Abstract
The late nineteenth-century cyclorama painting of the Civil War Battle of Atlanta served as a technological, thematic, and commercial forerunner to D. W. Griffith's landmark 1915 film The Birth of a Nation. Both visual spectacles provided immersive experiences for mass audiences and popularized a celebratory account of history that paid tribute to white male warriors on both sides. These cycloramic and cinematic narratives propagated a militarized and racialized nationalism.
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