Bond on Representations of Law and Race Revisited: An Updated Survey of Recent American Film

Cynthia D. Bond, UIC School of Law, has published Representations of Law and Race Revisited: An Updated Survey of Recent American Film at 30 Denver Sports and Entertainment Law Journal 51 (Spring 2025). Here is the abstract.

This article revisits the author's Laws of Race/Laws of Representation: The Construction of Race and Law in Contemporary American Film, 11 Univ. Tex. Rev. of Sports and Ent. L. 219 (2010), surveying recent developments in mainstream films' depiction of the interrelated narratives of law and race. This article applies to current film the 2010 article's paradigm, which articulated three key narrative aspects of depictions of race and law in popular film: 1.) the raced construction of the lawyer-hero; 2.) the denial or displacement of the law's role in constructing race and race-based discrimination; and 3.) the suppression or revision of politics and political history. Using this paradigm as a point of departure, the article examines a range of films, TV shows, and streaming series that grapple with race under law. Particular focus is paid to films created post-2020, in light of social movements like Black Lives Matter and the attendant increased public dialogue regarding racialized legal disparities in American life. Beyond displaying a mere statistical uptick of racially diverse casting, films and series of the last fifteen years reveal that popular culture can engage notions of race and its place under law in a more direct and nuanced way.

Download the article from SSRN at the link.

Shanks-Dumont on Godzilla Cinema and the Imaginal Legal History of Ecocide

Daimeon Shanks-Dumont, University of California, Berkeley, is publishing Godzilla Cinema and the Imaginal Legal History of Ecocide in volume 36 of the Yale J.L. & Human. (forthcoming 2025). Here is the abstract.

This Article develops a theory of imaginal legal history in the service of recovering aspects of social phenomena that are habitually suppressed in contemporary modes of legal history. It offers a retrospective account of the emerging international crime of ecocide through the use of unlikely source material: Godzilla cinema. Through the use of moving images, this history surfaces latent meaning within the concept of ecocide that has been concealed in traditional narratives, namely an anthropocentric grounding that is at odds with its self-professed environmentalism. The Article is divided into two main Parts. The first lays out a speculative theory of imaginal history. It begins by considering how images operate in and through legal practices and materials as a general matter of symbolic ordering, before moving on to discuss what the concept of the imaginal offers legal-historical study. It critiques the dominate modality of professional historiography, contextualism, and the reduction of narrative that is a result of the hegemony of the written word. It then outlines a novel methodological paradigm—imaginal legal history—that promises a way out of the obsession with radical contingency that has arrested legal history since its encounter with critical legal studies in the 1980s. The second Part is an attempt to operationalize imaginal legal history with film—to create what Walter Benjamin called a “critical constellation”—to better appreciate current efforts to leverage international law to address the climate crisis. It begins by explaining why Godzilla cinema is an apt repository of moving images with which to engage the histories of international law, arguing that the genre’s global scope, international scale, and deep inventory of symbolic imagery and fantasy recommend it as a tool of imaginal legal history. It then analyzes a foundational moment in international environmental law’s history in the 1960s and 1970s—the invention of the concept of ecocide, the beginning of the modern environmental movement, and the articulation of environmental consciousness in American jurisprudence. Finally, the Article “reads” the 1971 film, Godzilla vs. Hedorah, and what its imagery, symbolism, and structure reveals of contemporaneous and current environmental and legal consciousness. The dénouement comes in the Conclusion, which takes the montage of images brought forward in the Article, dissolved of their contexts, and through a critical interpretation integrates them in ecocide’s horizons of meaning. A short Coda to the text follows, meditating on a materialist reading of Godzilla vs. Hedorah, and the traces of the Real that survive in the interstices of the film.

Download the article from SSRN at the link.

New Online Program on Law, Literature, and Film Taught Entirely in Spanish To Launch in October 2025

 

The University of Maastricht announces a new program on Law, Literature, and Cinema, to be taught online (via Zoom) entirely in Spanish, and hosted at the University of Girona. This program might be the first one taught only in Spanish. It begins in October of this year.

Spanish-speaking students around the world interested in law and film will certainly be interested in investigating this program.

Here's the link to the program's webpage: https://www.fundacioudg.org/es/curso-especializacion-literatura-cine-derecho.html

Sullivan on Death and Discretion: Some Thoughts on Living

Barry Sullivan, Loyola University Chicago School of Law, is publishing Death and Discretion: Some Thoughts on Living in volume 35 of the Yale Journal of Law and the Humanities. Here is the abstract.

Like judges, administrative officials exercise legal authority that significantly impacts the lives of others, and, in doing so, they must confront the problem of authority as "a problem for the individual mind faced with the difficulty of deciding what to do or to say." (James Boyd White, Acts of Hope309 (1994) Their work, like the work of judges, has a profound moral dimension. In this essay, Professor Sullivan considers that moral obligation through an analysis of Kazuo Ishiguro's 2022 film Living, together with Akira Kurosawa's film Ikiru and Leo Tolstoy's novella The Death of Ivan Ilyich. An earlier version of the essay was presented at a Yale Law School conference in honor of the fiftieth anniversary of the publication of James Boyd White's path-breaking book The Legal Imagination.

Download the article from SSRN at the link.

Asimow on All's Fair in Love and War: Military Justice in the Movies ‪@sculawresearch.bsky.social‬ @amarkhoday.bsky.social

Michael Asimow, Santa Clara Law School, has published All's Fair in Love and War: Military Justice in the Movies. Here is the abstract.

This chapter in the book Law and War in Popular Culture (Stefan Machura, editor, Nomos 2024) surveys military justice in English-language films. These movies tell a consistent story of injustice arising out of flaws inherent in the military justice system—in particular command influence and abuse of the following-orders defense. The brass exercise command influence over military court martials to select and punish scapegoats or cover up their own errors. Command influence is the subject of such classic films as Paths of Glory, Breaker Morant, and Man in the Middle, among others. The following orders defense applies if the accused was acting pursuant to orders, unless the accused knew the orders were unlawful or a person of ordinary understanding would have known the orders were unlawful. Of course, this defense is inherently problematic, since it is unlikely that trained soldiers will disobey orders, regardless of their legality. The following-orders defense and its abuse are memorably portrayed in such films as A Few Good Men and Breaker Morant.

Download the chapter from SSRN at the link.

Reid on Good Policing Practices Are Difficult, Even For the Avengers @LMUtweets

Melanie Reid, Lincoln Memorial University Duncan School of Law, has published Good Policing Practices Are Difficult, Even for the Avengers.  Here is the abstract.

Policing, as a topic, is complicated. Many have strong views as to what police should or should not be doing and how effectively they are doing it. Too often policing has become polarized with various perspectives disagreeing as to the future of policing. Black Lives Matter, Defund the Police, and Policing Abolition movements are on one spectrum compared to the Blue Lives Matter Movement or other mayoral or police union initiatives. This is clearly a time to collaborate and learn from the various perspectives to bring hope and change in the future. Lawyers, academics, community members, and police officers alike are all asking the same question: how can we contribute to the national effort to examine and address issues in policing and public safety, including conduct, oversight, and the evolving nature of police work? This Article seeks to explore the realities of policing in a novel way and make overall suggestions to support effective policing. The Article will examine several policing practices by evaluating the Avengers as a police department in the Marvel Cinematic Universe (“MCU”) and look to the various perspectives in policing to do so. The Article will utilize (and criticize) this fictitious police department in order to touch upon several themes relevant to policing today: the concept of policing (the importance of structure and its leadership team), the community policing philosophy, police training, strategies and tactics used to reduce crime, the policing culture problem-oriented policing (hots spots and predictive policing), police oversight, implicit bias, use of force, and current recruitment policies in place. Our perspectives on policing are shared in part by our opinions about what the police are supposed to do and how police go about doing their job. Using one of the highest grossing media franchises of all time to compare and contrast police department practices will allow the reader to get a sense of where we are currently as it relates to current practices and police culture and where we want to be in the future. The infinity stones displayed in Avengers’ Infinity War and Endgame serve as a perfect catalyst to explore the types of changes the readers, as future lawmakers and policymakers, might want to think about in the future. The structure and values of society itself (through the lens of the Avengers’ movies) can shape what police do and how the policing institution is organized. Most importantly, policing is all about relationships—relationships with the community, with other players in the criminal legal system, and within their own departments. The characters in the MCU display those relationships in every aspect and remind us of our own flaws and hope for the future when we collaborate and work together toward positive solutions to an incredibly complicated problem—fixing the criminal legal system.

Download the article from SSRN at the link.

Hsieh on "The Past Is Never Dead, It's Not Even a Trademark or Copyright": William Faulkner on the Elusive Boundary Between Intellectual Property Forms No One Ever Talks About @timhsiehiplaw @OCULAW

Timothy T. Hsieh, Oklahoma City University School of Law, has published "The Past Is Never Dead, It's Not Even a Trademark or Copyright": William Faulkner and The Elusive Boundary Between Intellectual Property Forms No One Talks About. Here is the abstract.

In the 2013 federal case of Faulkner Literary Rights, LLC v. Sony Pictures Classics Inc., et al., Case No. 3:12-cv-100-MPM-JMV (N.D. Miss. July 18, 2013), the Estate of William Faulkner sued Sony Pictures due to Woody Allen’s film Midnight in Paris having a character refer to the Faulkner quote “The past is never dead. It’s not even past” from Requiem for a Nun. In the suit, the Faulkner Estate alleged copyright infringement as well as trademark appropriation under The Lanham Act. A 2012 suit also occurred where The Faulkner Estate sued aerospace defense technology company Northrup Grumman for using the same quote in a 2011 advertisement placed in The Washington Post. See Faulkner Literary Rights LLC v Northrop Grumman. Corporation and the Washington Post Company, No 3:12-cv-732-HTW-LRA (S.D. Miss. Oct 26, 2012). Both cases not only dealt with trademark law, the copyright law doctrine of fair use and also de minimis usage of copyrighted material, but also the fascinating quandary of where one draws the line between a copyright and a trademark, e.g., when does a slogan or title become too long to trademark and proper to copyright and vice-versa, when does a copyrightable line of literary text become too short to copyright and proper to trademark? This boundary between a copyright and a trademark is one seldom analyzed by the legal literature out there, and almost overlooked or even dismissed as a simplistic concept not worth a deeper look. However, these cases involving the infamous Faulkner line compel the conclusion that the difference between a trademark and a copyright might be a much more complex determination to make. By analyzing these two cases, the history of cases differentiating a trademark and a copyright or the “trademark-copyright” boundary, and the potential usage of similar lines from Faulkner’s work, this paper will discuss how one of William Faulkner’s most enduring and timeless lines pushes the boundaries of a cutting-edge but little analyzed concept in intellectual property law.

Download the article from SSRN at the link.

Houghton, Murray, and O'Donoghue on Kenstituent Power: An Exploration of Feminist Constitutional Change in Greta Gerwig's Barbie @ruth_houghton @NCLLawSchool @aoifemod @BarbieFemCon @qubschooloflaw

Ruth Houghton and C. R. G. Murray, both of Newcastle Law School, and Aoife O'Donoghue, Queen's University, Belfast School of Law, are publishing Kenstituent Power: An Exploration of Feminist Constitutional Change in Greta Gerwig’s Barbie in Feminist Theory (2024). Here is the abstract.

Greta Gerwig’s Barbie explores the influence of childhood dream worlds and toys over adult life, and the singular importance of a toy which represents an empowered woman. But this story plays out against the backdrop of deep societal challenges. That the subject matter of the film is light does not detract from its cultural significance; it enhances its reach and thereby its influence. Constitutional change, property, dissent, inequality and revolution are not the B-plot of the film, they suffuse every scene and motivate its major characters. In this article we explore the significance of BarbieLand as a supposed embodiment of a feminist utopia and the extent to which Gerwig is confronting viewers with difficult questions about authority and just governance in the RealWorld.

Download the article from SSRN at the link.

Aydin-Aitchinson on Victims, Perpetrators, and Bystanders: Atrocity and Its Aftermath in the Films of Jasmila Žbanić @UoELawSchool

Andy Aydin-Aitchinson, University of Edinburgh School of Law, has published Victims, perpetrators, and bystanders: Atrocity and its aftermath in the films of Jasmila Žbanić as Edinburgh School of Law Research Paper No. 2023/07. Here is the abstract.

Following cultural and visual criminologists, who explore cinematic representations of victimhood, gender, witnessing, and memory, I excavate the ‘implicit criminologies’ in four films by Bosnian director Jasmila Žbanić: Grbavica (2006); Na putu [On the path] (2010); Za one koji ne mogu da govore [For those who can tell no tales] (2013); and Quo Vadis, Aida? (2020). In criminological terms, Žbanić’s work is strongest as an example of cinematic victimology, but also poses important questions around perpetration and bystanders. By noting the films’ potential to encapsulate universal and particular elements and by casting cinematic knowledge as a collective project, I question the need to hold one film or one director to an overly rigid ethical standard of inclusivity.

Download the article from SSRN at the link.

Surana on Breaking the Cycle: Exposing Victim Blaming in Media Through the "Pink Lens" @JindalGlobalUNI

Palak Surana, O. P. Jindal Global University, has published Breaking the Cycle: Exposing Victim Blaming in Media Through the "Pink Lens". Here is the abstract.

The article, “Breaking the Cycle: Exposing Victim Blaming in Media through the 'Pink lens" examines the issue of victim blaming (V.B.) in the media, with a specific focus on cross-religious V.B. The perpetuation of V.B. in the media contributes to a lack of empathy and understanding towards victims, perpetuates harmful stereotypes, and hinders efforts to create a just and equitable society. The article analyzes the movie "Pink" as a powerful example of addressing V.B. in a nuanced and sensitive manner, highlighting the patriarchal mindset and societal attitudes that contribute to V.B. The movie demonstrates the impact of V.B. on women from different religious backgrounds and emphasizes the need to challenge harmful stereotypes. Additionally, the article explores the psychological factors that contribute to victim blaming and discusses gendered V.B. in Bollywood movies. It also acknowledges that V.B. can affect males and highlights examples of male victimization in Indian cinema. Furthermore, the article discusses the news value of V.B., the impact of the media in shaping public perception, and the powers of media tools to combat V.B. Finally, it explores the "Pink Impact," emphasizing the film's positive reception and its contribution to raising awareness and initiating discussions about V.B. in Indian society. Overall, the article emphasizes the importance of recognizing and challenging V.B. in all its forms to create a more just and equitable society for all individuals.

Download the article from SSRN at the link.

Cossman on #Metoo and the Corporation in Popular Culture @BrendaCossman @SULawRev

Brenda Cossman, University of Toronto Faculty of Law, is publishing #Metoo and the Corporation in Popular Culture in the Seattle University Law Review. Here is the abstract.

This paper considers #MeToo films and televisions shows that take place within corporations. Bombshell (2019), The Morning Show (2020), The Loudest Voice in the Room (2019) and The Assistant (2019) each explore the issue of sexual harassment and sexual assault within the corporation, loosely based on real storiesI consider the ways in which these films/shows focus on the corporation as the site of #MeToo events: sexual harassment and assault of female employees by powerful men. The representations are paradoxical. The corporate officers and directors are represented as culpable, as at best turning a blind-eye, at worst covering up the violence in the interest of their financial bottom line. Yet in most, the leadership of the corporation is ultimately called to action, if not account; powerful men are fired, the old boy network toppling (yet not). While initially part of the problem, they become part of the solution. Problems of sexual harassment and corporate governance are individualized, and the image of the corporation sanitized through the outcome.

Download the article from SSRN at the link. On a related issue, see Christine A. Corcos, Growing Up With Popular Culture in the Time of Title IX, 83 Louisiana Law Review 60 (2022).

Cronan on "Give Us Free": The Influences of Steven Spielberg's Amistad on Legal Scholarship and the African Voices Behind United States v. Schooner Amistad @BU_Law

Liam Cronan, Boston University School of Law, is publishing 'Give Us Free': The Influences of Steven Spielberg’s Amistad on Legal Scholarship and the African Voices Behind United States v. Schooner Amistad in volume 56 of the Int'l J. Afr. Hist. Stud. (Nov. 2023). Here is the abstract.

How can a Spielberg film exemplify a historiography and impart legal historians and scholars of African studies alike with an innovative perspective? In Steven Spielberg’s Amistad, Cinqué’s famed exclamation “give us free” reverberated not only into popular culture but also the legal academy. Before the 1990s, legal scholars referenced United States v. Schooner Amistad, if indeed they referenced it at all, in terms of maritime law and property rights, absent an inquiry into the African peoples whose hardships stood at the center of the case. Then came Spielberg’s film, which made clear the brutality and unimaginable violence withstood by Cinqué and others taken captive. As a result, American legal scholarship finally began to wrest with issues of race and the role of the United States Supreme Court in upholding slavery and elevate the African peoples to whom the story of Amistad belongs. In analyzing the film as a source of legal history, this review essay will explore the state of legal scholarship on United States v. Schooner Amistad before the 1997 film, drawing attention to earlier scholarly confusion on how to classify the case. It will then challenge legal history’s boundaries by analyzing forty-two post-1997 journal articles relating to the film, arguing that scholars at last began to recognize themes of race, forced migration, and enslavement, central to the Amistad case, as a direct result of the film’s unique influences on the legal academy. In turn, the yet unexplored intersection of these sources will invite inquiries into whether Amistad was truly an “anti-slavery” case and open space for further scholarship on cases similarly related to transatlantic slavery that never earned the likes of a Spielberg film.

Download the article from SSRN at the link.

Guerra-Pujol on Coase and the Corleones

F. E. Guerra-Pujol, Pontifical Catholic University of Puerto Rico, is publishing Coase and the Corleones in The Godfather and Philosophy: We’re Gonna Make‘em an Argument They Can’t Refute (Joshua Heter and Richard Greene, eds., Open Court, 2023). Here is the abstract.

My contribution to the new volume on The Godfather and Philosophy will explore the problem of reciprocal harms in the context of the famous wedding scene in the original Godfather movie. By way of background, one of the most influential ideas in legal, moral, and political philosophy is the harm principle or the notion that people should be free to do or say whatever they wish unless their actions or words cause harm to somebody else. The Godfather, however, shows us why the harm principle is logically incoherent. Aside from the difficulty of defining what counts as a harm, the main problem with the harm principle is that harms are often reciprocal in nature, a counterintuitive idea that can be traced back to the work of Ronald Coase. That is, most harms are, logically speaking, either the direct or indirect result of both the wrongdoer’s and the victim’s decisions. (This short paper is part of a larger series of works that I have written over the years using examples from popular culture to illustrate the problem of reciprocal harms.)

Download the essay from SSRN at the link.

Delgado on Groundhog Day @UALawSchool

Richard Delgado, University of Alabama School of Law, has published Groundhog Law at 21 J. L. Society 1 (2021). Here is the abstract.

Is law an academic discipline like chemistry, history, or English that belongs on a university campus? Rodrigo and the professor discuss an innocent question by a conference attender who wanted to know why legal knowledge never seems to advance. Rodrigo and the professor are struck by how legal scholarship fails to pass law-review muster unless each statement comes accompanied by a footnote reference to a past writer who said exactly the same thing. They ponder the ways this mindset resembles Gabriel Garcia Marquez's novel, One Hundred Years of Solitude, and the movie Groundhog Day.

Download the article from SSRN at the link.

Gould on Natural Law and the "Resistance": A Normative Approach to the Skywalker Narrative in "The Last Jedi"

James Gould, University of Plymouth, School of Law, Criminology, and Government, has published Natural Law and the ‘Resistance’: A Normative Approach to the Skywalker Narrative in The Last Jedi, at 34 International Journal for the Semiotics of Law 357-375 (2021). Here is the abstract.

The motion picture The Last Jedi involves important decisions and actions taken by the protagonist of the original Star Wars trilogy, Luke Skywalker. It will be argued that Luke’s narrative in The Last Jedi can be explored through analysing new natural law thought. In particular it draws on Robert P. George’s discussion of the good (human flourishing) to consider whether the opposition provided by Luke Skywalker can been seen as a successful form of opposition to restore public morality. The contrast between Skywalker’s morality and the behaviour of the First Order will be established. It will be argued that the Skywalker narrative symbolises public morality against the politics of the First Order. It will be analysed whether Luke’s sacrifice in The Last Jedi can provide legal restraint to a militant invading force. This will further be shown to be helpful to legal philosophy in negotiating the boundaries over natural rights. As such, it will be shown that key features of George’s natural law reasoning can be usefully applied to examine Luke’s actions, and this will shed light upon concepts such as liberty, sacrifice and fear. Legal idealism in the form of natural law will provide further insight into the jurisprudence that pervades Luke’s narrative arch to demonstrate the film’s wider relevance.

ICYMI: Banks on Civil Trials: A Film Illusion? @UMDLaw

ICYMI: Taunya Lovell Banks, University of Maryland School of Law, has published Civil Trials: A Film Illusion? Fordham Law Review, Vol. 85 (2017)in volume 85 of the Fordham Law Review (2017). Here is the abstract.

The right to trial in civil cases is enshrined in the United States Constitution and most state constitutions. Most people, laypersons and legal professionals alike, consider trials an essential component of American democracy. But real life civil trials are disappearing from the American legal landscape. Films, like books designed for consumption by the general public, are cultural documents that embody a society’s attitudes about and views of the law and the legal system. Courtroom films are the most easily recognizable and popular subset of films about law because they provide the stage for an examination of some aspect of a trial—juries, lawyers, litigants, laws or the legal process itself. Some legal commentators contend that legal films have the capacity to teach and encourage film audiences to think more critically about the legal system. But most trial films involve criminal cases. Thus this essay asks whether the distinction between criminal and civil films trials is important when determining the impact of the decline in real-life civil trials on American popular culture and courtroom films in particular.

Download the article from SSRN at the link.

ICYMI: Sherwin on Law's Enchantment: The Cinematic Jurisprudence of Krzysztof Kieslowski @RKSherwin @OxUniPress

ICYMI: Richard K. Sherwin, New York Law School, has published Law's Enchantment: The Cinematic Jurisprudence of Krzysztof Kieslowski in Law and Popular Culture (Michael Freeman, ed., Oxford University Press, 2005). Here is the abstract.

Mythos begets nomos. In myth begins the normative universe in which we live. Law emerges to maintain that universe, and to foreclose others. Law polices the normative reality through the official stories that it tells, for these are the stories whose meanings are backed by the force of the state. But law's stories are often shaped and informed by popular narratives from the culture at large. This shared process of narrative production, adaptation, and critique attests to law's deep entanglement in the meaning-making function of culture.

The full text is not available from SSRN.

Darrow & Darrow, a Hallmark Mystery Movie Lawyer Mini-Series @hallmarkmovie

 A plethora of attorneys on the Hallmark Mystery Movie mini-series Darrow & Darrow. Lawyer characters include Joanna Darrow (Wendie Malick), her daughter Claire (Kimberly Williams-Paisley), and in the fourth episode, their client Cassie Piper (Elysia Rotaru), an attorney accused of insider trading, and then murder.

There are, of course, also prosecutors and judges, and paralegals. It's a well-acted series; watch for the relationships and the romance. 

Women Lawyers on Film and in Television @UTexasLaw @LSULawCenter

A piece by my former student, Danielle Maddox Kinchen: Only the Best and the Brightest: No Room for the Average Female Lawyer in the 21st-Century Cinematic Legal Profession, 21 Tex. Rev. Ent. & Sports L. 55 (Fall 2020). Enjoy!

Abramson on Matrimony and Legal Interventionism in Silent Divorce Comedies @LoyolaChicago @NRFTSJournal

Leslie H. Abramson, Loyola University Chicago, has published Evidence to the Contrary: Matrimony and Legal Interventionism in Silent Divorce Comedies in volume 18 of the New Review of Film and Television Studies (2020). Here is the abstract.

Captivated by the vagaries of romance, American silent cinema was smitten from the outset with the narrative possibilities of not only attraction but the gamut of ensuing legal entanglements. Divorce and near-divorce comedies appeared in cinema as early as the turn of the century, contrary to their prevailing historicization. Moreover, focusing on the catalysts, processes, emotional turbulence, and romantic fantasies of divorce even among loving spouses, key silent comedies incriminate the law as a central agent in instigating and facilitating the couple’s disunion. This essay examines how Why Mrs. Jones Got a Divorce (1900), Getting Evidence (1906), and Max Wants a Divorce (1917) indict the modern legal system’s seductively broadened possibilities for divorce via modern methodologies and technologies for capturing attraction and licentiousness. These silent comedies pass judgment on the overriding appeal of fingerprints, the detective camera, and the private investigator, as well as other forms of legal documentation. The essay considers early divorce films’ association with silent cinema’s own weddedness to institutional codes and cinema’s commentary on its formal capacity to document the inconstancies of romance. Ultimately, insofar as intoxication with documentation rather than the spouse foregrounds the detriments of establishing actionable legal evidence, these divorce comedies implicate the law’s own capacity for unfaithfulness to a more perfect union.

Download the article from the website at the link.