America's experience of film is virtually unique in that in almost every other country, the impact of film cannot be separated from the process or at least the specter of Americanization. In America, film in no sense represents something external; it is simply American. But what is American about American film?

For a decade or so after the first film exhibitions in 1895, film shows presented a grab bag of travelogues, news films, filmed vaudeville acts, trick films, and gag films. The audience for film in America was disproportionately urban and was made up of recent immigrants, largely from Eastern Europe. (The extent to which that was true is a subject of some contention among film historians.) In a sense, film has been involved, even in America, in a process of Americanization – “naturalizing” recent arrivals, teaching them how Americans live (and also breaking down regional differences, a process that television has taken over with a vengeance). However, following the sudden growth of nickelodeons in 1908, exhibitions were skewed to be more “upscale.” The theatrical narrative – especially adaptations of “legitimate” novels and stage plays – became the dominant form of film in America, as it has remained to this day. Griffith's early films made for the Biograph Company were clearly intended for an audience of Americans who, like Griffith himself, could take for granted the fact, if not the meaning, of their Americanness.