The Editor's Reflections and Reports

AHA Sessions in Washington, DC (Winter, 1999) During the first week ofJanuary, Film & Historywas a part of the annual American Historical Association meeting in Washington at the Marriott Hotel (Wardman Park) on the Red Line of the Washington Metro and just down the hill from the National Cathedral. Many ofus arrived a day ahead and were lucky enough to see the Senate sworn in as a jury in the impeachment proceedings—a solemn, but historic event. Some of us made the trek down to the JFK Center for the Performing Arts to see a wonderful performance of Annie Get Your Gun—a more delightful experience which reminded us, once again, that there is no business like show business, one of the reason we study film in the first place. Once the AHA meeting began, we were plenty busy at the Film & History table. Literally hundreds of scholars came by to visit, to take brochures, or to take out subscriptions with Film & History. Many of the senior scholars were delighted to see John E. O'Connor, our founder, back in action; they stopped by to chat with John and to be briefed on what had been happening with him and the journal. During the first afternoon, we made good friends with James Auchincloss, half-brother ofJacqueline Kennedy Onassis. James Auchincloss and Susan Rollins James took out a two-year subscription, shared pictures of the family residences, and welcomed the lunch which Susan W. Rollins brought to the table. (As it turns out, James Auchincloss is an avid historian and now is a great friend to Film & History.) Throughout the days ofthe conference, Editor Peter C. Rollins stayed at the table and met hundreds ofnew friends of the journal—but also a number of old friends as well. That the weather became increasingly formidable over the days ofthe conference made for better business this year! We really had a 'captive' audience! Our sessions were on Saturday night and they were well attended. Robert Brent Toplin (History, UNC-Wilmington) chaired a session entitled Frank Capra's Populism: Timebound or Timeless? Two valuable presentations were given. Lawrence Levine of George Mason University spoke of Capra's special knack of creating a nostalgic American vision, a vision which Americans clung to even when it was not confirmed by their experience of the Depression. It was the vision of The Saturday Evening Post and Norman Rockwell—an image of the good society limned so memorably by Frank Capra, an artist of Italian origins whose parents and siblings could only imagine, never truly experience. Dan Carter of Emory University and author of The Politics of Rage: George Wallace, the Origins ofthe New Conservatism and the Transformation ofAmerican Politics (1996) spoke of Capra and the Populist tradition in the south—both of the positive elements as well as some of the negative dimensions of the heritage. Carter is an expert on twentieth century Southern politics and culture. Comments from the audience indicated that the large number ofpeople presentwere still fascinatedwith the work ofFrank Capra—as it reflected the concerns ofhis time, but also as it carries forward as a statement ofdemocratic idealism in our day. As we have done for the last three years, Film & History shared a room with The Popular Culture Association (http:h-net.msu.edu/~pcaaca) in our never-ending attempt to Vol. 29.1-2(1999) | 1 Rollins |The Editor's Reflections and Reports left to right: Lawrence Levine, Dan Carter, John E. O'Connor and Robert B. Toplin. Ron Briley and John E. O'Connor. promote the study offilm and popular culture. The Popular Culture session was chaired by Peter C. Rollins and focused on Filmmakers ofthe 1970s. The guest speaker was Peter Biskind, author of a very popular book entitled Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock'n'Roll Generation Saved Hollywood (Simon and Schuster, 1998). Biskind presented the thesis ofhis book, followed by commentary. Zia Hasan, Associate Vice President for Academic Affairs, Claflin University examined the book from the perspective of someone who has studied the films of the period rather than the filmmakers of the decade. Hasan argued that the films may be more important, ultimately...