Kate Masur: A Filmmaker’s Imagination, and a Historian’s
Kate Masur, an associate professor of history at Northwestern, is the author of An Example for All the Land: Emancipation and the Struggle Over Equality in Washington, D.C. (University of North Carolina Press, 2010).
As viewers flock to see Lincoln, and reviewers rave about Daniel Day-Lewis’s performance, historians are raising different issues: How accurate is the film’s portrayal of emancipation? What does it leave out? The Chronicle Review asked several scholars to weigh in.
“You gave us the history from which we made our historical fiction,” Steven Spielberg recently told the historians in a crowd gathered to commemorate the 149th anniversary of the Gettysburg Address. Then the filmmaker drew a distinction. Historians “gather evidence” and produce “diligently reconstructed narratives.” By contrast, he said, “one of the jobs of art is to go to the impossible places,” to “enlist the imagination to bring what’s lost back to us.” The “resurrection” of the past by filmmakers, he continued, “is of course just an illusion. It’s a fantasy and it’s a dream.”
Moviegoers and historians alike should pay attention. Spielberg’s Lincoln is a work of art, a film about morality, democracy, and human agency that tells us something about its creators and—since Lincoln will be watched and loved by millions—about ourselves. Like any other movie, novel, or painting, the film ought to be discussed and critiqued. Indeed, it should be subjected to a particularly searching analysis precisely because of its prominence and power.
I’ve been thinking about this quite a bit in the wake of an op-ed I wrote about the film for The New York Times, in which I pointed out the passivity and generic nature of the black characters in the film. I argued that the filmmakers’ “imagination” (to quote Spielberg) was one in which white men gave the gift of freedom to African-Americans....
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