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.

A HISTORY OF THE MOST CONTROVERSIAL MOTION PICTURE EVER MADE 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. From the beginning it touched off several emotionally and politically explosive, interrelated, parallel controversies—controversy over Griffith; controversy over the film; controversy over the subject-matter and its treatment; controversy over the controversy. As Griffith’s official biographer Seymour Sterns main purpose of his book was to assemble, as extensively as possible, the rapidly vanishing record of what happened. You’ll find Stern’s writing on the subject as controversial as the film itself.

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.

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.

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.

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.

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.

In order to understand the dynamics of religion (covert politics), it is imperative that one understands the origin, purpose and/or intent of the same. Human behavior when left unchecked, results in a variety of cultures/religions that rule our everyday affairs, which is the central theme of this book. This book goes into the origin evolution of the human race, and the reason for its negative tendencies. Our behavior is the product of our thinking, though to some degree, our being can be attributed to our environment. If our anatomy is not properly evolved (developed), the same will affect our psychology, remember, our brain receives its nourishment from our blood. Over the years there has been speculations as to origin of man and his religion (politics). The content of this book will lay to rest some of the ignorance brought about by contemporary culture (religion). an ever-present ignorance. One must always bear in mind that all religions only seek to glorify and glamorize the culture and nature of its creators and protractors. The so-called New Testament is only a tool used by the wealth robbers, to justify the New World Order, the critical thinkers must therefore, guard themselves and their progeny against this political (religious) machine that once rolling, is unrelenting in its pursuit for wealth and power. Every war ever visited by the human race, has been stimulated by the afore-mentioned greed. You (reader) will also see a comparative analysis of the original Egyptian language and the so-called English, Roman, Arabic and many of the worlds dominating languages.

The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.