The Woman King: A Historical Revisionist and Historical Negationist Film?
Introduction
The claim that "The Woman King" is a historical revisionist and historical negationist film has sparked considerable debate among historians, critics, and audiences alike. This assertion suggests that the film distorts historical facts about the Kingdom of Dahomey and its involvement in the slave trade, potentially altering public perception of this complex history. The film, directed by Gina Prince-Bythewood and released in September 2022, centers around the Agojie, an all-woman warrior unit, and their leader, General Nanisca, played by Viola Davis.
What We Know
-
Historical Context: The Kingdom of Dahomey, located in present-day Benin, was known for its military prowess and the Agojie warriors. However, it also participated in the transatlantic slave trade, capturing and selling prisoners of war and other individuals into slavery 13.
-
Film's Narrative: "The Woman King" portrays the Agojie as heroic figures fighting against oppression, particularly against European colonizers. Critics argue that the film downplays or ignores the Dahomey's role in the slave trade, presenting a more sanitized version of history 246.
-
Critical Reception: Various sources have noted that while the film is entertaining, it is not entirely historically accurate. For instance, a review from USA Today highlights that early criticisms arose from the film's trailer, which seemed to gloss over the Dahomey army's involvement in the slave trade 6.
-
Responses to Criticism: Director Gina Prince-Bythewood and others involved in the film have defended it against accusations of historical revisionism. They argue that the film is a work of art that aims to inspire rather than serve as a strict historical account 710.
Analysis
The claim of historical revisionism in "The Woman King" is supported by several critiques that point to the film's portrayal of the Dahomey kingdom. For example, an article from MovieWeb emphasizes that the film's depiction of key figures like Ghezo and Nanisca as staunch opponents of slavery is misleading. The historical Ghezo was known to have engaged in the slave trade, which contradicts the film's narrative 35.
Conversely, some sources, such as the Los Angeles Times, argue that the film should not be viewed solely through the lens of historical accuracy. They contend that it is a dramatization that seeks to highlight the strength and agency of women in history, rather than a documentary 7. This perspective raises questions about the purpose of historical films: should they prioritize factual accuracy, or can they take creative liberties to convey broader themes?
The reliability of sources discussing this claim varies. Academic sources and established news outlets like NPR and USA Today generally provide well-researched critiques, while opinion pieces from platforms like Ordinary Times may reflect a more subjective viewpoint, potentially influenced by the authors' biases 59.
Furthermore, the methodology behind claims of historical revisionism often lacks transparency. Critics may rely on selective interpretations of historical texts or focus on specific events while ignoring the broader context of Dahomey's history. Additional information, such as primary historical documents or scholarly analyses of the period, would be beneficial for a more nuanced understanding of the claims being made.
Conclusion
Verdict: Partially True
The assertion that "The Woman King" is a historical revisionist film is partially true. Evidence suggests that the film does downplay the Kingdom of Dahomey's involvement in the slave trade, presenting a narrative that emphasizes the heroism of the Agojie while glossing over their complex historical context. Critics have pointed out specific inaccuracies, particularly regarding the portrayal of historical figures like Ghezo and Nanisca, which supports the claim of revisionism.
However, it is essential to recognize that the film is intended as a dramatization rather than a strict historical account. The creators have defended their artistic choices, arguing that the film aims to inspire and highlight women's agency in history. This raises important questions about the balance between artistic license and historical accuracy in film.
Limitations in the available evidence must also be acknowledged. The critiques of the film often rely on interpretations of historical texts that may not fully capture the complexities of Dahomey's history. Additionally, the varying reliability of sources discussing this topic complicates the assessment of the film's historical accuracy.
Readers are encouraged to critically evaluate information regarding historical representations in media, considering both the artistic intentions of filmmakers and the historical realities they depict.
