"This whole thing of this 'war on drugs' and the mass incarcerations that have happened pretty much for the last 40 years has just decimated the black male population," the filmmaker said on George Stroumboulopoulos Tonight. "It’s slavery, it is just, it’s just slavery through and through, and it’s just the same fear of the black male that existed back in the 1800s."
In addition, he says that the flesh-for-cash business of slavery mirrors that of the prison industrial complex.
"Especially having even directed a movie about slavery," he said, "and you know the scenes that we have in the slave town, the slave auction town, where they’re moving back and forth -- well, that looks like standing in the top tier of a prison system and watching the things go down. And between the private prisons and the public prisons, the way prisoners are traded back and forth."Quentin Tarantino is an amazing filmmaker. He is one of the great talents of his generation. I will be watching his new slavery revenge flick on Christmas Eve. However, Quentin Tarantino, an autodidact film genius, is not John Hope Franklin. He is also not Michelle Alexander. Nor is Quentin Tarantino an authority on the "black experience" in America.
One of my primary concerns about Django is that a revenge flick about slavery, drawing on a history that few Americans really understand, and presented in the genre of historical fantasy, will simply confuse the public about the horrors of the Middle Passage and the United States' centuries long status as a country ruled by formal white supremacy.
My expectations and claims are precise: I do not expect popular culture to either responsibly teach or to be historically accurate.
The first obligation of popular culture is to pleasure and entertainment. However, the realm of the popular is invested with symbolic power. And in dealing with a topic, where the mass scale barbarisms and horrors have been quite literally white washed away, there is an almost unavoidable risk that Django will flatten history in the service of narrative convention, Tarantino's own predilections, and filmic vision.
In all, Django, despite the complaints and tender sensitivities of white conservatives and others, is a relatively benign depiction of white evil towards black personhood under the system of racial terrorism that was chattel slavery.
[If Tarantino dared to make an "accurate" movie about the Maafa it would be rated XXX or NC-17; Django most certainly would not be nominated for an Academy Award next year.]
Django is not "history written with lightning." One would be surprised by how audiences confuse history as presented by Hollywood with the actual facts of a given event. For many, across the colorline, Django, will not simply be an exercise in a mating of the exploitation and Spaghetti Western film genres. Rather, it will be a convenient and accessible "history" that will upset, anger, and titillate the audience while it makes millions of dollars.
In his effort to speak truth to power, Tarantino makes the error of conflating the injustices and racism of the prison industrial complex and the "War on Drugs" with chattel slavery. His heart was in the right place.
Nevertheless, sentimentality and emotion are not substitutes for empirical rigor or solid historiography.