Pioneers of African-American Cinema

Pioneers of African-American CinemaRelease Date:  7/26/16; DVD & Blu-Ray

Running Time:  952 mins

Studio:   Kino Lorber

Details  This collection of the historically vital works of America’s legendary first African-American filmmakers is the only one of its kind.  Funded in part by a highly successful Kickstarter campaign, the packaged set includes no fewer than a dozen feature-length films and nearly twice as many shorts and rare fragments. Subject matter includes race issues that went unaddressed by Hollywood for decades. The 5 disc set, which is executive produced by Paul D. Miller and curated by historians Dr. Jacqueline Stewart of the University of Chicago and Charles Musser of Yale University of 25 films, were restored from HD masters (transferred from archival elements preserved by several leading archives, including the Library of Congress), and is the first major collection of race films to be remastered. 

The film to be included in the set are: Birthright (1938), The Blood of Jesus (1941), Body and Soul (1925), The Bronze Buckaroo (1939), By Right of Birth (fragment, 1921), Commandment Keeper Church, Beaufort, South Carolina (excerpt, 1940), The Darktown Revue (1931), Dirty Gertie from Harlem USA (1946), Eleven P.M. (1930), The Exile (1931), The Flying Ace (1926), God’s Step Children (1938), Heaven-Bound Traveler (1933), Hellbound Train (1930), Hot Biskits (1931), Mercy the Mummy Mumbled (1918), Regeneration (fragment, 1923), The Scar of Shame (1929), S.S. Jones Home Movies (1924-26), The Symbol of the Unconquered (1920), Ten Minutes to Live (1932), Ten Nights in a Bar Room (1926), Two Knights of Vaudeville (1918), Veiled Aristocrats (1932), Verdict Not Guilty (1934), We Work Again (1937), Within Our Gates (1920).

Bonus features include: optional English subtitles, an 80-page booklet with essays and detailed film notes, interviews with series curators Professors Musser and Stewart, a documentary on the restoration of the films, a documentary on the restoration efforts of the Library of Congress, an archival interview with actors Ethel and Lucia Moses (from 1978), Tyler Texas Black Film Collection promo film (with Ossie Davis, from 1985) and more.

Source(s):  Shadow and Act; Amazon.

The Black Horror Genre

Movies are a powerful tool for manipulating facts, information and images that often affect people’s perceptions, beliefs and mental attitudes toward the subject presented. Throughout the history of motion pictures, horror films, like many other movie genres have revealed, through representations, perceptions of Blacks and Black cultural themes, as well as have contributed to and reflected sociopolitical issues. Early portrayals of African-Americans in films could be considered a low level form of horror because on-screen presentations of Blacks, although not intended to terrify or frighten in the classic sense, did promote stereotypical caricatures which cautioned Whites against a particular race of people that they should be afraid of.

HollaThe horror film genre, as defined by Isabel Christina Pinedo in Recreational Terror: Women and the Pleasure of Horror Film Viewing, is composed of the following elements: (1) it disrupts the everyday world; (2) it transgresses and violates boundaries, (3) it upsets the validity of rationality; (4) it resists narrative closure and (5) it works to evoke fear. Another hallmark of the genre is its complexity. Horror films can provide the most spirited, daring, emotional, fantastic and imaginative narratives but can also feature plots depicting shocking, abhorrent, and unspeakable violence. Physical and emotional violence are often central to the horror film and the genre’s reliance on violence as a key narrative device cannot be overlooked.

The horror film is fascinating because it embraces the unthinkable, while also challenging our ideals of good and evil, depravity and innocence, the divine and the profane. It is one of the most provocative forms of entertainment in its scrutiny of our humanity and our social world.

The Black horror genre is comprised of two categories: Blacks in horror films and Black horror films.

I am Legend“Blacks in horror” films present Blacks and Blackness in the context of horror, even if the film is not wholly or substantially focused on either one. Such films have historically and typically been produced by major studios for mainstream consumption. Many of these films tend to provoke a consensus of what defines horror films – the disruption of the audience’s notions of rational, fear-free, everyday life. These films have also contributed to debates regarding not only Blackness, but also its proximity to interpretations of what is horrifying and where it is embodied. Examples include Night of the Living Dead (1968), Vampira (1974), The People Under the Stairs (1991), I Am Legend (2007).

Street Tales of Terror“Black Horror” films on the other hand are often “race” films. That is they have an added narrative focus that calls attention to racial identity – Black culture, history, ideologies, experiences, politics, language, humor, aesthetics, style, music and the like. Blacks may appear in all manner of horror films, but the films themselves may not be Black per se, in their relation to filmmaker, audience, or the experiences they present. Black horror films have one or more of the following elements: a Black producer, writer, and/or director; an all-Black or predominantly Black cast; hails a Black audience; draws on notions of African-American culture – such as Black vernacular, music, style, urban locations and other aesthetics.  Films like Son of Ingagi (1940), J.D.’s Revenge (1976), Vampire in Brooklyn (1995), Street Tales of Terror (2004) are included in this category.

Together, “Blacks in horror” films and “Black horror” films offer an opportunity for an examination of how race, racial identities and race relationships are constructed and depicted.

What is not included in the Black horror genre are films that do not provide significant insight into the legacy of Blackness’ relationship to the horrifying. Films where Black characters are incidental or token and where a commentary on Blackness – except to say that it has fleeting relevance – is absent. Such films are those in which Blacks are relegated to the status of victims, sidekicks or largely undeveloped characters.

The history of the Black horror genre begins with silent films. Early films, most featuring White actors in blackface, could be interpreted as horror with their depiction of violent physical and psychological attacks against Blacks. These films reflected the sensibilities of the time and presented destructive and biased views of racial hierarchy and White supremacy. The 1915 film The Birth of a Nation offered one of the most insidious and long-lasting stereotypes of Blacks as unintelligent, vicious beasts. It is believed that the film was used as a recruiting tool for the Ku Klux Klan and as such the societal impact of “on-screen” horror provided inspiration for countless “real-life” horrors. Birth of a Nation 4While many Whites were trying to escape the fictitious on-screen dangers of the ferocious Black masses rising up against them, outside the movie theater, Blacks were actually dying from the factual horrors of being lynched, shot, dragged, raped, beaten, castrated and burned by White supremacy groups like the KKK and other enthused racists who bought into that film’s hate inciting message. It is one thing to be vicariously thrilled or horrified by some gruesome act happening to someone else on the movie screen knowing that the actor eventually washes off the fake blood and goes home, and another to actually experience the horrific and gruesome event in real life with no director to yell “cut.”

Eventually horror films made the transition to portraying Blacks as a symbol of evil by “exoticizing” and distorting African and Haitian folkways and religions, such as the character of the wicked voodoo practitioner in films such as I Walked with a Zombie (1943) or as partially clothed “natives” in films like King Kong (1933) and White Pongo (1945). I Walked with A ZombieThis in turn gave way to an era of characterizing Blacks as comic relief, as a people to be dismissively laughed at and ridiculed. This perception of Blacks as portrayed in mainstream films, is perhaps the most damaging contribution to White society’s image of African-Americans, as there were no contrasting positive images to provide balance. Hollywood films of that time relegated Blacks to subservient characters such as butlers, maids and chauffeurs or they appeared on the screen simply to entertain as stereotypical coons and buffoons. The famous actor Willie “Sleep ‘n’ Eat” Best flapped his lips in a series of spooky Hollywood films while other established funnymen such as Eddie Anderson and Mantan Moreland also became well known for their ability to bug their eyes and shake at the knees in times of panic and fear.

Mantan Moreland

For a much broader spectrum of on-screen images and to counteract Hollywood’s representation of Blacks, films which starred Black actors and featured Black stories, known as “all-Black cast” or “race” movies, began to appear in earnest. Race films were first introduced as early as 1916 by Black filmmakers in response to the negative and racist depictions presented in The Birth of a Nation. With the increase in the production of race films, whether Black produced or otherwise, came the introduction and promotion of a variety of diverse images, presenting complex, multidimensional characters, as well as a broad range of narratives, including fright-films. Among the approximately forty movies made by pioneering filmmaker, Oscar Micheaux, at least three were silent fright-films which more loosely resemble the horror genre of today. Another Black filmmaker who contributed to the genre, was popular actor Spencer Williams, Jr. who wrote and directed a string of movies in the 1940’s that included the horror tale Son of Ingagi (1940). In all-Black cast films, each character, the good and the bad, were all representative of a complete darker hued world that actually reflected real life, but was seldom seen on the silver screen.

In the 1950s when the race film era began to die out, African-Americans were once again virtually ignored by Hollywood. The 1950s and ‘60s saw Hollywood shift its attention from menacing creatures and supernatural evils to technological calamities. The Atomic Age brought terrifying themes of how science and technology can go horribly awry when left unchecked. As Americans found laboratories, space travel and technological advances to be the stuff of nightmares, Hollywood deemed intellectual and inventive achievement out of reach for Blacks and as a result, the appearance of Black characters in horror films were virtually non-existent.

Ben - Night of the Living DeadHowever, in 1968 Blacks returned to the genre courtesy of George Romero’s cult-classic, Night of the Living Dead, a zombie movie the likes of which had not been seen before and which has been copied thousands of times since. In addition to its’ being credited as revolutionizing the zombie subgenre in horror, at the time is was released it directly and overtly addressed America’s social problems and racial climate. To the shock and pleasant surprise of Black audiences, the film featured a complex Black male in a starring role. The character of Ben, played by Duane Jones, was not only allowed to survive through a night of terror in which the dead returned to life to eat the living, but also competently took charge of a horrific situation in a film in which the rest of the cast was composed of White actors. Although in the end, the picture did not stray from the established trend of the demise of the Black character, for the time, Ben was a rare and controversial commodity.

The 1970’s ushered in a new generation of movies which reflected racial pride and social awareness. The Blaxploitation era not only gave movie goers gritty urban street dramas like Shaft (1971) and Superfly (1972), but it also saw the birth of several Black themed interpretations of classic horror tales such as Blacula (1972), Blackenstein (1973) and Dr. Black & Mr. Hyde (1976). Horror films produced during this time frequently advanced the notion of Black empowerment through violent revolution while simultaneously presenting anti-establishment narratives. As this period of on-screen afro-enlightenment faded, the doors of mainstream horror slowly began to open.

Blacula

The next decade saw a marked decline of the Black Power-inspired film themes seen in the 1970s. In the ‘80s, Blacks were often featured as secondary characters in “buddy” or supporting relationships with Whites. Such portrayals were also found in “Blacks in horror” films. These characters often displayed a value system of loyalty that was generally disproportionate and unilateral (i.e. the Dick Hallorann character in The Shining). In addition, many films during this period moved White monsters and prey to locales often viewed as inaccessible to Blacks. These included suburban or rural settings such as Elm Street (A Nightmare on Elm Street), Haddonfield, Illinois (Halloween) and Camp Crystal Lake (Friday the 13th).

Djimon Honsou, Deep Rising

 

Lastly, this period is also considered by many as the pinnacle of Hollywood’s “kill a negro” or “kill a nigga” phase. Not only were the vast majority of Black characters in horror movies killed off, they were most often among the first to die.

 

The 1980s was a time when there were very few independent Black films being produced in the genre. But in the ‘90s things began to change dramatically with a force that had not been seen since the Blaxploitation era. Several horror films were being made by African-Americans including Def by Temptation (1990), Tales from the Crypt: Demon Night (1995), Embalmer (1996), and Beloved (1998). The 1990’s hailed the return of “Black horror” movies defined by the reintroduction and recognition of fully realized characters and themes, representing a new generation of race films. Black horror films in the 1990s also offered a reversal of racial majority/minority roles. In these films, there is often a self-consciousness in the narrative that makes it clear that the disruption and reversal of type is purposeful – part retribution, part redemption (i.e. Tales from the Hood). Films of this era additionally presented the battle of good and evil as being played out within the confines of predominantly Black, lower and/or working-class urban communities.

BonesThe new millennium saw an onslaught of “Black horror” films inspired by hip-hop culture and many featured hip-hop artists in leading roles. These films continue to present an allegiance to the ‘hood as seen in the 1990s. However in the 2000s, an explicit rationale for such a geographical focus is the historical and aesthetic credibility such places promise and are often set, to a hip-hop beat. There is an abundance of “Black horror” films during this period, some of which evidence great imagination and creativity and others great mediocrity, due to the proliferation of underground and low-budget films produced for the expanding straight-to-video market.

In the years that have followed, more and more Blacks have appeared in horror films, whether they are the first to die or not. The popular and financially lucrative horror film franchise Scary Movie introduced by the Wayans brothers has added to the broad range of the genre. The straight-to-video market has a mass of Black horror titles to choose from with varying degrees of fear, quality and production budgets. With advancing technology that makes film production more affordable to the masses and internet screening outlets such as You Tube and Video-on-Demand, many more Black people will die horrible deaths in horror films to come, but many will also triumph over evil and survive to see another day.

A Haunted House 2

See Black Cinema Databank – Black Horror Filmography for a complete listing. (Note: this listing does not include Blacks in horror titles).

This post is based on the book: Horror Noire: Blacks in American Horror Films from the 1890s to Present by Robin R. Means Coleman.  Photo Source(s):  Aveleyman.com, Zombicon, Scene Stealer, The Weekly Ansible, IGN, IMDB, Rogerebert.com, Screen Rant, Calvacade of Shock, Blackhorrormovies.com

 

The Homesteader

The Homesteader

Details:
Year of Release:  1919
Genre:  Drama
Rating: N/A
Runtime:  Unknown
Silent
Black & White
Studio:  Micheaux Book and Film Company
Producer:  Oscar Micheaux
Director:  Oscar Micheaux; Jerry Mills

Cast:
Charles D. Lucas (Jean Baptiste)
Evelyn Preer (Orlean)
Iris Hall (Agnes Stewart)
Vernon S. Duncan (McCarthy)
Inez Smith (Ethel)
Trevy Woods (Glavis/Ethel’s husband)

Synopsis:    In South Dakota, Agnes Stewart, a Scottish girl takes refuge in an isolated house during a blizzard. Hearing cries outside, she rescues Jean Baptiste, a Black homesteader who was in danger of freezing to death. Baptiste falls in love with Agnes, who does not know that she is not White.  Baptiste despairs of overcoming the social barriers that prevent their union  He returns east and marries Orlean, the daughter of McCarthy, a vain and greedy minister.  Baptiste is persecuted by McCarthy and by Ethel (McCarthy’s other daughter), who, like her father, possesses “all the evil a woman is capable of.”  When Orlean goes insane and commits suicide, Baptiste returns to South Dakota, finds Agnes and discovers that she is really Black. The two are able to be together and find happiness at last.

Notes:

Oscar Micheaux’s first film.

Some information in the plot synopsis comes from a 1927 interview with Evelyn Preer.

Micheaux’s 1948 film The Betrayal is sometimes described as a loose remake of The Homesteader.

Source(s): TCM; Wikipedia; Photo:  By Micheaux Book & Film Company via Wikimedia Commons.

THE DEVIL’S DAUGHTER

a/k/a POCOMANIA

Poster Sister Against Sister In A Burning Drama Of Love And Hate In The Tropics

Details
Year of Release:  1939
Genre:  Drama
Rating:  N/A
Runtime:  67 mins.
Black & White
Studio:  Sack Amusement Enterprises
Producer:  Arthur Leonard
Director:  Arthur Leonard

Cast
Nina Mae McKinney (Isabelle Walton)
Jack Carter (Philip Ramsay)
Ida James (Sylvia Walton)
Hamtree Harrington (Percy Jackson)
Willa MacLane (Elvira)
Emmett Wallace (John Lowden)

Synopsis

After song and dance

In Jamaica, after a song and a cockfight, Percy Jackson, a Harlem conman, tries to win the fighter roosters. Elvira, Sylvia Walton’s servant, likes Percy.  Sylvia, also recently arrived from New York, is the younger half-sister of Isabelle Walton, who has been running their late father’s banana plantation, although he willed it to Sylvia.Sylvia Walton

While she has long been loved by John Lowden, Sylvia now favors her overseer, Philip Ramsay, irritating John.

Sylvia confides to John that she misses Harlem

Elvira takes Percy to Isabelle, who is now hiding out in the jungle, and Isabelle tells Percy that his soul has been transferred into a particular pig, which must be protected.

Elvira introduces Percy to Isabelle

Percy believes his soul is in a pig

Sylvia is unnerved by Jamaican superstitions, and anxious to maintain control of the plantation, Isabelle hopes to scare her into returning to New York. Isabelle also knows Philip has been stealing from Sylvia.  Philip proposes marriage to Sylvia, but she waits to give him her answer.

Philip asks Sylvia to marry himSylvia meets with Isabelle and proposes they split the estate. But Isabelle wants all or nothing and also wants John’s love for herself. Isabelle drugs Sylvia’s drink, so that Isabelle, whose mother was Haitian, can subject Sylvia to the “obeah blood dance ritual”.

Isabelle professes her love for John

Sylvia has spoiled Isabelle's plans

John overhears Philip planning to leave with Sylvia’s money, and after a fight, Philip confesses Isabelle’s plans.

John overhears Philip planning to leave the islandPhilip confesses to John

As Isabelle recites the death incantation, John interrupts the ceremony.

Isabelle presides over the ceremony Sylvia is unconsciousThe blood dance

The ceremony is interrupted

Isabelle gives John an ultimatum, send Sylvia back to New York and never see her again and she will stop the ceremony. John confronts Isabelle

Eventually Isabelle admits that Sylvia is not under a spell and was only drugged. When she learns the police have been called, Isabelle dismisses her followers and tells them they were only having a little ‘pocomania.’

Elvira and Percy also arrive on the scene, having spent the evening searching for Percy’s “soul” pig, unaware that the cook has already slaughtered it. Percy and Elvira interrupt the ceremony

John reunites the two sisters, and Isabelle tells Sylvia the truth about Philip, that he only pretended to love her because he wanted the plantation. Isabelle explains to Percy that the pig story was a joke and they agree sit down for a meal of roast pork.

Isabelle tells Sylvia the truth about PhillipThey wil all be having roast pig

Notes

The Devil’s Daughter was also reviewed under the title Pocomania, a word used by Isabelle to describe the “obeah.”

Although reviews and modern sources commonly identify Isabelle as a practitioner of voodoo, this word is never used in the film, instead, her supposed magical power is called “obeah.”

Remake of the 1936 film Ouanga (also known as Drums in the Night, Drums of the Jungle, Love Wanga) which starred Fredi Washington, Philip Brandon, and Marie Paxton.

DOUBLE DEAL

Poster

Tagline
GUNS BARK AS RIVAL GANGS FIGHT FOR POWER!

Details
Year of Release: 1939
Genre: Crime/Drama
Rating: N/A
Runtime: 60 mins.
Black & White
Studio: Dixon R. Harwin Productions/Argus Pictures
Producer: Dixon R. Harwin/George Randol
Director: Arthur Dreifuss

Cast
Monte Hawley (Jim McCoy)
Jeni Le Gon (Nita Walker)
Eddie Thompson (Dude Markey)
Florence O’Brien (Sally)
Freddie Jackson (Tommy McCoy)
Maceo Sheffield (Murray Howard)
Buck Woods (Sharpie)
Vernon McCalla (Inspector)
Charles Gordon (Lanny)
F. E. Miller (Slim)
Shelton Brooks (Himself)
Charles Hawkins (Snively)

Synopsis

Murray Howard owns a nightclub where entertainer Nita Walker performs.  Although admired by Dude Markey, she is in love with Jim McCoy. 

Dude is interested in Nita

Sally is not interested in SnivelySnively, the club manager, in turn loves Sally, a cigarette girl, aspiring performer and Nita’s roommate. Sally, however, likes the penniless, Slim.

Dude brings Tommy in on the job

Dude and Howard offer Jim’s little brother, Tommy, a job on the condition that he ask no questions. Tommy had earlier rejected his brother’s offer of a Pullman job, despite it being a respectable position.  Tommy discovers that Dude is a criminal when he accompanies him on a safecracking job at a jewelry store that results in the murder of a night watchman. Dude brings the stolen jewels to Howard, who puts them in his safe as Dude secretly notes the combination. In the nightclub, Dude asks Snively to fix him up with Nita, who then directs her singing of “Gettin’ in Right with You” toward Jim. Nita sings to Jim 2

Dude becomes jealous, goes to Nita’s dressing room and when Jim enters, a fight ensues between the two men. The fracas is broken up by Lanny, a policeman. When Jim escorts Sally and Nita to their rooms, he finds Tommy waiting for him. An inspector arrives and tells them of the recent robbery and murder. Tommy gets nervous and Jim tells him not to look so worried as he was not involved.

the guys play pokerLater, Jim joins Dude and some others in a poker game. Dude excuses himself from the game, goes to Howard’s office and removes the jewels from the safe. Later Dude accuses Jim in front of Howard of robbing the safe, having previously dropped a slip of paper with the combination into Jim’s pocket. Jim escapes and goes to Nita’s. He notices the number 271 on the back of the piece of paper that holds the safe’s combination and asks Slim to find out if it is someone’s “lucky” number. Nita gives Jim the gun she found in her dressing room

Meanwhile, Nita has found Dude’s gun in her dressing room with three cartridges missing and Jim asks Nita to lead Dude on until he can prove that Dude was the one who actually stole the jewels from Howard’s safe. Howard is unhappy that Jim got away, and Dude suggests they bring in Tommy instead. Later Dude tries to convince Nita to elope with him and she tells him to come by her place later and she will give him her answer then. Slim has found out that Dude was playing the number 271, and Nita tells Howard.

Howard is shotDude overhears and shoots Howard through the window and Tommy is blamed. That night, Jim catches Dude picking up the diamonds where he’d previously hidden them.

Dude goes to Nita’s and pulls a gun on her and Sally because he knows it was Nita who told Howard that Dude robbed the safe. Jim arrives and he and Dude fight. Lanny barges in and Dude is shot.Jim and Dude fight at Nita's

With the reward money for the recovery of the jewels, Jim becomes the new owner of the nightclub, which clears the way for his marriage to Nita.  Slim becomes the new club manager, while Sally becomes the new entertainer.Jim owns the club and Sally gets her big breakNotes

The file for the film in the MPAA/PCA Collection at the AMPAS Library contains a letter dated October 19, 1939, in which the PCA warned producer D. R. Harwin to avoid filming the “bump and kootch movements” in the dance sequence, and to remove any sexual suggestiveness in the dialogue between “Dude” and “Sharpie.” In addition, the PCA urged the producer to “minimize the showing of the slot machines… details of the jewelry store break-in … and the killing of policemen by criminals.”

Soundtrack Titles
Hole in the Wall (written and Performed by Shelton Brooks)
Jitterbugs Cuttin’ Rugs (written by Shelton Brooks)
Gettin’ in Right with You (written by Peter Tinturin and Harry Tobias; performed by Jeni Le Gon)

History of Black Cinema

Films featuring Black performers and images have evolved from those which reflected the notions of Whites to those which fully explore African-American issues and themes.  Early movies created during the beginning of the 20th century typically portrayed African-Americans in insulting stereotypes or utilized Whites in blackface instead of Black actors.  Blackface involved White actors covering their faces with black make-up and drawing on exaggerated lips to complete the parody.  This technique originated in the minstrel shows of the mid-19th century in which African-Americans were portrayed as stupid, lazy, clownish, superstitious, and frivolous.   These shows degraded the African-American community and made fun of Blacks by making them look foolish, utilizing stereotypical characters such as Coons, Mammies, Sambos, and Uncle Toms.  Such stereotyping and disparaging representations were used to disassociate Blacks and Whites, an established practice in America since the days of slavery.

With the invention of moving pictures, the minstrel tradition of demeaning Blacks for the entertainment of White audiences carried over into the new medium.  Black characters were rarely presented in film and when they were they were typically portrayed as the same stereotypical caricatures, never as serious or fully developed individuals.

Birth of a Nation PosterOne such movie, was The Birth of A Nation, a 1915 silent film directed by David Wark “D. W.” Griffith.  By 1915 Griffith was an established director who developed a repertoire of techniques including crosscutting, intercutting, expressive lighting, camera movement, and the close-up.  He grew up hearing stories of the Old South’s power and grandeur and in 1914 began working on his film masterpiece which would later be praised for its technical innovations, epic narrative and imagination, drawing huge crowds around the country and becoming Hollywood’s first true blockbuster.  An adaptation of Thomas Dixon’s novel “The Clansman: An Historical Romance of the Ku Klux Klan” BOAN chronicled the rising racial, economic, political and geographic tensions leading up to and through the Civil War, emancipation, Abraham Lincoln’s assassination and the tumultuous southern reconstruction period in American History.

In spite of its innovation as a movie megahit, it was condemned as racist by leaders in the African-American community as well as by White liberals.  This film took racial stereotypes to a whole new level.  It showed blacks as inferior, maniacal, unintelligent, and brutal, raping and disrespecting good White folk, and generally running amok.  The film’s Confederate hero’s response to these insufferable injustices by the newly freed and unruly slaves, was to start the Ku Klux Klan, a righteous organization, portrayed as saviors of the South, who ride in at the end and save the Whites from the savage Negroes.

White actor in Blackface.

White actor in Blackface.

Birth of a Nation 1

After the war, “illiterate” blacks gain control of the legislature and courts.

Birth of a Nation 3

Flora runs in fright, and jumps off a cliff rather than be raped by a black soldier.

Birth of a Nation 4

After Flora’s death, the black soldier, Gus, is captured and hanged by the Klan.

Upon its release, BOAN sparked national protest, drawing the ire of the newly formed NAACP and was the catalyst for riots in several major cities in which it was screened.  Even at this early stage in motion picture history, African-Americans saw the potential of film as a set of images and messages that could influence the opinions and behavior of a large number of people as well as the way in which the experiences of African-Americans could be distorted and exaggerated.  Yet, despite its racist, exploitative message, its historical inaccuracy, and its’ rejection by entire regions of the country, the 190-minute silent epic was the most profitable film in history for a number of years and well into the “talkie” film era.   BOAN gave birth to the lurid and degrading stereotypes that were to endure in African-American movie images for years to come.In an effort to counterbalance such negative portrayals, African-American entrepreneurs ventured into filmmaking.  In addition, a handful of independent “Colored” film companies were emerging.  These companies were owned by Whites but catered to film audiences in the nearly 400 Black movie theaters, most of which were in the South.  But a major problem in producing these films was financing.

One Black producer who was able to get his films made with a minimum of capital, was one-time homesteader, novelist, salesman and overall wheeler-dealer, Oscar Micheaux who, in 1918 formed The Micheaux Film and Book Company.  Another early Black cinema pioneer was Noble Johnson, the Hollywood character actor who, along with his brother George, established The Lincoln Motion Picture Company in Los Angeles in 1916.  But actor, writer and vaudeville agent, William Foster (also known as July Jones), is widely considered the first African-American to establish a Black film production company to feature films with all African-American casts, when in 1910 he founded The Foster Photoplay Company out of Chicago.  The companies established by these innovators were at the forefront in producing “Race Films,” movies that featured all-Black or predominantly Black casts and were marketed to African-American audiences.

Lincoln Picture’s, The Realization of a Negro’s Ambition (1916) and Micheaux’s, The Homesteader (1919), were among the first feature films to present themes in concert with the effort by African-Americans to combat the negative portrayal of their community.  Ideologies of racial advancement were based on the predication that Blacks were human beings as well as Americans deserving of equality and social justice.  These beliefs emphasized education and morality and were actualized in films through plots that emphasized temperance, religion and social advancement through education.

During the 1920s through the mid-1930’s there was an abundance of Black-owned film studios operating throughout the U.S.  Although the films were produced on limited budgets, the popularity of race movies gave birth to a counter cinema with its own stars, a highly organized and tightly run distribution system, and a multitude of exhibition venues including Black owned movie houses like the Howard Theater in Washington, D.C., and the Madame C. J. Walker Theater in Indianapolis.  In addition to such theaters, the films were also shown at Black churches and schools, segregated theaters or at midnight and matinee showings in White theaters.

Unfortunately many of the Black independent film companies did not survive the Great Depression nor the invention of expensive sound technology.  In the 1930’s and 40’s few of the films made for Black audiences were made by Blacks.  Many of the production companies were now owned by White businessmen with White technicians behind the cameras.  These companies included the Norman Film Manufacturing Company, Ebony Pictures and The Colored Players Film Corporation.  One of the few exceptions was Micheaux, who maintained control of his production company, long after many Black owned companies went bankrupt and disappeared.  In spite of this, there were still a multitude of Black producers, directors, screenwriters, actors and actresses who worked on films which were not meant for mainstream movie audiences and as such they had influence on how African-American life was portrayed.  During the early period of Race films, the movies focused on themes relative to the Black community such as passing, lynching, religion and criminal behavior.  Eventually, the focus of the films changed and plots combined Race and Hollywood styles in which gangster movies, westerns, horrors and musicals portrayed Black concerns.

Race films, both those produced by Black companies as well as White, continued to remain popular with Black audiences through the mid-50s, as they provided stories which reflected experiences that movie goers could relate to and portrayed characters that contradicted White America’s notions of the place of African-Americans in society. It is estimated that more than 500 race movies were produced and distributed between 1910 and 1948, although fewer than 100 of these exist today due to the use of highly flammable and delicate nitrate film stock and the failure to utilize proper storage methods which led to the loss of many early films.

The significance of these productions to contemporary audiences lies in the fact that they provide a glimpse of how Blacks saw themselves and their world during the era in which they were made.  They should not be condemned for their lack of artistic value, due to limited budgets and production quality, but appreciated for their reflections of Black culture by highlighting African-American vernacular, dance, music, fashion, and glamour.  It can be said that without the early Black independent film movement, there would be few Black themed films today.

See Black Cinema Databank – Independent Race Films for a complete listing.