Birth and The Jazz Singer ostensibly exploit blacks in opposite ways. Birth makes war on blacks in the name of the fathers; The Jazz Singer’s protagonist adopts a black mask and kills his father. The Birth of a Nation, climaxing the worst period of violence against blacks in southern history, lynches the black; the jazz singer, ventriloquizing the black, sings through his mouth. Birth, a product of the progressive movement, has national political purpose. The Jazz Singer, marking the retreat from (...) public to private life in the jazz age, and the perceived pacification of the fantasized southern black threat, celebrates not political regeneration but urban entertainment.[ … ]Celebrating the blackface identification that Birth of a Nation denies, The Jazz Singer does no favor to blacks. The blackface jazz singer is neither a jazz singer nor black. Blackface marries ancient rivals in both movies; black and white marry in neither. Just as Birth offers a regeneration through violence, so the grinning, Jazz Singer, minstrelsy mask kills blacks with kindness. Michael Rogin teaches political science at the University of California, Berkeley. His books include Fathers and Children: Andrew Jackson and the Subjugation of the American Indian , Subversive Genealogy: The Politics and Art of Herman Melville , “Ronald Reagan,” the Movie and Other Episodes in Political Demonology. (shrink)

A giant statue of the mother goddess, Ishtar, presides over Intolerance , the movie D. W. Griffith made after his triumph with The Birth of a Nation . Ishtar sits above Babylon’s royal, interior court, but the court itself is constructed on so gigantic a scale that is diminishes the size of the goddess. Perhaps to establish Ishtar’s larger-than-life proportions, Griffith posed himself alongside her in a production still from the movie . The director is the same size as the (...) sculptured grown man who sucks at Ishtar’s breast; both males are dwarfed by the goddess’ dimensions.Ishtar connects Griffith to the concern with originary female power current at the turn of the twentieth century. The appearance of the New Woman and the attention to the matriarchal origins of culture were signs of a crisis in patriarchy. But the great mother could support masculine reassertion as well as female power. Ishtar will show us how. Michael Rogin is professor of political science at the University of California, Berkeley. His most recent books are Subversive Genealogy: The Politics and Art of Herman Melville , and “Ronald Reagan,” the Movie and Other Episodes in Political Demonology. (shrink)