene at Jackson's deathbed is meant to be sad, and it is indeed very moving. Yet I left the showing quite sad in a different way. Despite the makers' large expenditures and serious efforts toward accuracy in some details, they marred the result by their willingness to perpetuate a distorted view of the Civil War.

Five years ago, during my first year of teaching Advanced Placement U.S. History in Leesburg, VA, I created a final exam for my students that I hoped would change the way they thought about monuments and memorials.

For the students to fully execute this project, they first had to understand the purposes of monuments and memorials. We spent two days reading materials that discussed the goals of monuments and memorials. Students also read an article from the Washington Post Magazine that detailed a failed attempt to build a monument on the National Mall. The third day we watched History Channel videos on the presidential monuments and war memorials and critiqued the information that was presented on each. After our discussion on the videos was completed, I introduced the students to the final exam project.

The project was to create a 45-minute tour of a monument or memorial in Washington, DC. Each year, I pre-selected 15 monuments and memorials that were in walking distance of each other. I divided the students into groups of three or four and gave them five class days to plan the tours and accompanying brochures. Each tour and brochure had to explain the purpose of the monument and memorial and help visitors understand its role in history. Both the tour and the brochure had to use at least one primary as well as one secondary source for the information presented.

The students also had to create an activity that reinforced the information they presented to the audience. This activity had to be something that everyone could participate in and that incorporated the sources from the tour the group presented. I purposely did not give much guidance on the activities beyond emphasizing the need for primary and secondary sources. I wanted students to create their own activity that they believed helped to explain the monument or memorial to the group.

Throughout the year in my classroom, we had worked with primary and secondary sources, which prepared students to work with sources on their own for this project. To the students, primary and secondary sources are generally items that they use for research purposes—not incorporate into an active event like a tour—so this stretched their understanding of how to use sources and of how to create historical meaning.

I made sure that there were no duplicate groups and that students had plenty of resources available to use. Before assigning the project, I made a trip to the National Park Service Ranger Station in Washington, DC, to pick up brochures on individual monuments and memorials and a trip to my local library to take out books on the monuments and memorials. (It was near the end of the school year, so computer labs and the school library were in high demand).

The sources and books ranged from children's books and nonfiction sources to historical association publications. When the students were researching for their tours, I wanted them to have a mix of sources available so that they could create a unique tour.

I researched each monument and memorial to make sure they had primary and secondary sources available that the students could find through the different National Park Service websites. I explained, though, that the primary and secondary sources did not have to be just about the monument and memorial—they could be from a spectator, newspaper, fundraising committee, or a schedule of opening day events. I wanted the students to realize that primary and secondary sources of a historic site are not just the building plans but anything that deals with the site!

When the students were researching, finding, and printing their sources, they analyzed sources in terms of usefulness for the tour and accessibility for the audience. Many found that the primary sources they selected allowed them to weave a story into their tour. I didn't have any guiding activities for their primary/secondary sources so the students had to analyze and synthesize the information on their own.

I was nervous to let the students go like this, but I knew they had to do the analysis on their own to be able to speak intimately of the monument or memorial on their tour. The Vietnam Veterans Memorial group did this with ease. Although they were excellent students in my class, they had not been comfortable with primary source analysis in our previous in-class activities. The group began by searching for only primary sources dealing with the building of the monument, letters from veterans, legislation in Congress, and the plans from Maya Lin.

I kept encouraging this group to look through the books I had checked out from the private library, but they were determined to sort through what they had found online and in journals in the school library. The group took the approach of observing the materials, seeing who wrote them, finding bias, and trying to connect the sources all together. They were able to find a common thread between all the sources but they were still missing a piece that would connect the audience to the memorial personally.

When the students finally started going through the public library material, they found a book that changed the focus of their tour. The book was Offerings at the Wall: Artifacts from the Vietnam Veterans Memorial. One student made a decision—she was going to let the offerings (primary sources left behind at the wall) take the lead. The group laid their sources out on a desk. They had photocopied offerings that they liked from the book and placed them with the other primary sources they had collected to construct a narrative for their tour. This was an extremely effective way to demonstrate the connection between the memorial and its visitors.

I collected the brochures the students created before we went on the field trip to Washington, DC. I did this for two reasons: one, so that I had time to grade the brochures, and two, so that the students could not rely on their brochures to present the tours. I didn't want them to just walk through the sites using their brochures; I wanted them to add to them with additional information that they had found through their research.

The day we left for the trip, the students came prepared with props, primary sources, handouts, and prizes for their activities. Each student received a response booklet that they were to fill out for each tour. My questions in the booklet aimed at what the students learned and the strengths and weaknesses that they saw. I had my own grading rubric to use and the chaperones who came with me were also assigned rubrics to grade with so that I could reference them later.

The first presentation was the hardest for the students but once one group went, the rest were relieved and couldn't wait to present. I had high expectations for the tours and the students knew this. My secondary goal of this project was to impart my passion for historical sites and discussing them to the students, and I could see that my passion had passed on to several of the students.

For each tour, every student had to talk for at least 15 minutes (for groups of three, or 11 minutes for groups of four) and had to draw on one source in his or her portion. The groups that brought pictures or documents to hold or pass around to the audience were usually the ones that the other students enjoyed most.

The best part for all of us was the activities that went along with each tour. The students really went above and beyond in planning activities to review what they talked about. Many of the groups found additional primary sources for this portion. They would either do a card sort where you mix and match the picture to a person or you would have to put pictures in chronological order based on the building of the monument or memorial. Several students also planned scavenger hunts around their monument or memorial.

The activities were usually based on the size of the monument and memorial. For example, the Washington Monument usually had a matching activity due to the limited access to the monument and the structure of it. The 56 Signers of the Declaration of Independence Memorial had a scavenger hunt based on the information on each plate since it was a smaller memorial with full access.

One memorial that invoked a lot of emotion for the students and for which students found primary sources easily is the National Japanese American Memorial to Patriotism During World War II by Union Station. This site is beautiful and the students really loved exposure to this piece of history. The site is dedicated to Japanese Americans' participation in World War II from military service to the internment camps.

The best tour site for a group of four was the Franklin D. Roosevelt Memorial, which is divided into four sections. The World War II Memorial was good for a larger group because I could divide the students into the Atlantic and Pacific fronts.

To talk for 45 minutes about a monument or memorial is not easy if you do not know the information well. Having students base the tour on primary sources forced them to look in the past and find out about the monument or memorial as it was being built and presented to the public.

My overall goal was to expose students to the resources and history that surround them. These students may or may not go back to these sites, but they will remember their stories and the stories monuments and memorials can tell. A few, I feel, will return and be able to tell the people they are with a little bit about what they are seeing.

For those of you who couldn’t make it to Chicago on January 7 for our workshop, “Teaching the Past in a Digital World: New Perspectives for History Education,” at the American Historical Association (AHA) Annual Meeting, you not only missed the balmy 50 degree temperatures (not bad for Chicago in January!), but also quite a few great resources worth sharing. Here’s a recap:

After a welcome by Anne Hyde of Colorado College, I provided a brief overview of Teachinghistory.org. With about half the audience already familiar with the site, I was able to get everyone up to speed and highlight a few new features, including the newly unveiled Favorites tool, as well as the new Spotlight Pages. Responding to a commonly asked question about world history, I highlighted the many teaching materials and best practices that can apply to all historical topics, whether you teach the American or the French Revolution.

Fitting for Chicago, Dr. Daniel Graff from the University of Notre Dame introduced ideas and resources to help teachers integrate labor history into their teaching. He provided a packet of primary sources that participants analyzed in small groups and then discussed as a whole group. The workshop helped me see new classroom connections for bringing labor history into discussions about slavery, women’s history, and the civil rights movement.

My colleague, Rwany Sibaja, presented an interactive workshop with handouts on teaching American history with digital tools. He introduced the participants to Vimeo, Prezi, and Animoto among others. I always learn new things from my Teachinghistory.org colleagues (Rwany introduced me to Prezi last year) and you can check out some of his write-ups on various tools in our Tech for Teachers section.

Next up, Paul Kolimas of Homewood Flossmoor High School moderated a session with fellow Homewood Flossmoor High School teachers Jeff Treppa and John Schmidt. They offered a presentation on a “new school” approach to the classic research paper. It was interesting to see how their techniques related back to Teachinghistory.org’s emphasis on historical thinking skills. The audience had lots of questions, so they definitely hit on a popular topic.

Molly Myers of Lindblom Math and Science Academy then turned our attention back to digital tools, focusing her talk on how she uses technology for the 3 c’s: collaboration, communication, and community building. Her presentation helped me see a lot of new possibilities and I particularly loved hearing how Molly turned to Twitter to get input from teachers on #SSChat about how they use digital tools for her presentation.

We ended the workshop with an inspiring talk by Patricia Nelson Limerick, vice-president of the AHA’s Teaching Division and professor at the University of Colorado, Boulder. She titled her talk, “Facing Down Fear: Innovation, Experimentation, and Adrenaline in the Teaching of History.” The talk lived up to the title. She spoke about the importance of trying new things, even things you might fear such as using new technology. She also talked about the importance of personal connections in the classroom (and in life) and raised the question of whether digital tools enhance or distract us from these personal links. She graciously agreed to write up her talk for Teachinghistory.org, so look for her post in the coming weeks.

So from adrenaline to Vimeo, we covered a lot of ground in Chicago. Our next stop? Kansas City for the National Council for History Education conference, March 22-24. Hope to see you there!

In 1992, Congress passed Public Law 102.42, permanently designating May as Asian Pacific American Month. Just as with other heritage months, May is barely enough time to scratch the surface of the many strands of history the month memorializes. In May 2009, Teachinghistory.org suggested some places to start digging. Continue to dig this year, with more suggestions.

Modern history textbooks now recognize the internment of Japanese Americans in prison camps during World War II, and its violation of the U.S. understanding of citizenship has increasingly become a core strand in narratives about the war. Digital archives offer rich collections of primary sources related to the internments. Many of these sources feature children, making them a natural choice for drawing students into the story of history. Others focus on law, press, and the choices adults made both during and after the internment years.

• Students describe their own experiences of internment in the University of Arkansas's Land of (Un)Equal Opportunity. World War II-era high-school students' essays, poems, and other documents record the thoughts of modern students' historical peers.
• Densho: The Japanese American Legacy Project's archives preserve more than 900 hours of oral history interviews on Japanese American experiences, as well as 10,830 photographs, documents, and newspapers. Browsing them by topic reveals sources on little-covered aspects of the World War II era, such as the experiences of Japanese Hawaiians.

The lives and experiences of all groups in the U.S. overlap and intertwine with each other, and no group's history exists in isolation. Japanese American history didn't begin and end with World War II, nor did it exist in a vacuum. Enter the keywords "registration certificate 1942" into the search box at the Columbia River Basin Ethnic History Archive for a primary source that captures the complicated nature of identity, perception, and categorization in U.S. history. Remember that Chinese and Japanese Americans are not the only groups represented by this artifact—consider what groups' views motivated the creation of this source.

• The Library of Congress houses many more sources on one period of Chinese American experience in its collection Chinese in California, 1850-1925.
• Promise of Gold Mountain: Tucson's Chinese Heritage, created by the University of Arizona, explores the lives of Chinese Americans in an Arizona city.
• For a look into another Chinese American community, the Maine Memory Network preserves images of life in Maine and its changes over time.

Groups within the U.S. have often banded together based on shared identities to push for change. The Seattle Civil Rights & Labor History Project tells the story of Filipino Americans and unionism in the Seattle canning industry.

World War II, the Korean War, and the whole span of U.S. international history and involvement (and lack of involvement) can shift when seen from different perspectives. The University of Southern California's Korean American Digital Archive includes photographs and documents related to international events—and to daily life.

Both a Pacific Island and a U.S. state, Hawaii has a unique position for Asian Pacific American Month. Many different cultures come together here, including Native Hawaiian, Filipino, Japanese, Korean, and Chinese, among others, and it is one of only four states where non-Hispanic whites do not form the majority. Sources on the history of many of these groups can be found in the digital archives of the University of Hawai'i at Manoa.

These resources touch on only a scattering of the many Asian American and Pacific American groups represented in the history of the U.S.—and only a scattering of the resources available to teachers. Comment and tell us what you use to teach Asian Pacific American history this month—and the rest of the year. What books, lesson plans, films, primary sources, and other materials have their place in your classroom and curriculum?

Not too long ago e-book readers burst onto the scene. These readers allowed users to carry hundreds of books in one hand. Today, e-book readers are quickly succumbing to the power of iPads and tablet computers. The education world did not adopt e-book readers, but has quickly embraced tablets. Both allow students to read text, but the difference has been students' ability to interact with text on the tablet.

Digital text is here to stay and compelling arguments have been made for digital textbooks that extend beyond a simple PDF version of the physical textbook (see Teachinghistory.org's Digital Textbooks Roundtable Discussion). As publishing companies have long had a monopoly on creating content for our classrooms, I will discuss a new push to democratize text authorship that hopes to put the power to create in the hands of teachers.

E-books, at their best, function beyond a simple copy of paper text. Good e-books consider onscreen readability and user interface. E-books should contain interactive tools that allow readers to engage with the text and share ideas with other readers and experts on the topic. E-books can also incorporate 3D images and video. Like text on paper, e-books allow readers to highlight and make notes alongside text. In addition, readers can click on embedded web links and can click to view definitions.

E-books can be created in a number of formats. Many are familiar with PDF files which are most often created by converting a DOC file to PDF. PDFs offer the fewest commonly-accessible tools. EPUB files offer readers the ability to bookmark, note take, and highlight. Both Microsoft's Word and Apple's Pages allow you to save documents in PDF and EPUB formats.

One of the newest ways to create e-books is iBooks Author from Apple. This application makes it easy to create interactive and visually appealing e-books. In addition, this app allows creators to insert interactive objects, gallery photos, and video. However, whereas PDF and EPUB files are accessible from most devices, IBOOK files are only accessible from iOS devices.

Getting PDF and EPUB files to your students is as easy as posting them to your class website or blog and ensuring your students have the appropriate free reader on their computer or mobile device. You can also post IBOOK files to a website or file-sharing portal, but students will need an iOS device to view the file. Alternatively, you can post your iBooks to iTunes or iTunes U where your students can download your books.

With the rollout of Common Core State Standards, the push is on to carefully consider what students are reading in class. We are being asked to promote students' ability to read complex texts independently. To do this, we will need to rethink what we do in class so that students are focused on reading and writing in direct response to complex text. We know that we will have to carefully think about the scaffolds we give students as they engage with such text.

By authoring our own e-books we have the power to make the text grade-level appropriate. At the same time we can build vocabulary development and text-dependent questions right into the e-book. Content teachers across districts can come together to author e-books for their courses and toss out those old worksheets that required minimal interaction with the text.

Remember that you're not limited to creating secondary-source e-books! Consider also creating e-books of primary sources centered on historical questions. For instance, you could put together an e-book of 2–4 sources related to the question "Were political machines detrimental to the common good from 1870 to 1920?" Introduce students to the SCIM-C Model and use hyperlinks, highlighting, and embedded questions in your e-book to help students apply SCIM-C to the documents. As the year progresses, gradually remove these scaffolds from your e-books, as knowing what to do when analyzing historical texts becomes instinct to your students.

Students should also be encouraged to create their own e-books. One great way to do this is to have students participate in an Opening Up the Textbook lesson. This lesson strategy asks students to compare a short excerpt from a textbook with additional documents that "open up" the textbook account and shed new light on something the textbook misrepresented. At the end of the lesson, have students write their own account of the examined event as an e-book. We want students to understand that textbooks are merely interpretations of evidence and that they have just as much right to interpret historical evidence as textbook authors.

E-books allow teachers to easily differentiate input and give opportunities for teachers to carefully scaffold the reading experience for students. In addition, e-books can be created by students to demonstrate understanding and 21st-century skills. With careful thought and collaboration on the part of dedicated teachers, e-books stand to transform the way students learn.

This marks the beginning of a series of film reviews reprinted from the Journal of American History. These reviews model ways of looking critically at popular films, documentaries, miniseries, and other history-based features. Look for one each month!

In December 1997, I underwent a metamorphosis (temporary, I hope) from cultural historian to "Titanic historian." As such, I was repeatedly called upon to assess the "historical accuracy" of James Cameron's movie.

This, I tried to explain, was a task better left to others, especially to the subset of Titanic buffs known derisively as rivet counters, since what the questioners usually meant by historical accuracy largely had to do with the verisimilitude of the movie's sets and special effects—for example, did Cameron get the carpets right? The best I could do was point out a few of the most obvious anachronisms: Rose (Kate Winslet) using Tom Wolfe's phrase "masters of the universe" to describe her fellow first-cabin passengers; Jack (Leonardo DiCaprio) quoting Bob Dylan—"When you got nothin', you got nothin' to lose"—to assert his free-spiritedness; Pablo Picasso's Les Demoiselles d'Avignon apparently going down with the ship.

And so on. Very soon, however, this line of inquiry loses its interest. "Is this history or Hollywood?" I was asked at the end of a History Channel program called Movies in Time, as if it has to be one or the other, unvarnished or embellished, accurate or inaccurate. When a film costs and earns more than any other, when it becomes a major cultural phenomenon, we ought to be asking questions about Titanic's historical significance rather than its accuracy. How might we explain its resonance? How might we contextualize it? How might we compare it to previous representations of the disaster? How, in short, might we really locate this movie in time?

In the wake of Titanicmania, several critics took on these broader questions. Frank Rich observed in the New York Times that Titanic "was destined to be truer to 1997 than 1912, no matter how faithfully the director, James Cameron, reproduced every last brandy snifter of the White Star Line."

In Rich's view, Cameron's "rich-bashing populism"—the fact that the first-class passengers are despicable almost without exception—signals that a resentment of the wealthy and powerful is bubbling beneath the surface of our apparent prosperity and contentment. Rich also described Winslet's Rose as a "feminist heroine who defies her stuffy First Class compatriots to take up with a guy in steerage."

Seeking an explanation for the movie's popularity with girls and women, Katha Pollitt in the Nation pointed to the anti-macho, androgynous, quasi-maternal figure of DiCaprio's Jack. The movie's "feminism," Pollitt wrote, is a "women's fantasy" of "costless liberation brought to you by a devoted, selfless, charming, funny, incredibly handsome lover."

This costless liberation marks the movie as what Rich calls "very much a 90's take on the familiar Titanic themes of gender and class." Through Jack, Rose learns to feel good about herself, to overcome oppression by overcoming repression. She dances with the steerage, stands on the bow with the breeze blowing through her hair, poses nude, has sex in a car in the ship's hold. The disaster is presented here for the first time as a kind of therapy: for Rose, the burdens of gender and class are swept away by Jack and the sea, even though her nasty mother and fiance survive. True to Hollywood's therapeutic ethos, Titanic depicts liberation as a matter of attitude rather than politics, self-actualization rather than collective struggle.

Cameron's revisionism is thrown into relief when we compare his handling of these themes with earlier versions of the disaster. In 1912, most stories of the wreck gave the first-cabin men a monopoly on heroism. A widely published wire service report envisioned John Jacob Astor and other first-class heroes "stepping aside, bravely, gallantly remaining to die that the place [they] otherwise might have filled could perhaps be taken by some sabot-shod, shawl-enshrouded, illiterate, and penniless peasant woman of Europe."

While Hollywood has not yet reached the point where the characters listed in Titanic's credits as "Syrian woman" or "Chinese man" occupy center screen, neither do the darker-skinned steerage passengers have a monopoly on panic as they did in 1912 depictions. Nor does Jack's heroism appear to be a racial trait. "The Anglo-Saxon may yet boast that his sons are fit to rule the earth," read an April 19, 1912, editorial in the Atlanta Constitution, "so long as men choose death with the courage they must have displayed when the great liner crashed into the mountains of ice, and the aftermath brought its final test."

The movie's "feminism" also stands in stark contrast to the antifeminist "lessons" that the disaster called forth in 1912. First-cabin chivalry, nowhere in evidence in Cameron's Titanic, was widely invoked as an argument against women suffrage. "Let the suffragists remember this," advised a letter to the editor in the Baltimore Sun. "When the Lord created woman and placed her under the protection of man he had her well provided for. The Titanic disaster proves it very plainly." A letter in the St. Louis Post-Dispatch put it even more bluntly: "I suggest, henceforth, when a woman talks woman's rights, she be answered with the word Titanic, nothing more—just Titanic." The movie clearly suggests that "the law of the sea"—"Women and Children First"—was the result, not of chivalry, but of the officers' orders, enforced at gunpoint.

Unlike Cameron's apolitical hero and heroine, those who resisted these "lessons" about class and gender in 1912 did so in explicitly political terms. Feminists and working-class radicals interpreted the disaster as a catalyst to collective action. "To the woman-heart of the nation this is not a tragedy to mourn and grieve over and forget," wrote the suffragist Agnes Ryan in the Woman's Journal;

it is simply typical of the countless lives that perish needlessly each year from the Ship of State! It gives new proof that the State needs women in law-making and law-enforcing, and it gives new impetus to the Votes for Women movement.

An Italian anarchist newspaper in Buffalo insisted that capitalists were to blame for the Titanic and all the lesser known disasters of industrial society, because they

uphold a society which considers profit more important than human life. . . . We, who struggle with every weapon at our disposal to overthrow the present social system, will avenge one day not too far distant all of your victims, including those of the "Titanic."

Compared to this, the movie that Newsweek called "quasi-Marxist" seems very nineties indeed.

Two hundred million dollars buys an awful lot of popular memory. But Cameron's Titanic is not the first attempt to tell the definitive story of the disaster, nor is it likely to be the last. "Historical accuracy" aside, the eighty-six-year effort to define the Titanic's significance may be the most compelling story of all.