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Griffith, David Wark --- Motion pictures --- Cinéma --- Griffith, D. W. --- Criticism and interpretation --- Birth of a nation (Motion picture) --- Cinéma --- Birth of a nation (Motion picture : 1915)

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In 1915, American filmmaker D. W. Griffith released a film that went on to become one of the most controversial of all time. Over a century later, The Birth of a Nation continues to stimulate debate on the relationship between Hollywood and racism. This volume reveals new perspectives on Griffith's film across ten original chapters, re-considering it as text, historical milestone and influence. The volume also includes a helpful timeline that lists key publications and events in Birth's ongoing history, revealing the rich and stimulating discourse on its art, its cultural impact and its ethical dimensions This volume presents new research on D. W. Griffith’s notorious film The Birth of a Nation. Released in 1915, Birth has been the subject of study, debate and activism for over a century, notably concerning the tension between its artistic merit and its racist depiction of Black Americans. As this book shows, there is still much to explore.Examining the film, its reception and its legacies from fresh perspectives, the book provides productive approaches to studying Birth in the twenty-first century. Contributors address a range of topics, including how Griffith’s rewriting of history relates to today’s political controversies over ‘fake news’ and how contemporary Black artists have sabotaged the film’s racist visual language. Presenting discussions of celebrated and sometimes controversial practitioners Oscar Micheaux, Kara Walker, Kehinde Wiley, DJ Spooky, Nate Parker, Spike Lee and Quentin Tarantino, they make a convincing case for the film’s ongoing significance to American art and cinema.White supremacist activity and struggles over racial inequities remain very much a part of the contemporary world. Arguing that The Birth of a Nation is a pivotal text for understanding this state of affairs, the volume offers a model for unpacking the meaning of Hollywood’s most consequential film.

Motion pictures --- Racism in motion pictures --- Griffith, D. W. --- Birth of a nation (Motion picture : 1915)

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L'écriture de ce livre s'agence autour du rapprochement entre deux des films les plus célèbres de l'histoire du cinéma mondial - Naissance d'une nation de D. W. Griffith (1915) et Le Juif Süss (1940) de Veit Harlan. Rapprochement auquel à la fois tout encourage mais devant lequel se dressent, en même temps, de puissants obstacles et, disons, empêchements. C'est de la tension entre ces deux pôles qu'est né le projet de ce livre. Il s'agit bien en effet d'y explorer de manière aussi systématique et minutieuse que possible ce qui porte à aborder ces deux films selon une approche comparatiste, tout en intégrant à celle-ci l'analyse de ce qui incite à la décourager ou à y faire objection. Les facteurs qui tendent dans l'esprit du public et de la critique à dissocier ces deux films (qu'au demeurant tant d'autres facteurs incitent à associer) sont si puissants que le premier n'a jamais cessé d'être réputé comme un chef d'oeuvre absolu et associé à la naissance même du cinéma états-unien, tandis que le second, tout aussi continûment, depuis la fin de la Seconde Guerre mondiale, est désigné comme un objet criminel, ceci au point que sa diffusion se trouve soumise aux plus rigoureuses restrictions. Et pourtant : deux films promouvant sans détour l'idéologie suprémaciste blanche, deux films dans lesquels la mise au ban de la race inférieure (les Noirs dans l'un, les Juifs dans l'autre) est présentée comme la condition de la survie et du rétablissement de l'intégrité de la race supérieure (blanche, aryenne), deux films obsédés par le motif du mélange des sangs et des espèces humaines, deux films violemment mixophobes, hantés par des images de viol - dans l'un comme l'autre, l'inférieur racial est un vibrion lubrique, entièrement adonné à son désir de la jeune femme aryenne innocente et pure.

˜The œbirth of a nation --- Jud Süss --- Idéologie et cinéma --- Mouvements pour la suprématie blanche --- Au cinéma --- The birth of a nation --- Jud Süß --- Ideology in motion pictures --- White supremacy movements --- Griffith, D. W. --- Harlan, Veit, --- Birth of a nation (Motion picture : 1915) --- Jud Süss (Motion picture)

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"Citizenship on Catfish Row focuses on three seminal works in the history of American culture: the first full-length narrative film, D. W. Griffith's The Birth of a Nation; the first integrated musical, Oscar Hammerstein and Jerome Kern's Showboat; and the first great American opera, George Gershwin's Porgy and Bess. Each of these works sought to make a statement about American identity in the form of a narrative, and each included in that narrative a prominent role for Black people.Each work included jarring or discordant elements that pointed to a deeper tension between the kind of stories Americans wish to tell about themselves and the historical and social reality of race. Although all three have been widely criticized, their efforts to connect the concepts of nation and race are not only instructive about the history of the American imagination but also provide unexpected resources for contemporary reflection"-- "Citizenship on Catfish Row: Race and Nation in American Popular Culture retrieves three "iconic" works, each of which launched an entire genre-the serious narrative film (The Birth of a Nation), the "integrated musical" (Show Boat), and American opera (Porgy and Bess), to interpret popular entertainment in the Jim Crow era. Despite their manifold differences, these radically innovative works shared two striking features: each attempted to represent the character or spirit of America in narrative form, and each included in that story a central role for the issue of race. As popular entertainment designed to appeal to audiences, these works both endorsed and helped to shape a contemporary social consensus on race that we now find grievously flawed, and each has been sharply and appropriately criticized on that account. But when read with attention to the many ways in which they seem to question, and even contradict themselves, these works appear in a very different light, not as monuments to a dishonorable past but as expressions of a conflicted and uncertain culture burdened by history but groping its way-not always with a purposeful stride, not always with clear sight, and not always in good faith-toward a present moment confident enough of its position to criticize them. By identifying the common ambition in these foundational works, Citizenship on Catfish Row enables us to see them as moments in an evolving popular understanding of American national identity. And by focusing on points of incoherence or dissonance in their telling of the national story, it suggests the impediment to national unity represented by race. Drawing attention to the ways in which popular entertainment confronted, sometimes through evasion and sometimes with a brutal honesty, the issue of race, Harpham proposes that analysis of these works can benefit our polarized and vitriolic conversation about our nation's most important problem"--

Noirs americains dans la culture populaire. --- Race au cinema. --- Race à l'opera. --- African Americans in popular culture. --- Race in motion pictures. --- Race in opera. --- African Americans in musical theater. --- Gershwin, George, --- Kern, Jerome, --- Show boat (Kern, Jerome) --- Porgy and Bess (Gershwin, George) --- Birth of a nation (Motion picture : 1915)

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White slave films, dramas documenting sex scandals, filmed prize fights featuring the controversial African-American boxer Jack Johnson, D.W. Griffith's The Birth of a Nation-all became objects of public concern after 1906, when the proliferation of nickelodeons brought moving pictures to a broad mass public. Lee Grieveson draws on extensive original research to examine the controversies over these films and over cinema more generally. He situates these contestations in the context of regulatory concerns about populations and governance in an early-twentieth-century America grappling with the powerful forces of modernity, in particular, immigration, class formation and conflict, and changing gender roles.Tracing the discourses and practices of cultural and political elites and the responses of the nascent film industry, Grieveson reveals how these interactions had profound effects on the shaping of film content, form, and, more fundamentally, the proposed social function of cinema: how cinema should function in society, the uses to which it might be put, and thus what it could or would be. Policing Cinema develops new perspectives for the understanding of censorship and regulation and the complex relations between governance and culture. In this work, Grieveson offers a compelling analysis of the forces that shaped American cinema and its role in society.

Motion pictures --- Censorship --- History. --- african americans. --- american cinema. --- american culture. --- birth of a nation. --- censorship. --- cinema historians. --- class differences. --- controversial films. --- cultural history. --- early 20th century. --- film content. --- film culture. --- film industry. --- film regulations. --- film scholars. --- film studies. --- gender roles. --- governance and culture. --- immigration issues. --- nonfiction. --- policing art. --- political elites. --- power of cinema. --- prize fights. --- racism. --- role of cinema. --- sex scandals. --- slave films. --- social function. --- social history. --- social justice. --- textbooks.