Is Violent Revolution the Answer? Tomás Gutiérrez Alea’s La Última Cena (The Last Supper) The ideas I intend to express in the following paper are in no way meant to make allowances for the practices of slavery or racism. As I begin this paper, I feel the need to remind the reader that I find slavery, in all of its forms, to be an oppressive and terrible institution. I unwaveringly believe that for centuries, including this one, the narrow-mindedness that slavery has perpetrated is one of the most terrible humiliations leveled upon our civilization. These views are meant only to assess and illuminate the construction of slavery in film. When it comes to films concerning slavery, the role of the filmmaker as educator is significantly heightened. Very often, slavery films unconditionally disparage whites as oppressive forces and stereotype the white class as uniformly tyrannical. The sympathetic, yet comparatively powerless, whites in this arrangement are frequently left out, giving credence to a stance that portrays race as a division between villains and martyrs. While I see an effort in Tomás Gutiérrez Alea’s The Last Supper to move beyond these depictions, how successful the film rises above the typically extreme constructions of character in the slave film is a difficult judgment, particularly for a film from a Cuban director during the Cold War. For John Mraz, the representation of history in Tomás Alea’s The Last Supper is commendable work. Mraz believes that the film joins a cinematic compilation where “films meet many of our expectations about what history ought to be” (120). Mraz maintains his praise of Alea’s historical constructions, asserting that the way the film addresses history is impartial and objective: “The Last Supper follows the classic model of both written and filmed history in insisting on the reality of the world that it has in fact created, however much this universe has resulted from research. The major convention of such history is that it has opened a window onto the past rather than constructed a particular version of it” (121). While I have no qualms with Mraz’s assessment of the uses of the film’s construction of history on the Cuban plantation, I find that the window Mraz speaks of offers a much more vague version of reality than Mraz indicates initially. The validation of slavery by the white people in the film comes off as ridiculous, and yet the abstract strategies to defend slavery that are at work in the film coincide with the arguments used by slavery allies throughout the nineteenth century.
The Cuban historical film, La Última Cena, or The Last Supper, takes place at a plantation in Havana at the end of the 18th century. In an effort to respect the holy week and to teach his slaves about Christianity, a sanctimonious plantation owner invites twelve of his slaves to dinner with him to reenact the last supper. During the dinner, the Count tries to influence his slaves towards Christianity and feeds them religious rhetoric. As the night goes on, the Count gets drunk and begins to make promises to his slaves in an attempt to seem more Christ-like. The next day, Good Friday, his promises are not kept and the slaves revolt. Because of the rebellion, the twelve slaves that ate dinner with the Count are all hunted down and killed except for one. This film can be further explained through the concepts of three theorists, Aimé Césaire, Homi K. Bhabha, and W.E.B. DuBois.
The film observes and analyzes the origins and consequences of more than one-hundred years of bigotry upon the ex-slaved society in the U.S. Even though so many years have passed since the end of slavery, emancipation, reconstruction and the civil rights movement, some of the choice terms prejudiced still engraved in the U.S society. When I see such images on the movie screen, it is still hard, even f...
Though slightly frivolous to mention merely because of its obviousness but still notably, all the slaves came from the Southern states including and not limited to Georgia, Texas, Alabama, Virginia, South Carolina, and Arkansas. Economically, the United States’ main cash crops—tobacco, rice, sugarcane, and cotton—were cultivated by the slaves who the rich Southerners heavily depended upon. From this perspective establishes a degree of understanding about the unwillingness to abolish slavery and contributes to the reality of the clear division between the agriculturally based South and industrially based North. Having watched the film, I wished the Northern people were more aware of the abuses and dehumanization of the slaves though the saddening reality is that the truth of the slaves’ conditions couldn’t be revealed till much later on because the fear of retaliation and prosecution of the slave owners and white people was very much present. That the slaves’ mistreatment would be considered repulsive and repugnant to the Quakers and abolitionists is made evident the narratives of the slaves read by the different former slaves who elucidated the countless
Melton McLaurin’s book Celia, A Slave is the account of the trial, conviction, and execution of a female slave for the murder of her “master” Robert Newsom in 1855. The author uses evidence compiled through studying documents from Callaway County, Missouri and the surrounding area during the middle of the Nineteenth Century. Although much of what can be determine about this event is merely speculation, McLaurin proposes arguments for the different motives that contribute to the way in which many of the events unfold. Now throughout the book the “main characters”, being Celia, her lawyer Jameson, and the judge William Hall, are all faced with moral decisions that affect the lives of two different people.
Mutilating the whites and leaving their bodies lying is inhumane. It is such a shocking story! This book was meant to teach the reader about the inhumanity of slavery. It also gives us the image of what happened during the past years when slavery was practised. The book is significant in the sense that it gives even the current generation the knowledge of slavery, how it happened and the reason for slavery.
Slave narratives are comprised of stories regarding individuals toiling to escape systemised slavery. This is relevant to American history because it reinforces the themes of liberation politics in American literature. The idea that America was founded on the principle of all men being created equal was once again under scrutiny. Humanity in Algiers is a fictional account that adds to this criticism through the eyes of the white American Slave. The novella retains many of the tropes and ideas of quintessential slave narratives such as The Life of Frederick Douglas and establishes itself as a story of slavery. However, the approach to liberation in Humanity in Algiers is gradualism and acceptance. Consequently, the novella looses the overall point of the slave narrative contributes to a study of core humanities.
Most films on slavery focuses on the brutality the white men inflicted upon slaves but fails to highlight the role they also played in the freedom of the slaves. “Many whites did imagine freedom and moved towards it in the 1860s” (Roediger 68). It is also important to note that most of the intended alliances to be formed with the African-Americans were not necessarily because they had a greater purpose or common goal but because they wanted to avoid opposition from the black men (Roediger
The first social issue portrayed through the film is racial inequality. The audience witnesses the inequality in the film when justice is not properly served to the police officer who executed Oscar Grant. As shown through the film, the ind...
In the novel, the author proposes that the African American female slave’s need to overcome three obstacles was what unavoidably separated her from the rest of society; she was black, female, and a slave, in a white male dominating society. The novel “locates black women at the intersection of racial and sexual ideologies and politics (12).” White begins by illustrating the Europeans’ two major stereotypes o...
Frederick Douglass’ landmark narrative describes the dehumanization of African-American slaves, while simultaneously humanizing them through his moving prose. Douglass shows the dehumanization of slaves through depictions of violence, deindividuation, and the broken justice system. However, Douglass’ pursuit of an education, moving rhetoric, and critique of his own masters demonstrates to the reader that African-Americans are just as intelligent as white people, thus proving their humanity.
The new Public School System went from family and religious based to one based on the Prussian system of centralized government controlled training of teachers, unified curriculum, public control and public funding, compulsory attendance, no corporal punishment, and a nationalized system that was introduced to Horace Mann by Charles Brooks. Horace Mann brought this idea to America. Mann simply wanted to build a strong country in the mid 1800’s and saw education as the key. In the first few decades of the 21st century the goal is the same. The first school district of America collected information on what studies were the most successful while monitoring best practices. Horace Mann set the stage for people like John Dewey and Stanley Hall as well as others (Sanders, 2010).
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
By re-reading the narrative of The Last Supper within the historical context of the time it was produced, Sahasrabudhe argues that Alea’s authoritative and subversive film-style critically reflects upon the Cuban failure to meet the ambitious target of La Gran Granja, the harvest of ten million tons of sugar production in the 1970s, which was meant to pay for resources acquired from the Soviet Bloc. Sahasrabudhe argues that Alea reverses the religious narrative of Christ’s Last Supper, visually imagined in Leonardo da Vinci’s famous revisionist painting, through a serious of poetic, and at times, ironic visual and narrative metaphors, which enable the auteur director to evoke the exploitative duality of sugar plantations at the time of colonial slavery (the complementary ideological and exploitative system of the combination of free labour and Christian religion). In a subversive, but equally, subtle way, Alea offers a critique of Fidel Casto’s failed government policies following the success of the Cuban Revolution. This collective disillusion is reconstructed within the grey areas of metaphor and representation, in which the personal politics of the auteur meet the collective disillusion of the audience. Sahasrabudhe and Tiwary approach Alea and Jia Zhang-ke
[1] In the movie Sankofa, Haile Gerima does not hesitate to show the audience the horrors of slavery. Not only does he show the brutal and humiliating practices used by slaveholders to subjugate slaves but he also shows how slaveholders used Christianity to control and manipulate slaves. He demonstrates the huge impact of slavery on today’s society and the importance of looking back to slavery to understand the present. Traditionally, history textbooks have hesitated to talk about any of these aspects of slavery. Present history books have begun to describe the brutalities of slavery but still refuse to explain slavery’s impact or to mention Christianity’s role in slavery. There are three main reasons for this hesitance to be truthful about all aspects of slavery when writing history textbooks. These are patriotism for the United States, cultural bias towards the white race, and a bias towards Christianity.
In discussions of the obesity epidemic, one controversial issue has been increasing regulations on junk food. On the one hand, supporters of the idea argue that it is the U.S. government 's responsibility to protect its citizens from diseases like obesity, and that extra regulations would do just that. On the other hand, detractors contend that more government regulations would limit consumer choice and infringe on human rights. Others even maintain that junk food should be illegal. My own view is that fast food corporations are mostly responsible for the obesity epidemic and should be further regulated.