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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... slaves in Way Down South (1939), where Bing Crosby croons in Mississippi (1935), where Mary Brian and Charles “Buddy” Rogers are sweethearts in River of Romance (1929), and where Tom Sawyer and Huckleberry Finn live. Even the South of ...
... slaves. If Dixon had produced the film, it would have depicted the reality of Negroes lynched in New York and the burning of a city orphanage for African American children, but these incidents were only hinted at in Scorsese's ...
... slave, a black saint from whom I first learned of God and eternity,” he wrote in his autobiography. 3 In many of his non-Southern novels there are African Americans in minor and subservient roles in whom Dixon, for all his patronizing ...
... slaves at the close of the Civil War, except for an elderly “mammy” who remained as one of the family. By all accounts, Dixon's early life was at times a lonely but never an unhappy one. He saw firsthand the carpetbaggers, the new breed ...
... Slavery in America—Its Good Results—Why These Should Be Noted,” described by James Zebulon Wright as “the sort of writing one saw later in Dixon's own work.” 10 The Wake Forest Student was also the outlet for Dixon's first play, From ...
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 | |