“The Precarious Trilogy of Black Liberation during Slavery”
Last night, I went to the talk about the new film about Nate Turner’s rebellion, Birth of Nation. This film caused quite a bit of stir as it has been progressing through its theatrical run. Fox Studios purchased it for an astonishing 17 million dollars. This is astonishing for two particular reasons. The first is the fact it’s a film with a majority black cast and an independent film about a slave revolt in the American South. Two things that, despite its tendency of liberal-mindedness, tries to avoid like the plague. Some of this controversy is intentional. The name, Birth of a Nation, harkens back to the infamous G.W. Griffith’s Birth of a Nation, which applauds the actions of the KKK during Reconstruction and vilifies African Americans as rapacious sub-humans. Nate Parker, the director, attempts to salvage this name and coopt it for the purpose of Black Liberation by taking what was the greatest public depiction of White Supremacy and subverting it.
Whether or not the film succeeds at this lofty goal is hard to say, but the film does set an interesting continuation of a thematic pattern that has been occurring. In the last, 4 years there have been 3 high profile films all taking place during the height of slavery in the U.S. and all express a transgressive if not a revolutionary view of the time period.
The first film and possibly the most radical in the trilogy antebellum blackness is the Quentin Tarantino-directed Django Unchained. Django Unchained, although fiction, it expresses a blatant depiction of blackness fighting the powers that be and centuries of racial stereotypes. The lead character starts as a slave and becomes a cowboy—the archetypical image of freedom in the American mythos—and then precedes to leave a blood trail of all the white people that sought to enslave him. The film also seeks to break the metaphorical chains of the degrading racial stereotypes that are rooted from this time period: the mammy, the tragic mulatto, the Uncle Tom, and the Mandingo.
The next film of this rebellious trilogy is the famous 12 Years a Slave by Steve McQueen, which seeks to remove all allure and mystic from the antebellum days and instead reveals the harsh cruel reality of daily, normalized terror. The scene of Solomon’s lynching, in particular, highlights this macabre normalness. He hangs off the branch of tree struggling to maintain his breath and composure all the while children play in the background, other slaves do their work, and one person stops to give him water. Life essentially returns to normal while a person suffers right in front of everyone. The film, while not historically accurate in every situation, sets the feeling of the time and reveals the horrific blotches of blood and suffering that sustained the regal allure of the antebellum South.
The most recent and the previously mentioned film, Birth of a Nation, follows these films in a similar note of trying to establish a revolutionary image of a time during slavery by focusing on the character Nate Turner. Since Nate Turner’s demise, history illustrated him as this boogeyman type of character by the white aristocracy in the south and this heroic figure by the black community. This current depiction seeks to establish him firmly as this figure that fought white supremacy but also illustrates a moral hero who respects the innocent. In the film, he kills only those that actively suppressed, ravaged, or harmed slaves. In other words, he killed those that the audience would condone in killing. Yet in actuality, Nate Turner’s real life endeavor was much less differing and sought to eliminate all those who benefited or will benefit from the system of racial subjugation. In other words, white women and children faced the knife just the same as their husbands and fathers. All the same, this film seeks to create heroes for African Americans from a time of subjugation.
There is a revolutionary character to these films that truly resonate with the contemporary movement for Black Rights. They all seek to reorient perception of the history of slavery in the United States from one of distance mired by a tragic tendency to forget and when remembered overwhelmed with a deceptive nostalgia. The mission of these great films instead invades the history with fiction and interpretation and implant heroes of mythical stature and fortitude to fight the system of the past at its worst.