Ava DuVernay’s film Selma has generated yet another wave of mass mediated debate over cinematic representation of black Americans’ historical experience of racial injustice. The controversy’s logic is at this point familiar, nearly clichéd. DuVernay and others have responded to complaints about the film’s historical accuracy, particularly in its portrayal of Lyndon Johnson, with invocations of artistic license and assertions that the film is not intended as historical scholarship.