12 Years a Slave (film) Puns

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Hi everybody,

So the Academy Awards are out, and of course it's not what we all would've expected (Chiwetel!) but the results are in. Here I will be going over why I believe awarding the Oscar to 12 Years a Slave will indicate a different, bad direction for relatively new filmmaker Steve McQueen.

Steve McQueen was totally unknown (to most of the public) until he got into contention for this year's awards. I remember numerous family members laughing at themselves for thinking that the Oscar ballot was indicating the Steve McQueen. Before now, McQueen has only directed two feature films, Hunger (2008), and Shame (2011). Both of these films discussed very modern and relatively unexplored topics. Hunger was about the Irish hunger strikers, and specifically about Bobby Sands’ choice to commit painful suicide because it was the right thing to do. (If you haven’t seen the whole film, do so, but if you’re short for time, watch this segment where Bobby explains himself and tell me it’s not beautiful.)

Shame, on the other hand, is a little less attractive to modern audiences. About a man addicted to sex, it explores addiction as a whole and the importance of family in very unconventional ways. The ten-minute, wordless, opening sequence communicates the basic information beautifully and more subtly than I’ve seen in any other film. (Here is a link to one man’s breakdown of the sequence.)

I like both these films more than 12 Years a Slave for their ability to experiment and take risks—God knows not everyone loved Shame—and even I agree that it got a little ridiculous at the end, but awarding the Oscar to 12 Years a Slave pushes Steve McQueen away from his experimental roots and towards the banality of simple, if edgy, stories.

You see, my problem with 12 Years a Slave was how predictable it was. The film was beautiful, the acting impeccable, and the atmosphere painfully tangible. But in terms of content I felt as though the film couldn’t have been more basic. Solomon Northup lives a good life in the North, where remnants of racism still exist, but he is essentially free; he gets captured by some shady white dudes, and gets put into the harsh reality of the slave-trading market. Of course he tries to explain himself, but he learns that no one would or will ever believe him. We see some shades of grey here, with Benedict Cumberbatch’s character trying to be fair, but still operating within the inherently inhumane system. Almost everyone

Assume everything is split and please only redeem what we agree on.

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They've created a lot of wonderful "adult" stories and award-winning cinema. I highly doubt Disney will squash what they're doing because they're creating great stories and winning a lot of awards. I think they should just leave it as it is. If they want to erase Fox's name then I could see the branch being turned into "Searchlight Productions".

The social structure of the American South was determined in the antebellum years by the reality of race-based slavery, and in the postwar period by the reality of slavery's fitful end and the slide into Jim Crow.

The rise of the civil rights movement and all that has transpired since has left the South dealing with and reacting to these issues of honor and shame.

The most effective cinematic portrayal of the Southern honor and shame paradigm that I have seen recently is the movie 12 Years a Slave. I contend that it is a film that — along with Schindler's list — should be required viewing at some point in high school or college.

The dynamic depicted so well in the film is the underlying violence and palpable sense of coiled tension running underneath the polite veneer of antebellum society.

Throughout the film, one gets the sense that, over and above the cruelty employed to maintain order, even greater violence was promised and close at hand. One clear example of the promise and requirement that dishonor be met with violence occurs when Solomon Northup (the man whose journal the film is based on) offers what is perceived as an insult to a working-class white man. I don't believe it is giving too much away to say that this perceived insult spawns a great deal of trouble for Solomon as the man in question seeks to expunge the shameful mark on his character — that is, to save face — so that he is not exposed and opened to violence himself.

This need was inspired in part because of the collective nature of Southern society, in the sense that it was who you were — by family relationship, social status, race — that defined you, and not so much what you did as an individual.

This is a definitive part of an honor-shame culture:

>Whereas Puritanism and capitalism conferred upon the northerner an innate sense of dignity, the southerner knew personal worth as socially mediated (Ayers 19-25). The honor that was accorded through interpersonal relationships was a complex function of Girardian doubling. Since honor meant that southerners beheld themselves as others beheld them, their self-worth lived in the look of the other. Wyatt-Brown recognizes how honor depended on such reflection when we describes it as “self-regarding in character. One’s neighbors serve as mirrors that return the image of oneself” (15). Honor made self-estimation into nothing but an imitation of how the southerner was esteemed by others. And since southerners desired s

They've taken it down now before I could get a screen grab.

[I don't mention specfic moments in the film, this is fairly vague but again read at your own risk]

12 Years A Slave

I went in with preconcieved notions of what the film would be, what it would be like, what it wouldn't be like. I've heard people say it's like Schindler's List and I've heard people say Fassbender's slave owner makes Leo DiCaprio's (Django UnChained) look G-Rated. I've been told it's an "experience" and an "emotional rollercoaster." I've been told numerous things along the same lines but you get the gist, I'm sure you too have read reviews or other pieces about the film.

I would first like to say that the cinematography is fantastic. The use of the framing and camera movement or lack of movement was incredibly well done. As was the camera's relation to light in the film, the film was lit stunningly. Hans Zimmer's score was something that was both odd and out of place but perfect and right. It sounded and felt at times "Inception-esque" yet it fit the period of the film, it fit the setting of the story in an odd yet satisfying way. The acting overall was pretty good which from my view goes to say the directing was great too because in some scenes I wouldn't know what to say to the actor to ellict the preformance, emotions, look or feel that came out the preformances in 12 Years A Slave.

All that being said I felt there to be something missing. I was not on the edge of my seat, I was not crying nor was I caring. What is shocking that a slave owners wife threw a crystal alchoal bottle at a female slave's head? For some people in the theater yes it was, the gasps and flinching at certain moments such as this and various other instances of violence were and are expected. But I felt like the story was missing something, I didn't care about the character(s) at the end of the film. Is that something wrong with me or the film? Am I the heartless basterd who can't feel for these characters or did the film's story not do a good job to make me care.

I went it wanting it to be fantastic. I went in under the assumption it would be a film festival and award show winning film. But I left the theater with a feeling of lacklusterness. The most recent films I've seen in theaters were Captain Phillips, Last Vegas and 12 Years A Slave in that order. I would go see Captain Phillips again over seeing any of the others for a second time. Although the first two i was emotionally invested in the characters, I and many other people in theater cried or nearly cr