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This chapter analyzes the Hampton short The New Era and its use as an epilogue for certain screenings of The Birth of a Nation in 1915. Here, the industrial filmmaking of Hampton met mainstream commercial filmmaking, resulting in a barrage of criticism against the institute for its association with Griffith’s racist epic. This chapter shows how the controversy brought to the fore the underlying tensions in the representational aspect of the uplift project and underscored the problems of cinematic complicity in the perpetuation of social inequity. This chapter further argues that the controversy exposed Hampton’s naive faith in the power...

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