Examining the Sociocultural Knowledge of Race and Racism in Popular Film

• In Event: Critical Perspectives on Teaching Difficult History

Abstract

Introduction and Theory

Drawing from the work of critical historical memory (Trouillot, 1995) and critical race theory (Delgado and Stefancic, 2012), along with our previous research around race, racism and official curriculum knowledge (Authors), this presentation explores the topic of slavery in movies as a form of historical memory making. The idea that popular culture serves as a form of historical memory is a key theoretical insight among critical historians. In this sense, music, television and print media are vital in shaping the historical memory about a person, a place or an historical event. This is of key importance in the context of K-12 schooling where teachers draw from popular culture specifically film, as curriculum material for the students’ learning.

In this presentation, we examine how race and racism operate in eight (8) popular slavery themed movies. Here, we consider the sociocultural knowledge of race and racism that these films offer to viewers, with a focus on better understanding how this curriculum helps to shape majoritarian racial narratives found in the U.S.

Methodology

We examined eight contemporary slavery themed movies: Belle, (2013), Amistad, (1997), Amazing Grace (2006), 12 Years a Slave (2013), Beloved (1998), Django Unchained (2012), Lincoln (2012), and Glory (1989). We define slavery themed movies as film where the topic of slavery is central to the story or the historical context. Our analysis focused specifically on, if and how, micro and macro depictions of race and racism were presented in the films.

Findings and Implications

There are three findings from this movie analysis. First, each movie conceptualized slavery as a morally reprehensible and inhuman institution. While in some sense this was a positive and historically accurate finding, the portrayals of slavery tended to overlook the way slavery was part of a cultural logic for that time that helped to normalize the practice of slavery in insidious ways. Second, the movies focused primarily on the personal, with limited attention to the macro context of slavery. For example, white characters are positioned as either a corrupt agent of slavery or a courageous abolitionist. Additionally, the portrayal of black agency is often individualistic and random. Third, the films’ gave limited to no attention to the different modes of institutional power (e.g. governments, academia and corporations) that helped to construct and sustain slavery.

These findings have important pedagogical implications, particularly when using slavery-themed films as secondary curriculum material in the classroom. Teachers should understand what sociocultural knowledge of race and racism students get exposure to when viewing these films. When slavery themed movies present a metanarrative of slavery as individualistic and detached from wider racial economies, viewing these films require additional curriculum and instructional support. This support should help students understand the long-term implications of race and racism in the past and present U.S. society.

Authors

• Anthony L. Brown, The University of Texas - Austin

• Keffrelyn D. Brown, The University of Texas - Austin