Abstract
This essay focuses on two recent British feature films that have documented parts of the history of the African diaspora. Each focusing on a single black historical figure, the films 12 Years a Slave (2013, directed by Steve McQueen) and Belle (2013, directed by Amma Asante) are notable for their black directors and their portrayals of eighteenth and nineteenth-century British and American black slave histories. However, the films’ approaches to the representation of black women vary considerably. “Negro Girl (meager)” explores the problematics of portraying black female agency in these feature films and argues for continued vigilance in the deployment of a black feminist vision.
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Notes
- 1.
Steve McQueen’s film is not, moreover, the first filmic adaptation of Northup’s narrative. Gordon Parks created a made-for-TV version in 1984.
- 2.
In his Preface, Wilson writes that “the only object of the editor has been to give a faithful history of Solomon Northup ’s life, as he received it from his lips,” which suggests that Northup did not pen this narrative himself, although we know that he was literate. In their book Solomon Northup : The Complete Story of the Author of Twelve Years a Slave , David Fiske et al. consider the authorship issue and conclude, “Even if not the actual person who put pen to paper, Northup was very involved in its content” (Fiske et al. 2013: 113).
- 3.
In a piece about the film adaptation for the online journal The Root, Skip Gates writes, “Some will ask, Is everything in the film version of 12 Years a Slave accurate? My response is yes and no, for the truth is Solomon Northup himself changed some of the facts, including his birth and marriage dates, the spellings of certain names and, in an early play version, he even made the character of Samuel Bass more of a ‘Yankee’ than a Canadian. This points to a deeper truth about African-American culture, and one I have written about throughout my career: that signifying or black signification, by its very nature, is an act of repetition and revision, of invocation and improvisation, and so to me, the far more relevant question to ask of any representation of 12 Years a Slave is not whether it is strictly factual but whether it is true. To this I say yes, without question….”
- 4.
In a lengthy piece for Vanity Fair, Katie Calautti chronicles her nearly two-month search through archives, town records, and the like for any evidence of Patsey after the Civil War to no avail.
- 5.
The use of Patsey to further Northup’s story is also noted by scholar Vincent Woodard, who makes a parallel argument about the textual version of 12 Years a Slave : he contends that the presence of Patsey and her transformation from “a joyous creature” to a constantly abused, depressed woman serves a “utilitarian purpose in relationship to Northup’s assaulted masculinity” (Woodard 2014: 258).
- 6.
Quotations are from the 2013 film Belle unless otherwise noted.
- 7.
Many have written about the relevance of ghosts in depictions of the transatlantic slave trade. See, for instance, Guyanese novelist Fred D’Aguiar’s 1997 Feeding the Ghosts and Ghanaian writer Ama Ata Aidoo’s 1970 play Anowa.
- 8.
See, for instance David Scott, “Introduction: On the Archaeologies of Black Memory.” Anthurium: A Caribbean Studies Journal, vol. 6, no. 1 (2008), Article 2.
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Botshon, L., Plastas, M. (2018). “Negro Girl (meager)”: Black Women’s In/Visibility in Contemporary Films About Slavery. In: Letort, D., Lebdai, B. (eds) Women Activists and Civil Rights Leaders in Auto/Biographical Literature and Films. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-77081-9_11
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