My Audiovisual Semester: Using Media in U.S. History II

Renovating my U.S. history course this spring, I added audiovisual primary sources to many class periods that didn’t use them before. Here’s a complete annotated list of the film and audio clips I have presented this semester, should they be useful to anyone else.

In most cases, these clips (or excerpts from them) served as bases for class discussions. A few of these clips, however, were merely illustrative of points I made myself in a lecture.


Gilded Age, Progressive Era, and World War I

“Sky Scrapers of New York City, from the North River” (1903)

This Edison film is simple: It depicts the Manhattan waterfront from the perspective of a boat floating down the Hudson River. I played it before and at the beginning of class in order to convey some sense of the texture of American cities in the Gilded Age.

“A Trip Down Market Street before the Fire” (1906)

This film shows a teeming San Francisco street in the early 20th century from the perspective of a motion picture camera mounted on the front of a streetcar. The scene is chaotic and potentially frightening; pedestrians, horse-drawn vehicles, automobiles, and streetcars share the road without any traffic controls at all. For years, I have invited students to discuss this scene as a way to understand Progressive reformers’ desire for new structures of urban order and rationality.

“Why the Trusts and Bosses Oppose the Progressive Party” (1912)

Here, in his own voice, Theodore Roosevelt explains what Progressivism means to him—as a political movement that he believes he leads. The clip provides some insight into Roosevelt’s character as well as into the political era.

“The Third Liberty Loan” (1918)

Richard Augustus Purdy, a New York banker and dramatist known for his Shakespearean lectures and readings, delivers a speech as one of the “Four Minute Men” who whipped up public support for American involvement in the First World War.


Jazz Age, Great Depression, and World War II

“Billy Sunday Burns Up the Backsliding World” (ca. 1926)

This British Pathé newsreel gives a great sense of both the electrifying effect of a Billy Sunday sermon from the 1920s and also the ways spiritual, social, and economic issues intersected in the early fundamentalist imagination.

“Happy Days Are Here Again” (ca. 1930)

Annette Hanshaw’s version of the Franklin D. Roosevelt campaign song, from the film Chasing Rainbows, recorded under the name Gay Ellis.

Franklin D. Roosevelt’s first Fireside Chat (1933)

A thirteen-minute explanation of the U.S. banking system and the initial steps Roosevelt’s new administration took to address the financial crisis. I played approximately the first 90 seconds in class.

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How I Built a Narrative Lecture: Teaching Reconstruction in U.S. History II

This spring, I’m teaching a college course called United States History Since 1865. It’s a staple of American curricula. I have decided that it might be interesting to provide a walkthrough of the first lecture.

This should be an opportunity to articulate, step by step, some basic intuitions about how to achieve truthful storytelling in the classroom. (It’s also a chance to show—in a real situation rather than a political taking point—how I handle “divisive concepts” and “widely debated and currently controversial issues” related to American racism, inasmuch as this first lecture was about Reconstruction.)

This lecture was not perfect. It didn’t represent especially sophisticated historiography. But I am going to try to use it now to demonstrate the problem-solving nature of an interactive lecture about a fraught topic.

Specifically, I believe this walkthrough will illustrate the following nine aspects of my method for telling a story in the classroom:

  • Setting scenes
  • Posing problems
  • Integrating primary sources into a lecture
  • Enlisting students in telling the story
  • Showing change over time through examples
  • Identifying specific turning points
  • Explaining the significance of key memorizable concepts
  • Building to a crisis, confrontation, or moment of decision
  • Creating an open or provocative ending

Each of these elements will appear in the description that follows, and most will appear several times.

Continue reading “How I Built a Narrative Lecture: Teaching Reconstruction in U.S. History II”

History Wars: Views from Five Illinois High School Teachers

This summer, at Illinois State University, the historian Andrew Hartman organized a graduate seminar around the topic of American history survey courses. He focused especially on “the history wars”: contemporary political debates about how U.S. history should be taught. Most of his students were teachers already working in secondary schools.

Five of these high school history teachers wrote essays that now have been published in the new (fall 2021) issue of Teaching History: A Journal of Methods. Introducing these essays, Hartman explains the assumption and the common reading that underpins the five teachers’ work:

One of the most powerful forms of constructing the American history narrative can be found in surveys of U.S. history, books assigned in high school and college classrooms that sometimes even attract readers beyond the classroom. In short, the course objective was to think deeply about the construction of the narrative of American history by reading, analyzing, and critiquing five of the most popular and intriguing U.S. history surveys, written from a diverse range of perspectives and with distinct objectives. We read, in the following order: Wilfred McClay, Land of Hope: An Invitation to the Great American Story; Howard Zinn, A People’s History of the United States; Jill Lepore, These Truths: A History of the United States; Eric Foner, The Story of American Freedom; and Greg Grandin, The End of the Myth: From the Frontier to the Border Wall in the Mind of America. We also read the 1619 Project and the 1776 Report.

The teachers’ contributions to this forum are:

Revisiting My Honors Not-a-Western-Civ Course

This fall, I’m scheduled to teach Honors 121 again at La Salle University. More than two years ago, I described some of my planning process for that course. The outcome was excellent, if I say so myself. It may have been the most fun I’ve ever had teaching.

Now I’m in the late stages of revising my syllabus (PDF) for another attempt.

This time, one big thing has changed: The honors program is now explicitly trying to avoid thinking of Honors 121 as a western civilization course. What it is instead … is an interesting question.

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To Teach in Narrative, Think in Scenes

When I started teaching history on my own—working from my own syllabus rather than assisting someone else—I was thrown into a college U.S. history course just a couple of weeks before the semester started. I was still a graduate student, though I had my master’s degree, and I was replacing another adjunct instructor at the last minute. (I would eventually get to meet her at a conference. She’s nice.) She had chosen a set of textbooks that I’d never heard of, much less seen, and I found the department’s description of the course bizarre.

When I walked into the classroom, which had broken desks and obvious water damage, I still didn’t have access to my university email account or the university library. For the first few days, I had to ask the department secretary to come unlock the classroom computer any time I planned to use it.

Did I mention this was going to be the first time I had ever taught my own solo course?

I won’t keep you in suspense: That semester did not end up being my best work.

Continue reading “To Teach in Narrative, Think in Scenes”

Land of Many Voices: Teaching a Truer National Story

Last weekend, in my response to Land of Hope: An Invitation to the Great American Story, I focused on what I think Wilfred McClay got wrong about teaching U.S. history. I wrote that McClay’s version of an American nation-narrative lacks “a sense of real stakes, of divergent possibilities, of the weight of choices and conflicts in their own moments” because it shies away from conflict.

Land of Hope does not want its major American protagonists to have been disastrously, avoidably, mulishly wrong—they can have been badly mistaken, but they must have meant well. It apparently wants history’s apparent losers to have been inevitable victims, doomed by forces beyond anyone’s control or by paradoxes with no way out, rather than to have been acted upon by other people who made choices that could have been made differently, choices against which the oppressed protested and fought at the time. And it does not want national reform to have come through vicious struggles for power.

That last desire, I think, helps explain Wilfred McClay’s strident criticism of the “1619 Project” in other venues, despite the deeply patriotic and humane spirit it shows. The 1619 Project asserted not that America is irredeemably corrupt, as some of its critics seem to think it did, but that everything good about America has come through struggle—specifically, struggle by people who don’t play a very active role in Land of Hope. “Without the idealistic, strenuous and patriotic efforts of black Americans,” Nikole Hannah-Jones wrote, “our democracy today would most likely look very different—it might not be a democracy at all.” That is a contingency Land of Hope cannot seem to face.

The fear of contingency thwarts Land of Hope’s stated purpose of giving students an inspiring and coherent national narrative. Stories without meaningful conflict, without the possibility of different outcomes, are lifeless to everyone except perhaps those who identify most strongly with the actual outcomes. Worse, they are also ahistorical, in the sense that most academically trained historians believe contingency is a core concept of their discipline.

Yet I strongly sympathize with McClay’s goal of producing a student-friendly history of the United States that not only holds together as a story, but also provokes sustained reflection on normative American civic values. I often have been critical of academic training in history that does not teach instructors how to build narratives in the classroom.

I would even say that McClay’s narrative voice is often a voice I recognize in myself. We are both unabashed moralists, at the end of the day, committed to the idea that studying American history can make people better citizens. And frankly, I am quite conservative in temperament; there’s something in the book’s temperature, as it were, that I find comfortable—an inclination to be patient with flawed institutions, perhaps, and a conviction that it is as important to shore up valuable aspects of existing American life as it is to fight for reform.

So what is my alternative to McClay’s approach? How do I think a “great American story” can be told better? How, in fact, do I try to tell such a story in the classroom?

Continue reading “Land of Many Voices: Teaching a Truer National Story”

An America Where Everyone Meant Well

At the U.S. Intellectual History Blog, I have a post today about Wilfred McClay’s 2019 United States history survey textbook Land of Hope: An Invitation to the Great American Story, along with the teacher’s guide co-written by John McBride. My essay is a companion to a more thorough review by Thomas D. Mackie last week.

We wrote our responses independently, but Mackie and I came to similar conclusions about what the book does right, what’s missing from its picture of U.S. history, and what we find strange about its understanding of the history teacher’s job.

The question my response poses, though not in these words, is this: Why do McClay and some other historians seem to think we are “condescend[ing] toward the past” when we teach history as if people made choices, they could have made different choices, others disagreed with their choices at the time, and their choices mattered?

Pauli Murray at Hunter College, 1932

Cover of Pauli Murray's memoir Song in a Weary Throat

My one bad experience with race at Hunter College was a year-long American history course. I was the only Negro in the class, and as far as my professor was concerned I did not exist. She was not openly insulting, but she never once suggested that colored people played any role in the nation’s development other than as abject objects of the national controversy over slavery. Her treatment of slavery, the Civil War, and Reconstruction made me shrivel in my seat in the back row, feeling shame and resentment. I knew from my own family history that her presentation was one-sided but was too unsure of myself to challenge her in class. Unable to mount an effective protest against her bias, I performed so indifferently in the course that I got only passing grades in a subject in which I had always excelled. That ordeal, however, spurred me to become a passionate student of Negro history after leaving college.

The experience also led me to take my first tentative steps toward activism.

—Pauli Murray, Song in a Weary Throat: Memoir of an American Pilgrimage, 1987 (New York: Liveright Publishing Corporation, 2018), 110

Designing a Course on the Roots of the Modern World

Amid the general disruption, a university has hired me to teach my first fully online history course this autumn: an introductory-level undergraduate survey called Roots of the Modern World. This is a course I’ve taught once before, about three years ago, in a traditional face-to-face setting. I will be redesigning it mostly from scratch.

As usual, the opportunity to design a course is very exciting. But this course presents some special conceptual challenges.

Continue reading “Designing a Course on the Roots of the Modern World”

How Did You Learn to Tell Stories in the Classroom?

storyteller-tiepolo

This semester marks seven years since I taught the first college course of “my own”—being solely responsible for writing the syllabus, choosing all the readings, designing all the assignments, and planning all the lectures and activities. I was hired at the last minute. On the first day of class, I didn’t even have password access to the classroom computer yet. The bookstore was still selling my students books that somebody else had chosen, which I didn’t intend to use and didn’t have copies of anyway. I don’t think my university email address had been activated.

I’m not absolutely sure, though, because at this point, I barely remember anything about that semester except a general feeling of panic.

What I do know is that one of my biggest challenges was simply learning to narrate history in the classroom. This was crucial because—in a single-semester U.S. history survey course—my students wouldn’t have a traditional textbook to carry that burden outside of class. (And The American Yawp had yet to be written.) The course’s narrative of U.S. history, all of it, both in the overall course arc and in each topic we covered, had to subsist in whatever I could accomplish in the classroom or through short readings scavenged from different sources and posted online.

I had a fair amount of teaching experience, but almost nothing of that nature. I had never been a gifted storyteller in person. (Not even close!) And to my recollection, despite a fair amount of pedagogical development in graduate school, I had never been provided with any specific instruction or advice relevant to this situation.

That first course … probably wasn’t great.

Even if my last-minute hiring made the need unusually acute, I don’t think my situation then was unique. I can’t speak as much to the experiences of primary- or secondary-level educators, but my sense is that in college, many people trained to teach history (or trained in the many other academic disciplines that also teach historical topics) never get any training in the basic task of building a historical narrative in the classroom until they show up in their own classroom for the first time.

But I want to check whether my intuition is right.

If you’re willing to leave a generous comment on this post (or email me if you need to communicate privately), I’d like to know what your experiences have been as a teacher (primary, secondary, college, university, whatever)—in history or any other field where the need comes up.

  • Did you have any formal training in how to build a historical narrative in the classroom?
  • Is this a problem you’re still trying to solve for yourself?
  • Have you found any instruction books, online courses, etc., helpful?
  • What aspects of storytelling or narrative-focused course organization have been the most challenging for you?
  • If you are a naturally gifted storyteller, have you faced any challenges bringing this skill into an academic setting?

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Image: Detail from Giovanni Domenico Tiepolo, The Storyteller, 1770s. Blanton Museum of Art, Austin, Texas; via Wikimedia Commons. Public domain.