Abstract
Originally intended as a Hollywood blockbuster production by Paramount Studios, Samuel Fuller’s White Dog was misunderstood and deemed racist or at the very least an incitement to racial violence. The chapter argues that this was primarily due to Fuller’s “art house” approach to the material. Through the combined efforts of Paramount and the NAACP, the film was shelved before it was ever distributed. Its afterlife as a popular film among European and art house audiences and critics is used in this chapter to look more closely at the marked differences between Hollywood studio filmmaking techniques and art house cinema techniques. The chapter argues that representations of white supremacy and racial themes in American filmmaking are affected by these differences.
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