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And a male (or female) saviour in almost every movie ever made. There’s a white (or black) saviour in almost every black-white racism movie since the 1950s. But exceptionalism can also enslave, if it extrapolates destructively.Ĭritics exacerbate divides by consistently deriding a saviour motif.
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Identity and the distinctiveness of identity-experience can liberate. Isn’t it good enough that someone foils a rape? Should we demand that it be foiled only by a woman? Is rescue less desirable if foiled by another man? To a tortured or dying man, that he’s saved matters more than whether his saviour is black or white. Transformation is the holy grail, not who transforms. Will six (or 16) more such movies convey racism’s “true horrors”? Are today’s supremacists that way only because they’re ill-informed? Are today’s rapists this way because they’ve not seen enough onscreen rape or gangrape? Is revulsion or reward a better incentive to change? Don’t we need a bit of both, perhaps more of the latter? Saviour motif: saving is the point, not who’s saving Movies such as 12 Years A Slave (2013) relive racist horror through extensive violence, nudity. They want to be moved, entertained, even changed. They don’t throng theatres to “learn more” about real-life characters.
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But 21st century audiences already have the cursor-click tools to “look-up” history. Odie Henderson in his April 5, 2019, take on TBoE smirks that he has “learned more” about its real-life protagonists from Wikipedia and YouTube than from the movie. Slavish historicity can wreck cinematic storytelling. Sometimes, you honour history by gilding photo-frames from a cruel past, at other times by creating new possibilities in the face of a stubbornly cruel present. Truths aren’t always about what’s documented or always about “facts”!? Our most profound realities (love, forgiveness, faith, hope) aren’t any less real because they can’t be proven, let alone beyond reasonable doubt. It’s why scripts are adapted for screens – from plays, novels or histories. They’re meant to stretch imaginations, stir emotions, rouse consciousness by telling stories. Martin Luther King Jr / February is Black History Month Historicity (or stirring cinema?) They skewer movies such as The Help (2011), Hidden Figures (2017), Three Billboards Outside Ebbing, Missouri or TBoEM (2017), Green Book (2018), The Best of Enemies or TBoE (2019) for not being historically accurate. Yet these analysts lay down the law on race-relations filmmaking: don’t be ahistorical, don’t dwell on whites or relegate blacks to supporting roles, don’t dim racism’s true horrors or imply it’s a relic, dump the white-saviour motif. Or any Jewish filmmaker would have sufficed. Schindler’s resonates not because Steven Spielberg is a Jew, but because he’s a master storyteller. Imagine historians insisting that Schindler’s List (1993) be made by a Holocaust survivor. Precisely how is Braxton’s “be allowed to” inclusive or egalitarian? Or that whites will – or should – no longer “ be allowed to” make such movies, or that whites apologize for their legacy of faulty filmmaking, as Greg Braxton does in his piece in the Los Angeles Times. Not if they’re dangerously implying that such movies are best left to blacks – as Tambay Obenson does in his April 10, 2019, piece in IndieWire.
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Such critics believe they’re serving the cause of blacks. In purging anti-black sentiment, aren’t whites the influential majority? If they don’t change, will anything? Sure, movies can remind audiences of racism’s horrific history but unless they also dream of – and dramatize – reformed and reforming whites on screen, it’ll become harder and harder to visualize them off it. Shouldn’t they also be by, of and for whites? Perhaps more so? Shouldn’t they speak to, inspire – not merely indict – whites? Funnily, critics keep eviscerating films that do just that. Should race-reconciliation or race-relations movies be always by, of and for blacks? They must recall racism’s savagery, celebrate black heroes, their success-struggle past and present.