Birth of a Nation, The

The year 1915 marked the premiere of the film The Birth of a Nation. The film was unprecedented for its time and represented a new milestone in filmmaking and presentation, replete with an orchestral score. The movie not only ushered in a new theatergoing experience but also set the mark for many silent films to come. Though theatergoers were charged an unheard-of $2 to see the film, the admission fee was quite minimal compared to the production cost of the film, which was estimated at $110,000—the highest of its time and for many years to come. The response to this film was parallel only to its production cost. In addition to the cost and epic proportions of the film, a storm of criticism and violence ensued, and drums were beating for the return of the Ku Klux Klan. This entry describes the basis for the film, positive and negative criticisms, political and community reactions to the film, and the process leading up to the revival of the Ku Klux Klan.

The film, directed by D. W. Griffith, was based on Thomas Dixon's novel The Clansman. Dixon's novel was based on the Civil War, the ensuing Reconstruction period, and the redemption of the defeated South through the hands of the Ku Klux Klan. Dixon, after having studied at John Hopkins and serving in the North Carolina legislature, served as a minister in North Carolina, New York, and Boston. During his time as a minister in the North, Dixon's fiery sermons found a receptive audience. These sermons, often targeting Black Americans, were replete with racism and bigotry, and the receptiveness of audiences sparked the writing of The Clansman.

Given the political atmosphere and sociocultural mores of the times, Dixon's novel was met with much success. In particular, the success of the novel was strengthened by northern fears of Black migration, President Woodrow Wilson's federal segregation policies and cutbacks of Blacks from civil service, and renewed interest in deportation and colonization of Blacks.

Although Griffith was fully aware of the sensationalistic attacks on Black Americans, he felt that he could use a combination of history and fact to mold Dixon's novel into a successful film. Griffith's interest in directing the film was drawn by Dixon's romanticized story of southern defeat and its rise to redemption during Reconstruction. Dixon's own distaste of interracial relations also came through during the movie.

The film opened in Los Angeles to positive acclaim and was soon scheduled for showing in New York City. Although the Los Angeles premiere was met with success, the newly created National Association for the Advancement of Colored People (NAACP) soon challenged the merits of the film. The NAACP was emerging as a vocal interest group preserving the rights of Black citizens. As [Page 55]W. E. B. Du Bois and other early members of the organization began to challenge the basis of the film, Dixon began to mount his defense of the film by calling on figures of prominence and national recognition who might help to buttress the film.

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