25 Years of Gettysburg

Edited by Olivia Ortman ’19

Amongst the Civil War community here at Gettysburg College, the movie Gettysburg is very much a part of our daily lives. Quotes are thrown back and forth in witty banter, the music is played for dramatic effect, and history professors are badgered to show clips in class. Since the movie fits so seamlessly into our experience here in Gettysburg, we often take it for granted. However, Gettysburg recently celebrated its 25th anniversary with a special showing at the Majestic Theater, with remarks from the director preceding the viewing. Although none of the Fellows attended, it got a lot of us thinking about our own experiences with the movie. Each one of us has been touched by Gettysburg in significant ways.

Ryan Bilger ’19 –I knew the soundtrack of the movie Gettysburg before I knew the film itself. I remember being six years old on a trip with my parents, asking “where are we going?” again and again during the car ride until I saw a sign announcing the mileage to Gettysburg. In that moment, I knew exactly where we were going. My father is also a casual historian of the battle, and I had often looked at the colorful pictures and maps in his Civil War magazines. Gazing out over the fields of Pickett’s Charge that day, something clicked in my young brain, and thus was born a lifelong interest. Of course, at six years old my parents correctly decided that I was not quite ready to see the movie Gettysburg yet, so they gave me the soundtrack CD to listen to instead. They didn’t get it back any time soon.

The movie, when I finally saw it, was worth the wait and has been my constant companion since. I watch scenes like the 20th Maine’s bayonet charge or the climax of Pickett’s Charge when I need to get motivated for events. The poster for the film hangs at the foot of my bed at home. Gettysburg, for all its flaws, has remained one of my favorite movies over the years, and has acted as a gateway to my development as a historian. The film presents myriad examples of popular heroism, whether in the form of Joshua Lawrence Chamberlain leading a bayonet charge or Winfield Scott Hancock exposing himself to enemy fire to inspire his own troops. However, many more heroes of the battle did not survive to tell their stories. Through the Killed at Gettysburg project, I’ve illuminated some of these stories of valor that do not receive nearly as much attention. Men like Patrick O’Rorke, Benjamin Crippin, and Franz Benda all had their own unique stories to be told, bringing greater color and nuance to the broader narratives of heroism in July 1863.

Though it may sound strange, Gettysburg has also given me a community. Living in the Civil War Era Studies House at Gettysburg College, I can exclaim “What’s happening to my boys?!” or grumble in a low voice about high ground and nearly everyone will instantly understand. We joke about Pickett’s ridiculous laugh when Longstreet tells him he will lead the assault on July 3 and bemoan the death of the glorious Buster Kilrain. The movie brings us together as a group in strange, yet often hilarious ways, and for that I am extremely grateful.

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Seven-year-old Ryan Bilger exploring the Gettysburg battlefield.

Benjamin Roy ’21 – I was born in Bethel, Maine and take great pride in bearing the identity of a Mainer. This is in no small part due to the movie Gettysburg and the story of Joshua Lawrence Chamberlain and the 20th Maine dramatized therein. From the first time I was exposed to the movie Gettysburg at five years old, I felt deeply connected to Chamberlain and the 20th Maine. I writhed in agony as the shrieking Alabamians charged and cheered when the Mainer valiantly resisted. My heart soared as Colonel Chamberlain charged down the hill, his Maine boys following close behind with fixed bayonets. My brother and I refought this struggle for Little Round Top on hillsides countless times. When my parents asked me, at age seven, whether I wanted to go to Disney World or Gettysburg, my choice was simple: Gettysburg.

The heroic story of the 20th Maine told in The Killer Angels and dramatized in Gettysburg is what ultimately inspired me to study the Civil War and pursue history as a career. My interest in Chamberlain and his men evolved into an interest in common soldiers. The story has also instilled a sense of identity in me and a pride in coming from Maine myself, even though I now live in North Carolina. Even as I write this, a miniature bust of Joshua Lawrence Chamberlain overlooks my desk, reminding me of where I come from, and where I hope to go. Whenever I need to be reminded of who I am and where I am from, I need only to watch Gettysburg.

Olivia Ortman ’19 – My own journey with Gettysburg began much later than most of my fellow CWI writers. In my family, birthdays have always been very important. My sister and I were allowed to stay home on our birthdays and do anything we wanted. For me, that usually meant trips to Mystic Aquarium or the zoo. However, after learning about the Civil War in 8th grade, I asked my parents if my birthday day could be a birthday weekend. My parents agreed, and I headed off with my mom to spend Memorial Day weekend of 2011 in Gettysburg. It was one of the most magical weekends of my life, to say the least. (My mom still shudders when she thinks about traipsing every inch of battlefield behind me so I could investigate all, and I do mean all, the monuments.)

When I heard about the annual reenactment, I knew I had to come back to Gettysburg that July. The copy of Gettysburg the movie that I picked up in the giftshop of General Lee’s Headquarters was how I convinced my father to make a family trip out of the reenactment. After getting home from Gettysburg, I put on the film and insisted my dad watch with me so I could show him where I’d been. By the end of the film, and to my sister’s immense disappointment, I had convinced both parents that we needed to go to the July reenactment. That was the beginning of the past eight years for me. When we returned to Gettysburg, I discovered Gettysburg College and knew that I would one day attend. Throughout those years, whenever someone from home has asked me why Gettysburg or why history, Gettysburg was my way of explaining. The movie has given me a way to introduce others to my passion and let them see what I’m doing here at college.

Savannah Labbe ’19 – Being from Maine, I appreciate how Gettysburg highlights Maine’s contribution to the Civil War, which I feel is often underappreciated or even forgotten about. Maine contributed the largest number of soldiers proportionate to its population of any state in the Union. However, the movie Gettysburg has risen to such fame that it seems as if the 20th Maine was the only unit from Maine that made an important contribution to the battle. This is decidedly not the case. For example, the 16th Maine made a suicidal stand on the first day of the battle so that the Union First Corps could retreat. All of the 16th Maine soldiers were either captured or killed in order to allow the Union to fight another day. On the second day of the battle, the 17th and 19th Maine helped save the Union line after General Sickles overextended it.

The film also deifies the battle for Little Round Top and Chamberlain. The battle for Little Round Top comes across as a defining moment and a turning point in the Battle of Gettysburg. Viewers think that this was the moment that decided the outcome of the three-day fighting at Gettysburg, but that’s not necessarily true. Chamberlain himself has taken on star qualities as the man who saved the day, but his conflicting reports on the battle in real life call into question whether or not he himself actually gave his famous order to charge. While Gettysburg is an important film and it has it merits, it has become so dominant in popular culture that people have put Chamberlain and the 20th Maine on a pedestal, which does a disservice to the other Union units present at the battle. However, when I watched the movie Gettysburg for the first time in my 8th grade social studies class, I took this movie at face value. While the movie motivated me to study history and piqued my interest in the Civil War, I soon learned that it had a lot of flaws and was not necessarily an accurate depiction, making me want to explore the actual history of the battle more and the role that all Maine units played.

Cameron Sauers ’21 – My introduction to the movie Gettysburg begins with Michael Shaara’s novel The Killer Angels. I remember being infatuated with the novel, constantly reading it and carrying it with me when I was in 4th grade. I don’t remember the first time I saw Gettysburg, but I do remember watching it constantly (my parents have seen it more times than they probably wished). This infatuation with the movie sky-rocketed in 5th grade when my local historic society brought in Patrick Falci (the actor who portrayed A.P. Hill) to speak at a special event and he encouraged me to pursue my passion for history and the Civil War. Almost 10 years later, I am on the front lines of history as a Fellow here at the CWI. I think it is safe to say that I would not be where I am today without the passion that Gettysburg awakened in me.

Not only has Gettysburg inspired my future, but it has also influenced the time I’ve spent with my family. My parents were forced to endure countless screenings of the movie, and never once complained or suggested that we watch something else. They saw my love for history growing before their eyes and supported it, buying me countless books and taking day trips to battlefields and re-enactments. When my parents recently visited during Family Weekend, they agreed when I wanted to take them to museums in town and on an impromptu battlefield tour. My parents didn’t bat an eye when they heard the many Gettysburg quotes from me and my peers. Gettysburg, to me, is a reminder of my childhood and my passion for history. But more importantly, it’s a reminder of the support and love my family has given me.

Real History vs Reel History: The Never-Ending Debate

By Laurel Wilson ’19

Movies based on history have been popular since the rise of film in the entertainment industry. Transporting audiences to a different place and time period is something that film has always had the ability to do and often does very well. Though many films that are based on historical subject matter are carefully researched and try to be as historically accurate as possible, many historians take issue with their historical inaccuracies. There are countless opinions out in the world about the importance and role of historical accuracy in film. Most of these opinions fall into one of two camps: those that argue films should try to be more historically accurate if they are portraying a specific event or time period and those that argue that films should be allowed to take creative liberties with historical accuracy.

Historians will often argue, with good reason, that films that do not take historical accuracy seriously run the risk of giving audiences false impressions of historical events or even time periods as a whole. Films are often guilty of idealizing or romanticizing history at least to some degree, which can give the audience a false impression of the history behind the film. History is not black and white; there are often many different sides to a story and lots of gray areas, which can sometimes be difficult to convey in a film.

Photo credit: iceposters.com
Photo credit: iceposters.com

Continue reading “Real History vs Reel History: The Never-Ending Debate”

Causing Conversation: Civil War Memory in Beyoncé’s “Formation”

By Annika Jensen ’18

Not only did Beyoncé slay in her latest music video, but she got historical. Her single “Formation” touches on feminism, oppression, sexuality, and police brutality, and her video offers a visual representation for the overall theme of African American cultural ownership. It is, of course, an essential message for contemporary discussion, and the formerly-silenced subject is beginning to achieve prevalence in the music industry, but there is something special and bold about Beyoncé’s take on race: by appealing to Civil War memory and forcing viewers to accept the African American struggle for life, freedom, and success, she is shattering perceptions of one of our country’s most popular areas of historical study. What’s more? She’s a woman.

In some scenes, the iconic singer reconnects with her Southern roots by appearing in a Civil War era Southern-style parlor with other women of color, all sporting opulent Victorian clothing. In another, she stands clad in black outside what appears to be a large plantation home and, in an act of rebellion, flips off the camera. These historical allusions certainly create a powerful image of African American social progression, but they also present a more subtle message about the memory of slavery and the Civil War. Beyoncé is denying any attempt to erase her from our history while presenting the complexity of black lives during the Victorian era. She carefully lays out the connotations of black and white, of woman and man, and of power and submission.

Beyoncé gets historical in her latest music video. Photograph via Billboard.com.

Continue reading “Causing Conversation: Civil War Memory in Beyoncé’s “Formation””

Lisa Wolfinger, Executive Producer of PBS’s Mercy Street, Talks History and Memory

By Kevin Lavery ’16

This winter, the Gettysburg Compiler will be releasing weekly posts as part of a Mercy Monday feature that will cover issues of medical history, gender and race relations, historical memory, and other themes depicted in the new PBS series Mercy Street.

Recently, I had the opportunity to interview Lisa Wolfinger, the executive producer and co-creator of Mercy Street. She kindly agreed to be interviewed by the Gettysburg Compiler about her work on the series. Wolfinger also participated in a recent conversation on local public radio station WITF’s Smart Talk program alongside the CWI’s Jill Titus and Ian Isherwood. You can hear their discussion online at WITF’s websiteIMG_1754 lisa

Lavery:  What got you interested in working on a historical drama like Mercy Street?

Wolfinger: I majored in European History at Sussex University in England and have always been passionate about history. Fact is often more dramatic than anything we could invent. Early in my filmmaking career I was given the opportunity by History Channel to produce documentary specials about early American history and had little to no visual material to work with. So I had to find a new way to tell these stories within the confines of a documentary format and fell back on what I knew and that was drama. (I was very involved in theater in college.) Continue reading “Lisa Wolfinger, Executive Producer of PBS’s Mercy Street, Talks History and Memory”

Hamilton: Musical Theater, Public History’s New Frontier?

By Megan McNish ’16

Hamilton is one of Broadway’s newest musicals and it’s the hottest thing to hit the stage in a long time. The show, a rap-opera, follows the life of Alexander Hamilton, the nation’s ‘forgotten Founding Father.’ The show has had immense success since it opened in August 2015, with thousands of followers on the show’s Twitter, Instagram, and YouTube pages. It has exploded from the stage into a cultural phenomenon, but what makes the story of this Founding Father so compelling for audiences? Previous productions of historical musicals and plays have failed on the stage, while Hamilton thrives. What is its secret?

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The album cover for the original Broadway cast recording of the new musical Hamilton. Image Courtesy of Atlantic Records.

Continue reading “Hamilton: Musical Theater, Public History’s New Frontier?”

Sexual Healing: Nurses, Gender, and Victorian Era Intimacy

By Annika Jensen ’18

In the first episode of the new PBS series Mercy Street, nurse Anne Hastings is seen applying a plaster cast to a wounded soldier’s bare legs before a captivated audience of surgeons and hospital workers. This action seems trivial today, even unquestionable, but as the show progressed and more scenes portrayed this seemingly insignificant concept of touch, of intimacy between a female nurse and her male patients, its true magnitude became apparent.

Sex was not a popular topic of discussion in Civil War Era America; Victorian society shunned intimacy between men and women and regarded intercourse solely as a means of reproducing and building families, a convention that led to the establishment of separate spheres. Women were expected to remain pure and chaste, while men were responsible for fighting off their intrinsic sexual instincts (both of these standards are sexist, of course, but that’s a story for another blog post), and interactions between the genders were meant to be courteous and, frankly, prudish. The publication of The Scarlet Letter in 1850 did not help this case as women became more apprehensive and fearful of the reactions they might receive; no woman wanted to be the subject of public scorn. Continue reading “Sexual Healing: Nurses, Gender, and Victorian Era Intimacy”

PBS’s Mercy Street Shows No Mercy to Traditionalists

By Jen Simone ‘18

Spoilers ahead. 

Warning: This show is probably not enjoyable for those with hemophobia. Also, if you like to view the war as a clear-cut conflict between two distinct ideologies, this show is not for you either. 

I don’t know if it’s just me being cynical about public disinterest in history, but I was shocked to read that the premiere episode of PBS’ Mercy Street, titled “The New Nurse,” got 3.3 million viewers. Are there really that many people interested in Civil War Era history? There is a great chance that many people unintentionally left PBS on after Downton Abbey, but it wouldn’t shock me if they find themselves intentionally keeping it on again next week. The show was compelling and includes everything a drama should—intensity, romance, and controversy. Most importantly, though, I believe this show has the potential to significantly increase public interest in the Civil War and reveal to the public the true nature of the war.

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Hannah James as “Emma Green” in Mercy Street. Image Courtesy of Antony Platt/PBS.

The show is about a Civil War hospital operating in a mansion in Union-occupied Alexandria, Virginia. The producers certainly did not make this show to answer common questions about the Civil War, but rather to make people start thinking. No character’s belief in the show was left uncontested and many myths were broken. The topic of the show itself is daring, for it is not about the military history of the war, but rather the medical history mixed with civilian life. Continue reading “PBS’s Mercy Street Shows No Mercy to Traditionalists”

“Children of the Damned”: An Indie Band Remembers Andersonville

By Heather Clancy ’15

When alternative band Quiet Hounds released Megaphona in 2012, they presented an album peppered with an impressive range of styles, from folksy ballads to pseudo-manic hipster club tunes. The album’s most unexpected choice, though, came in the form of its closing song, “Beacon Sun.” In it, the band’s lead singer carries a mournful melody. A hypnotizing rhythm runs through the track, underscored by the tattoo of a lethargic tambourine. Indeed, the track is more akin to a jazzed-up hymn than anything else, an impression that is not surprising to listeners once they heave themselves out of the indie haze long enough to catch the song’s lyrics.

Quiet Hounds, in a promotional shot for their album Megaphona.
Quiet Hounds, in a promotional shot for their album Megaphona.

Continue reading ““Children of the Damned”: An Indie Band Remembers Andersonville”

“Caught between Southern Pride and Southern Blame”: Brad Paisley’s “Accidental Racist”

By Brianna Kirk ’15

An ongoing and rather controversial debate in the Civil War world is that over the rightful placement of the Confederate battle flag in American memory. Being such a provocative symbol both in terms of history and race relations, its ‘true’ meaning and ‘true’ symbolism are constantly in flux. With recent disputes on the removal of the Confederate flag from Robert E. Lee’s tomb at Washington and Lee University making their way into the mainstream news, the complicated meaning of the rebel symbol and where it belongs in American memory have earned their places at the forefront of the national consciousness.

Brad Paisley worked the issue even further into the public arena with the release of the song “Accidental Racist” on his 2013 album Wheelhouse. Set toward the end of the album, the country song with a little flavor of rap features LL Cool J as a guest artist. Immediately after its release, the song drew criticism both from white and black Americans about its aims and the intended meaning behind its unusual yet distinctive lyrics.

Brad Paisley's 2013 album Wheelhouse. bradpaisley.com
Brad Paisley’s 2013 album Wheelhouse.
bradpaisley.com

Continue reading ““Caught between Southern Pride and Southern Blame”: Brad Paisley’s “Accidental Racist””

Driving Dixie Down

By Ian Isherwood ’00

Trade ad for The Band's single "Time To Kill" / "The Shape I'm In." Wikimedia Commons.
Trade ad for The Band’s single “Time To Kill” / “The Shape I’m In.” Wikimedia Commons.

July 2012. My best friend and I packed into my 2003 VW Jetta wagon and headed out from Gettysburg, bound for Virginia. We were on Grantcation, a Civil War road trip of two former college buddies. Our mission was to wander battlefields in 100 degree plus heat, a trip which our wives endorsed willingly, I suspect, because they both knew it was far better for us to do it together than subject them to such unabashed nerdery.

As we pulled into Appomattox, my friend cued up The Band’s The Night They Drove Old Dixie Down on das Stereo. We both chuckled and I turned it up to decibels more commonly familiar in teenager’s cars than my early-thirty-something-grocery-puller. The song finished, we got out of my VW and walked up to the McLean House to see where Dixie was, indeed, driven down. Continue reading “Driving Dixie Down”

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