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But rather than servicing soldiers, these women were made to have sex with the forced labourers – an idea from SS chief Heinrich Himmler to increase productivity try to prevent homosexuality from ‘breaking out’ among their ranks.

But Ravensbrück centre director Insa Eschebach said the at least 200, predominantly German women who were enslaved also endured paralysing trauma, shame and scorn in an until-now largely taboo chapter of European history.

The vast majority had been imprisoned for ‘anti-social’ behaviour - a crime arbitrarily defined under Hitler to include prostitutes but also women with suspect political ties or relationships with Jews.

Those prisoners who had a privileged place in the camp hierarchy – exhibition curator Michael Sommer estimates about one percent of the forced labourers - could buy up to a quarter of an hour with one of the women for two Reichsmarks from the pittance they earned in the Nazi-run factories.

Eschebach noted that sex slavery has only been recognised as a war crime under international law since 2002 and said the more recent occurrences of mass rape in Bosnia and Rwanda, as well as the demands of Asian ‘comfort women’ for justice, had prompted more research in Germany.

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Film has been the most influential medium in the presentation of the history of slavery to the general public. [1] The American film industry has had a complex relationship with slavery , and until recent decades often avoided the topic. Films such as Birth of a Nation (1915) [2] and Gone with the Wind (1939) became controversial because they gave a favorable depiction. The last favorable treatment was Song of the South from Disney in 1946. In 1940 The Santa Fe Trail gave a liberal but ambiguous interpretation of abolitionist John Brown 's attacks on slavery. [3] The Civil Rights Movement in the 1950s made defiant slaves into heroes. [4]

Most Hollywood films used American settings, although Spartacus (1960) , dealt with an actual slave revolt in the Roman Empire known as the Third Servile War . It failed, and all the rebels were executed, but their spirit lived on according to the film. [5] The Last Supper ( La última cena in Spanish) was a 1976 film directed by Cuban Tomás Gutiérrez Alea about the teaching of Christianity to slaves in Cuba, and emphasizes the role of ritual and revolt. Burn! takes place on the imaginary Portuguese island of Queimada (where the locals speak Spanish) and merges historical events that took place in Brazil, Cuba, Santo Domingo, Jamaica, and elsewhere. [ citation needed ]

The following films and documentaries featuring slavery are listed alphabetically. For movies portraying penal labour see the list here . Go to Category:Films about slavery to see a collection of all Wikipedia pages of all movies about slavery.

In recent decades, scholars have paid increasing attention to the Haitian Revolution. Yet while numerous films have been made on other revolutions, the Haitian Revolution still suffers from neglect. The American actor/director Danny Glover has sought to fill this lacuna with an epic production on Toussaint Louverture, the Revolution’s leading general. However, the project has run into multiple roadblocks and may never be realized.

In 2012, the French TV station France 2 aired a two-part miniseries on Toussaint, which many hoped would fill this gap. However, the film is deeply problematic. Though it was well-intentioned and has some positive features, overall it represents a distortion (I would even say a revisionist view) of slavery, as well as of the Haitian Revolution; the film implicitly shifts blame from French whites and toward mulattoes, the Spanish and even blacks themselves. The violence of slave-owners is almost entirely absent, while that of slave rebels is shown in vivid detail. In its shortcomings, I would argue, the movie exemplifies French amnesia about the Haitian Revolution and ambivalence about slavery and colonialism in general.

The director, Philippe Niang, a Frenchman of mixed French and Senegalese heritage, hoped to rectify these gaps, and make Toussaint better known. Niang tapped the Haitian-American actor Jimmy Jean-Louis ( Heroes ) to play Toussaint; Jean-Louis was thrilled to get the role of a lifetime. Approximately 3 million French viewers watched the miniseries.[7] The program was followed by a highly unusual on-air roundtable about slavery and race, which raised issues rarely discussed on French television.

Aïssa Maïga’s turn as Toussaint’s wife Suzanne is also remarkable, considering that Saint-Domingue’s women of color have historically been depicted as sex-obsessed temptresses.[11] The film’s Suzanne is a practical, pious and feisty market woman and single mother. She knows how to read, and at first has no interest in Toussaint’s attempts to woo her. While some parts of the role may be anachronistic (it is unclear whether the historical Suzanne would have spoken to Toussaint as bluntly as this one does), she still represents a highly unusual case among portrayals of black women in European or American film.

But the factual errors (and a soapy style) are hardly the worst aspects of the film. While Niang likely did not realize he was doing so, the film papers over the brutality of slavery. Violence against slaves is almost non-existent. Even in isolated instances (such as an invented scene where Toussaint’s chained father drowns; another where his invented sister reports being raped; and another in which mob of angry colons chases Toussaint), the film is quick to contrast bad whites with kindly slave-owners. Whippings are completely absent; work on the plantation looks peaceful and bucolic.[13] While Toussaint’s master Bayon de Libertad was reportedly a kind master, no other plantations are shown to give a more realistic view of slavery in Saint-Domingue.

Because the film’s whites are mostly kind and slavery is not so terrible, the Haitian Revolution becomes a war of choice. Suzanne, changed from a slave into a free person, opposes Toussaint’s desire to take up arms, seeing it as a vengeful inability to forgive slights. She begs him to leave “politics” alone and to “stop meddling in whites’ affairs” (Ep. 1, 30:00–:20). Acting as if overturning slavery was unnecessary, she complains, “I know your father was thrown in the water… [and] your sister was raped and assassinated, but….” As she struggles in vain to persuade Toussaint to return to growing sugar, she exclaims, “You have a wife, kids and land! Are you even thinking of us?” (Ep. 1, 43:42 – 43:54).

These are not the only flaws in the film’s portrayal of history. Another involves making mulattoes and blacks absolute enemies even though they often banded together against French atrocities. Furthermore, the Spanish are shown as inherently deceitful in contrast to the French; the film has Spanish General Hermona try to kill Louverture’s family, even though the real Hermona liked Toussaint.[20] The film also hints that Louverture was himself responsible for the disasters that befell him, from his proposing to Suzanne at a funeral (which she warned could only bring unhappiness) to his stubbornness over the Constitution. Finally, the film portrays the Revolution from the top-down, as led by generals, while the enslaved masses who drove the Revolution hardly appear.

In the roundtable following the film, the scholars Marcel Dorigny and Françoise Vergès struggled to present a more realistic view of slavery and of slave resistance. Dorigny emphasized the long history of slave revolt on the island, and Vergès pointed out that “the first abolitionists were the slaves themselves.” However, the moderator was less interested in their comments than in asking the non-whites on the panel questions such as how it felt to go through life with black skin.[22]





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