By Michele K. Gillespie, Randal L. Hall
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Additional resources for Thomas Dixon Jr. And the Birth of Modern America (Making the Modern South)
Gerald Mast (Chicago: Univ. of Chicago Press, 982), 28–29. 20 michele k. gillespie / randal l. hall 2. ) Journal, May 3, 2003, section A, p. ) News and Record, June 8, 2003, section D, p. 5. 3. Paul D. : MIT Press, 2004), 3, 32–33, 6; program notes for Paul D. , September 7, 2004. 4. Winston-Salem Sunday Journal and Sentinel, December 6, 964, section D, p. ; E. M. ,” Wake Forest Student 28 (January 909): 382. 5. D. , George Peabody College for Teachers, 966). Karen M. D. , Columbia University, 982), provides an edited version of Dixon’s autobiography, the original version of which can no longer be located and which may have been heavily edited by Dixon’s second wife shortly after his death.
Robert C. Toll, Blacking Up: The Minstrel Show in Nineteenth-Century America (New York: Oxford Univ. Press, 974), 24–28. 2. Gail Bederman, Manliness and Civilization: A Cultural History of Gender and Race in the United States, 880–97 (Chicago: Univ. of Chicago Press, 995); E. Anthony Rotundo, American Manhood: Transformations in Masculinity from the Revolution to the Modern Era (New York: Basic Books, 993); Tom Pendergast, Creating the American Man: American Magazines and Consumer Culture, 900–950 (Columbia: Univ.
That Dixon was immersed in and fascinated by the aesthetics of spectacle is clear. Even after his failed acting career in the 880s, Dixon evidenced a keen interest in stagecraft. 53 When he turned to ﬁction, he wrote melodramas characterized by action, spectacle, dynamic narrative, and heightened emotions. Dixon’s own prose shared some of the traits of silent ﬁlm; the complaint of the reader who quantiﬁed Dixon’s tiresome descriptions of his characters’ eyes and facial expressions speaks to Dixon’s reliance on exaggerated gestures and poses to convey mood and emotion.