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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... scenes of Washington life at the close of the Civil War in The Clansman. For Dixon, the motion picture was no mere toy nor just another popular form of entertainment. As he wrote in 1923, “The moving picture man, author and producer and ...
... scene that might be right out of a Thomas Dixon novel. While he was codifying the racist image of African Americans, Dixon was also clearly establishing their sexual identity for a white female readership. But the sexual imagery is not ...
... scenes complained of. Yet his book will not have been written in vain if it points out the dangers of ruling a people against its will, the awful perils of governing without the consent of the governed.” The Dial returned to the novel ...
... scene, and ends in a mad, intertwined rush of plot and Klansmen. The change of primary location from Dixon's home state of North Carolina to South Carolina was necessary because South Carolina was one of only two Southern.
... scenes, and a dozen expedients which have been used so often in dramas of the class to which Mr. Boucicault's Octoroon belongs,” wrote the New York Times (April 4, 1882). The White Slave is of primary interest in that it was most ...
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 | |