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In the Shadow of
The Birth of a Nation
Racism, Reception
and Resistance
Edited by
Melvyn Stokes
Paul McEwan
In the Shadow
of The Birth of a Nation
Melvyn Stokes · Paul McEwan
Editors
In the Shadow
of The Birth
of a Nation
Racism, Reception and Resistance
Editors
Melvyn Stokes Paul McEwan
History Department Media & Communication and Film
University College London Studies
London, UK Muhlenberg College
Allentown, PA, USA
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG 2023
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
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now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc.
in this publication does not imply, even in the absence of a specific statement, that such
names are exempt from the relevant protective laws and regulations and therefore free for
general use.
The publisher, the authors, and the editors are safe to assume that the advice and informa-
tion in this book are believed to be true and accurate at the date of publication. Neither
the publisher nor the authors or the editors give a warranty, expressed or implied, with
respect to the material contained herein or for any errors or omissions that may have been
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and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
This book is dedicated to our much-missed colleague Cedric J. Robinson
(1940–2016), who did so much to create a radical Black history. Cedric
gave an inspiring lecture on the pernicious roots and consequences of
Griffith’s film at our 2015 London conference.
Acknowledgments
The idea from this book came from the Commonwealth Fund Conference
on American history that took place at University College London, UK,
in June 2015. Its title was “In the Shadow of The Birth of a Nation” and
it aimed to examine the origins and tainted legacy of David W. Griffith’s
notorious film of a century earlier. The conference took place while a
short season of Griffith films, including The Birth of a Nation, was being
shown at the National Film Theatre run by the British Film Institute in
London. Keynote speakers from the conference formed a “round table”
to discuss it critically with the audience before one of these screenings.
The help of Helen DeWitt, Geoff Andrew and David Somerset of the
BFI is gratefully acknowledged.
Melvyn Stokes would like to thank the Commonwealth Fund of UCL
for helping to fund the conference itself, together with the UCL Institute
of the Americas, the Eccles Centre for American Studies at the British
Library, the Equiano Centre at UCL and the international film orga-
nization SERCIA. He is particularly grateful to his conference partner
Professor Iwan Morgan of the Institute of the Americas and Professor
Stephen Conway, then chair of the UCL History department, Clare
Morley, Departmental Manager and Samantha Pickett, then responsible
for departmental publicity. He would like to give particular thanks to all
five keynote speakers at the conference: Cedric J. Robinson, to whom this
book is dedicated, Jane M. Gaines, Robert Lang, Paul McEwan (subse-
quently the much-appreciated co-editor of this book) and Linda Williams.
vii
viii ACKNOWLEDGMENTS
1 Introduction 1
Paul McEwan and Melvyn Stokes
ix
x CONTENTS
Part V Epilogue
16 “Still a North and a South”: The Birth of a Nation
and National Trauma 267
Robert Lang
Index 293
Notes on Contributors
xiii
xiv NOTES ON CONTRIBUTORS
xvii
xviii LIST OF FIGURES
Introduction
P. McEwan (B)
Media & Communication and Film Studies, Muhlenberg College, Allentown,
PA, USA
e-mail: pmcewan@muhlenberg.edu
M. Stokes
History Department, University College London, London, UK
e-mail: M.Stokes@ucl.ac.uk
1915, the white South had successfully thwarted the promise of Recon-
struction and reinstated its racist social structure under the fig-leaf of the
“separate but equal” doctrine enunciated by the Supreme Court in Plessy
v. Ferguson (1896).1
That The Birth of a Nation also buttressed the idea of a racially segre-
gated and profoundly unequal American society became apparent from
the arguments and debates surrounding the film’s first screenings. African
Americans and their white liberal allies quickly realised the threat posed
by the film, as a well-crafted narrative wrapped in the new mass art of film
that had had the power both to shape “historical” memory of the Civil
War era and influence how Black people were perceived in contemporary
society. They launched an immediate and sustained campaign of protests
against the screening of the film in a succession of locations. In response,
defenders of the movie advanced a range of arguments. Griffith himself
maintained that to ban Birth of a Nation would be an infringement of
the First Amendment right to free speech (though the Supreme Court in
its Mutual decision of February 1915 specifically refused to extend such
a right to movies).2 Griffith was also eager to defend his film as a work of
art, since this would elevate his own claim to be an artist and make oppo-
nents of Birth into enemies of the newest art. More commonly, however,
the movie was defended with the argument that—despite the fact that
much of it was based on a popular novel and stage play—it represented a
real if unfortunate historical truth. The film’s assertion that it was histor-
ical itself embodied two highly dubious yet complementary assumptions:
that the events it depicted had actually happened (even though, especially
in the second half dealing with Reconstruction, they manifestly had not)
and that they were in any case safely in the past and distant from the
more enlightened attitudes of 1915 (in reality, the America of 1915 was
highly racist as well as moving towards ending the long tradition of open
immigration).
A century later, the United States found itself at a similar decisive
historical moment. In 2015, the tumult of the Civil Rights era was fifty
years or so in the past. For many Americans, there was a sense that—
while a range of social and racial issues remained to be addressed—the
major battles of the Civil Rights era were over. Martin Luther King, Jr.,
once regarded as a radical figure, had been sanitized as a heroic figure
who could be widely commemorated. The White House itself was occu-
pied by Barack Obama, the nation’s first Black president. Yet there was
also a good deal of evidence that racial issues had not gone away. The
1 INTRODUCTION 3