Tag: African-Americans

Facts about Birth of a Nation Play at the Colonial

Source: Mrs K.J. Bills, ‘Facts about Birth of a Nation Play at the Colonial’, The Chicago Defender (Big Weekend Edition), 11 September 1915, p. 3

Text: Facts about Birth of a Nation Play at the Colonial

One Who Has Seen and Knows About the Early Days the Author Tries to Falsely Depict Tells It Like It Was

I went to see the “Birth of a Nation” – not because I wanted to see it, but to be able to criticize intelligently. It is impossible to know what a play is unless one is an eye witness. I had heard so much said for and against the play I was determined to see for myself. There is nothing in the first part to which any reasonable person would object. It deals with historical facts which hold a person almost spellbound.

The second part – well, it is such an exaggeration that to a person who really knew and lived during that period it is not at all interesting. It is false from beginning to end. It is meant to create a greater race prejudice than already exists between the races. I shall mention some of the false impressions: Was there ever a congress composed entirely of Negroes who passed laws to govern all the whites in the South? Was there ever a time when the southern white people were at all as submissive to the blacks as this picture would have people believe? Does anyone believe that after the war the Negroes had no other ambition than to marry white women? Someone has said we as a race have enough hardships heaped upon us without creating a picture which actually lies. I wonder if Mr. Griffin [sic] lived during those days, and does he really remember things as they were.

The outrages of the Ku Klux were nothing like the picture shows them to be. There was no noise, no fast horseback riding, no clash between them and the Negroes. It is true they went around on horseback, but very quietly, like thieves. No one knew or heard any horses’ feet. I remember well when a small child the Ku Klux came to my father’s cabin. They knocked quietly, called him by name and made him open the door. Though they were masked, he knew their voices, for they were some of the gentlemen of his master’s family. They asked for his gun. He gave it to them. They left as quietly as they came. They went to every other Negro cabin and did the same thing. There was no resistance, no fighting.

The part showing the black man chasing the little girl, compelling her to jump off a high place and kill herself, is meant only to stir up hatred. Nothing of this kind has ever happened since the world was created. the Negro has never been so brutal. Why was not some of this brutality shown while their masters were at war? It was then the Negroes had full charge of their masters’ families. They protected them as no other person would have done.

I cannot understand why this was not cut out by the censors. They claim to be so very particular. No other race but this black American race would stand for the exhibition of pictures which are mean to poison the mind as this picture is. The Irish, German, Jewish, Polish, Swedish or any other race would have wrecked the Colonial theater long ago. No judge or censor bureau would have permitted it if it were showing any other race than the Negro.

Comments: Mrs K.J. Bills was a suffragist and an occasional contributor to The Chicago Defender, a newspaper for African-American readers. The Birth of a Nation (USA 1915), based on the novel and play The Clansman by Thomas Dixon, was a feature film set during the American Civil War and the period immediately after. It was first released in February 1915. Its inflammatory scenes of supposed African-American behaviour and its lionising of the Ku Klux Klan aroused great controversy even while the film gained great praise and attracted huge audiences. There was a strong campaign from members of the African-American community to have the film censored or banned, and screenings were halted in some cities, including Chicago (though only temporarily). The film’s director D.W. Griffith was born in 1875, years after the Civil War, but his father had served as a Confederate army colonel. The Colonial was a combined movie house and variety theatre. My thanks to Beth Corzo-Duchardt for having brought this piece to my attention.

There’s a Reason

Source: H.F. Hoffman, ‘There’s a Reason’, Moving Picture World, 20 August 1910, p. 403

Comments: H.F. Hoffman was an American film lecturer, cartoonist and occasional writer for Moving Picture World. This cartoon appeared at the time when the film of the world heavyweight boxing championship won on 4 July 1910 by the black Jack Johnson against the white Jim Jeffries was causing great controversy across America – because it showed a black victory, because prizefighting existed in a semi-illegal status, and because the result had been so popular among the black community. Hoffman’s point in producing the cartoon appears to have been to argue for continued segregation of theatre audiences along race lines. The audience in the stalls are desegregated, which those in the balcony are all black (the standard arrangement for accommodating black audiences in the American south at this time). A report on the Johnson-Jeffries fight film on the opposite page to this cartoon reinforces the likely connection.

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Movies and Conduct

Source: ‘Female, 22, white, college senior’, quoted in Herbert Blumer, Movies and Conduct (New York: Macmillan, 1933), pp. 180-181

Text: The pictures of the South that were in my mind were those given by Harriet B. Stowe. D.W. Griffith’s production, “The Birth of a Nation” made me see the Negro of the South as he was and not as the Northerners have always portrayed him. I believe that many people were influenced as I was to realize what the Negroes thought freedom meant. It is only when a Negro demands the marriage of the abolitionist’s daughter, who is white, that he, the father, can realize what all his agitation has meant. This picture did not make me an advocate of slavery as it existed but it made me see things from a Southerner’s point of view.

Comments: American sociologist Herbert Blumer’s Movies and Conduct presents twelve studies of the influence of motion pictures upon the young, made by the Committee on Educational Research of the Payne Fund, at the request of the National Committee for the Study of Social Values in Motion Pictures. The study solicited autobiographical essays, mostly from undergraduate students of the University of Chicago, and presented extracts from this evidence in the text. This extract comes from the section ‘Scheme of Life’ under the paragraph heading ‘Difference in Interpretation’. This film referred to is The Birth of a Nation (USA 1915).

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The Negro in Chicago

Source: The Negro in Chicago: A Study of Race Relations and a Race Riot (Chicago: University of Chicago Press, 1922), pp. 318-320

Text: Reports of investigators indicate that the managers of movies are convinced that their main floors, at least, should be guarded against Negroes. In most of the commercial amusement places, Negroes seldom have difficulty if they are willing to sit in the balcony, though attempts are frequently made to seat them on the aisles next to the walls, even when there are center seats empty. It is rare that any report is obtained of objections by white patrons to the actual presence of Negroes when they are well-mannered, well-dressed, and appreciative auditors.

As a rule movie theaters do not sell reserved seats, general admission entitling any patron to any seat in the house. But the following detailed report of the experience of two intelligent, well-dressed, quiet-mannered Negro women at a new movie theater on State Street is typical:

Purchased tickets, and entered the large lobby which extends across the front of the house. From this lobby there are closed doors at the entrance of several aisles, so that patrons are directed by ushers to different aisles, supposedly wherever there are vacant seats. We followed directions, and went to the extreme left of the lobby.

We opened the door, and the usher in charge of this aisle started down toward the front to show us seats. We saw at once that the narrow section of seats next to the wall was empty except for one colored woman sitting about the middle of the section. Instead of following the usher down the aisle, and taking seats indicated to the right of this section, we turned through a row of empty seats on the left-hand section, and sat next to a woman in the aisle seat. This put us two rows from the rear in a side middle section, instead of in the section which seemed to be reserved for colored patrons, next to the wall. As the usher returned to his station he said, “We have some lovely seats in the balcony; wouldn’t you prefer sitting there?” He was courteous, and I thanked him, telling him that we were quite satisfied with the seats we had taken.

Later, seeing two vacant seats further front in the center section which gave us a much better view we decided to take them and see what would happen. As we rose, the usher tried to block ms by putting his hands on the back of the seat in front, and saying, “I am sorry that you can’t take those seats.” I brushed by him and took one of the seats. He tried the same thing with Mrs. H — , and she also brushed by and joined me. There were scattered vacant seats both in the section we left and the one to which we moved. We remained until the end of the show without embarrassment.

The manager of this theater has had many years of experience in Chicago, and was quite willing to discuss race contacts. Nothing in his words would indicate any strong prejudice against Negroes, even when expressing his conviction that they should keep to places intended especially for them. He said, in substance:

Not many Negroes buy tickets — perhaps ten or a dozen a day. An effort is made to seat them in one section of the house, preferably the balcony, to which they are directed by ushers. Reason is the complaint by white patrons who object to sitting next to them for an hour, or hour and a half. Offensive odor reason usually given. White patrons often complain to manager as they go out if Negro has been sitting near them.

Conduct of Negroes is not often objectionable — runs about the same as all patrons. Occasionally one tries to “start something.” Recently two Negroes came to manager in crowded lobby after they had attended the show and objected to their seats on the balcony to which they had been sent by ushers, saying there were vacant seats on the main floor. Wanted to know why they were discriminated against. Manager did not want an argument in the presence of other patrons, and told them that as they had seen the show, heard the music, and shared everything with other patrons, he did not see they had any real cause for complaint. Called attention to the notice printed on almost every theater ticket in some form or other to the effect that the management reserves the right to revoke the license granted in the sale of the ticket, by refunding the money paid.

The same two women bought tickets the next day and attended a movie in an older and very popular “Loop” theater. They reported that they had no difficulty of any kind.

In a test made of a new and popular movie theater in an outlying section the investigator reported:

There were four of us in the party on June 5. We were told by the usher that there were no seats on the first floor, and that we would find seats in the first balcony. I think he was right, for there were white people also sent to the balcony. We were ushered in promptly, but another usher met us and said, “Right on up to the second balcony.” We said we preferred seats in the first balcony, and walked by him. He went and got two more ushers and stood in front of us to prevent us from going into the first balcony, insisting that there were no seats there. One of the young ladies stepped around the usher, and saw three vacant seats. She called them to the attention of the usher, and he then said he meant there were no seats for four. Two of our party took those seats, and the other two waited about twenty minutes till they could get the seats they wanted. After getting into the first balcony, we saw vacant seats in at least four rows, two, three, and four seats together into which we might quietly have gone had the usher been courteous.

On June 18, 1920, a well-known Negro employed in the City Hall was denied admission to a movie theater at Halsted and Sixty-third streets. There is a small but long-established Negro colony about a mile west of this location.

Comments: The Negro in Chicago is a report commissioned by the Chicago Commission of Race Relations following severe racial disturbances in the city in 1919. In Northern states Black audiences had the legal right to be seated anywhere at a public entertainment, but many cinemas and theatres attempted to keep them to segregated areas (often the balcony), or might charge them higher prices than white audiences. Some cinemas had separate entrances for blacks. Southern states enforced racial segregation under the Jim Crow laws. Cinemas managed solely for black audiences existed in both North and South.

Links: Copy at Internet Archive

Movies and Conduct

Source: ‘Negro male student in High School. Age 17’, quoted in Herbert Blumer, Movies and Conduct (New York: Macmillan, 1933), pp. 254-257

Text: I first became interested in the movies when I had started to kindergarten. I had gone to the theater before but I had not paid much attention to them while sitting on my mother’s lap or down in what seemed to me a very low seat. In school I heard the other children talking about cowboys and detectives and policemen that they had seen on the screen. When I again went I saw an exciting serial and William S. Hart which made me clamor to come back on the same day weekly. I kept up with that serial and several others when that one had ended. I did not lose interest in these pictures until a few years ago when I took to a higher type and more refined picture. I learned through education to distinguish between a good picture educationally and a bad or poor picture. This led me to those dramas mostly, although I occasionally go to see a serial or a Western story.

The earliest movie stars that I can remember were Wm. S. Hart and Tom Mix who played entirely in Western stories. I liked to see them shoot the villain and save the girl and “live happily ever after.” It caused me to shout as loudly, or louder, than the rest. Following them came Douglas Fairbanks, who seemed so carefree and light that he won nearly everyone with his personality. He would jump, use a lasso, thrust a sword, and fight in a way to satisfy any child’s desire for action. Now I have no special star but I think Emil Jannings is a great actor because he seems to put his heart and soul into his work.

As a boy, I went with nearly every one to the theater; my mother, father, sister or brother, relatives, and friends. Usually I went in the afternoon or evening, anywhere from one to five times a week. Now I still go with my relatives occasionally but mostly with friends or alone.

I cannot recall anything that I have done that I had seen in the movies except try to make love. It happened that when I was small there were no boys in my neighborhood and I had to go several blocks before I could play with some my size or age. But there were a few girls in my neighborhood my size. Seeing Douglas Fairbanks woo his maiden I decided to try some of ” Doug’s stuff” on one of the girl friends. I know I was awkward and it proved more or less a flop.

Several times on seeing big, beautiful cars which looked to be bubbling over with power and speed, I dreamed of having a car more powerful and speedier than all the rest. I saw this car driven by myself up to the girl friend’s door and taking her for a ride. (I was then eight years old and in my dreams I was no older.) Then too, I saw Adolphe Menjou, the best dressed man in the world, try in various ways to kill me because I had won his title. Perhaps the picture that left the most depressing picture on my mind was one in which a murdered man was thrown over a high cliff from a mountain top. I could see that dead body falling, falling to the rocky depths far below and squash into almost nothing. Some nights I dreamed of falling and other nights I had nightmares from dreaming of the same thing, awoke in a cold sweat, and was not able to go to sleep again till dawn. Whenever I saw anyone looking down from some rather high place or some workman in the precarious position, I had a sickly feeling in the pit of my stomach and averted my eyes.

The most heartbreaking picture that I ever saw and which caused me to shed uncontrollable tears was “Over the Hill,” starring Mary Carr. She was ill treated by all her children except one and had to go to the poorhouse and scrub daily. This picture caused me to see my mother in a new light and make a vow that I would always protect and provide for her as long as I or she lives. This mood lasted until the comedy, when I soon forgot it, but I have always kept my vow.

I have not adopted any mannerisms from the movies but I have tried to act like the actors of a picture for a short time after seeing the picture. Such actions were trying to act like a screen drunkard, a hero cowboy who shot and killed the villain and rode triumphantly away with the fair one. I used to go to “wild western” pictures and observe the Indians grab their hearts, or put their hands over their hearts, turn all away around and fall dead after they had been shot while resisting the unlawful Americans. When my chums played cowboy or cops and robbers, I tried to imitate these Indians in falling. Of course, many besides myself, I suppose, have tried to imitate Charles Chaplin or Douglas Fairbanks but I became so proficient in imitating Charles Chaplin that I became to be known as Charles in the neighborhood in which I formerly lived which made me dream of the time when I, Charles Chaplin, would be the star of the silver screen. Douglas Fairbanks gave me an inspiration to jump, fight, use long whips, ride, use rapiers and to be as happy and as full of life as he seemed to be.

While imitating these stars I became interested in love pictures and went to see them as often as I could. This liking developed after seeing such stars as Wallace Reid, Norma Talmadge, Rudolph Valentino, Mary Pickford, and Pola Negri. These actors stirred within me a desire to do an ardent love scene with a girl. The first girl that I tried this on said that I was crazy. The second girl wasn’t interested. But the third girl actually thought that I really meant what I was saying about her eyes and lips and she permitted me to try out everything that I had planned and this occasion proved successful in more ways than one.

Occasionally I used to think constantly of such actors as Wallace Reid, Rudolph Valentino, or Pola Negri; especially the latter whose bewitching eyes instilled within me many ungodly thoughts that never were voiced.

I cannot say that I received any temptations from the movies but I did get one real ambition. That being, to fly and be an aviator. This desire originated from such pictures as “Wings,” “The Flying Fleet,” and “Lilac Time,” all of which featured airplanes. Now I visit all the aviation exhibits and “talks” possible. The most interesting show I have yet seen is the one that was at the Chicago Coliseum. I visit the municipal airport often and just the sound of an airplane’s motor is enough to start one thinking of that time when I am going to have a powerful plane of my own and see all the world by means of it.

Another ambition that I had was to be a “Jackie Coogan” at the age of eight. I thought I would be more of a star than Jackie himself. I dreamed of the time when I would be a great star and have a great deal of money because of it. Then I could buy a tiny automobile, just my size, that would run as fast as any big car. I would also have some ponies, a beautiful home for my mother and myself and be a veritable “lady’s man.” (All this time I was eight years old.)

Sometimes from seeing such pictures as “The Birth of a Nation” I would not but feel the injustice done the Negro race by other races. Most of the bad traits of unintelligent Negroes are used in many pictures and a lovable or educated character is rarely pictured.

At other times, “West Point,” a picture of college life and a military training school, stirs within me a desire to go to college or some military or naval school away from home and serve my country as best I can.

In crime pictures, as in real life, the criminal not only becomes the hero on the screen but outside the theater as well. At other times the criminal’s life is such that the audience simply abhors being such a character. If there were more of the latter type of picture I am of the opinion that there would be far less crime.

Comment: American sociologist Herbert Blumer’s Movies and Conduct presents twelve studies of the influence of motion pictures upon the young, made by the Committee on Educational Research of the Payne Fund, at the request of the National Committee for the Study of Social Values in Motion Pictures. The study solicited autobiographical essays, mostly from undergraduate students of the University of Chicago, and presented extracts from this evidence in the text. Most of the evidence relates to picturegoing in the 1920s. The interview above comes from Appendix C, ‘Typical Examples of the Longer Motion Picture Autobiographies’. The films referred to include Over the Hill to the Poorhouse (USA 1920), Wings (USA 1927), The Flying Fleet (USA 1929), Lilac Time (USA 1928) and The Birth of a Nation (USA 1915).

Links: Copy on Internet Archive

Movies and Conduct

Source: ‘Female, 17, Negro, high-school senior’, quoted in Herbert Blumer, Movies and Conduct (New York: Macmillan, 1933), p. 146

Text: It seems to me that every picture picturing a Negro is just to ridicule the race. When a Negro man or woman is featured in a movie they are obliged to speak flat southern words, be superstitious, and afraid of ghosts and white men. They have to make themselves as ugly and dark as possible. The bad things are emphasized and the good characteristics left out. This is very unfair to the race. All Negroes are not alike; there are different types as in other races. Why must they be portrayed as ignorant, superstitious animals instead of decent people that are just as capable of doing great things as any other race; all they need is the chance. It is the same with other dark races besides the Negro. They are always the loser, the shrinking coward, and never the victor. It is very unjust of the white race to make every nation appear inferior compared to them.

Comment: American sociologist Herbert Blumer’s Movies and Conduct presents twelve studies of the influence of motion pictures upon the young, made by the Committee on Educational Research of the Payne Fund, at the request of the National Committee for the Study of Social Values in Motion Pictures. The study solicited autobiographical essays, mostly from undergraduate students of the University of Chicago, and presented extracts from this evidence in the text. Most of the evidence relates to picturegoing in the 1920s. The interview extract is given in the chapter ‘Schemes of Life’ under the section ‘Stereotyped views’.

Links: Copy on Internet Archive