My essay, "Snowball's Chance in Hell," on Quentin Tarantino's Django Unchained is up. I had some problems with the film:
So, instead of a critical reflection of Django’s narrative, complicating his own generically derived existence as black performativity (cf. blaxploitation), Stephen is treated as little more than a blackface projection for white fantasy. As Tarantino has stated over and over in interviews, he clearly wants his audience to take sides, cheer at the ending — not, I conclude, reflect on the problematic that the house negro presents. Django is the oppressed that white folk would like to be in such a situation, fighting for freedom (just as they would now, of course), with Stephen’s freely working for subjugation the negation that gives such freedom meaning — as if chattel slavery and its concomitant subjugation of black identity were a choice made by the subjugated!
Ishmael Reed really didn't like the film:
Throughout the movie,Tarantino reminds us that the Foxx character is unique. Comic book white racists, when reacting to Django, say things like “I ain’t never seen a n—– like you.”Or “I ain’t never seen a n—– on horseback.” In case you didn’t get the message it’s said twice in the movie that Django is “one in ten thousand” blacks. It might have been Django producer Reginald Hudlin who introduced Tarantino to the “Talented Tenth” concept originated by W.E.B DuBois. I wish that Hudlin had written the movie. As it stands, Foxx is chained to this stupid screenplay.