slavery movies


We [Twi’lek] females are virtually bred to be frivolous – good only as slaves, playthings, or pampered princesses!

Twi’lek females aren’t treat well in [star wars] universe - since birth they are   emotionally, physically and socially oppressed.

caerrigor-deactivated20160530  asked:

Have you ever seen people explain why they think Kylo Ren is a whiny entitled MRA dudebro? Because I feel like I've only seen them take it as read and go from there.

The closest things I’ve seen to reasons are

Reason 1) He tells Rey she needs him to teach her, even though she kicks his ass. Mansplaining!

What I haven’t seen acknowledged: by the time of the duel with Rey, he’d been stabbed in the shoulder. And had a bleeding wound in his side from a generally fatal weapon. And had inflicted enormous emotional trauma on himself by way of his totally fucked moral compass. And had just fought someone else. And was winning the fight when he made the offer and waited for her to think it over, rather than shoving her into the abyss of death under her feet.

It’s not that she didn’t legitimately beat him! But people act like she trounced peak Kylo Ren with a hand tied behind her back rather than winning a hard-fought duel under favourable conditions. (Same thing goes for the Mary Sue people >_>)

Also, the people insisting on “you need a teacher” = mansplaining have presumably never seen The Empire Strikes Back. This is the standard emotionally-compromised-Darksider party line. There is nothing gendered about it, or about anyone’s treatment of her. That’s a wonderful breath of fresh air–or would be if people didn’t seem incapable of even imagining a world where a young woman doesn’t grapple with misogyny at every turn.

Rey’s story is not Girl Fights Sexism. It’s a young woman getting a classic, pure, sparkly Hero’s Journey with all the bells and whistles, and nobody quite knows what to do with that.

Reason 2) As Leia’s son, he’s quasi-royalty and comes from a position of immense class privilege, and feels entitled to valuable items that actually belong to other people. Or to no one. 

What I haven’t seen: any acknowledgment whatsoever that Leia’s status is inextricably bound up with the genocide of her people. Nor have I seen any distinction drawn between his class privilege as an Organa and his sense of identity as a Skywalker. His entitlement is never remotely linked to class. It’s concentrated on the legacy and possessions of his natural grandfather, a former slave from a poverty-stricken desert controlled by gangsters.

As we all know, believing you have a right to inherit the belongings of your dead grandparents is basically like burning money in front of homeless people.

Reason 3) He was supposed to be Darth Vader Mk 2, but isn’t an invincible (?), inscrutable badass expressing nothing (??) but icy displeasure.

Rather, he broadcasts his bewildered cultist angst instead of suppressing all emotion but rage as a Dark Lord ought. He’s coming apart at the seams and admits to it, which is impotently whiny, but also something to do with school shooters. And not, say, a struggle with his indoctrination. He never succeeds at anything except freezing a laser in midair, psychically holding people immobile, sensing a random stormtrooper’s emotional upheaval, telepathically extracting information, deflecting blaster bolts, knocking someone unconscious with a thought, holding his ground when shot by the bowcaster of death, and trashing an uninjured combatant in a duel. He even cries about having to murder his father, the wimp.

Also, he has a young, vulnerable, moderately unconventional face and lustrous helmet-defying hair. VADER WAS BALD AND SCARRED AND PREMATURELY AGED, OK.

It’s almost like being young, half-trained, and not actually Darth Vader were integral to his character or something. 

As someone who, overall, enjoyed fantastic beasts, it really causes a lot of issues for the worldbuilding

I think fantastic beasts really highlights a flaw in jkrs writing. Mainly, how the rules for her world really only work if you consider white people, and totally fall apart when you consider the same world from anyone else’s point of view.

The idea that in america you can have 0 contact with no-majs is fine, if 1. Everyone is white and/or 2. Magic is entirely hereditary. But neither or those ia true.

The movie takes place, what 60 years after slavery was abolished? What happened when a wizard was born a slave? Were they left to form an obsurial? (No, they say there hadnt been one for centuries in america) were they whisked away to the magical world and expected to leave their relatives to rot in slavery?

The movie takes place 30 years after the wounded knee massacre. What about magical children born in native communities? Are they invited to ilvermony? Do they let their communities be butchered?

What will happen in less than 20 years when japanese internment camps begin? Will witches and wizards of Japanese heritage just pack up and go to the camps too? Will they go into hiding and leave their potentially nonmagical families?

Jk seems content to act as though the Wizarding world has no racsim and instead uses magic vs nomaj tensions as an allegory. But that doesnt work when you have muggle born wizards who would be affected by racism in the nonmagical world.

And i dont think jk has ever even considered this. And it shows.

The Burden of Black Art

A great deal of responsibility is laid at the feet of black people when it comes to the box office success or failure of black movies. A great deal of responsibility is laid on the shoulders of black art or art about black lives.

I remember when Red Tails came out, and many people blamed black movie goers for its failure as if we alone had the financial power to make the movie rise. In many interviews, Stephen Spielberg, who directed Red Tails, framed going to see the movie as a moral obligation, as if through moviegoing, we might find racial uplift. Red Tails failed because it is a bad movie. A movie is not inherently good simply because it tells a story about black lives.

There is also this troubling idea that everything we need to learn about history, black or otherwise, can only be learned through movies. There are books and plays and music and visual art that also do the work of teaching us about our past. 

Nate Parker’s Birth of a Nation was released last Friday and so far the movie has done just fine, particularly for a movie of its ilk. But because the movie didn’t have, like, a $25 million, splashy opening, there are certain people who are crying conspiracy.

Now, I wrote an essay for the NY Times about how I struggled to have any empathy for Nate Parker, who as we now know, was accused of gang rape when he was 19. I clearly articulated why I was struggling and I was speaking only for myself. Certain people think this essay means that I am not down for black men or that I am part of a grand conspiracy theory to take down the movie, and in turn, career of a man I do not know. This is nonsense.

Certain people have said black women and more specifically black Feminists are responsible for the movie’s supposed failure because black women are an easy scapegoat. We are, I guess, part of this grand conspiracy. Some of us, these certain people say, are just mad that Nate Parker has a white wife which is so absurd and facile it would be laughable if it wasn’t so fucking pathetic. Who even knew about Nate Parker’s wife? Who the hell cares? No one with any goddamned sense.

We are being asked, it seems, to ignore our womanhood and free will in favor of our blackness and blind submission to some greater good that isn’t necessarily in our best interests.  

I was never going to see Birth of a Nation, because I do not want to see any more movies about slavery. I have written about this a few times. I understand how horrible slavery was. I understand what it did to the black body, mind and spirit. I understand how the effects of slavery can still be seen in contemporary America. I do not need to see another black woman violated or degraded. I do not need to see another black man’s back torn open by a white man’s whip. I am fucking done with slavery movies while ALSO understanding that it is important to continue to tell stories and make movies about slavery. 

Because of my personal history and Nate Parker’s troubling history, I had two reasons to not see Birth of a Nation. I also read the reviews which were mixed but generally seemed to say that the movie itself is flawed, perhaps mediocre, historically inaccurate, with one-dimensional women characters whose sexual violation is used as the catalyst for Nat Turner’s rebellion. Most of those reviews also said Parker has a lot of talent and potential and that the movie is worth seeing. These are reviews that seem on par for a debut film and they are reviews that, from the ones I read (NY Times, etc), considered the movie on its own merits and not the director’s past. 

I have no doubt that Nate Parker’s past has affected Birth of a Nation but even more damaging has been his willfully dismissive attitude in the aftermath. He doesn’t seem to understand why so many people are troubled by his past, his indifference to the victim and his certitude that he did nothing wrong 19 years ago. He turned down an offer for help from Oprah, which is like spitting in God’s face. That’s his right. He is a grown ass man. As a grown ass woman, I am allowed to have opinions on his behavior 19 years ago and now. And it’s just that–opinions. I am one person and yes, I have influence but I have repeatedly said that I don’t support or suggest a boycott of Birth of a Nation. Think for yourself. Do what you want.

I also have no doubt that Fox Searchlight absolutely will make their money back and then some. Some people will learn about Nat Turner from this movie. Some will learn about Nat Turner from the hundreds, if not thousands of BOOKS that have been written about him. There will be other Nat Turner movies. Nate Parker will make another movie. Life will go on. Other movies about black lives, past and present, WILL be made. And this brings us to the burden of black art, which is expected to be consumed mindlessly and uncritically so that it might succeed so that more black art can be made. This isn’t how the creation of black art should work. This is why we need to have better conversations about diversity. We need more than representation. We need the chance to be flawed and to create flawed black art without the fate of all black art and black artists hanging in the balance. 


This is my confession. You must use it. Names, ships records, ports, people. Everything I remember is in here…. you must publish it… I couldn’t breath until I wrote this. ‘I once was blind, but now I see.’ Didn’t I write that too?

Yes, you did.

Well now at last, it’s true. 

-John Newton; former slaver turned preacher & composer of 'Amazing Grace’

The critically acclaimed 12 Years A Slave, which won the Oscar for both Best Picture and Most Plot Given Away By Title, tells the true story of Solomon Northup, a free black man in 19th century America who was kidnapped and enslaved. He deals with that shit for 12 years before finally getting reunited with his family for the perfect happy ending. Then, right before the credits, a little stinger goes up onscreen reading “the date, location, and circumstances of Solomon’s death are unknown.”

OK, weird. B-but … that’s because it’s 1850 and they kept bad records, right? Right?

The Unpleasant Real Ending: Take a minute to imagine what Northup’s family was going through during those 12 years. The man straight-up disappeared. For years, his family’s every waking moment was spent looking for him, thinking he was in trouble, thinking he was dead, and thinking maybe he left on purpose. When Northup was freed in 1853, he returned to his family in New York and published 12 Years a Slave later that year. During this time, he (unsuccessfully) tried suing his kidnappers, moved in with his daughter, and gave lectures on slavery. Then, four years later, he fucking disappeared again. To this day, historians and even family members have no idea what happened to him. According to a newspaper article, his last public appearance was in August 1857 in Ontario, though a reverend claimed he saw him in Vermont five years later.

6 Horrifying Endings That ‘True Story’ Movies Left Out

I say this out of love. School won’t teach you the truth of who you are and where you come from. The government won’t teach you the truth of who you are or where you come from. They will tell you your from Africa, but if you read the Bible, you’ll learn the Africans and Arabs took the Israelites as slaves. Show me in history where the white people over in Israel were taken slaves by Africans and Arabs? They throw it in your face all the slavery movies, tv shows, books in school, but they don’t tell you you’re the chosen seed of the Bible. All the curses found in Deuteronomy 28 identify the so called black people in America. If that doesn’t spark anything in your mind I don’t know what will.

ok people are going to disagree w/ me on this but I have to say it

I’m a screenwriter, and let me tell you…I literally cannot imagine putting the N word in any of my scripts. I’m white, and to me (and I imagine some other writers) my writing is like an extension of me. and it makes me really uncomfortable when white screenwriters have their characters say the N word

“but it makes sense if it’s a movie about slavery, people said it all the time back then” ok but I think we need to ask…why are so many white screenwriters making movies about slavery? like why do we, as white people, feel that racism (and by extension slavery) is something we need to make films about. like maybe leave that to the people who are actually directly connected to it?

to me, writing the N word (for ANY reason) is equivalent to saying it, and obviously white people shouldn’t say it so. I just think white screenwriters should stop using the N word in their scripts is all

Just watched the movie Trolls

Love the singing, not like Disney’s where singing is just a time filler and takes away from the plot.

I just want to analyze the movie’s theme of happiness, as well as how the movie sort of parallels the story of the Underground Railroad.

They kind of make light of the fact that living creatures (the Trolls) are being eaten by other creatures (the Bergens). According to the plot, the reason for this is for the Bergens to obtain happiness. Of course, the Trolls find a way to escape, and this was the start of the movie. The rest of the story revolves around rescuing some trolls who have been captured when the Bergen chef (banished when the trolls escaped) found the trolls’ new home due to them being too happy and having a party. The story ends (after a couple of love stories, and a betrayal) with the trolls showing the bergens how to be happy and have fun. The moral is that happiness is up to you, not up to anyone else.

However, the cynic in me watched the rest of the movie thinking how the story  of the trolls mirrors the story of black African-American people; how trolls were born only to be eaten; how they had to escape in order to live happily; how trolls needed to explain to bergens how to be happy. I think this shows the need by white people for african-american people to explain to them what the problem is with systemic racism. Unfortunately, this is a continuing struggle in our current society, unlike in the movie where it was resolved.

anonymous asked:

Django unchained is a movie about slavery and Leonardo plays a slavedriver. Of cours he used the N word. people need to understand the gravity of those times. They can't start sugarcoating history.

i really agree with that last sentence

And let’s be perfectly clear about the Exodus Movie- it’s not JUST that the actors should black people and Jewish people of color for accuracy’s sake–

–It’s doubly disgusting because of the historical evil committed against Africa by racist white Victorian scholars who jumped through fucking hoops to prove that Ancient Egyptians weren’t black—

The lie that Ancient Egypt was a White civilization was directly, intentionally, and explicitly used to justify the slave trade.

Europeans intentionally denied that Africa had any culture at all, and therefore, slavery was perfectly okay— even a step up from living in Africa-
The breathtaking feats of art, architecture, and technology of Ancient Egypt HAD to be denied to black people— or else white Europeans would have to acknowledge that Africa has a rich culture and history, far surpassing anything to which their ancestors could claim.

This is a fraught and controversial issue to this day-  
most art museums seperate “African Art” (usually portrayed as “primitive”) from Egyptian Art.

In the Brooklyn Museum they’re on different floors, with the MASSIVE Egyptian Art gallery flanking the European Arts gallery.  (African Art used to be grouped with Native American Art, though no longer)  

The Metropolitan is the same: with Egyptian Art wholly seperated from “African Art.”  (I believe it’s closer to Greek Art if I’m not mistaken– and African Art is grouped with Oceanic Art and Native American Art)

tl;dr Ancient Egyptians were black; Egypt is in Africa, and to deny this is violence.

I’m honestly so sick of slavery movies. I’m so sick of “masters”, rape, hymns, struggle, sweat, and tears. I’m so tired of Black History being defined only as enslavement and sadness…this whole “be sad for us” complex that’s been going on. I want to see tales of Kings and Queens. I want movies of Africa before the white man, documentaries of Egyptian royalty before their noses were cut off. It’s about time we started acknowledging Black Excellence…because our history is so much more than the exploitation of Black Pain.