A boy newly arrived in Miami reads a hotel sign on Collins Avenue: No Jews. No Dogs. He is old enough to understand it instantly. Decades later, as Rabbi Ed Farber, he traces that sign — and the values that made it possible, and the values that made it wrong — back to the first chapters of Genesis. A Heritage Film Project documentary.

Originally blacklisted in Argentina and now the most widely viewed film in the Heritage Film Project catalogue, Evita (2005) achieved its unusual evenness of tone through a single deliberate choice: the script was written in English rather than Spanish — the director's first screenplay in his second language. A close reading of how that linguistic distance produced the most balanced portrait yet of one of the twentieth century's most polarizing political figures.

James Monroe owned Monroe Hill from 1789 to 1799 — the exact decade of the French Revolution, with most of it spent in Paris during the Reign of Terror. A note on the film, the Jefferson Trust, the absent landlord whose hill became the cradle of the University of Virginia, a rumor of Monroe's face in David's Coronation of Napoleon, and the unmarked grave of his daughter Eliza at Père Lachaise — a few rows from Jim Morrison.

There is a painting in the Art Institute of Chicago that almost no one stops to look at. Thomas Birch painted it sometime between 1806 and 1812, and he called it Capture of the Tripoli by the Enterprise. It commemorates a war that has been almost entirely forgotten — which is a pity, because that war contains the most important argument the United States ever made about the freedom of the seas. And that argument is more urgently relevant today than it has been in two centurie