White robes, silver screens : movies and the making of the Ku Klux Klan / Tom Rice.
Material type:![Text](/opac-tmpl/lib/famfamfam/BK.png)
- text
- computer
- online resource
- 9780253018489
- 025301848X
- Ku Klux Klan (1915- ) -- In motion pictures
- Ku Klux Klan (1915- ) -- History
- Birth of a nation (Motion picture : 1915) -- Influence
- Ku Klux Klan (1915- )
- Birth of a nation (Motion picture : 1915)
- Motion picture industry -- Political aspects -- United States -- History -- 20th century
- Motion pictures in propaganda -- United States -- History -- 20th century
- Cinéma -- Industrie -- Aspect politique -- États-Unis -- Histoire -- 20e siècle
- Cinéma dans la propagande -- États-Unis -- Histoire -- 20e siècle
- PERFORMING ARTS -- Reference
- PERFORMING ARTS -- Film & Video -- History & Criticism
- Influence (Literary, artistic, etc.)
- Motion picture industry -- Political aspects
- Motion pictures
- Motion pictures in propaganda
- United States
- Politik och film, USA
- 1900-1999
- 791.43/655 23
- PN1995.9.K75 R53 2015eb
Item type | Home library | Collection | Call number | Materials specified | Status | Date due | Barcode | |
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OPJGU Sonepat- Campus | E-Books EBSCO | Available |
Includes bibliographical references and index.
Preface -- Re-birth: the Birth of a nation and the growth of the Klan -- The battle: censorship, reform, and the Klan's campaign against the film industry -- Klan cinema: the Klan as producer and exhibitor -- On mainstream screens: the film industry's response to the Klan -- Epilogue.
Print version record.
The Ku Klux Klan was reestablished in Atlanta in 1915, barely a week before the Atlanta premiere of The Birth of a Nation, D.W. Griffith's paean to the original Klan. While this link between Griffith's film and the Klan has been widely acknowledged, Tom Rice explores the little-known relationship between the Klan's success and its use of film and media in the interwar years when the image, function, and moral rectitude of the Klan was contested on the national stage. By examining rich archival materials including a series of films produced by the Klan and a wealth of documents, newspaper clippings, and manuals, Rice uncovers the fraught history of the Klan as a local force that manipulated the American film industry to extend its reach across the country. White Robes, Silver Screens highlights the ways in which the Klan used, produced, and protested against film in order to recruit members, generate publicity, and define its role within American society.
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