In Cara Caddou’s chapter “Put Together to Please a Colored Audience: Black Churches, Motion Pictures, and Migration, at the Turn of the Century,” Caddou sets the stage for the early race film industry and explains how they often originated in black churches. Many historians viewed the development of race film as an offshoot of mainstream early films, and they thought that African Americans were introduced to motion pictures through popular venues owned by whites. However, due to intense segregation and prevailing racism these theaters were not at all welcoming to black people; they were forced to sit in the back of the theater, use separate entrances, and many films portrayed racist stereotypes. As a result, black films were usually shown in churches and sometimes schools, which were the centers of black communities and social life.
During the turbulent post-emancipation era in the early 20th century, many African Americans viewed film as a tool for racial uplift, which was the common idea that self-help was the way to overcome racism by strengthening black institutions and communities. During this period, the growth of black churches coincided and became intertwined with the rise of cinema. Churches were some of the largest institutions at the time and played a major role in black culture, so it made sense for filmmakers and exhibitioners to capitalize on this. Kansas City Second Baptist Church in particular was a center of early film and held the first Vitascope exhibition and moving picture exhibitions. People responded well to this, and both churches and motion pictures became more popular as a result.
The topics of the motion pictures were contrary to the racist depictions of black people in most white-produced films of the era, including the infamous Uncle Tom’s Cabin. Some race films depicted the valiant efforts of black soldiers in the civil war, and others focused biblical themes. For example, the story of Daniel in the lion’s den symbolized the triumph over slavery and persecution through grace of God, which strongly resonated with black audiences at the time. In this way, black films highlighted racial pride and religious devotion, which contributed further to the concept of racial uplift.
Some ministers would go on traveling motion picture exhibitions to different black churches all over the country, which not only created more ties throughout black America but also attracted more people to join the church. On the other hand, the large church communities were a major audience and source of profit for the black film industry, so the relationship between black churches and motion pictures was mutually beneficial in this way.
I read “Monuments of Progress,” which describes the development of black theaters with amenities (cooling systems, concession stands, etc). Due to the appeal, they became new community centers, and the chapter described a shift from the churches to the more secular venue. Though this was seen as progress for the black film industry, church leaders responded to this negatively – claiming that the change was causing a decline in behavior and morality in the community, as well as decreased church attendance… It’s interesting to see how uplift cinema was connected to the venue thematically.
It’s fascinating to hear how the popularity of race films and the rise of the race film industry coincided with the growth of black churches. From reading my own article on the Lafayette Theater, I became aware of how theaters became a creative space for uplift and created a foundation for the race film industry to grow and flourish. However, I did not realize the importance of churches during this era. My biggest takeaway from reading your precis was how this feeling of uplift that race films brought was nicely complemented the racial uplift of black churches. The two worked extremely well in promoting racial pride and creating a sense of togetherness and pride for the black community.
Reading about where race films originated from and how they came about is interesting because it gives a new perspective to my reading on black spectatorship. Black spectatorship was criticized and perceived as a result of migration, racism and segregation – but this was in regards to films that were played in white theaters and catered to white audiences. Your explanation of the rise of race films is another way of looking at black spectatorship but through the lens of the black community and how they try reacted to films with racial pride rather than self-deprecation. I also think the connection to churches is significant, as both black theaters and churches are seen by the black community as places of refuge and uplifting values in a world that refuses to accept and understand them as humans.