Slave Revolt on ScreenPub Date : 2021-05-28DOI: 10.14325/mississippi/9781496833105.003.0004
A. G. Sepinwall
{"title":"Handling Haiti in HUAC-Era Hollywood","authors":"A. G. Sepinwall","doi":"10.14325/mississippi/9781496833105.003.0004","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833105.003.0004","url":null,"abstract":"This chapter focuses on Lydia Bailey (20th C.-Fox, 1952), Hollywood’s only film set during the Haitian Revolution. This romance-adventure hybrid (by Philip Dunne and Michael Blankfort) placed fictional white Americans alongside real figures such as Toussaint Louverture. Lydia Bailey was acclaimed in 1952 as a groundbreaking change in how Hollywood portrayed Black History. The chapter argues that Lydia Bailey, representing a particular moment in postwar and Cold War cinema, was antiracist and forward-thinking in many ways. It supported the idea of decolonization and justified the violence of Haitian revolutionaries against colonists seeking to reenslave them. Nevertheless, it contained stereotypes about Haiti and Blacks in general. The chapter also asks: How did House Un-American Activities Committee (HUAC) hearings affect the film’s production? How was it received by white and African American viewers in the U.S., and by audiences in Haiti, France and elsewhere? And why has it fallen into obscurity?","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133990333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"NO WHITE HERO, NO FUNDING?","authors":"A. G. Sepinwall","doi":"10.2307/j.ctv1s5nwzx.7","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwzx.7","url":null,"abstract":"This chapter chronicles epics on the Haitian Revolution which were never made, whether proposed by African American legends such as Harry Belafonte or Danny Glover, white Hollywood legends like Gregory Peck or Anthony Quinn, or leading world cinema directors like Euzhan Palcy. Some of these films aimed to be biopics of Haitian king Henri Christophe, while others would have centered on Toussaint Louverture or Jean-Jacques Dessalines. However, because the Revolution’s storyline involves violence by African-descended revolutionaries, without obvious white heroes, the chapter argues, these projects failed to obtain funding. The chapter situates the problem of making a Haitian Revolution epic within Hollywood’s more general difficulties depicting Black History.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133634698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Slave Revolt on ScreenPub Date : 2021-05-28DOI: 10.14325/mississippi/9781496833105.003.0012
A. G. Sepinwall
{"title":"Conclusion","authors":"A. G. Sepinwall","doi":"10.14325/mississippi/9781496833105.003.0012","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833105.003.0012","url":null,"abstract":"The Conclusion looks at Hollywood studios’ changing attitudes towards issues of race, from films like Lydia Bailey to Planet of the Apes, Nate Parker’s The Birth of a Nation and Black Panther. It also highlights the enduring inequities that give descendants of slaveowners and of enslaved peoples asymmetrical access to defining slavery in public culture. Nevertheless, given Black Panther’s success (and the addition of Haitian characters to bestselling video games such as Red Dead Redemption 2), the chapter argues that there is a greater market for content featuring Black heroes than studios once thought. It also suggests some promising concepts for Haitian Revolution films if funding were made available.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125756879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Slave Revolt on ScreenPub Date : 2021-05-28DOI: 10.14325/mississippi/9781496833105.003.0011
A. G. Sepinwall
{"title":"French Caribbean Games","authors":"A. G. Sepinwall","doi":"10.14325/mississippi/9781496833105.003.0011","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833105.003.0011","url":null,"abstract":"This chapter treats video games related to slave revolt in Haiti, authored by French Caribbean intellectuals in 1987-88. These overlooked games were likely the earliest made about slavery. The chapter shows how their creators, Muriel Tramis and Patrick Chamoiseau, used this medium in a groundbreaking way, at a time when official French narratives silenced the history of slavery, to honor their enslaved ancestors. Tramis was a pioneering game developer, Chamoiseau on his way to becoming one of France’s most eminent novelists (and one of the Caribbean’s leading theorists). The chapter offers detailed analyses of their games, comparing them to others about slavery; it draws on the games themselves and interviews with Muriel Tramis. The chapter shows how these games celebrated the courageous resistance of enslaved women and men in Haiti, Martinique and Guadeloupe, while highlighting the real obstacles blocking their success.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132777656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Slave Revolt on ScreenPub Date : 2021-05-28DOI: 10.14325/mississippi/9781496833105.003.0008
A. G. Sepinwall
{"title":"From the Duvalier Years through the 2004 Bicentennial","authors":"A. G. Sepinwall","doi":"10.14325/mississippi/9781496833105.003.0008","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833105.003.0008","url":null,"abstract":"This chapter surveys the history of Haitian cinema and the challenges that have prevented it from attaining the size of other national cinemas. It also discusses films related to the Haitian Revolution which were made by Haitians. These include documentaries and dramas debating the Revolution’s legacy (refracted either through the Duvalier era, the Bicentennial/Aristide era, or the 2010 earthquake), or celebrating revolutionary heroes from Toussaint Louverture to Catherine Flon. Though these films are less well-known than foreign films on the Revolution, they offer some of the best cinematic treatments of this event. The directors treated include Haiti’s most prominent filmmakers (Arnold Antonin and Raoul Peck), as well as diaspora filmmakers from Miami to Canada. The chapter also analyzes collaborations involving Haitian intellectuals working with French, Cuban, or North American directors. Haitians involved in such collaborations include Wyclef Jean, Lyonel Trouillot, Frantz Voltaire, Ralph Maingrette, and Dany Laferrière.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126137607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"INVOKING THE REVOLUTION IN CARIBBEAN FEATURE FILMS","authors":"A. G. Sepinwall","doi":"10.2307/j.ctv1s5nwzx.5","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwzx.5","url":null,"abstract":"This chapter analyzes films from the Caribbean (outside of Haiti) related to the Haitian Revolution. These include the Cuban film The Last Supper (1976), the Cuban-French coproduction El siglo de las luces (1992), and two films from Curaçao,—Almacita de Desolato (1986) and Tula: The Revolt (2013)—which starred Danny Glover.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130223891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"AN UNTHINKABLE PLOT?","authors":"A. G. Sepinwall","doi":"10.2307/j.ctv1s5nwzx.4","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwzx.4","url":null,"abstract":"This chapter treats the small number of feature films from the U.S., France and elsewhere in Europe related to the Haitian Revolution. They include Emperor Jones (1933), Burn! (1969; also called Quiemada), and Toussaint Louverture (2012). The chapter draws on Michel-Rolph Trouillot’s ideas about the Haitian Revolution’s being “unthinkable” to non-Haitians; it explains how the Revolution’s significance has often been minimized even when it is shown on screen. The chapter examines how these films, to different degrees, distort the history of the Revolution, thereby illustrating defects in how slavery is remembered in the U.S., France, and elsewhere. The chapter notes that the weaknesses of these films are especially unfortunate, given funding structures that enable U.S. and European directors to make films about the Revolution more easily than can Haitians themselves.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116520008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Slave Revolt on ScreenPub Date : 2021-05-28DOI: 10.14325/mississippi/9781496833105.003.0010
A. G. Sepinwall
{"title":"North American and European Games","authors":"A. G. Sepinwall","doi":"10.14325/mississippi/9781496833105.003.0010","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833105.003.0010","url":null,"abstract":"This chapter introduces the field of Historical Game Studies, and analyzes representations of the Haitian Revolution in video games. It treats historical video games as a site of popular historical memory, and argues that historians need to analyze them. The chapter also presents debates about gamifying slavery. It then scrutinizes games on Atlantic slavery (including MECC’s Freedom!, Mission US: Flight to Freedom, and Playing History 2 — Slave Trade), before turning to those specifically invoking slave revolt in Saint-Domingue (especially Ubisoft’s Assassin’s Creed: Liberation and Assassin’s Creed: Freedom Cry). The chapter considers Freedom Cry to be the best among this group, and it analyzes how it depicts colonial Saint-Domingue (Haiti) from the perspective of enslaved people. In addition, the chapter describes the creation of Freedom Cry (including interviews with individuals involved) and its reception among gamers (particularly Haitian Americans and African Americans).","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125063280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Slave Revolt on ScreenPub Date : 2021-05-28DOI: 10.14325/mississippi/9781496833105.003.0007
A. G. Sepinwall
{"title":"Remembering Haiti’s Revolution in France and North America","authors":"A. G. Sepinwall","doi":"10.14325/mississippi/9781496833105.003.0007","DOIUrl":"https://doi.org/10.14325/mississippi/9781496833105.003.0007","url":null,"abstract":"The chapter focuses on documentaries, dramatic shorts, and animated shorts about the Haitian Revolution. Many were made entirely by non-Haitians, but some involved collaborations with Haitian scholars and artists. Because Haiti was once a colony of France, several of these documentaries come from French filmmakers. In analyzing these films, the chapter highlights French difficulties in grappling with their histories of slavery and racism, as well as imbalances that give the French greater power to recount Haiti’s history on screen than Haitians themselves. The chapter also examines public television and crowdfunded documentaries from the U.S., such as Égalité for All (2009) and 1804: The Hidden History of Haiti (2017), from white as well as African American directors. Finally, the chapter looks at lesser-known dramatic shorts on the Revolution, and at animated films, including Robin Lloyd and Doreen Kraft’s pioneering 1978 short Black Dawn.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"46 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122587258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"THE RISING GENERATION, TOUSSAINT LOUVERTURE, AND THE PROBLEM OF FUNDING","authors":"A. G. Sepinwall","doi":"10.2307/j.ctv1s5nwzx.11","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwzx.11","url":null,"abstract":"This chapter focuses on films about the Haitian Revolution by emerging Haitian filmmakers, working with tiny budgets. It analyzes a trio of documentaries on Toussaint Louverture from Haitian filmmakers Maksaens Denis, Kendy Vérilus and Pierre Lucson Bellegarde. Drawing on the contents of these films, as well as interviews with the directors, the chapter notes differences between their approaches to the Revolution and those of non-Haitian films on the subject, especially concerning the extent to which France’s Revolution prompted Haiti’s. The chapter also discusses how funding and infrastructure challenges have hindered the growth of Haitian cinema, and it introduces other digital genres, such as animation, through which young Haitians have depicted colonial Saint-Domingue and the Revolution. Finally, the chapter examines thwarted efforts by Haitian filmmakers to make epics on the Revolution.","PeriodicalId":445834,"journal":{"name":"Slave Revolt on Screen","volume":"81 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133355709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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