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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... tell the true story as they knew it to be. “The true story” became almost a mantra for the two men. Griffith tried to recount what he believed to be the truth of the Civil War and Reconstruction in The Birth of a Nation, utilizing a ...
... 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.
... tells us to laugh. The sunshine fills the world with joy and our hearts sing. It's glorious” (p. 30). But his love of his country is also tinged with blatant racism; as he wrote in The Clansman, “But for the Black curse, the South would ...
... tell you, with a ring of sincerity in his voice and a flash of idealism in his eyes, that the cinema can be made to give the strongest interpretation of great world movements.” 15 Through documentation and analysis of his films, the ...
... tells him is nothing more than an image in his eye, not the mother's.21 More convincing evidence is a footprint found at the Lenoir home and believed to be that of Gus. In Dr. Cameron's foolish belief that through Mrs. Lenoir's eye he ...
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 | |