Earlier this month, Acting Secretary of the Army Adam R. Telle signed an order scheduling the execution of Nidal Hasan, a former Army major who was convicted of killing 13 people in a 2009 shooting at Fort Hood, Texas. Two days later, self-styled War Secretary Pete Hegseth made a startling announcement. “We’ll make sure that people are able to watch it, that it’s public,” Hegseth told the conservative Real America’s Voice News network, as the interviewer raised his eyebrows. The Department of War’s official “Rapid Response” Twitter account promptly promoted the clip.
Hegseth’s plan apparently won’t come to fruition. Amid outcry about the barbarity and optics of streaming the planned execution by firing squad — scheduled for December 3 at Fort Hood — President Donald Trump on Thursday called off the broadcast. “I think streaming the execution for all to see might have been a strong deterrent for the World to witness how America deals with Terrorists and SCUM like Hasan but, many very good and well meaning people would rather not watch him die, through streaming, or through any other visual device,” Trump posted on his social media website.
Some news outlets, such as The New York Times, framed the planned killing as an aberration, claiming that “such a broadcast has little precedent, and releasing video of executions is most often associated with extremist militant groups like the Islamic State.” This narrative, however, overlooks a forgotten American cultural history in which filmed executions turned government killings into spectacle.
The practice of filming executions in America is effectively as old as cinema itself.
In 1897, a few years after the first motion pictures began to be exhibited in the United States, a Missouri farmhand named William Carr was convicted of murdering his daughter and sentenced to death by hanging. Filmmaker Frederick Guth, of the American Phonographic Company, who had previously recorded an interview with Carr in prison, opted to film the execution as well — marking a grim milestone as history’s first filmed execution. The resulting motion picture, “The Hanging of William Carr” (1897), was first exhibited in Kansas City and St. Louis, then screened around the country.
The following year saw the nationwide premiere of “An Execution by Hanging,” otherwise known as “Execution of Negro at County Jail, Jacksonville, Fla” (1898). It showed the hanging of Edward Heinson, who was convicted and sentenced to death for criminal assault of a 14-year-old white girl. Illustrating racist views that have long shaped the American criminal legal system and the death penalty, the catalog of the film’s production company, American Mutoscope and Biograph, teased the film as depicting “a very ghastly, but very interesting subject.”
As these early films were distributed across the nation, they were met with interest and outcry. The journal Phonoscope at the time described the filming of Carr’s execution as “revolting,” while the Cleveland Leader cautioned that the film may have “brutalizing effects” on viewers. Some newspapers even claimed that during the hanging of Carr, Guth had hired people to storm the gallows to create added pandemonium.
