virtually all of the enslaved women in quentin tarantino's film are concubines or prostitutes.although these portrayals of slave women serve as much-needed recovery, he still adopts the favorite trope as the black woman being sexually bound to powerful men. eliza is the film's only kind to bind. unlike solomon northrup's narrative, all the slave woman in mcqueen's film are concubines. there is eliza, patsy, and harriet shaw. there is some merit in the inclusion of the stories in any realistic film about slavery. most girls and women, after all, where sexually harassed and abused. but this abuse did not define their lives. this point is one mcqueen fails to make, for he offers no additional images of bondswomen's lives, nor multidimensional views of the concubines. northrup realized they often succeeded in having a life beyond the lash and their masters and mistresses. solomon emphasized their ability to experience joy inside the myriad forms of abuse they suffered, and resistance strategies. why doesn't mcqueen? thank you. [applause] >> thank you so much. now we have a little t

likewise, in quentin tarantino's blockbuster "django unchained" are either concubines or prostitu prostitutes their way to being. while steve mcqueen's story of enslaved women has recovery from tarantino's, he adopts his favorite hollywood trobe of a black woman bound to powerful white men in "12 years a slave" and as such, eliza is not the only con cu been in -- in -- concubine. all the enslaved wom are concubi concubines. certainly, there is some merit in the inclusion of some of these women's stories in any realistic film about slavery. most enslaved women were sexually harassed and/or abused yet this abuse did not all define their lives. this point is one in which mcqueen fails to make for in this film he offers no counter or additional images of women's lives nor multi-dimensional views of the women as slaves. and they often succeed add life beyond the lash and grasp of masters and mistresses. solomon emphasizes more, their amazing labor capacity and their resistant strategies. why doesn't mcqueen? thank you. [ applause [ applause ] >> thank you so much. now, we have a little bit of time

quentin tarantino has the most macho treatment of slavery ever put on film, at least since o," a of spaghetti western and racial revenge fantasy. as far-fetched and over-the-top as on many fronts, the plot is fueled by an attempt to rescue django's much tormented late wife, played by kerry washington, which makes for the film's most poignant moments but also its absurdly happy ending, as they blow up the plantation and write happily into the sunset. in 12 years, it is the harassment inflicted on cassidy by her master and mistress that gets far more attention in the film than in solomon northrup's narrative. this is something that has been expanded on by the screenwriters. as you well know, it earned an .cademy award for the actress it is also one of the few films other than "roots" that has dramatized the separation of mothers from their children. you all remember the auctioning in which solomon himself is sold . separated from the two children. solomon tries to come for this woman who is paralyzed by grief. it also occurs to me that, as central as these fugitive narratives are in giving us a

i know quentin tarantino was upset because of what historians wrote about that and said it wasn't aboutlavery and he seemed to be upset when steve mcqueen's film won for best picture and people applauded it as this great film. i do think as i said in my comments that it's a master work. without a doubt it's an incredible film and achievement. you know, but there are some things, nothing is perfect and so i look at particularly the way in which he deals with women because in solomon's narrative, it's very clear in which the way that patsy is framed, depicted. he talks -- he doesn't mention love. love is not part of it. it's not what he's talking about. he is talking about a man who owns her body, wants to own her soul. and feels it's his right to do so and acts accordingly. but i was really interested in the early films that you talked about, john. because i really had forgotten about them. i teach -- well some of them -- because i teach a class on slave narrative, novel and film. i looked at the early "uncle tom's cabin" for example. and some of the other ones. but i had forgotten shirl

likewise, in quentin tarantino's blockbuster "django unchained" are either concubines or prostitutes r on their way to being. while steve mcqueen's story of enslaved women has recovery from tarantino's, he adopts his favorite hollywood trobe of a black woman bound to powerful white men in "12 years a slave" and as such, eliza is not the only con cu been in in -- concubine. all the enslaved wom are concubi concubines. certainly, there is some merit in the inclusion of some of these women's stories in any realistic film about slavery. most enslaved women were sexually harassed and/or abused yet this abuse did not all define their lives. this point is one in which mcqueen fails to make for in this film he offers no counter or additional images of women's lives nor multi-dimensional views of the women as slaves. north northrop realized they often succeeded to life beyond the lash and grasp of masters and mistresses. solomon emphasizes more, their amazing labor capacity and their resistant strategies. why doesn't mcqueen? thank you. [ applause ] >> thank you so much. now, we have a little

in "django," quentin tarantino the most macho treatment of slavery. the most macho western spaghetti and racial revenge fantasy. it's over the top as in so many fronts. the plot is fueled by an attempt to rescue django's much tormented slave wife played by kerry washington which makes for some of the most poignant moments but also accounts for its absurdly happy ending as they blow up the plantation and everybody in it and ride happily off into the suddenset. in "12 years," it's the harassment, both physical and mental abuse inflicted on patty by her master and mistress that gets far more attention unfortunately in the film than in the narrative. this is something that's been expanded on by the screenwriters. and as you know earned an academy award for lupita, the actress who played patsy. it's one of the few films other than "roots," i can't think of any other film that's dramatized the separation of mothers from their children. and as you all remember in the sale, the auction in which solomon himself is sold, he's sold along with a mother and two ch