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.
Soon, the burgeoning cinema industry came to adopt a different practice for the growing number of films about executions. Filmmakers started blending reality with fiction, by combining clips recorded at actual execution locations with fictionalized reenactments of the killings themselves.
For instance, after Thomas Edison’s Edison Studios failed to gain permission from the authorities to film the actual execution by electrocution of President William McKinley’s assassin, filmmakers combined exterior location shots on the day of the killing with footage of a mannequin to depict the actual death in “Execution of Czolgosz with Panorama of Auburn Prison” (1901).
Edison was no stranger to the format: He had previously produced numerous historical execution reenactments like “The Execution of Mary, Queen of Scots” (1895) and “The Execution of Joan of Arc” (1895). His studio also dabbled in zoosadistic entertainment, with films showcasing actual animal deaths, such as “Electrocuting an Elephant” (1903), which presented an elephant named Topsy being put to death for killing a spectator who had burnt her trunk with a cigar.
In 1905, American Mutoscope reused the title of its earlier film, “An Execution by Hanging,” this time depicting a reenactment of the hanging of Mary Rogers, who was convicted of killing her husband (alternate title “Execution of a Murderess”). Along with what were apparently genuine location shots, American Mutoscope incorporated reenactments of the moment of death. The film was released as part of a trilogy, including “Reading the Death Sentence” and “Reprieve from the Scaffold,” with the third installment presenting an alternate fictional ending in which Rogers was not killed.
Other films around the turn of the century used a similar technique to conflate reality and fiction, with film catalogs accentuating the lurid nature of these pictures. The description of “Beheading a Chinese Prisoner” (1900) in the Lubin production company catalog reads: “The executioner displays the head to the spectators to serve as a warning for evil doers. Very exciting.” Lubin had also earlier produced another execution reenactment, “Execution of the Spanish Spy” (1898).
Many films focused on executions carried out by mobs rather than the government. There was “Edison’s Lynching Scene,” also known as “Lynching of a Horse-Thief” and more coyly as “A Frontier Scene” (1898), as well as “Lynching Scene: A Genuine Lynching Scene,” also known as “Lynching Scene at Paris, Texas” (1897) from the International Film Company, and “A Lynching at Cripple Creek,” otherwise known as “Tracked by Bloodhounds” (1904).
The motion picture camera, of course, wasn’t the only new technology at that time shifting the public’s perception of execution. When William Kemmler was killed in the first electric chair execution in New York in 1890, the American media heralded a “new era in capital punishment.” Witnessing the new death technology, even in reenactment form, would prove to be a fascination for filmgoers over the years.
“Death in the Electric Chair at Sing Sing” (1902), the final installment in American Mutoscope’s five-part “A Career of Crime” series, is described in the company’s 1902 catalog as “an accurate and thrilling representation of an electric execution at Sing Sing.”
As the novelty of new execution methods wore off, their cinematic popularity likewise began to taper, though film promoters occasionally used the electric chair as a prop outside the cinema to attract moviegoers in the 1930s. At the same time, as the practice of public hangings faded in the U.S. and executions moved indoors, authorities began restricting access to death chambers to select groups of family members, victims’ relations, official personnel, and chosen media. It’s a practice that continues to this day, preventing actual recordings of executions from reaching the public.
With the advent of grindhouse exploitation cinema in the 1970s and the home video boom of the 1980s, however, the American entertainment industry once again found a way to court audiences by depicting executions.
Taking up the mantle of films that blended real footage and reenacted execution scenes were movies like “The Electric Chair” (1976), whose theatrical promotional materials prominently featured the titular chair and touted that “scenes in this picture were filmed in an actual death house. What you will see is real.” The infamous shockumentary “Faces of Death” (1978), whose marketing material similarly emphasized its staged electrocution scene, enticed viewers to “experience the graphic reality of DEATH, close-up.”
In the bloody wake of “Faces of Death” came a seemingly endless parade of straight-to-video death compilations, spanning from the late 1970s to the mid-2010s, which made death something to be consumed in private in the home, versus as theatrical spectacle. The films, which spliced together clips of executions with other atrocities, have titles such as “Dying: Last Seconds of Life” (1988) and “Executions 2001” (2001).
“Death Watch,” a typical entry in the genre released on VHS in the late ’90s or early ’00s, adequately summed up its genre: “unedited first-hand footage of death, vivisection, autopsy, cremations, suicides, tortures, decapitations, state and governmental executions, animal ingestion of humans, as well as human limb extraction.” Its cover featured an electric chair, echoing the posters promoting films such as “The Electric Chair” (1976) and “Death in the Electric Chair at Sing Sing” (1902).
When Saddam Hussein was executed by hanging on December 30, 2006, a security guard used his cellphone to record the execution. The phone video was promptly released on DVD in the U.S. under the title “Sad Damn! Who’s Sane?” Though still listed on online retailers like Amazon, the DVD is now long out of print, much like turn-of-the-century execution films.
The proposal to livestream Hasan’s firing squad execution would have, in some ways, marked a significant change in course. The killing would have been the first known execution to be recorded and disseminated by the government itself, rather than a film studio. Critics lambasted Hegseth’s plan as violent propaganda that could invite similar brutality against American prisoners abroad. Trump himself reportedly expressed hesitation about the imagery, fearing footage of the U.S. military killing Hasan, who uses a wheelchair after injuries during the Fort Hood shooting, might result in him being celebrated as a martyr.
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