A sweeping, thoughtful article on race and racism as reflected in American movies from Birth of a Nation to Django Unchained and the new 12 Years a Slave:
Such stories, of course, do not stay told. The moral, economic and human realities of slavery — to keep the narrative there for a moment — have a way of getting buried and swept aside. For a long time this was because, at the movies as in the political and scholarly mainstream, slavery was something of a dead letter, an inconvenient detail in a narrative of national triumph, a sin that had been expiated in the blood of Northern and Southern whites.
D. W. Griffith’s “Birth of a Nation” may look now like a work of reactionary racism, but it is very much an artifact of the Progressive Era, embraced by President Woodrow Wilson and consistent with what were then understood to be liberal ideas about destiny and character of the American republic. In Griffith’s film (adapted from “The Clansman,” a best-selling novel by Thomas Dixon), the great crime of slavery had been its divisive and corrupting effect on whites. After Reconstruction, the nation was re-founded on the twin pillars of abolition and white supremacy.