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Author, playwright, movie
producer, director, book
publisher, and lecturer.


The first man to produce a full-
length, eight-reel, all-African
American movie

The first African American to write
and publish a best-selling novel--with
a circulation of over 55,000.

During this phase of his life, he
was founder and president of the
Micheaux Film Corp., and was
credited with producing 44 of
the 82 all-Negro pictures made
Micheaux was born January
2, 1884, on a farm near
Metropolis, Illinois. He was
the fifth of thirteen
children born to Calvin and
Belle Micheaux. As might
be expected with a large
family, the Micheaux clan
struggled financially.
Oscar's parents stressed
education, however, and
the youngster grew up
determined to seek his
fortune elsewhere.
(Micheaux)
Micheaux: However, the
greedy and inhuman attitude of
this monopoly this toward its
colored employees has just the
opposite effect, and is
demoralizing indeed.
Thousands of black porters
continue to give their services
in return for starvation wages
and are compelled to graft the
company and people for a
living.” (Micheaux, 50)
Oscar Micheaux
“But when the reality of the situation dawned upon me, I
became in a way frightened, for I did not want to fall in love
with a white girl. I had always disapproved of
intermarriage…that we would become desperately in
love, however, seemed inevitable. (Micheaux, 155)
Oscar Micheaux
Griffith’s innovations beginning with the Birth of
a Nation includes but are not limited to: “Its own
original musical score written for an
orchestra, the definitive usage of the still-
shot, elaborate costuming to achieve historical
authenticity and accuracy, scenes innovatively
filmed from many different and multiple
angles, the technique of the camera "iris"
effect, the use of parallel action and editing in a
sequence, moving, traveling or "panning" camera
tracking shots the effective use of total-screen
close-ups to reveal intimate expressions, the use
of fade-outs and cameo-profiles, the use of lap
dissolves to blend or switch from one image to
another, high-angle shots and the abundant use
of panoramic long shots, extensive cross-cutting
between two scenes to create a montage-effect
and generate excitement and suspense” (Dirks)
“The legacy of Birth of a Nation
was a revived and powerful new
Ku Klux Klan, some forty-five
years after it had been outlawed
and made a mere footnote in
history, and propaganda
masquerading as history…”
(Jansson)



. “The uncouth black and
mulatto politicians are seen
openly drinking liquor and
going barefoot on the floor of
Congress…” (Jansson)
Features interracial cast, Within
Our Gates follows a Southern black
woman who, abandoned by her
fiancé, travels to the North in search
of funding for a black school in her
home town, only to have her past
come back to haunt her. The film
explores racial tensions in the South
through issues of
miscegenation, rape, and, most
controversially, lynching. Due to a
particularly graphic lynching
scene, Southern theatres would not
book the film and it eventually
disappeared for seventy years.
“Where films produced by white
Americans presented these ridiculous
stereotypes as excessive fragments
with scant relevance to the main
narrative, Micheaux attempted to
delineate the social pathologies of
race and racism.” (Horne)
. “Time and again, we see characters
in Micheaux’s film
reading, discussing, and acting in
ways that are fully consonant with
possessing a full-fledged humanity.
The title cards in Micheaux’s film
repeatedly assert that black
Americans are complete human
beings, deserving of rights equal to
those conferred on whites.” (Flory)
“Old Ned says to the camera, "Again, I've
sold my birthright. All for a miserable mess
of pottage." Despondent and frustrated, he
argues, "Negroes and Whites - all are
equal. As for me miserable sinner, hell is my
destiny." This is a remarkably provocative
scene. Uncle Tom characters were a staple
in white mainstream films and some black
independent productions, but never had a
director attempted to explain the psychology
of such a human being. " (Butters, 2000)
The emasculation of black
men and the reality of
white brutality and
violence against blacks
“Micheaux's use of crosscutting in
                                          Within Our Gates (1919), particularly
                                          in regard to the attempted rape of
                                          Sylvia Landry and the lynching of her
                                          adoptive parents, suggests not only
                                          parallelism, but also simultaneity and
                                          juxtaposition, such that the effect is to
                                          bring together two events that do
                                          not, in fact, take place at the same
                                          time… into one flashback sequence
                                          within the film arguably served to
                                          heighten the emotional response of
                                          audience members to this particular
                                          sequence.” (Frederickson)
Here, the film’s African American
protagonist Sylvia Landry (Evelyn
Preer) tries to protect herself from a
very real assault and attempted rape at
the hands of white landowner Armand
“The viewer is soon
“Reverend Thurston has begun an
                                           introduced to Reverend
active campaign for the education of
                                           Wilson Jacobs, the founder of
the black race. He asks that the
                                           a school for African
federal government contribute
                                           Americans and "[an] apostle
significantly, so that Negro children in
                                           of education for the black
all of the U.S. can receive proper
                                           race." Micheaux
instruction." Thus, Micheaux
                                           demonstrates the lack of
addresses a serious contemporary
                                           educational opportunities
problem which virtually all filmmakers
                                           available to African American
of the period, both black and
                                           children in the South.”
white, ignored.”
Lying Lips
“However, Micheaux's films are     Elsee, a nightclub singer, is sent
most notable for the absence of    to prison for the murder of her
racial stereotypes and for the                  aunt. Her
presence of a cast of               boyfriend, Benjamin, attempts
accomplished black actors         to prove her innocence. Assisting
with a luminescent star                   Benjamin is detective
quality that mirrors the           Wanzer, played by Robert Earl
highly capitalized white-              Jones (James Earl Jones'
centered studio films.”            father). Appearing in a bit part
(Horne)                             is Juano Hernandez (later to
                                   star in Intruder in the Dust ). A
                                  prime example of Micheaux’s use
                                        of Hollywood genres and
                                    characterizations in so-called
                                     race films. Edna Mae Harris
Veiled Aristocrat                        God's Step
                                         Children
Lorenzo Tucker (the "Black
Valentino") stars in this story of a
                                         Oscar Micheaux's film deals with
lawyer who returns home to find
                                         a light skinned African-
that his light-skinned sister is about
                                         American orphan who refuses to
to marry a dark-skinned man. His
                                         acknowledge her race. She winds
mother has picked a more suitable
                                         up in a convent after being
candidate. Director Oscar Micheaux
                                         disruptive in her all Black
once again tack les the issue of dark-
                                         school. Eventually she marries a
skinned versus light-skinned
                                         dark-skinned man. A serious
African-Americans. Features Laura
                                         and moving film featuring
Bowman.
                                         Alice B. Russell, Carmen
                                         Newsome, Jacqueline Lewis
                                         and Ethel Moses.
“Considering that Micheaux, and
other independent black
filmmakers during the second and
third decades of the twentieth
century, struggled against
censorship, worked with small-
scale productions, and had vast
problems with distribution --
often traveling in between states
themselves, catering to those few
hundred black cinemas that
screened race films -- it appears
quite puzzling that Micheaux
succeeded in exporting some of
his films abroad without the
assistance of a major studio's
distribution channels.”
(Gustafsson, 2008, 30-49)
Swing
Oscar Micheaux was in the director's chair for this tribute to
African-American music. Featured are songs performed
from Alabama to Harlem, with the Tyler Twins performing
the dance numbers, and also featuring Cora Green, Hazel
Diaz, Carmen Newsome and Alec Lovejoy.

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Oscar Micheaux

  • 1. Author, playwright, movie producer, director, book publisher, and lecturer. The first man to produce a full- length, eight-reel, all-African American movie The first African American to write and publish a best-selling novel--with a circulation of over 55,000. During this phase of his life, he was founder and president of the Micheaux Film Corp., and was credited with producing 44 of the 82 all-Negro pictures made
  • 2. Micheaux was born January 2, 1884, on a farm near Metropolis, Illinois. He was the fifth of thirteen children born to Calvin and Belle Micheaux. As might be expected with a large family, the Micheaux clan struggled financially. Oscar's parents stressed education, however, and the youngster grew up determined to seek his fortune elsewhere. (Micheaux)
  • 3. Micheaux: However, the greedy and inhuman attitude of this monopoly this toward its colored employees has just the opposite effect, and is demoralizing indeed. Thousands of black porters continue to give their services in return for starvation wages and are compelled to graft the company and people for a living.” (Micheaux, 50)
  • 5. “But when the reality of the situation dawned upon me, I became in a way frightened, for I did not want to fall in love with a white girl. I had always disapproved of intermarriage…that we would become desperately in love, however, seemed inevitable. (Micheaux, 155)
  • 7. Griffith’s innovations beginning with the Birth of a Nation includes but are not limited to: “Its own original musical score written for an orchestra, the definitive usage of the still- shot, elaborate costuming to achieve historical authenticity and accuracy, scenes innovatively filmed from many different and multiple angles, the technique of the camera "iris" effect, the use of parallel action and editing in a sequence, moving, traveling or "panning" camera tracking shots the effective use of total-screen close-ups to reveal intimate expressions, the use of fade-outs and cameo-profiles, the use of lap dissolves to blend or switch from one image to another, high-angle shots and the abundant use of panoramic long shots, extensive cross-cutting between two scenes to create a montage-effect and generate excitement and suspense” (Dirks)
  • 8. “The legacy of Birth of a Nation was a revived and powerful new Ku Klux Klan, some forty-five years after it had been outlawed and made a mere footnote in history, and propaganda masquerading as history…” (Jansson) . “The uncouth black and mulatto politicians are seen openly drinking liquor and going barefoot on the floor of Congress…” (Jansson)
  • 9. Features interracial cast, Within Our Gates follows a Southern black woman who, abandoned by her fiancé, travels to the North in search of funding for a black school in her home town, only to have her past come back to haunt her. The film explores racial tensions in the South through issues of miscegenation, rape, and, most controversially, lynching. Due to a particularly graphic lynching scene, Southern theatres would not book the film and it eventually disappeared for seventy years.
  • 10. “Where films produced by white Americans presented these ridiculous stereotypes as excessive fragments with scant relevance to the main narrative, Micheaux attempted to delineate the social pathologies of race and racism.” (Horne)
  • 11. . “Time and again, we see characters in Micheaux’s film reading, discussing, and acting in ways that are fully consonant with possessing a full-fledged humanity. The title cards in Micheaux’s film repeatedly assert that black Americans are complete human beings, deserving of rights equal to those conferred on whites.” (Flory)
  • 12. “Old Ned says to the camera, "Again, I've sold my birthright. All for a miserable mess of pottage." Despondent and frustrated, he argues, "Negroes and Whites - all are equal. As for me miserable sinner, hell is my destiny." This is a remarkably provocative scene. Uncle Tom characters were a staple in white mainstream films and some black independent productions, but never had a director attempted to explain the psychology of such a human being. " (Butters, 2000)
  • 13. The emasculation of black men and the reality of white brutality and violence against blacks
  • 14. “Micheaux's use of crosscutting in Within Our Gates (1919), particularly in regard to the attempted rape of Sylvia Landry and the lynching of her adoptive parents, suggests not only parallelism, but also simultaneity and juxtaposition, such that the effect is to bring together two events that do not, in fact, take place at the same time… into one flashback sequence within the film arguably served to heighten the emotional response of audience members to this particular sequence.” (Frederickson) Here, the film’s African American protagonist Sylvia Landry (Evelyn Preer) tries to protect herself from a very real assault and attempted rape at the hands of white landowner Armand
  • 15. “The viewer is soon “Reverend Thurston has begun an introduced to Reverend active campaign for the education of Wilson Jacobs, the founder of the black race. He asks that the a school for African federal government contribute Americans and "[an] apostle significantly, so that Negro children in of education for the black all of the U.S. can receive proper race." Micheaux instruction." Thus, Micheaux demonstrates the lack of addresses a serious contemporary educational opportunities problem which virtually all filmmakers available to African American of the period, both black and children in the South.” white, ignored.”
  • 16. Lying Lips “However, Micheaux's films are Elsee, a nightclub singer, is sent most notable for the absence of to prison for the murder of her racial stereotypes and for the aunt. Her presence of a cast of boyfriend, Benjamin, attempts accomplished black actors to prove her innocence. Assisting with a luminescent star Benjamin is detective quality that mirrors the Wanzer, played by Robert Earl highly capitalized white- Jones (James Earl Jones' centered studio films.” father). Appearing in a bit part (Horne) is Juano Hernandez (later to star in Intruder in the Dust ). A prime example of Micheaux’s use of Hollywood genres and characterizations in so-called race films. Edna Mae Harris
  • 17. Veiled Aristocrat God's Step Children Lorenzo Tucker (the "Black Valentino") stars in this story of a Oscar Micheaux's film deals with lawyer who returns home to find a light skinned African- that his light-skinned sister is about American orphan who refuses to to marry a dark-skinned man. His acknowledge her race. She winds mother has picked a more suitable up in a convent after being candidate. Director Oscar Micheaux disruptive in her all Black once again tack les the issue of dark- school. Eventually she marries a skinned versus light-skinned dark-skinned man. A serious African-Americans. Features Laura and moving film featuring Bowman. Alice B. Russell, Carmen Newsome, Jacqueline Lewis and Ethel Moses.
  • 18. “Considering that Micheaux, and other independent black filmmakers during the second and third decades of the twentieth century, struggled against censorship, worked with small- scale productions, and had vast problems with distribution -- often traveling in between states themselves, catering to those few hundred black cinemas that screened race films -- it appears quite puzzling that Micheaux succeeded in exporting some of his films abroad without the assistance of a major studio's distribution channels.” (Gustafsson, 2008, 30-49)
  • 19. Swing Oscar Micheaux was in the director's chair for this tribute to African-American music. Featured are songs performed from Alabama to Harlem, with the Tyler Twins performing the dance numbers, and also featuring Cora Green, Hazel Diaz, Carmen Newsome and Alec Lovejoy.