A Declaration of the Immediate Causes which Induce and Justify the Secession of the State of Mississippi from the Federal Union.
In the momentous step which our State has taken of dissolving its connection with the government of which we so long formed a part, it is but just that we should declare the prominent reasons which have induced our course.
Our position is thoroughly identified with the institution of slavery-- the greatest material interest of the world. Its labor supplies the product which constitutes by far the largest and most important portions of commerce of the earth. These products are peculiar to the climate verging on the tropical regions, and by an imperious law of nature, none but the black race can bear exposure to the tropical sun. These products have become necessities of the world, and a blow at slavery is a blow at commerce and civilization. That blow has been long aimed at the institution, and was at the point of reaching its consummation. There was no choice left us but submission to the mandates of abolition, or a dissolution of the Union, whose principles had been subverted to work out our ruin.
[19 short paragraphs expanding on just how the North was doing this snipped]
The indictment of the racial power dynamic in that cotton bale–weighing scene might as well be an indictment of the same dynamic in the movies. 12 Years a Slave is an easy landmark. It's a rare sugarless movie about racial inequality. McQueen doesn't even give you any orchestral elevation. The score is hard and churning and sparingly used. The movie is about Northup, and at several points an audience is free to remember that most movies about the Civil War and slavery have been appeals to our higher, nobler selves. They've been appeals to white audiences by white characters talking to other white characters about the inherent injustice of oppressing black people at any moment in this planet's history.
This is how we get movies in which white lawyers defend innocent black men (To Kill a Mockingbird, A Time to Kill). It's how we get romances — Jezebel, Gone With the Wind, Cold Mountain — that use the antebellum South and Civil War as backdrops but feature either the most entertaining black slaves or almost no slaves at all. It's how you get Mississippi Burning, a thriller about three murdered civil-rights activists in which even the one-dimensional racists have bigger speaking parts than any black person.
It's how you get Cry Freedom, a thriller about Steve Biko (Denzel Washington) that mostly locks Biko into flashbacks while a white journalist (Kevin Kline) tries to flee apartheid-era South Africa; a movie about the death of Medgar Evers that's focused on his assassin; Steven Spielberg legislative historical dramas about white men fighting over who owns black people and what it means to do so. It's how you spend 35 minutes hearing Christoph Waltz talk and talk in Django Unchained and get nervous that Quentin Tarantino momentarily forgot what his movie was called.
The quality of these films is not the issue. A few of them are great. But after decades and decades and dozens of titles, you get the political point. Movies are the most powerful ways Hollywood has to say it's sorry. There is a kind of audacity in something like Lincoln, in which important white men get discursive about the moral quandary in which slavery mires the country. That debate required men to search their souls and vote accordingly. But after enough of these movies, you're just hot with insult. You have to stop accepting apologies, accepting, say, The Help, and start demanding correctives, films that don't glorify whiteness and pity blackness, movies — serious ones — that avoid leading an audience to believe that black stories are nothing without a white voice to tell them that black people can't live without the aid of white ones.
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