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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... roles played by Caucasian actors in blackface, The Birth of a Nation is no aberration, as some historians might suggest. Blackface was a part of American entertainment as far back as the minstrel shows of the 1840s; and white twentieth ...
... roles in whom Dixon, for all his patronizing, can find no fault. Typically, in The Love Complex, the leading character has a “colored woman,” Mandy, who cleans his rooms: “By Southern training and inheritance she was a motherly soul” (p ...
... role in Dixon's novels. The “saturnalia of debauchery,” about which Upton Sinclair writes in The Jungle (1906), with white women admiring “big Buck Negroes” engaged in fistfights, is prevalent in the writings of Thomas Dixon. His ...
... role, she has a white woman carried off into the desert (and unthinkable debauchery) by an Arab sheik. In the 1926 sequel, The Son of the Sheik, Valentino is stripped to the waist and whipped in a scene that might be right out of a ...
... role here to that of George Harris in The Leopard's Spots. Dixon was proud of his characterization of Austin Stoneman as Thaddeus Stevens: I drew of old Thaddeus Stevens the first full length portrait in history. I showed him to be ...
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 | |