Loading in 2 Seconds...
Loading in 2 Seconds...
Robert E. Lee surrenders to Ulysses S. Grant at Appomattox. Artist Thomas Nast contrasted this image, captioned “ Pardon, ” of Confederate politicians and generals applying for pardons, which might give them the right to vote and hold office. . . .
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
Artist Thomas Nast contrasted this image, captioned “Pardon,” of Confederate politicians and generals applying for pardons, which might give them the right to vote and hold office. . . .
with this image, entitled “Franchise,” of a crippled African American Union veteran, deserving of recognition by the Federal Government for his heroism and sacrifice, and deserving the right to vote
Thomas Nast’s depiction of the African American victim sacrificed upon the altar of the “white man’s government” and sectional reunion and reconciliation
Thomas Nast’s 1874 cartoon, “The New Alabama”; the flag reads, “This is a White Man’s Government”
“The members call each other thieves, liars, rascals, and cowards.”
Columbia: “You are Aping the lowest Whites. If you disgrace your Race in this way you had better take Back Seats.”
Democrat Samuel Tilden
Griffith’s tremendously popular film set the tone for a wave of motion pictures that denigrated blacks, even if that denigration usually comes through mockery. Birth of a Nation directly contributed to the reemergence of the defunct Ku Klux Klan in the late 1910s, and well into the Civil Rights struggle white supremacists continued to hail the film’s racist iconography.
“the mulatto Gus,” the would-be rapist of a white woman in Birth of a Nation
Screen heavy Walter Long, in blackface, was cast as "Gus,"one of the most controversial castings and performances in cinema history.
Abolitionist Congressman, the Hon. Austin Stoneman (Ralph Lewis, in blackface),spearheaded the Reconstruction era in D.W. Griffith’s vision of the post-Civil War South.
“The triumphant march of the Klan, Lillian Gish and Miriam Cooper at its head,”a cinematic moment that audiences would never forget.
I. “Carnival of Fury”: Sexual Mythology, Lynching, Mob Violence, and African American Resistance in the New South
A. the “epidemic of rape” that never was
B. Ida Wells-Barnett’s “crusade” against the “old threadbare lie”
“Nobody in this section of the country believes the old threadbare lie that Negro men rape white women”
A. white Democrats vow never again to have poor blacks and whites join forces
B. “race-blind” disfranchisement mechanisms:
1. poll tax
2. literacy test
3. grandfather clause
vs. Reconstruction depictions
Racial stereotypes of black politicians in 1874
White Supremacy Campaign of 1898
Illustration of the Wilmington “race riot” of 1898 as it did not transpire; blacks were the victims of white violence, not the authors of violence
A FOURTH PILLAR OF WHITE SUPREMACY?
One long term consequence of the Black Codes was the “racialization” of the South’s criminal justice system. . . .
the “Wizard of Tuskegee” and “author” of the
“Atlanta Compromise” (1895)
one of the founders of the NAACP, historian, editorialist, and advocate of “persistent, manly agitation”