The Black Image on the White Screen: Representations of African Americans from the Origins of Cinema to The Birth of a Nation

In the first two decades of the twentieth century, American cinema played a major role in transforming what George Fredrickson has called the black image in the white mind. This transformation began with the invention of cinema and climaxed with The Birth of a Nation, a film whose appeal derived not from its content, but rather from D. W. Griffith's ability to seize on this content to provoke an intense emotional response in his viewers. This essay begins by examining some of the first images of African Americans captured on camera. It then turns to Griffith's innovations in the one- and two-reelers he made at the Biograph Company. Finally, and on the occasion of the film's hundredth anniversary, the essay provides a detailed analysis of how Griffith achieved his effect in The Birth of a Nation. What the essay shows, ultimately, is that whereas the earliest depictions of African Americans relied on audience foreknowledge, the arrival of American narrative cinema led Griffith to create new kinds of black characters. Griffith's use of the close-up, the point of view, the shot/reverse-shot pattern, and parallel editing enabled him to convince his audiences of a black menace that threatened white America.