Abstract
Abstract This essay analyzes, for the first time, Oscar Micheaux's selective use of unmistakable details from the notorious, racially charged Mary Phagan/Leo Frank 1913 murder case for narrative material in his 1936 film Murder in Harlem. Readers thus gain new insights into Micheaux's creativity and use of public history.
- ©© 2004 by Patrick McGilligan. All rights reserved.
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Vol. 57 No. 4, Summer 2004
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