“A compelling, spellbinding examination of a pivotal event in civil rights history . . . a highly readable and dramatic account of a major turning point.” —Journal of African-American History Black Americans in the Jim Crow South could not escape the grim reality of racial segregation, whether enforced by law or by custom. In Freedom’s Main Line: The Journey of Reconciliation and the Freedom Rides, author Derek Charles Catsam shows that courtrooms, classrooms, and cemeteries were not the only front lines in African Americans’ prolonged struggle for basic civil rights. Buses, trains, and other modes of public transportation provided the perfect means for civil rights activists to protest the second-class citizenship of African Americans, bringing the reality of the violence of segregation into the consciousness of America and the world. Freedom’s Main Line argues that the Freedom Rides, a turning point in the Civil Rights Movement, were a logical, natural evolution of such earlier efforts as the Journey of Reconciliation, relying on the principles of nonviolence so common in the larger movement. The impact of the Freedom Rides, however, was unprecedented, fixing the issue of civil rights in the national consciousness. Later activists were often dubbed Freedom Riders even if they never set foot on a bus. With challenges to segregated transportation as his point of departure, Catsam chronicles black Americans’ long journey toward increased civil rights. Freedom’s Main Line tells the story of bold incursions into the heart of institutional discrimination, journeys undertaken by heroic individuals who forced racial injustice into the national and international spotlight and helped pave the way for the landmark Civil Rights Act of 1964.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Way back in the swinging ‘70s, movie producer Sol Schick was the guy behind such cheesy classics as “Quarry: Bigfoot!,” Noah’s Ark: Found at Last!” and “Heavenly Visitors from the Hell Above.” But when he’s murdered – at a film festival! – with a piece of Noah’s Ark! – THE LIBRARIANS are drawn into the mystery. Can their combination of special skills, obsessive curiosity and knowledge of forgotten lore figure out who – or what – spelled doom for Schick? And as they delve deeper into his past, is it possible that things are not as they seem and that all his crazy, wild movie…were telling the truth?

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.