Class, I've created this WIKI as a clearinghouse for secondary sources. I would like all of you to post the secondary sources you use or come across and don't use so that they may be made availible for other students as starting points for the research they are doing and for further reading. Please include them under the texts to which they most apply--of course it is okay for multiple texts to be listed under multiple headings.
In 1911, the Kinemacolor Company of America began shooting a
feature-length color version of The Clansman under the direction of
William Haddock - after spending approximately $25,000 the project was
abandoned because of the inherent (production-company imposed) problem
of matching footage from different location performances of the
touring company of The Clansman - the project was abandoned before
shooting was completed. Frank Woods was then the editor of the Motion
Picture News and saw the Kinemacolor footage; he later worked on
Griffith's version. Von Stroheim appeared in the film in blackface.
Original sequences were presented with color by the Max Handschiegl
hand color engraving process. The final production cost was
approximately $100,000. In 1916, an illegal three reel version of the
film was released as In the Clutches of the Ku Klux Klan - a
successful lawsuit stopped further distribution. New music score for
the 1921 rerelease arranged by S.L. Rothafel, Erno Rapée, William Axt
and Hermann Hand. The film was rereleased by United Artists
Corporation on 15 February 1923. D.W. Griffith and Walter Huston
appear in a brief interview prologue shot for the 1930 sound reissue.
The Museum of Modern Art film archive holds the negative previously
owned by D.W. Griffith. American Film Institute later restored the
sound prologue and a color toned print. Surviving footage of outtakes
and behind-the-scenes shots are in the Library of Congress film
archive.
Kinemacolor was the first successful colour motion picture process,
used commercially from 1908 to 1914. It was invented by George Albert
Smith of Brighton, England in 1906, and launched by Charles Urban's
Urban Trading Co. of London in 1908. From 1909 on, the process was
known as Kinemacolor. It was a two-colour additive colour process,
photographing and projecting a black-and-white film behind alternating
red and green filters.
The Handschiegl color process (U.S. Patent 1,303,836, App: Nov 20,
1916, Iss: May 13, 1919) was a stencil color technique used on motion
picture film to give the effect of real color. Using the process,
aniline dyes are applied to a black and white print using gelatin
imbibition matrices.
Film tinting is the process of adding color to black and white film,
usually by means of soaking the film in dye and staining the film
emulsion. The effect is that all of the light shining through is
filtered, so that what would be white light is, in fact, another
color.
Film toning is the process of replacing the silver particles in the
emulsion with colored, silver salts, by means of chemicals.
Griffith's budget started at US$40,000, but the film finally cost
$112,000[4] (the equivalent of $2.2 million in 2007[5]). As a result,
Griffith had to seek new sources of capital for his film. A ticket to
the film cost a record $2 (the equivalent of $40 in 2007[5]). It
remained the most profitable film of all time until it was dethroned
by Snow White and the Seven Dwarfs in 1937.
Zora Neale HustonMules and Men (1935)
Ambrose Bierce (1842-1914?) : "AN INFRACTION OF THE RULES"
A duel in France, and the victor pursued
By the dogs of the law, by the multitude,
By society's fierce ill-will!
O what is the matter? The man was so rude,
That he made an attempt to kill!
Augustus Baldwin Longstreet Georgia Scenes (1840)
1. Wegmann, Jessica: "'Playing in the Dark' with Longstreet's Georgia Scenes: Critical Reception and Reader Response to Treatments of Race and Gender"
Southern Literary Journal, (30:1), 1997 Fall, 13-26. (1997) (link: Longstreet Playing in the Dark Article.pdf)
2. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 1- "Faithless Signs and Pandaemonian Piots: The Amphibious Politics of Longstreet's Dialect Humor")
3. Nimeiri, Ahmed: "Play in Augustus Baldwin Longstreet's Georgia Scenes"
Southern Literary Journal, (33:2), 2001 Spring, 44-61. (2001)
George Washington Cable The Grandissimes (1880)
1. Germana, Michael: "Real Change: George Washington Cable's The Grandissimes and the Crime of '73"
Arizona Quarterly: A Journal of American Literature, Culture, and Theory, (61:3), 2005 Autumn, 75-108. (2005)
2. Haspel, Paul.: "Gothicism in Rebel gray: postbellum evolution of the Southern gothic in the early fiction of George Washington Cable."
South Dakota Review (43:1/2) 2005, 88-104. (2005)
3. Jones, Gavin: "Signifying Songs: The Double Meaning of Black Dialect in the Work of George Washington Cable" American Literary History, (9:2), 1997 Summer, 244-67. (1997) (available on JSTOR)
4. Stephens, Robert O.: "Cable's The Grandissimes and the Comedy of Manners" American Literature: A Journal of Literary History, Criticism, and Bibliography, (51:4), 1980 Jan, 507-19. (1980) (link: Cable Article Manners.pdf)
5. Fick, Thomas H.; Gold, Eva: "The Mulatto in The Grandissimes: Category Crisis and Crisis of Category" Xavier Review, (21:1), 2001, 68-86. (2001) (link: Mulatto in Grandissimes.pdf)
6. Ladd, Barbara: "Nationalism and the Color Line in George W. Cable, Mark Twain, and William Faulkner" Baton Rouge: Louisiana State UP, 1996x. xi, 197 pp.. (1996) (Chapter 2- "George W Cable and American Nationalism")
7. Menke, Pamela Glenn: "Chopin's Sensual Sea and Cable's Ravished Land: Sexts, Signs, and Gender Narrative" Cross Roads: A Journal of Southern Culture, (3:1), 1994 Fall-1995 Winter, 78-102. (1994) (link: Chopin and Cable.pdf)
8. Swann, Charles: "The Price of Charm: The Heroines of The Grandissimes" Essays in Poetics: The Journal of the British Neo-Formalist School, (13:1), 1988 Apr., 81-88. (1988) (link: Heroines of Grandissimes.pdf)
Katie's discussion notes (from 2/18) are posted under "Navigation" on the left. There are many page number references for important points in the last half of the text (for paper writing purposes? or whatever you need them for.)
Mark Twain The Adventures of Huckleberry Finn (1884)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 3- "Was Jim White?: Navagating Racial Discourse in Adventures of Huckleberry Finn")
2. Ladd, Barbara: "Nationalism and the Color Line in George W. Cable, Mark Twain, and William Faulkner" Baton Rouge: Louisiana State UP, 1996x. xi, 197 pp.. (1996) (Chapter 3- "Mark Twain, American Nationalism, and the Color Line")
3. Camfield, Gregg: "Sentimental Liberalism and the Problems of Race in Huckleberry Finn"
Nineteenth-Century Literature, (46:1), 1991 June, 96-113. (1991)
4.
Mark Twain Puddn’head Wilson (1894)
1. Ladd, Barbara: "Nationalism and the Color Line in George W. Cable, Mark Twain, and William Faulkner" Baton Rouge: Louisiana State UP, 1996x. xi, 197 pp.. (1996) (Chapter 3- "Mark Twain, American Nationalism, and the Color Line")
2."Blackface in American Literature:The formation and evolution of blackface stereotypes"
3. Morris, Linda A.: "Gender Play in Mark Twain"
4. [[http://findarticles.com/p/search?qa=Skandera-Trombley, Laura|Skandera-Trombley, Laura]], "Mark Twain's cross-dressing oeuvre"
5. Moore, Scott: "The Code Duello and the Reified Self in Mark Twain's Pudd'nhead Wilson" American Transcendental Quarterly, (22:3), 2008 Sept, 499-515. (link: Code Duello and Twain.pdf)
6.
- Flawed Communities and the Problem of Moral Choice in the Fiction of Mark TwainDaniel L. Wright
- The Southern Literary Journal, Vol. 24, No. 1 (Fall, 1991), pp. 88-97 Published by: University of North Carolina Press
- Stable URL: http://www.jstor.org/stable/20078033
7. http://etext.virginia.edu/railton/wilson/pwsouthn.html8. http://etext.virginia.edu/etcbin/twainrev2www?specfile=/lv6/workspace/railton/reviews/twainreview.o2w
(This page is pretty cool because you can sift through articles based on where (geographically) the article is from, when it was written, and whether it's favorable, unfavorable, or mixed.)
Charles Chesnutt The Conjure Woman (1899)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 4- "Making Murder of Minstrelsy: Charles Chesnutt's Ha'nts")
2.
The Social and Political Views of Charles Chestnutt: Reflections on His Major Writings
The Social and Political Views of Charles Chestnutt: Reflections on His Major Writings
Kate Chopin The Awakening (1899)
1. Menke, Pamela Glenn: "Chopin's Sensual Sea and Cable's Ravished Land: Sexts, Signs, and Gender Narrative" Cross Roads: A Journal of Southern Culture, (3:1), 1994 Fall-1995 Winter, 78-102. (1994) (link: Chopin and Cable.pdf)
Thomas Dixon The Clansman (1905)
In 1911, the Kinemacolor Company of America began shooting a
feature-length color version of The Clansman under the direction of
William Haddock - after spending approximately $25,000 the project was
abandoned because of the inherent (production-company imposed) problem
of matching footage from different location performances of the
touring company of The Clansman - the project was abandoned before
shooting was completed. Frank Woods was then the editor of the Motion
Picture News and saw the Kinemacolor footage; he later worked on
Griffith's version. Von Stroheim appeared in the film in blackface.
Original sequences were presented with color by the Max Handschiegl
hand color engraving process. The final production cost was
approximately $100,000. In 1916, an illegal three reel version of the
film was released as In the Clutches of the Ku Klux Klan - a
successful lawsuit stopped further distribution. New music score for
the 1921 rerelease arranged by S.L. Rothafel, Erno Rapée, William Axt
and Hermann Hand. The film was rereleased by United Artists
Corporation on 15 February 1923. D.W. Griffith and Walter Huston
appear in a brief interview prologue shot for the 1930 sound reissue.
The Museum of Modern Art film archive holds the negative previously
owned by D.W. Griffith. American Film Institute later restored the
sound prologue and a color toned print. Surviving footage of outtakes
and behind-the-scenes shots are in the Library of Congress film
archive.
Kinemacolor was the first successful colour motion picture process,
used commercially from 1908 to 1914. It was invented by George Albert
Smith of Brighton, England in 1906, and launched by Charles Urban's
Urban Trading Co. of London in 1908. From 1909 on, the process was
known as Kinemacolor. It was a two-colour additive colour process,
photographing and projecting a black-and-white film behind alternating
red and green filters.
The Handschiegl color process (U.S. Patent 1,303,836, App: Nov 20,
1916, Iss: May 13, 1919) was a stencil color technique used on motion
picture film to give the effect of real color. Using the process,
aniline dyes are applied to a black and white print using gelatin
imbibition matrices.
Film tinting is the process of adding color to black and white film,
usually by means of soaking the film in dye and staining the film
emulsion. The effect is that all of the light shining through is
filtered, so that what would be white light is, in fact, another
color.
Film toning is the process of replacing the silver particles in the
emulsion with colored, silver salts, by means of chemicals.
Griffith's budget started at US$40,000, but the film finally cost
$112,000[4] (the equivalent of $2.2 million in 2007[5]). As a result,
Griffith had to seek new sources of capital for his film. A ticket to
the film cost a record $2 (the equivalent of $40 in 2007[5]). It
remained the most profitable film of all time until it was dethroned
by Snow White and the Seven Dwarfs in 1937.
Zora Neale Huston Mules and Men (1935)
A duel in France, and the victor pursued
By the dogs of the law, by the multitude,
By society's fierce ill-will!
O what is the matter? The man was so rude,
That he made an attempt to kill!