and modern audiences have to wrestle with that beloved movie’s romanticizing of racism. Taking its cue from Dixon, whom film historian Russell Merritt aptly describes as a “professional Southerner and white supremacist,” revels in the coarsest racial imagery: of crude Negroes (most of them played by white actors in blackface) who act like savages both in the Reconstruction Senate, as they deprive the white gentry of their rights, and in their sexual brutality toward Southern white women.
It is romantic chivalry, Griffith insists, that led to Southerners’ retaliations against Negroes.
That racist realm, not the restored United States, is the true The seductive artistry of Griffith’s masterwork made his virulent, derisive depiction of blacks all the more toxic — one could say epidemic.
This was not simply a racist film; it was one whose brilliant storytelling technique lent plausibility and poignancy to the notion of blacks as stupid, venal and brutal.
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And by stirring bitter memories in the white South, it helped revive the dormant Ku Klux Klan, which for the next few decades went on a righteous spree of killing black men.
, the director argued that the Ku Klux Klan, riding like the cavalry to the rescue of the South from rapacious Negroes, “at that time was needed to serve the purpose.” However myopic that sounds today, Griffith wasn’t alone in his sentiments.
To conduct NCVS, researchers interview tens of thousands of Americans each year to learn about crimes that they’ve experienced.
Based on those interviews, the study provides estimates of the total number of crimes, including those that were not reported to police.
While NCVS has a number of limitations (most importantly, children under age 12 are not included), overall, it is the most reliable source of crime statistics in the U. We have also relied on other Justice Department studies, as well as data from the Department of Health and Human Services and other government and academic sources.
When assembling these statistics, we have generally retained the wording used by the authors.
Released on the 50th anniversary of the last full month of the Civil War, Griffith’s monument became a groundbreaking popular, technical and critical success.