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D. W. Griffith’s Birth of a Nation was one of the most controversial films of the 20th century. Praised by some and resented by others, it was one of the most popular films around the world for its time because of its chaotic effect on the general public. Set in the Civil War era, Birth of a Nation glorifies the Ku Klux Klan while portraying African Americans as reprobates whom sexually coerce white women. Many historians argue that the racist epic is responsible for the second Ku Klux Klan revival as well as a considerable amount of anti-black sentiment. While D. W. Griffith’s Birth of a Nation glorified the Ku Klux Klan and demonized African Americans, it actually helped African Americans gain support for equality. Birth of a Nation received mixed reactions from the public. In the United States, numerous Americans, specifically whites, praised Birth of a Nation as a cinematic masterpiece. As stated in the text, “D. W. Griffith’s epic of white supremacy, The Birth of a Nation, went over well with white audiences everywhere” (Sklar, 59). Although it was sensational for its use of new film elements, record-breaking ticket sales, and extended two-hour movie length, the most important factor of Birth of a Nation was the racist message it portrayed. As stated in the text, “Birth of a Nation seems as remarkable, and as flawed, in its art as in its theme of white supremacy” (Sklar, 61). Many people rallied behind Birth of a Nation’s racist message. Civil War tensions were retained in American culture at this time and the recent advent of African American sovereignty left many Americans with feelings of resentment. As such, people identified with its message. Amongst these supporters of Birth of a Nation was the President of the United ... ... middle of paper ... .... Print. Cook, Raymond. "The Man Behind "The Birth of a Nation"" The North Carolina Historical Review 39.04 (1962) 519-531. Web. Polgar, Paul. "Fighting Lightning with Fire: Black Boston's Battle against "The Birth of a Nation"" Massachusetts Historical Review 10 (2008) 84-113. Web. Sklar, Robert. Movie-made America: A Social History of American Movies. New York: Random House, 1975. Print. Stokes, Melvyn. "Race, Politics, and Censorship: D. W. Griffith's "The Birth of a Nation" in France, 1916-1923." Cinema Journal 50.01 (2010) 19-38. Web. Weinberger, Stephen. "The Birth of a Nation and the Making of the NAACP." Journal of American Studies 45.01 (2011) 77-93. Web. Willan, Brian. “'Cinematographic Calamity' or 'Soul-Stirring Appeal to Every Briton': Birth of a Nation in England and South Africa 1915-1931” Journal of Southern African Studies 39.01 (2013) 623-640. Web.
Holton, Woody. Forced Founders: Indians, Debtors, Slaves, and the Making of the American Revolution in Virginia. Chapel Hill, NC: UNC Press, 1999. 231. Print.
The overall appeal of the cinema to the masses was particularly evident during the interwar era. Audiences worldwide wanted to watch the variety of films, particularly American produced films, and they always went back. The visibly attractive and glamorous Hollywood movies often depicted the success of the underdog over unjust authority. Values of cash over culture were often a theme in the early American films and societies with restricted social mobility, such as those in Europe, could dream of such a triumph. The working class and unemployed could fantasise about wealth, fame and freedom which America as a country was portrayed as offering.
Schaefer, Eric. 1999. "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919-1959. Duke University Press.
Rucker, W. C., The River Flows On: Black Resistance, Culture, and Identity Formation in Early America. Baton Rouge: Louisiana State University Press, 2006.
Their targets were changing as the world changed. Determination of cleansing the world of lower classes allowed the Klan’s ideals to remain in the hearts and minds of some individuals. The extent in which members would go to in order to frighten and maim their fellow man brought confidence to others who wished to change the world in their own way. A new revival began in 1915 when white Protestant activists met to organize a revival of the Ku Klux Klan in Georgia. At this time at the dawning of the century, many white Americans still held the idea “Old South” in their hearts as a dream to happen once more. As well as being inspired by many novels and movies, the tide of hatred was swelling in the hearts of Americans once more. The popular film, “Birth of a Nation,” produced by D.W. Griffith in 1915 as a silent screen epic, was inspired by Thomas Dixon’s novels: “The Leopard’s Spots” and more popular “The Clansman.” Dixon’s novels attempted to rationalize the activities displayed by the Ku Klux Klan. When Griffith decided to portray Dixon’s novels, the white knights were romanticized as heroes and protectors of society.While the Ku Klux Klan’s actions were seen as heroic, the movie often portrayed African American’s actions as barbaric due to them being the villains. African American’s were seen robbing and kidnapping the daughters of respectable white men in the film. The next
Released in 1915, Birth of a Nation became America’s first full length film. The three hour silent movie reflected on two families, one from the south and one in the north, ...
Omi, Michael, and Howard Winant. "Racial Formation in the United States." 1994. The Idea of
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
In the movie Birth of a Nation, the first half of the story is based off the Civil War, and the rise of the Ku Klux Klan. The movie is divided into two parts, Pre-Civil War America and Reconstruction. After covering the Civil War, the story starts to introduce the Southern Camerons and Northern Stonemans. Birth of a Nation is told from the perspectives of these two families. The rise of the Ku Klux Klan, and Reconstruction is introduced in the second half. In the second half of the movie, racism becomes more apparent.
One interesting example of films that develop political stance that are not only encouraging of existing modes of social domination is those that involve interracial couples. So Stanley Kramer's 1967 film, Guess Who's Coming to Dinner, investigates the plausibility of ethnic incorporation as a solution to the problems of anti-black prejudice in America through its picture of the problems facing an interracial couple. Nearly 25 years later, Spike Lee's Jungle Fever argues against the earlier film's political outline, once again using an interracial couple that encounters racism. Only this time, the film asserts that the obdurate racism of White Americans undermines integration as a answer to the ills of this
The Birth of a Nation was released on October 7, 2016. It has grossed $15,803,772 (boxfficemojo.com) almost doubling its production budget of $8.5 million. As historians try their best with other historical facts, The Birth of a Nation has its part of fictional moments. Historians may be able to list events in chronological order to help inform readers, but if not every moment and conversation had been documented, historians could only fill in the blanks. This is the case with the Nat Turner film because not everything had been documented. It was engaging to see that there are some film producers in Hollywood trying, to be honest about diversity and slavery. Not every African American that was enslaved has the same story as author, Solomon
In order to capture racial differences, Oscar Micheaux’s and D.W Griffith both use racial relations as a metaphor, but in a completely different way for different reasons. In Griffith’s Birth of a Nation, the race war is due to the misconduct of proper order of society. Society being whites over blacks with its political connotations. In Griffith’s Birth of a Nation, the KKK are restoring order and bringing upon righteous retribution. Oscar Micheaux on the other hand, has a completely different view of how Griffith portrayed his message. Micheaux uses a naturalistic dialogue, which is written in a style to mimic real life conversations
In 1939, Victor Fleming directed one of the most influential films of the 20th century. While Gone With The Wind serves as a time capsule for southern lifestyle in the antebellum period, the film’s narrative delivers a great deal of social and political implications toward the 19th and 20th century. When first released in 1939, the film was a major turning point in the motion-picture industry; Audiences were dazzled by both the grand scale of the film, and its portrayal and idolization of the American lifestyle in the South. But while the film’s commercial success secured its categorization as a classic, it contains many historical inaccuracies and racist narrative elements. Gone With the Wind delivers an inaccurate depiction of the Southern
Appearing in the 1903, The Souls of Black folk had emerged, a collection of 14 proses, written by one of the single most intellectual blacks in America, W. E.B. DuBois (Oxford Companion). This dynamic collection of essays reflect on African American history, sociology, religion, politics, and music. DuBois begins saying “The problem of the 20th century is the color line (5). This quote pronounces DuBois bases for his collection, that is being different form the others (Whites) makes you feel like you are being shut out from their world by a vast veil; hence the color line(8). On the other had we have Birth of a Nation, which comes out later in 1915 (TCM). Ironically it becomes the top selling film in White America during that time, but degrades everything that DuBois and another activist stood for. While DuBois hopes to educate White and Black America on their boundaries, the color line, the film’s director, D.W. Griffith, undermines these ideas. Defiling images of African Americans by distorting the perception of Blacks using stereotypical examples such as the mammies, mulattos, and bucks, Griffith tries to justify that blacks were inferior to Whites. In spite of the many controversies that are expressed in the film, it had become a known as the most innovative, American Epics and was a top seller during its time because of Griffith’s technical breakthrough and format. While comparing and contrasting these two pieces I hope to reveal to you this why this ‘double consciousness’ exist, even todays society as a result of these stereotypes displayed in “The Birth of a Nation.”
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.