In this deeply researched and vividly written volume, Melvyn Stokes illuminates the origins, production, reception and continuing history of this ground-breaking, aesthetically brilliant, and yet highly controversial movie. By going back to the original archives, particularly the NAACP and D. W. Griffith Papers, Stokes explodes many of the myths surrounding The Birth of a Nation (1915). Yet the story that remains is fascinating: the longest American film of its time, Griffith's film incorporated many new features, including the first full musical score compiled for an American film. It was distributed and advertised by pioneering methods that would quickly become standard. Through the high prices charged for admission and the fact that it was shown, at first, only in "live" theaters with orchestral accompaniment, Birth played a major role in reconfiguring the American movie audience by attracting more middle-class patrons. But if the film was a milestone in the history of cinema, it was also undeniably racist. Stokes shows that the darker side of this classic movie has its origins in the racist ideas of Thomas Dixon, Jr. and Griffith's own Kentuckian background and earlier film career. The book reveals how, as the years went by, the campaign against the film became increasingly successful. In the 1920s, for example, the NAACP exploited the fact that the new Ku Klux Klan, which used Griffith's film as a recruiting and retention tool, was not just anti-black, but also anti-Catholic and anti-Jewish, as a way to mobilize new allies in opposition to the film. This crisply written book sheds light on both the film's racism and the aesthetic brilliance of Griffith's filmmaking. It is a must-read for anyone interested in the cinema.

The birth of a nation follows the lives of two white families divided by, and enduring, the American Civil War, and includes elaborate cameos of historical events such as the assassination of Abraham Lincoln.

Launched in Nairobi in 1960, three years before the birth of independent Kenya, the Nation group of newspapers grew up sharing the struggles of an infant nation, suffering the pain of its failures and rejoicing in its successes. Marking its 50th anniversary in 2010, the Nation looks back on its performance as the standard-bearer for journalistic integrity and how far it fell short or supported the loyalty demanded by its founding slogan 'The Truth shall make you free'. The Aga Khan was still a student at Harvard University when he decided that an honest and independent newspaper would be a crucial contribution to East Africa's peaceful transition to democracy. The "Sunday Nation" and "Daily Nation" were launched in 1960 when independence for Kenya was not far over the horizon. They quickly established a reputation for honesty and fair-mindedness, while shocking the colonial and settler establishment by calling for the release of the man who could become the nation's first prime minister, Jomo Kenyatta, and early negotiations for 'Uhuru'. The history of the 'Nation' papers and that of Kenya are closely intertwined; in the heat of its printing presses and philosophical struggles, that story is told here: from committed beginnings to its position today as East Africa's leading newspaper group.

At the dawn of the modern civil rights movement, Monroe Trotter, a journalist agitator, and D.W. Griffith, a technically brilliant filmmaker, incited a public confrontation that roiled America, pitting black against white, Hollywood against Boston, and free speech against the fight for equality. Monroe Trotter and D. W. Griffith were fighting over a film that dramatized the Civil War and Reconstruction in a post-Confederate South. Griffith's film, The Birth of a Nation, included actors in blackface, heroic portraits of Knights of the Ku Klux Klan, and a depiction of Lincoln's assassination. Freed slaves were portrayed as villainous, vengeful, slovenly, and dangerous to the sanctity of American values. It was tremendously successful, eventually seen by 25 million Americans. But violent protests against the film flared up across the country. Almost fifty years earlier, Monroe's father, James, was a sergeant in an all-black Union regiment that marched into Charleston, South Carolina, just as the Kentucky cavalry-including Roaring Jack Griffith, D. W.'s father-fled for their lives. Monroe Trotter's titanic crusade to have the film censored became a blueprint for dissent during the 1950s and 1960s. This is the fiery story of a revolutionary moment for mass media and the nascent civil rights movement, and the men clashing over the cultural and political soul of a still-young America standing at the cusp of its greatest days.

A hundred years have passed since the masterpiece of David Wark Griffith, The Birth of a Nation, first appeared on the screens of America, in the winter of 1915. It demonstrated that the cinema, no less than literature and no less than the stage, could become a topic of serious critical, esthetic, intellectual, political, social, and technical discussion. In this way it brought the motion picture into a position of commanding influence in the social life of the American nation. The denunciation continues, and the storm over the film serves as a barometer of the global conflict, involving forces and issues set in motion by, but no means limited to, race. As Griffith's official biographer, Seymour Stern's main purpose of his book was to assemble, as extensively as possible, the rapidly vanishing record of what happened.

This collection brings together many of the world’s leading scholars on race and film to re-consider the legacy and impact of D.W. Griffith’s deeply racist 1915 epic The Birth of a Nation. While this film is often cited, there is a considerable dearth of substantial research on its initial impact and global reach. These essays fill important gaps in the history of the film, including essential work on its sources, international reception, and African American responses. This book is a key text in the history of the most infamous and controversial film ever made and offers crucial new insights to scholars and students working in film history, African American history and the history of race relations.

Despite their efforts, black activists throughout the early 20th century were not able to achieve full equality and fair treatment in society. However, they gained a new way of thinking that resulted in the formation of the ‘New Negro’. This term, in essence, designates a new way of thinking in the black community. Its members were neither satisfied with, nor accepted their inferior position in society and were willing to fight for their rights. Phenomena that paradoxically had a positive impact on the black community as a whole, and especially on the New Negro, were the actions undertaken by African Americans all over the United States in response to D.W. Griffith’s racist 1915 silent movie The Birth of a Nation. It is the aim of this paper to prove that these activities undertaken by African Americans and their supporters in the early 20th century against The Birth of a Nation influenced and shaped the black community as a whole, but especially the notion of the New Negro, both politically and culturally.

This title was first published in 2000: A collection of articles by Russian and Western experts on nationalism. The objective of the work is to give an overview of the new Russian identity-building and of the historical continuities that lie behind this ongoing process. The main theme is the shift from empire and imperial consciousness, characteristic both of the imperial Russia and the Soviet Union, towards a new identity as a nation state. Ultra-nationalism and the threat posed by ultra-right extremists groups is also among the most important themes in the book. The rising nationalist extremism is one of the several major projects that seek to redefine the Russion nationhood. The ultra-nationalist challenge is examined in several articles; the anatomy of extreme Russian nationalism is also examined through a case study of a small militant group of extremists.

A New York Times Book Review Editors' Choice From a Pulitzer Prize winner, a powerful history that reveals how the twin strands of liberty and slavery were joined in the nation’s founding. New attention from historians and journalists is raising pointed questions about the founding period: was the American revolution waged to preserve slavery, and was the Constitution a pact with slavery or a landmark in the antislavery movement? Leaders of the founding who called for American liberty are scrutinized for enslaving Black people themselves: George Washington consistently refused to recognize the freedom of those who escaped his Mount Vernon plantation. And we have long needed a history of the founding that fully includes Black Americans in the Revolutionary protests, the war, and the debates over slavery and freedom that followed. We now have that history in Edward J. Larson’s insightful synthesis of the founding. With slavery thriving in Britain’s Caribbean empire and practiced in all of the American colonies, the independence movement’s calls for liberty proved narrow, though some Black observers and others made their full implications clear. In the war, both sides employed strategies to draw needed support from free and enslaved Blacks, whose responses varied by local conditions. By the time of the Constitutional Convention, a widening sectional divide shaped the fateful compromises over slavery that would prove disastrous in the coming decades. Larson’s narrative delivers poignant moments that deepen our understanding: we witness New York’s tumultuous welcome of Washington as liberator through the eyes of Daniel Payne, a Black man who had escaped enslavement at Mount Vernon two years before. Indeed, throughout Larson’s brilliant history it is the voices of Black Americans that prove the most convincing of all on the urgency of liberty.

Portraying the Ku Klux Klan as heroic underdogs, silent epic The Birth of a Nation (1915) is widely considered to be the most controversial film of all time. At once one of US culture's greatest artistic achievements and one of its most abhorrently racist artefacts, it becomes more shocking with every passing year. Comprising a decade of archival research and published on the 100th anniversary of the film's release, this richly detailed study considers both the film's afterlife and the artistic, industrial and moral surroundings in which it was created. Drawing on an unbroken century of production and reception history, Paul McEwan recounts the film's origins and development, Griffith's unique editing and cinematography and the construction of racial identity and fear in the film. Assessing its contribution as an art form, while directly grappling with the complexity of the art-or-racism debate, Paul McEwan shows how The Birth of a Nation has had a central role in the development of film and Film Studies worldwide.