American Racist: The Life and Films of Thomas DixonUniversity Press of Kentucky, 10 сент. 2004 г. - Всего страниц: 264 " Thomas Dixon has a notorious reputation as the writer of the source material for D.W. Griffith's groundbreaking and controversial 1915 feature film The Birth of a Nation. Perhaps unfairly, Dixon has been branded an arch-conservative and a racist obsessed with what he viewed as "the Negro problem." As American Racist makes clear, however, Dixon was a complex, multitalented individual who, as well as writing some of the most popular novels of the early twentieth century, was involved in the production of some eighteen films. Dixon used the motion picture as a propaganda tool for his often outrageous opinions on race, communism, socialism, and feminism. His most spectacular production, The Fall of a Nation (1916), argues for American preparedness in the face of war and boasts a musical score by Victor Herbert, making it the first American feature film to have an original score by a major composer. Like the majority of Dixon's films, The Fall of a Nation has been lost, but had it survived, it might well have taken its place alongside The Birth of a Nation as a masterwork of silent film. Anthony Slide examines each of Dixon's films and discusses the novels from which they were adapted. Slide chronicles Dixon's transformation from a major supporter of the original Ku Klux Klan in his early novels to an ardent critic of the modern Klan in his last film, Nation Aflame. American Racist is the first book to discuss Dixon's work outside of literature and provide a wide overview of the life and career of this highly controversial twentieth-century southern populist. Anthony Slide is the author of numerous books, including Silent Players: A Biographical and Autobiographical Study of 100 Silent Film Actors and Actresses. |
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... arguments, but one should never deride his honesty or his integrity or his forthrightness. No pun is intended, but Dixon's life and career cannot be discussed in terms of black-and-white—not even the black-and-white of the silent motion ...
... argued Dixon. “Once it starts it goes on. It spreads from one nosey mind to another. . . . God almighty never made a ... arguments for tolerance and peace, as in Intolerance, Broken Blossoms, and Isn't Life Wonderful, were of little ...
... argued that Dixon's writings are evidence of a search for an American utopia, neither Southern nor Yankee, but one “where Aryans North and South unite to protect their racial heritage.” 14 Dixon's filmic concept of the South is one ...
... argument might certainly be made for the inclusion of John Ford as at the least an honorary Southern filmmaker —a Southerner through his marriage to Mary McBride Smith, whose family plantation had been burned by General Sherman on his ...
... argument against him. “My books are simply merciless records of conditions as they exist, conditions that can have but one ending if they are not honestly and fearlessly faced,” argued Dixon. 16 Because Dixon dealt with recent ...
Содержание
Southern History on Film | |
The Fall of a Nation | |
The Foolish Virgin and the New Woman | |
The Red Scare | |
Miscegenation | |
Journeyman Filmmaker | |
Nation Aflame | |
The Final Years | |
Raymond Rohauer and the Dixon Legacy | |
Filmography | |
Notes | |