LEADER 03497nam 22005533 450 001 9910860897603321 005 20230104084628.0 010 $a1-4773-2551-4 010 $a1-4773-2550-6 024 7 $a10.7560/325483 035 $a(CKB)25640337200041 035 $a(MiAaPQ)EBC7107089 035 $a(Au-PeEL)EBL7107089 035 $a(OCoLC)1347026847 035 $a(DE-B1597)625679 035 $a(DE-B1597)9781477325506 035 $a(EXLCZ)9925640337200041 100 $a20230104d2022 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCinema's Original Sin $eD. W. Griffith, American Racism, and the Rise of Film Culture 205 $a1st ed. 210 1$aTucson :$cUniversity of Texas Press,$d2022. 210 4$dİ2022. 215 $a1 online resource (244 pages) 311 $a9781477325483 327 $aIntro -- Contents -- Acknowledgments -- Introduction -- Chapter One. A New Art, 1895-1915 -- Chapter Two. Film Art, Intolerance, and Oscar Micheaux, 1915-1925 -- Chapter Three. Little Theatres, MOMA, and the Birth of Art Cinema, 1925-1945 -- Chapter Four. From American History to Film History, 1945-1960 -- Chapter Five. In Search of Legitimacy and Masterpieces: Film Studies in the Academy, 1960-2000 -- Chapter Six. Race, Reception, and Remix in the New Millennium -- Epilogue -- Notes -- Index. 330 $aFor over a century, cinephiles and film scholars have had to grapple with an ugly artifact that sits at the beginnings of film history. D. W. Griffith?s profoundly racist epic, The Birth of a Nation, inspired controversy and protest at its 1915 release and was defended as both a true history of Reconstruction (although it was based on fiction) and a new achievement in cinematic art. Paul McEwan examines the long and shifting history of its reception, revealing how the film became not just a cinematic landmark but also an influential force in American aesthetics and intellectual life. In every decade since 1915, filmmakers, museums, academics, programmers, and film fans have had to figure out how to deal with this troublesome object, and their choices have profoundly influenced both film culture and the notion that films can be works of art. Some critics tried to set aside the film?s racism and concentrate on the form, while others tried to relegate that racism safely to the past. McEwan argues that from the earliest film retrospectives in the 1920s to the rise of remix culture in the present day, controversies about this film and its meaning have profoundly shaped our understandings of film, race, and art. 606 $aFilm criticism$zUnited States$xHistory 606 $aRacism in motion pictures$xHistory 606 $aRacism in the social sciences$xHistory 606 $aPERFORMING ARTS / General$2bisacsh 610 $aThe Birth of a Nation, racism, racist stereotypes, American Civil War, film studies, film history, American film history, race in America, D.W. Griffith. 615 0$aFilm criticism$xHistory. 615 0$aRacism in motion pictures$xHistory. 615 0$aRacism in the social sciences$xHistory. 615 7$aPERFORMING ARTS / General. 676 $a791.43/72 700 $aMcEwan$b Paul$01741514 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910860897603321 996 $aCinema's Original Sin$94167543 997 $aUNINA