Analysis Of The Film Sankofa

Movies and entertainment outlets speak volumes about the current state of a nation’s culture. Cinematic creations in the United States allow small voices to be heard and controversial issues to be addressed. However, a repetitive and monumental issue continues to be addressed, yet continues to persist in our 21st century culture, racial inequalities. Since the inception of the United States, black men and women alike have been disenfranchised at the hands of the “white man” in America. Instead of continuing the conversation today, the issue is continually silenced referencing the successes and achievements of the Civil Rights Movement in the 20th century. Nonetheless, an unfortunate reality looms upon this great land; racially based systems and structures continue to exist in 2015 the in United States. This paper synthesizes three films focused on racial inequalities in different time periods. Separate but Equal (1991), Selma (2015), and Crash (2005) illustrate how influential the Civil War amendments are, while serving as an uncanny reminder of how the racial prejudices during the 20th century continue to exist in our great nation today. Needless to say our nation has made great strides, but still has a long way to go.

The concept art imitates life is crucial to film directors who express their views on political and social issues in film. In regard to film studies, race is a topic rare in many films. Like America, many films simply refuse to address this topic for various reasons. However, more recently, Jordan Peele’s 2017 box office hit Get Out explicates contemporary race relations in America. In the form of an unconventional comedy horror, Get Out is intricate in its depiction of white liberal attitudes towards African Americans. In short, Get Out suggests a form of covert racism existing in a post- Jim Crow era. Similarly, Eduardo Bonilla- Silva’s book Racism Without Racists acknowledges the contemporary system of racism or “new racism,” a system

Sankofa is an Ankan word which means, “We must go back and reclaim our past in order to move forward ( Diop, 2014).” The film Sankofa was produced in the year 1993 in Ghana directed by Haile Gerima. It is based on the Atlantic slave trade. It is the story slavery from the point of view of Africans. In the film, all characters represent an element of African American culture (Gerima, 1993). It also shows the traditional racial scale with the whites at the top followed by Half-castes in the middle and blacks at the bottom.

The film reminds us that “slavery and its aftermath involved the emasculation-physical as well as psychological - of black men, the drive for black power was usually taken to mean a call for black male power, despite the needs of (and often with the complicity of) black women. That continues to result in the devaluing of black female contributions to the liberation struggle and in the subordination of black women in general.”4

These stereotypes depicted “drug dealers, prostitutes, single mothers, and complacent drag queens” (Harris, 51). In the 1980s, African American filmmakers began to make a name for themselves. These films are “social commentaries, indictments of racism and depictions of ‘everyday’ American lives” (Harris, 51). Compared to the traditional representations of blacks and blackness, New Black cinema takes on this cultural intervention and the recoding of blackness. Harris describes this as “revising the visual codes surrounding black skin on the screen and in the public

In The Souls of Black Folk, W.E.B DuBois pioneers two concepts that describe the Black experience in America— the notions of “the veil” and “double-consciousness.” The meaning and implication of these words not only describe the plight of being Black and American then, it also refers to what it means to still be Black and American today – the remnants of the past live on. DuBois explains the veil concept in reference to three things: the literal darker skin of Blacks, which is the physical demarcation of the difference from whiteness, white people’s lack of clarity in order to see Blacks as “true” Americans, and lastly Blacks’ lack of clarity to see themselves outside of what white America prescribes for them. The idea of double consciousness refers to the two-ness, caused by our nations flawed and polarized system, felt by many Blacks. I argue that although DuBois was the first to coin these two terms, it is clear through analyzing Uncle Tom’s Cabin and 12 Years a Slave that these two significant concepts gave a name to what African-Americans had been feeling for years but previously could not define.

While the 1970’s and 80’s marked a decline in movies featuring black actors and a lack of black directors, the mid 1980’s through the 1990’s invited a new generation of filmmakers and rappers, engaging with the “New Jack” image, transforming the Ghettos of yesteryears into the hood of today. A major director that emerged during this time was Spike Lee. According to Paula Massood’s book titled, Black City Cinema, African American Urban Experiences in Film, “…Lee not only transformed African American city spaces and black filmmaking practices, he also changed American filmmaking as a whole.” Lee is perhaps one of the most influential film makers of the time, likely of all time. He thrusted black Brooklyn into light, shifting away from the popularity of Harlem. By putting complex characters into an urban space that is not only defined by poverty, drugs, and crime, it suggests the community is more than the black city it once was, it is instead a complex cityscape. Despite them being addressed to an African American audience, Lee’s film attract a mixed audience. Spike lee’s Do the Right Thing painted a different image of the African American community, “The construction of the African American city as community differs from more mainstream examples of the represents black city spaces from the rime period, such as Colors…, which presented its African American and Mexican American communities through the eyes of white LAPD officers.”

The Film I Am Not Your Negro is a 2016 Documentary that depicts the key events of the 20th Century African American History. This documentary was inspired by James Baldwin’s thirty-page unfinished manuscript. The manuscript was going to be his next project in which he called Remember This House. The manuscript was to be a personal explanation of the lives and successive assassinations of three of his close friends, Medgar Evers, Malcolm X and Martin Luther King, Jr. Unfortunately, in 1987 James Baldwin passed away leaving the unfinished manuscript to be forgotten, well that is what some thought. Now master filmmaker Raoul Peck envisions the manuscript James Baldwin never finished. The outcome is a fundamental examination of race in America, using Baldwin's original thoughts and materials to make the project possible. I Am Not Your Negro is a journey into black history that connects the past of the Civil Rights movement to the present of Black Lives Matter. It is a film that questions black representation in Hollywood and beyond. And, ultimately, by confronting the deeper connections between the lives and assassination of these three leaders, Baldwin and Peck have produced a work that challenges the very definition of what America stands for. Though this is the main thought of the documentary there are many key features that make this film much so about whiteness in American History and now.

The presentation of a 150 year timeline of Black newspapers: from their roots during the Reconstruction period, to their “deaths” shortly after the Civil Rights Movement through various aids proved the film’s strength. The use of actual photographers, journalists, and editors from the Black newspapers solidified this film’s sincerity; it allowed the people that actually lived through those changes and events to recount their stories. Even when it profiled different people from the past, the filmmakers used voiceovers that fit each character, facilitating the film’s narrative. These qualities elevated the movie and enhanced the understanding of it overall.

The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun.

In 1925, philosopher and leading black intellectual Alain Locke published the short essay The New Negro. In this essay, Locke describes the contemporary conditions of black Americans, and discusses the trajectory and potential of black culture to affect global change in its historical moment (Locke 47). Locke wrote this essay in the midst of the Harlem Renaissance, a period in which black artists and intellectuals sought to reconceptualize black lives apart from the stereotypes and racist portrayals of prior decades (Hutchinson). The New Negro and the discourse around Locke’s work attempted to push forth a bold project: that of reshaping the cultural identity of black America with respect to the existent structures of American culture, as

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

[1] Before I start this essay, I feel the need to remind the reader that I find slavery in all its forms to be an oppressive and terrible institution, and I firmly believe that for centuries (including this one) bigotry is one of the most terrible stains on our civilization. The views I intend to express in the following essay are in no way meant to condone the practices of slavery or racism; they are meant only to evaluate and interpret the construction of slavery in film.

Quentin Tarantino’s film Jackie Brown, released in 1997, challenges the pervasive stereotyping of not only blacks but specifically black women. Nowhere is the cinematic devaluation of African Americans more evident than in images of black women which, in the history of cinematography, the white ideal for female beauty has overlooked. The portrayal of black women as the racial Extra has been fabricated through many semblances in the history of American film. Film scholars and feminists alike have long been plagued with lament for the negativity and stereotyping that sticks with black women in American cinema. In this paper, I will argue that Jackie Brown highlights and stresses the racial variance of the female African American protagonist,

When studying the black diaspora within the United States, the story typically starts with the classic slave narratives including those of Frederick Douglass and Mary Price and ends with the affirmative action decisions of the late 1990s. History tells the story of an internal racial identity struggle through the institutions of slavery and oppression, resistance and rebellion, cultural reawakening and civil rights which evokes the question: what does it mean to be African American? Aaron McGruder’s animated series The Boondocks creates a context to consider the question of what it means to be an African American today and discusses the institutions that are now molding the African American identity. McGruder criticizes the idea of a