Category: 12 Years A Slave

My Interpretation of Enslaved Individual’s Experiences

There are many paintings and documents from people and their experiences during the time of slavery. In the documents provided to me, there have been several experiences told by enslaved individuals who are housemaids, and field workers, as well as a free man who was captured in New York and then sold into slavery. In the following, I am going to analyze and interpret how these enslaved individuals depicted in the documents viewed whites and how the whites depicted in the documents viewed the enslaved. I will also talk about different circumstances, concerns, and challenges faced by these enslaved individuals and how they overcame them.

Within many of these documents, the feeling of constant fear seemed mutual among all the enslaved individuals. In Recalling Work Punishment, Mary Reynolds referred to her slave owner as the “nigger driver” after recalling a woman telling her and other children in the field “For the love of Gawd, you better learn it right, or Solomon will beat the breath out your body (Document 10.9, Mary Reynolds, “Recalling Work, Punishment, and Faith c. 1850s,” Hewitt and Lawson, Exploring American Histories, 2nd ed., 345).” For a woman to say such a warning to children shows that not only does she know what this man is capable of, but that he will inflict that pain on children shows that he is a man that she fears greatly. Enslaved individuals also seemed to think that the white wives of their male owners would show more mercy towards them, even if forced into sexual acts out of their own free will. However, as said in A Girl Threatened by Sexual Exploitation, Harriet Jacob says “The mistress, who ought to protect the helpless victim, has no other feelings towards her but those of jealousy and rage(Document 10.6, Harriet Jacobs, “A Girl Threatened by Sexual Exploitation,” Hewitt and Lawson, Exploring American Histories, 2nd ed., 343).” They look to them as merciful but find out that they too are fearful as well as spiteful. Solomon Northup, a slave in southern Louisiana, clearly states his fear in a statement made at the end of his excerpt, “An hour before day light the horn is blown…. Then the fears and labors of another day begin (Document 10.7, Solomon Northup, “Endless Labor and Constant Fear,” Hewitt and Lawson, Exploring American Histories, 2nd ed., 343).” In some instances, enslaved individuals would see the whites as disgusting human beings. Harriet Jacobs, a housemaid, was constantly raped by her white owner who, in his mind, felt as though he treated her better than anyone could and would. She viewed her owner as repulsive and even insisted that ‘I would rather be sold to anybody than to lead such a life as I did (Harriet Jacobs, “Harriet Jacobs on Rape and Slavery, 1860,” in “The Cotton Revolution Reader.” Locke and Wright, eds., The American Yawp Reader, http://www.americanyawpreader.com/reader/the-cotton-revolution/harriet-jacobs-on-rape-and-slavery/.).” She felt as though being anywhere, even on the field, would be better placed than having to endure the sexual assault from her master. To say she would rather be anywhere besides a housemaid speaks volumes of how repulsed she was by him.

Slave owners would house their slaves in the worse of living situations, such as cabins with beds made of straw or wood. In Endless Labor and Constant Fear, Solomon Northup described their daily lives as endless labor with a constant fear of owners if they did not bring in the right amount of cotton at the end of a day’s work. All they were allowed was corn and bacon that was given out every Sunday morning. Solomon says “My pillow was a stick of wood. The bedding was a coarse blanket, and not a rag or shred beside (Document 10.7, Northup, 343).” This shows that the white viewed them as unworthy. They were thought of as not worthy enough for bedding, nutrition, the proper amount of sleep for the vigorous amount of work produced, suitable shelter, and appropriate space being forced to sleep in the same quarters as many of the others. Also, the image, Fredrich Shulz, The Slave Market (Document 10.8, Fredrich Shulz, “The Slave Market,” Hewitt and Lawson, Exploring American Histories, 2nd ed., 344), as well as “Solomon Northup Describes a Slave Market,” shows/describes a slave auction with the enslaved in a way dressed to impress. In my opinion, this would describe that the owners view the slaves as show dogs. They dress them up nicely, tell them to be on their best behavior, and show off their best attributes (may it be their hands, their talents, their endurance, etc.) all to get as much money as they can off them. Though, if the offer was thought to be too much, they would blatantly say that the price was too high and such a slave was not worth that high of a price. Solomon states during the slave market in which he was in, “The little fellow was made to jump and run across the floor, and perform many other feats, exhibiting his activity and conditioning (Solomon Northup, “Solomon Northup Describes a Slave Market, 1841,” in “The Cotton Revolution Reader.” Locke and Wright, eds., The American Yawp Reader, http://www.americanyelp.com/reader/the-cotton-revolution/solomon-northup-describes-a-slave-market-1841/).” Slaves weren’t viewed as what we would think today, a great addition to their workforce, yet they were simply viewed as tools, property, and profit.

There were many circumstances, concerns, and challenges faced by enslaved individuals including such as being separated from families and being forced to live in an insufficient shelter, and being overworked with no reward. One of those instances of challenges faced was by a woman known to Edward Strutt Abdy when he says, “Robey had got possession of a woman, whose term of slavery was limited to six years. It was expected that she would be sold before the expiration of that period, and sent away to a distance, where the assertion of her claim would subject her to ill-usage. Cases of this kind are very common (Document 10.1, Edward Strutt Abdy, “Description of Washington, D.C., Slave Pen, 1833,” Hewitt and Lawson, Exploring American Histories, 2nd ed., 318).” Slaves who had hope in their eyes for freedom and approached their expiration date faced the challenges of being resold and not freed as they should have been. They faced finding the will to keep going when it is not set in stone that their expiration of slavery will be honored. Some challenges faced by the enslaved were either hearing or seeing their family members being punished for being late to work, falling short on their expected amount of work, or disobedience. In Williams Wells Browns’ case, he had to listen to his mother being lashed with a whip for being 15 minutes late to the field. He shares his experience while she was being whipped by the overseer “Though the field was some distance from the house, I could hear every crack of the whip, and every groan and cry of my poor mother….The cold chills ran over me, and I wept aloud (Document 10.5, Williams Wells Brown, “Memories of Childhood,” Hewitt and Lawson, Exploring American Histories, 2nd ed., 342).” Followed by her returning to her bed with no form of comfort except in her tears. She was alone with no one to console her, hearing her mother in pain with absolutely nothing that she could do.

Though not all challenges, concerns, and circumstances are able to be overcome, some find cheer and a way to bring light into their darkness. Mary Reynolds in “Recalling Work, Punishment, and Faith” tells us how the enslaved person’s hands would get so cold, sore, and even crack while picking cotton that they would have to run to a small fire to warm them up a little bit. They weren’t allowed to pray but they did in secret inside their cabin. As a reward, their master would give them some free time on Saturdays to do laundry. They would overcome their hardship and days of hard work in the field by coming together. She says, “Brung fiddles and guitars and come out and play. The others clap their hands and stomp their feet and we young’uns cut a step round. I was plenty biggity and like to cut a step (Document 10.9, Reynolds, 345).” Though they were later chased by their master who did not like them frolicking, they still found a way to overcome their cruel days. They managed to get away and when they did, they said it was the power of God that they got away; which too was a way they overcame their circumstances, concerns, and challenges.

Work Cited

1. Hewitt, Nancy A, and Steven F. Lawson., Exploring American Histories: A Survey with Sources. 2nd ed. Bedford St. Martin’s, 2017.
2. “The Cotton Revolution Reader.”, In The American Yawp Reader: A Documentary Companionship to the American Yawp, edited by Joseph Locke and Ben Wright, http://www.americanyawp.com/reader.html.

Introduction

’12 Years a Slave’ is a gripping and harrowing film that brings to life the brutal realities of slavery in the United States during the 19th century. While the movie received critical acclaim for its powerful storytelling and exceptional performances, it is essential to critically examine its historical accuracy. In this persuasive essay, we will delve into the historical accuracy of ’12 Years a Slave’ and argue that the film provides a compelling and authentic portrayal of the harsh realities endured by enslaved individuals during this dark chapter of American history.

Authentic Source Material

’12 Years a Slave’ is based on the memoir of Solomon Northup, a free African American man who was kidnapped and sold into slavery. The film’s foundation in Northup’s personal account lends credibility to its historical accuracy. Northup’s memoir provides firsthand insights into the experiences of enslaved individuals, offering a unique perspective that authentically captures the brutality, dehumanization, and resilience of those who suffered under the institution of slavery.

Historical Context

The film takes place in the 1840s, accurately depicting the social and political climate of the time. It portrays the institution of slavery, the divisions between North and South, and the legal and economic justifications used to perpetuate slavery. The film does not shy away from portraying the daily lives of enslaved individuals, the cruelty of slave owners, and the profound impact of slavery on families and communities. By presenting these historical elements, ’12 Years a Slave’ effectively educates viewers about the harsh realities of slavery.

Attention to Detail

Director Steve McQueen demonstrates meticulous attention to detail in recreating the time period. From costumes and set designs to language and social hierarchies, the film strives for accuracy. By recreating the physical and cultural environment of the era, ’12 Years a Slave’ immerses viewers in the historical context and creates an authentic atmosphere that enhances the film’s impact and educational value.

Complex Characters

The characters in ’12 Years a Slave’ are multi-dimensional and reflect the diverse experiences of enslaved individuals during that time. The film portrays the diversity of personalities, motivations, and relationships within the slave community, humanizing the individuals who were subjected to bondage. Through nuanced performances, the actors bring depth to their characters, making them relatable and allowing viewers to empathize with their struggles and triumphs.

Scholarly Research and Consultation

In the production of ’12 Years a Slave,’ the filmmakers consulted with historians and scholars to ensure historical accuracy. By incorporating expert advice and historical research, the film strives to present an authentic depiction of slavery. The collaboration between the filmmakers and scholars enhances the credibility and accuracy of the narrative, reinforcing the film’s educational value.

Conclusion

In conclusion, ’12 Years a Slave’ stands as a powerful and historically accurate portrayal of the horrors of slavery in the United States. Through its foundation in Solomon Northup’s memoir, attention to historical context, meticulous attention to detail, complex characters, and scholarly research, the film effectively captures the brutality and dehumanization endured by enslaved individuals. It serves as a significant tool for education and raising awareness about the grim realities of slavery. By providing an accurate representation of this dark chapter in American history, ’12 Years a Slave’ prompts important conversations about the legacy of slavery and the ongoing struggle for social justice.

In the first act of 12 Years a Slave, Solomon Northup is abducted by two men named Brown and Hamilton. The scene sharply breaks from the brightness of his last meal as a free man to the darkness of his cell, where he wakes up to find himself chained to the ground. The darkness and shadows allow the audience to see Northup’s reaction, although he is hidden in the shadows. This allows his feelings to be projected onto the audience, heightening their emotional involvement. Cinematographer Sean Bobbitt uses a combination of long takes and close-ups to depict Northup’s stranded and locked-up condition. His flashbacks to the previous night become increasingly darker, symbolizing his descent into a living hell. The non-diegetic sound as Northup attempts to free himself from the chains creates a dramatic effect. The sounds of the whip lacerating Northup’s flesh demonstrate the horrors and brutal violence that slaves were subjected to.

Brown and Hamilton blow out a candle at the night’s close, while simultaneously blowing the life and hope from Northup’s existence for the next 12 years. Two slave owners are shown talking to Northup while he is standing alone, showing the dominance and authority that slave owners had over their slaves. There is a low-angle shot of Northup as he is beaten by a slave owner, showing the slave owner’s dominance over Northup. After Northup is beaten with a wooden paddle and whipped, the camera pedestals up from the barred cell to a beautiful view of the Capitol Building and other recognizable D.C. landmarks. Juxtaposing slavery with symbols of patriotism forces the audience to uncomfortably acknowledge the horrors in the country’s history and their continuing effect into the present. The first act of Amistad opens with an extreme close-up centered around Cinqué’s eyes, lower forehead, and the bridge of his nose, allowing the audience a look inside his soul.

Darkness fills the shot and the light accentuates and emphasizes the sweat dripping from his face. Heavy breathing fills the soundtrack, sometimes even eclipsing the sound of the thunderstorm. The camera cuts to another close-up of Cinqué’s bloody fingers as he tries to remove a nail embedded in wood. The bloody fingers are used to convey the physical sense of what is going on. The emphasis on physicality expands into the broader action of the rebellion. After Cinqué frees himself and other Africans, they storm the deck with the intent of steering the ship back to Africa. The thunder and lightning, fragmentary shots, and quick cutting create a sense of dislocation.

Cinematographer Janusz Kaminski constructed the film’s visual style by deploying images from Francisco Goya’s paintings. His horrors of war and incarceration pictures helped shape the Africans’ imprisonment on the ship. During the mutiny, the audience is introduced to a new element of the film, which is the languages the characters speak. They speak various African languages, giving them a variety of cultural identities and a sense of identity. There is a parallel between the blood that emanates from Cinqué’s fingers and the blood that gushes from bodies after death. Implied violence is used in the film as one of the sails blocks out the action from being seen, as blood oozes through. The intensity and desperation give the audience an impression of the treatment of enslaved Africans. The emphasis on graphic violence allows the audience to respond to the action and the display of ruptured bodies.