The Atlantic Slave Trade Visualized in Two Minutes: 10 Million Lives, 20,000 Voyages, Over 315 Years

Not since the six­ties and sev­en­ties, with the black pow­er move­ment, flow­er­ing of Afro­cen­tric schol­ar­ship, and debut of Alex Haley’s Roots, nov­el and mini-series, has there been so much pop­u­lar inter­est in the his­to­ry of slav­ery. We have seen Roots remade; award-win­ning books like Edward Baptist’s The Half Has Nev­er Been Told climb best­seller lists; and The Freedman’s Bureau Project’s dig­i­ti­za­tion of 1.5 mil­lion slav­ery-era doc­u­ments gives cit­i­zen-schol­ars the tools to research the his­to­ry on their own.

In addi­tion to these devel­op­ments, Slate mag­a­zine has designed a mul­ti­part, mul­ti­me­dia course, “The His­to­ry of Amer­i­can Slav­ery,” as part of its online edu­ca­tion­al ini­tia­tive, “Slate Acad­e­my.” Host­ed by Slate’s Jamelle Bouie and Rebec­ca Onion and fea­tur­ing guest his­to­ri­ans like Bap­tist, Hen­ry Louis Gates, Jr., Annette Gor­don-Reed, Eric Fon­er and more, this thor­ough sur­vey con­sists of a nine-part pod­cast, with copi­ous sup­ple­men­tary essays, book excerpts, and oth­er resources draw­ing on pri­ma­ry doc­u­ments and arti­facts. One sup­ple­ment, the ani­ma­tion above, shows us the “The Atlantic Slave Trade in Two Min­utes.”

Visu­al­iz­ing 315 years—“from the trade’s begin­ning in the 16th cen­tu­ry to its con­clu­sion in the 19th”—the ani­ma­tion dis­plays slave ships as increas­ing num­bers of black dots zip­ping across the Atlantic to the Amer­i­c­as from the African coasts. The dots “also cor­re­spond to the size of each voy­age. The larg­er the dot, the more enslaved peo­ple on board.” The Youtube video above pro­vides only a par­tial rep­re­sen­ta­tion of this impres­sive graph­ic. The full ani­ma­tion at Slate allows users to pause, click on indi­vid­ual dots, and get detailed infor­ma­tion, when avail­able, about the name of the ship, num­ber of enslaved peo­ple trans­port­ed, and points of ori­gin and entry in the New World.

In all, we see ani­mat­ed “more than 20,000 voy­ages cat­a­logued in the Trans-Atlantic Slave Trade Data­base.” And though we typ­i­cal­ly, with typ­i­cal U.S. solip­sism, think of Amer­i­can slav­ery as a most­ly North Amer­i­can phe­nom­e­non, the truth is quite the con­trary:

Of the more than 10 mil­lion enslaved Africans to even­tu­al­ly reach the West­ern Hemi­sphere, just 388,747—less than 4 per­cent of the total—came to North Amer­i­ca. This was dwarfed by the 1.3 mil­lion brought to Span­ish Cen­tral Amer­i­ca, the 4 mil­lion brought to British, French, Dutch, and Dan­ish hold­ings in the Caribbean, and the 4.8 mil­lion brought to Brazil.

Ear­ly slave expe­di­tions were con­duct­ed by the Span­ish and Por­tuguese. “In the 1700s,” writes Bouie, “Span­ish trans­port dimin­ish­es and is replaced (and exceed­ed) by British, French, Dutch, and—by the end of the century—American activ­i­ty. This hun­dred years—from approx­i­mate­ly 1725 to 1825—is also the high-water mark of the slave trade, as Euro­peans send more than 7.2 mil­lion peo­ple to forced labor, dis­ease and death in the New World.” Sur­pris­ing­ly, Por­tu­gal remained one of the lead­ing nations among enslavers for most of the slave-trade’s his­to­ry.

The ani­ma­tion and short explana­to­ry essay by Bouie show us the stag­ger­ing his­tor­i­cal scope of the immense­ly prof­itable and pro­found­ly inhu­mane enter­prise that shaped not only the Unit­ed States, but also—in many ways more so—Central and South Amer­i­ca and the Caribbean. There is no his­to­ry of the Amer­i­c­as, and no growth of many of the colonies into wealthy, world-his­tor­i­cal nations, with­out slav­ery, nor can the wealth of Europe be in any way divorced from the prof­its of the slave trade and slave indus­try. Bouie and Onion explain in the short video above why they decid­ed to pro­duce the course.

For a sense of how his­to­ri­ans’ and the public’s under­stand­ing of slav­ery have changed over many decades—for all kinds of ide­o­log­i­cal reasons—read this excerpt from Baptist’s ground­break­ing book. As he says in an inter­view with Salon, most his­to­ries and recre­ations of the peri­od of enslave­ment attempt to hide the facts: “The resis­tance to reck­on­ing with the role of slav­ery in the tra­jec­to­ry that makes the U.S. the most pow­er­ful nation on earth, that’s real; that’s very, very deep…. What­ev­er we say about the role of the U.S. in glob­al his­to­ry, it’s absolute­ly clear to me that slav­ery is essen­tial to the rise of U.S. pow­er.” Slate’s series goes a long way toward telling us the true his­to­ry of slav­ery, from the mouths of writ­ers and schol­ars who engage with it dai­ly.

Relat­ed Con­tent:

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

The “Slave Bible” Removed Key Bib­li­cal Pas­sages In Order to Legit­imize Slav­ery & Dis­cour­age a Slave Rebel­lion (1807)

Mas­sive New Data­base Will Final­ly Allow Us to Iden­ti­fy Enslaved Peo­ples and Their Descen­dants in the Amer­i­c­as

Crowd­sourced Data­base Will Locate the Bur­ial Sites of For­got­ten US Slaves

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Story Of Menstruation: Watch Walt Disney’s Sex Ed Film from 1946

From 1945 to 1951, Dis­ney pro­duced a series of edu­ca­tion­al films to be shown in Amer­i­can schools. How to bathe an infant. How not to catch a cold. Why you shouldn’t dri­ve fast. Dis­ney cov­ered these sub­jects in its edu­ca­tion­al shorts, and then even­tu­al­ly got to the touchy sub­ject of biol­o­gy and sex­u­al­i­ty. If there was ever a com­pa­ny suit­ed to talk about “vagi­nas” in the 1940s in a copacetic way, it was Dis­ney. Hence The Sto­ry of Men­stru­a­tion.

The film runs 10 min­utes, com­bin­ing sci­en­tif­ic facts with hygiene tips, and it was actu­al­ly com­mis­sioned by the Inter­na­tion­al Cel­lo-Cot­ton Com­pa­ny, the fore­run­ner of Kim­ber­ly-Clark, the mak­er of Kotex prod­ucts. An esti­mat­ed 105 mil­lion stu­dents watched the film in sex ed class­es across the US. And, accord­ing to Tin­ker Belles and Evil Queens: The Walt Dis­ney Com­pa­ny from the Inside Out, the film remained a main­stay in schools until the 1960s. It’s now in the pub­lic domain. When you’re done, you’ll also want to watch Fam­i­ly Plan­ning, Walt Disney’s 1967 Sex Ed Pro­duc­tion, Star­ring Don­ald Duck.

Both films appear in the Ani­ma­tion sec­tion of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

No Women Need Apply: A Dis­heart­en­ing 1938 Rejec­tion Let­ter from Dis­ney Ani­ma­tion

Your Body Dur­ing Ado­les­cence: A Naked­ly Unashamed Sex Ed Film from 1955

Watch Dat­ing Dos and Don’ts: An Old-School Instruc­tion­al Guide to Teenage Romance (1949)

The Bizarre, Surviving Scene from the 1933 Soviet Animation Based on a Pushkin Tale and a Shostakovich Score

Hot dumplings! Mar­i­nat­ed apples! A bar­rel of cucum­bers!

Want to add some quick col­or to your per­for­mance or film? Slip in a quick non-nar­ra­tive ven­dor scene. No need for char­ac­ter or plot devel­op­ment. The audi­ence will be quite con­tent with the hawk­ers’ musi­cal recita­tion of their wares.

The Gersh­win / Hey­ward opera Por­gy and Bess’ com­ic “Ven­dor’s Trio” makes a nice break from the tragedy.

The live­ly mar­ket num­ber Who Will Buy? tem­porar­i­ly side­lines Oliv­er’s orphans to show­case the tal­ents of the adult cho­rus mem­bers.

When the Simp­sons’ 179th episode took Homer to New York City back in 1997, he was able to pur­chase such exot­ic del­i­ca­cies as Khlav Kalash and canned crab juice from a col­lec­tion of push­carts at the base of the World Trade Cen­ter.

Less well known is the above bazaar sequence from The Tale of the Priest and of His Work­man Bal­da (1933), a clas­sic of Sovi­et ani­ma­tion. This short clip is the only part of direc­tor Mikhail Tsekhanovsky’s unfin­ished fea­ture-length work to sur­vive. The rest was destroyed in a fire at the LenFilm archives in World War II, the seem­ing­ly final chap­ter in its trou­bled his­to­ry.

The film was based on Alexan­der Pushkin’s poet­ic retelling of a Russ­ian folk tale about a greedy priest, who strikes an ill-advised bar­gain with a brawny work­er. It was pub­lished posthu­mous­ly, and only after cen­sors had changed the priest into a mer­chant.

As he began work on the pro­duc­tion, Tsekhanovsky invit­ed Dim­it­ry Shostakovich to com­pose the score, an inno­va­tion at a time when musi­cal accom­pa­ni­ment was added to com­plet­ed silent films. Shostakovich start­ed, but was derailed by Prav­da’s 1936 denun­ci­a­tion of his work in an arti­cle titled “Mud­dle Instead of Music.”

Even­tu­al­ly Tsekhanovskiy threw in the tow­el, too.

It does not end there, how­ev­er.

After Shostakovich’s death, his wid­ow got his stu­dent, Vadim Biber­ga, to com­plete work on the unfin­ished score. The Russ­ian Phil­har­mon­ic Orches­tra released it in 2006, as part of a Shostakovich cen­ten­ni­al.

A com­mem­o­ra­tive live per­for­mance that same year drew fire from the local dio­cese of the Russ­ian Ortho­dox Church, who object­ed to the mock­ing por­tray­al of the priest. The the­ater bowed to pres­sure, stag­ing sev­en priest-free num­bers from the opera.

This recent his­to­ry adds an air of defi­ance to the grotes­queries of the sur­viv­ing clip, with top hon­ors going to the smut ped­dler enter­ing at the one minute mark, to extol the virtues of “a Venus with no gar­ments and fat thighs.”

You can lis­ten to Shostakovich’s full score here.

Relat­ed Con­tent:

Three Ani­mat­ed Shorts by the Ground­break­ing Russ­ian Ani­ma­tor Fyo­dor Khitruk

Sovi­et Ani­ma­tions of Ray Brad­bury Sto­ries: ‘Here There Be Tygers’ & ‘There Will Come Soft Rain’

Watch Sovi­et Ani­ma­tions of Win­nie the Pooh, Cre­at­ed by the Inno­v­a­tive Ani­ma­tor Fyo­dor Khitruk

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Mad Magazine’s Al Jaffee & Other Cartoonists Create Animations to End Distracted Driving


Mod­el Ts were the aver­age American’s car of choice in 1921, when car­toon­ist Al Jaf­fee was born.

The father of MAD Mag­a­zine’s fold-ins was but sev­en when the T’s suc­ces­sor, the Mod­el A, was intro­duced.

It would be a long time before such inno­va­tions as seat belts, baby seats, and airbags were intro­duced. These safe­ty mea­sures do a fine job of min­i­miz­ing human dam­age in motor vehi­cle acci­dents, but they can’t pre­vent the col­li­sions them­selves.

To rem­e­dy this, Ford, the com­pa­ny respon­si­ble for the Mod­el T and hun­dreds of motor vehi­cles since, recent­ly enlist­ed Jaf­fee and his fel­low car­toon­ists, MK Brown and Bill Plymp­ton, to edu­cate the pub­lic on the dan­gers of dis­tract­ed dri­ving. Turns out this pre­ventable scourge rivals intox­i­ca­tion and haz­ardous road con­di­tions as a lead­ing cause of acci­dents.

Jaffee’s take, ani­mat­ed by J.J. Sedel­maier, above, will nev­er be mis­tak­en for film­mak­er Wern­er Her­zog’s har­row­ing anti-tex­ting doc­u­men­tary PSA, From One Sec­ond to the Next, or even Jaffee’s own anti-drunk dri­ving fold-in from MAD’s March 1975 issue.

Instead, he offers a gen­tle, child-friend­ly metaphor in which an uncaged bird becomes a hav­oc-wreak­ing dis­trac­tion. (For­tu­nate­ly, everyone’s wear­ing his seat­belt, and the lit­tle boy is rid­ing in back, in com­pli­ance with CDC rec­om­men­da­tions.)


Nation­al Lam­poon alum, Brown, tip­toes clos­er to the true caus­es of dis­trac­tion, with the alien-themed seg­ment, above, also ani­mat­ed by Sedel­maier. If it seems like­li­er that the alien’s earth­ling wife might do her hen­peck­ing via text rather than actu­al call these days—well, some­times dra­mat­ic lib­er­ties are war­rant­ed to get the mes­sage across.


Unsur­pris­ing­ly, Plympton’s self-ani­mat­ed con­tri­bu­tion is the most graph­ic, a direct descen­dent of his fab­u­lous­ly grotesque car­toon primers 25 Ways To Quit Smok­ing and How To Kiss. Moral? Assum­ing you want to keep your teeth in your head, the veg­etable mat­ter wedged in between can wait ’til you reach your des­ti­na­tion.

Relat­ed Con­tent:

Wern­er Herzog’s Eye-Open­ing New Film Reveals the Dan­gers of Tex­ting While Dri­ving

Al Jaf­fee, the Longest Work­ing Car­toon­ist in His­to­ry, Shows How He Invent­ed the Icon­ic “Folds-Ins” for Mad Mag­a­zine

Read­ing While Dri­ving, Seri­ous­ly?

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky. Her plan for avoid­ing acci­dents is to refrain from dri­ving when­ev­er pos­si­ble. Fol­low her @AyunHalliday

Watch “Beer,” a Mind-Warping Animation of Charles Bukowski’s 1971 Poem Honoring His Favorite Drink

Charles Bukows­ki could real­ly write. Charles Bukows­ki could real­ly drink. These two facts, sure­ly the best-known ones about the “lowlife lau­re­ate” of a poet and author of such nov­els as Post Office and Ham on Rye (as well as what we might call his lifestyle col­umn, “Notes of a Dirty Old Man”), go togeth­er. Drink­ing pro­vid­ed enough of the sub­ject mat­ter of his prose and verse — and, in life, enough of the fuel for the exis­tence he observed on the page with such rough-edged evoca­tive artistry — that we can hard­ly imag­ine Bukowski’s writ­ing with­out his drink­ing, or his drink­ing with­out his writ­ing.

We would nat­u­ral­ly expect him, then, to have writ­ten an ode to beer, one of his drinks of choice. “Beer,” which appeared in Bukowski’s 1971 poet­ry col­lec­tion Love Is a Dog from Hell, pays trib­ute to the count­less bot­tles the man drank “while wait­ing for things to get bet­ter,” “after splits with women,” “wait­ing for the phone to ring,” “wait­ing for the sounds of foot­steps.”

The female, he writes, knows not to con­sume beer to excess in the male man­ner, as “she knows its bad for the fig­ure.” But Bukows­ki, fig­ure be damned, finds in this most work­ing-class of all drinks a kind of solace.

“Beer” comes to life in the ani­ma­tion above by NERDO. “The com­po­si­tion is a man­i­festo of the author’s way of life, this is why we decid­ed to go inside the author’s mind, and it is not a safe jour­ney,” say the accom­pa­ny­ing notes. “A brain solo with­out fil­ter, a tale of ordi­nary mad­ness, show­ing how much lone­li­ness and deca­dence can be hid­den inside a genius mind.” This wild ride pass­es what we now rec­og­nize as many visu­al sig­ni­fiers of the Bukowskian expe­ri­ence: neon signs, cig­a­rettes, decay­ing city blocks, tawdry Polaroids — and, of course, beer, lit­er­al­ly “rivers and seas of beer,” which no less a fel­low ani­mat­ed enthu­si­ast of the bev­er­age than Homer Simp­son once, just as elo­quent­ly, pro­nounced “the cause of, and solu­tion to, all of life’s prob­lems.”

“Beer” will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

Four Charles Bukows­ki Poems Ani­mat­ed

Tom Waits Reads Two Charles Bukows­ki Poems, “The Laugh­ing Heart” and “Nir­vana”

Hear 130 Min­utes of Charles Bukowski’s First-Ever Record­ed Read­ings (1968)

Charles Bukows­ki Rails Against 9‑to‑5 Jobs in a Bru­tal­ly Hon­est Let­ter (1986)

“Notes from a Dirty Old Man”: Charles Bukowski’s Lost Car­toons from the 60s and 70s

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hermeneutics of Toilets by Slavoj Žižek: An Animation About Finding Ideology in Unlikely Places

It’s been part of Slavoj Žižek’s schtick for years. He’s men­tioned it in talks about Don­ald Rums­feld and Amer­i­ca’s mis­ad­ven­tures in Iraq. In lec­tures about archi­tec­ture in Spain. In Eng­lish-lan­guage talks. And oth­er lan­guages too. Maybe you’ve nev­er heard Žižek’s spiel about find­ing ide­ol­o­gy in the unlike­li­est of places. Yes, toi­lets. If you’ve missed out, this new ani­ma­tion has you cov­ered.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via Phi­los­o­phy Mat­ters 

Relat­ed Con­tent:

Slavoj Žižek Calls Polit­i­cal Cor­rect­ness a Form of “Mod­ern Total­i­tar­i­an­ism”

Slavoj Žižek: What Ful­fils You Cre­ative­ly Isn’t What Makes You Hap­py

Slavoj Žižek Names His Favorite Films from The Cri­te­ri­on Col­lec­tion

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Mesmerizing Animation, Made of Photos from Early-1900s America, Lets You Travel in a Steampunk Time Machine

Sure­ly you remem­ber Cheers, if only from the sit­com’s syn­di­cat­ed reruns cease­less­ly aired around the world. And if you remem­ber Cheers, you’ll remem­ber no part of it more vivid­ly than its open­ing cred­its sequence, which broke from the well-estab­lished tra­di­tion of show­ing the faces of the series’ cast mem­bers.

Instead, writes Stephen Cole at Fonts in Use, the stu­dio charged with cre­at­ing the sequence “col­lect­ed archival illus­tra­tions and pho­tographs of bar life, culled from books, pri­vate col­lec­tions, and his­tor­i­cal soci­eties. They hand-tint­ed the images and paired them with typog­ra­phy inspired by a turn-of-the-cen­tu­ry aes­thet­ic.”

The Old New World

As fond­ly as we remem­ber their work, the art of bring­ing turn-of-the-cen­tu­ry pho­tos to life has come a long way indeed since Cheers debuted in 1982. Take, for instance, the short above: The Old New World by Russ­ian pho­tog­ra­ph­er and ani­ma­tor Alex­ey Zakharov, who in just over three and a half min­utes takes us right back to ear­ly-1900s Amer­i­ca. “The pho­tos show New York, Boston, Detroit, Wash­ing­ton, D.C., and Bal­ti­more between 1900 and 1940, and were obtained from the web­site Shorpy,” writes Petapix­el’s Michael Zhang, quot­ing Zakharov’s own descrip­tion of the work as a “pho­to-based ani­ma­tion project” as well as a chance to “trav­el back in time with a lit­tle steam­punk time machine.”

The Old New World 2

You can see a gallery of more of the mate­ri­als that went into The Old New World at Behance. Just as those Cheers open­ing cred­its evoked the con­vivi­al­i­ty of old-time tav­ern cul­ture, Zakharov’s film evokes what it meant — or at least, to all of us cur­rent­ly alive and thus with­out any liv­ing mem­o­ry of that era, what we think it meant — to live in the head­i­est cities going in the head­i­est coun­try going, places whose boom­ing indus­try and cul­ture held out seem­ing­ly infi­nite promise, even on qui­et days.

The Old New World 3

Should Net­flix picks Cheers as their next beloved sit­com to revive, they might con­sid­er going to Zakharov for a new title sequence. He’s cer­tain­ly got all the pic­tures of Boston he’d need.

The Old New World 4

via Petapix­el

Relat­ed Con­tent:

Down­load 2,000 Mag­nif­i­cent Turn-of-the-Cen­tu­ry Art Posters, Cour­tesy of the New York Pub­lic Library

Lon­don Mashed Up: Footage of the City from 1924 Lay­ered Onto Footage from 2013

James Joyce’s Dublin Cap­tured in Vin­tage Pho­tos from 1897 to 1904

Watch 1920s “City Sym­phonies” Star­ring the Great Cities of the World: From New York to Berlin to São Paulo

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch the Titanic Sink in Real Time in a New 2‑Hour, 40 Minute Animation

From the mak­ers of Titan­ic: Hon­or and Glo­rya PC video game that lets you sail aboard a ful­ly detailed re-cre­ation of the RMS Titan­ic–comes an ani­ma­tion that lets you watch the sink­ing of the Titan­ic in real time. Accord­ing to the web site Titan­ic Facts, the ship sank in two hours and 40 min­utes in 1912. And that’s pre­cise­ly how long things take to unfold in the video above. The ani­ma­tion nar­rates the events in a fair­ly straight­for­ward way–nothing like the dra­mat­ic scenes paint­ed in James Cameron’s 1997 fic­tion­al­ized film. But it’s still worth the watch. 

In the Relat­eds below, you can check out two relat­ed clips — a vin­tage clip show­ing footage of the actu­al Titan­ic in 1911, and anoth­er ani­mat­ed reen­act­ment of the Titan­ic sink­ing, this one cre­at­ed by Cameron him­self.

via coudal.com

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Titan­ic: Rare Footage of the Ship Before Dis­as­ter Strikes

How the Titan­ic Sank: James Cameron’s New CGI Ani­ma­tion

Titan­ic: The Nazis Cre­ate a Mega-Bud­get Pro­pa­gan­da Film About the Ill-Fat­ed Ship … and Then Banned It (1943)

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