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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... and his collaborator, D.W. Griffith, used that initial production to tell the history of the Civil War and Southern Reconstruction as they believed it to be, so did 2 3 Dixon embrace the motion picture—although he preferred to call it.
... productions. They are almost all stirring social melodramas, morality plays in which the morality is that of their auteur and, more often than not, that of the general American populace. With The Birth of a Nation, D.W. Griffith ...
... production of The Mark of the Beast. Griffith and Dixon are the only true Southern filmmakers from the so-called golden age of the motion picture, although an argument might certainly be made for the inclusion of John Ford as at the ...
... estate and a positive view of the slave population, who are well cared for, educated, paid small sums of money, and allowed to sell their own produce. Much is made of the difference between the Southern black slave and the poor Southern.
... director acquired the screen rights in 1920 and tried to persuade Paramount in the late 1920s and both Fox and Universal in the 1930s to produce a screen adaptation. or However, to all intents and purposes, the theatre was Yankee.
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 | |