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The Representation of the Ku Klux Klan in Mainstream American Cinema (1988-2016)

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The Representation of the Ku Klux Klan in Mainstream American Cinema (1988-2016) The Representation of the Ku Klux Klan in Mainstream American Cinema (1988-2016) Thesis Submitted for the degree of Doctor of Philosophy at the University of Leicester by Philip Wintle MA, AFHEA Department of History of Art and Film University of Leicester September 2019 Phil Wintle The Representation of the Ku Klux Klan in Mainstream American Cinema (1988- 2016) The Ku Klux Klan are America’s most notorious terrorist organisation. In the 1920s membership to the Klan numbered several million, partly resulting from the success of The Birth of a Nation (1915). In this period of Klan popularity, Hollywood utilised their iconography for box office success. In the contemporary age Klan membership has diminished, yet the Klan image continues to be regularly depicted in American film. My research assesses the function of the Klan in contemporary cinema, looking at their representation between 1988 and 2016 to explain the longevity of their depiction in a period of social irrelevance. The shifting representation of the Klan offers a unique case study in demonstrating the changing attitudes Hollywood has to race and racism. In this thesis, I argue that the Klan have been used in films to paradoxically downplay issues of racism. In the 1980s and 1990s, the Klan were presented as a white ‘Other’ to whom racism is isolated. This ‘Othering’ drives melodramatic narratives of white conflict in films such as Mississippi Burning (1988) and A Time to Kill (1996). The melodramatic simplicity of the Klan image is later accentuated in comedy films between 1999 and 2013. The comedic depiction of the Klan has often been ignored in existing literature on the Klan’s representation in film; this is a significant oversight, as comedy has kept the Klan image within public consciousness during this period. Moreover, representations of the Klan, both melodramatic and comic, have been used to guide the viewer’s understanding of American history, society, and racism. However, in recent years Hollywood has offered a greater focus on the ‘black narrative’, in these films the Klan are utilised to explore America’s history of racism, rather than to marginalise it. My research analyses the Klan’s evolving depiction and the persistence of their representation. Acknowledgments A lot of hard work, time, and persistence has gone into this thesis, resulting in many personal highs and lows. There are many people I need to thank for their help and support: Firstly, to my wife Helen, thank you for putting up with me all these years, helping me through the rough patches, and for making the wedding plans when I was too busy! Thanks to my mother, Janet, without whom this PhD would not have been possible. To Dr Guy Barefoot and Dr Claire Jenkins who have supervised me through this process, when I look back at my work from four years ago compared to now, I am staggered by the improvement and I thank you both for that. To families Wintle, Kaplan, Pack, and Robbins for all their love and support over the years. To Dr Jenny Stewart, I loved sharing an office with you, even if we did get distracted! You offered a lot of guidance in my first years which I really appreciate. Thanks to the staff at the David Wilson Library, it is a pleasure to work with you all and your advice has helped me through this research. Thanks also to many friends and colleagues, who are probably sick of hearing about the Klan as though they are a normal topic of discussion. To BAFTSS’ Open Screens for publishing work stemming from my research. And, lastly, to Dr Joseph Allwood, for giving me extra motivation to chase a doctorate…you may be able to save a life, but I can analyse films – take that! Contents Introduction .................................................................................................................... 1 Approach and Outline................................................................................................... 6 The History of the Klan and Their Representation in Film ........................................ 11 i. The First Era ........................................................................................................ 12 ii. The Birth of a Nation (1915) and the Rise of the Second Era (1915-1930) ....... 13 iii. Morality Films and the Decline of the Second Era (1930-1944) ...................... 18 iv. The Third Era, Anti-Klan Films, and the Depiction of the Law (1946-1959) .. 20 v. The Civil Rights Movement (1960s) .................................................................. 21 vi. The 1970s and the Celebration of Black Strength ............................................. 23 vii. The ‘Fifth Era’ and Comedy (1980-1988) ....................................................... 25 Chapter One: Literature Review ................................................................................ 29 1.1 Select Works on the History of the Klan .............................................................. 30 1.2 The Klan’s Representation in American Cinema ................................................. 33 1.2.1 The Klan and Cinema (1915-1940) ............................................................... 34 1.2.2 The Klan and Cinema (1940-present) ........................................................... 36 1.3 White Supremacy and Whiteness in Film ............................................................ 38 1.4 Blackness and Racism in Film ............................................................................. 43 1.5 Collective Memory and History ........................................................................... 46 1.6 Conclusion ............................................................................................................ 49 Chapter Two: The Klan Melodrama (1988-1997) ..................................................... 51 2.1 Mississippi Burning (1988) .................................................................................. 53 2.2 Attenuating Klan Iconography Through Melodrama ........................................... 62 2.3 Presenting a Just America .................................................................................... 69 2.4 Black Narrative and the Klan ............................................................................... 73 2.5 Justice and the Klan .............................................................................................. 84 2.6 Conclusion ............................................................................................................ 91 Chapter Three: The Klan, Southern Isolation, and ‘Modern’ White Supremacy (1988-1998) .................................................................................................................... 94 3.1 The South and Marginalisation ............................................................................ 97 3.2 Poverty and Class ............................................................................................... 104 3.3 Modernism and Integration ................................................................................ 108 3.4 Conclusion .......................................................................................................... 112 Chapter Four: The Klan and Comedy (1989, 1994, 1999-2013) ............................ 115 4.1 Theories of Comedy ........................................................................................... 116 4.2 Fletch Lives (1989) ............................................................................................. 118 4.3 The Klan and Absurdity ..................................................................................... 120 4.4 Race and Pseudo-Taboo ..................................................................................... 124 4.5 Comedy and Critique .......................................................................................... 128 4.6 Historical Comedies ........................................................................................... 134 4.6.1 Bedsheets and Forrest Gump (1994) ........................................................... 135 4.6.2 Bags and Django Unchained (2012) ........................................................... 141 4.6.3 Crosses and O Brother, Where Art Thou? (2000) ....................................... 148 4.7 Conclusion .......................................................................................................... 153 Chapter Five: Change and Impasse in Contemporary Depictions of the Klan (2011-2016) .................................................................................................................. 157 5.1 Marginalising the Klan ....................................................................................... 158 5.2 The Klan and American History ......................................................................... 164 5.3 The Continuation of Melodrama ........................................................................ 170 5.4 Conclusion .......................................................................................................... 176 Conclusion ................................................................................................................... 180 Appendix ..................................................................................................................... 189 Filmography ................................................................................................................ 191 Primary (Theatrical Films) ......................................................................................
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