Abstract
THE CELEBRATIONS — scratch that, commemorations — attending the 100th anniversary of D. W. Griffith’s racist epic The Birth of a Nation (1915) have inevitably overshadowed the centenary of another racially charged masterpiece of the early silent screen, Cecil B. DeMille’s The Cheat, released in December 1915. Unlike The Birth of a Nation, The Cheat is known mainly to film buffs and scholars of Asian American studies, which is a pity.