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Jun 23, 2019 · A US Civil War (1861–65) drama, Birth of a Nation centres on two white families, the Camerons from the South and the Stonemans from the North. Before the war, during a visit of the Stonemans to the Camerons, Ben Cameron falls in love with Elsie Stoneman, and Phil Stoneman with Margaret Cameron. The war, and politics, separates the families ...
The plot of The Birth of a Nation revolves around two families living on either side of the Mason-Dixon Line who become friends when their sons board together at school. The Stonemans, the Northern family, live in Washington, D.C., and own a rural getaway in Pennsylvania. The Honorable Austin Stoneman, an abolitionist politician, presides over ...
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The Birth of a Nation, landmark silent film starring Lillian Gish, released in 1915, that was the first blockbuster Hollywood hit. It was the longest and most-profitable film then produced and the most artistically advanced film of its day. It secured both the future of feature-length films and the reception of film as a serious medium. An epic about the American Civil War (1861–65) and the Reconstruction era that followed, it has long been hailed for its technical and dramatic innovations but condemned for the racism inherent in the script and its positive portrayal of the Ku Klux Klan (KKK).
(Read Lillian Gish’s 1929 Britannica essay on silent film.)
Britannica Quiz
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Based on the novel The Clansman (1905) by Thomas Dixon, the two-part epic traces the impact of the Civil War on two families: the Stonemans of the North and the Camerons of the South, each on separate sides of the conflict. The first half of the film is set from the outbreak of the war through the assassination of Pres. Abraham Lincoln, and the concluding section deals with the chaos of the Reconstruction period.
Director D.W. Griffith revolutionized the young art of moviemaking with his big-budget ($110,000) and artistically ambitious re-creation of the Civil War years. Shooting on the film began in secrecy in July 1914. Although a script existed, Griffith kept most of the continuity in his head—a remarkable feat considering that the completed film contained 1,544 separate shots at a time when the most-elaborate spectacles, Italian epics such as Cabiria (1914), boasted fewer than 100. Running nearly three hours, The Birth of a Nation was the then longest movie ever released, and its sweeping battle re-creations and large-scale action thrilled audiences. It was also innovative in technique, using special effects, deep-focus photography, jump cuts, and facial close-ups.
•Studio: D.W. Griffith Productions
•Director and producer: D.W. Griffith
•Writers: D.W. Griffith and Frank E. Woods
•Music: Joseph Carl Breil
•Lillian Gish (Elsie Stoneman)
•Mae Marsh (Flora Cameron)
•Henry B. Walthall (Colonel Ben Cameron)
•Miriam Cooper (Margaret Cameron)
•Ralph Lewis (Austin Stoneman)
•George Siegmann (Silas Lynch)
The Birth of a Nation, originally called The Clansman, [5] is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr. 's 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken .
Feb 4, 2015 · The Birth of a Nation —1915’s blockbuster hit and the most popular movie of its day—was released 100 years ago this month. It’s just as shocking now as it was then. In one scene, a room filled with empty desks flickers, and then, thanks to a bit of movie magic, fills with black men who’ve been elected to the state legislature.
In 1915, fifty years after the end of the Civil War, D. W. Griffith released his epic film Birth of a Nation. The greatest blockbuster of the silent era, Birth of a Nation was seen by an estimated 200 million Americans by 1946. Based on a novel by a Baptist preacher named Thomas Dixon, the film painted Reconstruction, the period following the ...
When D.W. Griffith’s “The irth of a Nation” was re-released in 1921, only six years after its premiere, the advertising posters pro-claimed it an “American Institution.” It has been one ever since, for better — in that it gave birth to the movies as an industry, a cul-tural force, and a social power — and for
