Die vorliegende Bachelorarbeit arbeitet heraus, wie der Filmproduzent und Regisseur Oscar Micheaux in dem 1920 fertiggestellten Stummfilm Within Our Gates Bilder des "New Negro" zeichnete. Er entwarf eine Gegendarstellung zu der bis zu diesem Zeitpunkt vornehmlich negativen und stereotypen Darstellung von Afroamerikanern in den von Hollywood Studios produzierten Filmen.
Aufbauend auf Forschungsergebnissen von Filmhistorikern wie Jane Gaines, Ronald Green, Pearl Bowser und anderen wird der Film in seinem geschichtlichen Kontext dargestellt. Die Story, die Hauptcharaktere sowie die von Micheaux eingesetzten Filmtechniken wurden untersucht. Für die Analyse wurden von der Autorin vier exemplarische Szenen des Films ausgewählt und aufbauend auf bereits vorhandenen Forschungsergebnissen mit den Kriterien der Filmanaylse betrachtet.
Als zusammenfassendes Ergebnis ist festzustellen, dass es Oscar Micheaux gelungen ist, durch Nutzung verschiedenster Filmtechniken wie u.a. ein sorgfältiges Setdesign seine Vision auf der Kinoleinwand darzustellen und ein vielschichtiges Bild des “New Negro” zu zeichnen. In seinem Film Within Our Gates korrigiert er die Darstellung von Lynchmord und Vergewaltigung - die in Hollywood Filmen ausschließlich von Afroamerikanern begangen wurden - in dem er eindeutig die Weißen als Schuldige darstellt, welche sich an den ehemaligen Sklaven vergehen.
Table of Contents
1. INTRODUCTION
2. OSCAR MICHEAUX THE FILMMAKER
3. THE IMAGE OF AFRICAN AMERICANS: STEREOTYPES
4. THE NOVEL IMAGE OF AFRICAN AMERICANS: “THE NEW NEGRO“
5. PORTRAYAL OF AFRICAN AMERICANS IN WITHIN OUR GATES
5.1 COUNTERNARRATIVE
5.2 COUNTERTYPES
6. NARRATIVE STYLE AND FILM TECHNOLOGIES
6.1 STYLE ELEMENTS OF STORY TELLING
6.2 FILMING TECHNOLOGIES
7. ANALYSIS OF SELECTED SCENES
7.1 SYLVIA LANDRY IN THE HOUSE OF HER COUSIN ALMA
7.2 A POOR SHARECROPPER APPLIES FOR PINEY WOODS SCHOOL
7.3 DR. VIVIAN AFTER SYLVIA HAS BEEN ROBBED BY A BURGLAR
7.4 LYNCHING OF SYLVIA’S PARENTS AND ATTEMPTED RAPE OF SYLVIA
8. CONCLUSION
Objectives & Core Topics
This thesis examines how Oscar Micheaux employed various cinematic devices in his film Within Our Gates to construct a counternarrative and countertypes that challenge the racist portrayals prevalent in early 20th-century cinema, specifically contrasting them with the representations found in D.W. Griffith's The Birth of a Nation.
- Analysis of racial stereotypes in early Hollywood films
- Exploration of the "New Negro" concept and its artistic expression
- Cinematic techniques and narrative styles used by Oscar Micheaux
- Evaluation of character development as a form of social counter-representation
- Impact of Within Our Gates on the cultural history of African American cinema
Excerpt from the Book
7.1 SYLVIA LANDRY IN THE HOUSE OF HER COUSIN ALMA
This scene has been selected to show how Micheaux created the image of a countertype for a “New Negro Woman” and to get across his views on the uplift of African Americans and equality between the races. The movie starts with the introduction of the main protagonist of the story, the mulatto woman, Sylvia Landry. At the very beginning the viewer is informed with an intertitle that the story takes place in the North of the United States, where African Americans could lead a better life. As explained in previous chapters, the North was the part of America where African Americans could live up to their potential, so it seems obvious that Micheaux chooses the North as the living environment for characters that represent the “New Negro” countertypes.
After the starting intertitle, we see Sylvia Landry seated in a living room. The room has a high ceiling and appears quite spacious. The mid range shot that Micheaux has chosen does not show the entire room, suggesting that the room is even bigger. The room has in the middle a single window with white curtains but one cannot see the outside as the curtains are drawn. On the left side of the window, one can see a mid-sized rectangular painting with the potray of a woman. Further on the left, at the fringe of the frame, is a second window or possibly a door, which is covered by a dark coloured heavy cloth curtain. On the right side of the window is a second picture and at the right fringe a potted fern set on a pillar is placed.
Summary of Chapters
1. INTRODUCTION: The introduction outlines the historical context of Within Our Gates and establishes the research goal of identifying how Micheaux countered racist tropes through his film work.
2. OSCAR MICHEAUX THE FILMMAKER: This chapter provides a biography of Oscar Micheaux, focusing on his transition from a novelist to a pioneering black filmmaker.
3. THE IMAGE OF AFRICAN AMERICANS: STEREOTYPES: This section describes the standard, degrading stereotypes of African Americans in early cinema, particularly in Griffith's work.
4. THE NOVEL IMAGE OF AFRICAN AMERICANS: “THE NEW NEGRO“: An analysis of the “New Negro” cultural movement and how black intellectuals aimed to redefine the public image of their race.
5. PORTRAYAL OF AFRICAN AMERICANS IN WITHIN OUR GATES: This chapter explores the film's narrative structure and the specific counter-characters Micheaux created.
6. NARRATIVE STYLE AND FILM TECHNOLOGIES: A study of the technical and stylistic methods Micheaux used, including editing and intertitles, to convey his message.
7. ANALYSIS OF SELECTED SCENES: A detailed breakdown of four key scenes, examining the specific cinematic devices used to challenge Griffith's representations.
8. CONCLUSION: The final chapter summarizes how Micheaux successfully used his film to advocate for racial equality and uplift through complex, humanistic portrayals.
Keywords
Oscar Micheaux, Within Our Gates, New Negro, Harlem Renaissance, Countertypes, Stereotypes, African American Cinema, Film Narrative, Counternarrative, D.W. Griffith, Racial Representation, Cinematic Techniques, Social Uplift, Silent Film, Cultural History
Frequently Asked Questions
What is the primary focus of this work?
The work investigates the cinematic response of Oscar Micheaux to the racist depictions of African Americans in early 20th-century American film, with a specific focus on his movie Within Our Gates.
What are the central themes addressed in the book?
The central themes include the critique of racial stereotypes, the construction of the "New Negro" identity, the role of education in social uplift, and the use of film as a political and social tool.
What is the core research question?
The research asks how and with which specific filmic devices Oscar Micheaux creates a counternarrative and countertypes that stand in stark contrast to the racist representations found in films like The Birth of a Nation.
Which scientific methods are employed?
The author uses literature research to establish a theoretical framework regarding racial stereotypes and the "New Negro" movement, followed by a systematic, shot-by-shot film analysis of selected scenes.
What is covered in the main section of the book?
The main section analyzes the narrative structure of the film, technical film components such as camera work and lighting, and provides a deep dive into four specific scenes that exemplify Micheaux's counter-representation strategy.
Which keywords define this academic work?
Key terms include Oscar Micheaux, Within Our Gates, New Negro, countertypes, racial stereotypes, and cinematic counternarrative.
How does Micheaux use "The Mulatta" figure differently than Griffith?
While Griffith uses the mulatta figure to represent danger and moral corruption, Micheaux renders the character as a dignified, intelligent, and independent modern woman committed to the advancement of the black race.
What significance does the "Piney Woods School" scene hold?
This scene is pivotal as it highlights Micheaux's commitment to portraying the value of education for the black masses and the hard-working nature of sharecroppers, contrary to the "lazy" stereotypes of the era.
Why are there frequent "continuity errors" in the film?
The text explains that these often stem from the severe budget and time constraints Micheaux faced, which necessitated improvisation during production.
What is the conclusion regarding Micheaux's legacy?
The conclusion asserts that Micheaux is a pioneer who successfully created complex, humanistic characters that refuted racist propaganda, deserving recognition as a seminal figure in American cinema history.
- Arbeit zitieren
- Carmen Kurz (Autor:in), 2017, Film Analysis of the Silent Movie Within Our Gates. Oscar Micheaux’s Portrayal of African Americans to counter Stereotypes of the Black Race, München, GRIN Verlag, https://www.grin.com/document/458158
