“There are few sights more pleasant to the eye,” wrote Solomon Northup, “than a wide cotton field when it is in bloom. It presents an appearance of purity, like an immaculate expanse of light, newly-fallen snow.” For Quentin Tarantino, such a beguiling simulation of chastity, of endless untroubled whiteness, could merit only one response: blood must be spilt on it. Practically the only scene in which cotton figures in 2012’s Django Unchained comes when an overseer, galloping across a blooming field, receives a rifle shot to the torso. The newly fallen snow of cotton gleams pink with fresh blood. Continue reading
Happy Easter and Passover to all celebrating!
With all the excitement around the Junto’s March Madness tournament (we even have a hashtag!), it’s a useful reminder that there are other things going on this week around the blogosphere. Once you’ve found all the Easter eggs (or, if you hid it really well on Monday, the afikoman), sit down and try out a few of these posts and stories.
Happy New Year! We took last week off while so many of us were in New Orleans for AHA, so the set of links covers just a bit more than the past seven days. From here on we should be back to our regular schedule every Sunday morning.
“It’s a flesh for cash business—just like slavery.” So the German bounty hunter Dr. Schultz describes his profession to the ex-slave title character near the beginning of Quentin Tarantino’s Django Unchained. It’s an apt introduction to the film’s broader portrait of American slavery — a rendering that emphasizes the tortured flesh, the sordid cash, and the gruesome business of bondage at every turn. In this regard, Django Unchained fits comfortably within the familiar canon of Tarantino crime films, which have nearly always probed the intersection between the brutally physical and the cynically transactional.
The old gang’s all here: the vicious mob boss, the wisecracking assassin, the tight-lipped, vengeance-minded hero. So why should anyone, let alone early American historians, bother to consider the historical perspective of a film that in many ways is just Reservoir Dogs with snazzier waistcoats and more primitive sunglasses? Continue reading