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"Stowe, Harriet Beecher, 1811-1896 Adaptations History and criticism.."
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From \Uncle Remus\ to \Song of the South\: Adapting American Plantation Fictions
[...]as John Lowe notes, fictions of the southern plantation were \"remediated\" (Jay David Bolter and Richard A. Grusin's term) so many times that they have become \"America's favorite mythology\" (qtd. in Wells 38)-a mythology that has produced places as different as Tara in Mitchell's Gone with the Wind, Sutpen's Hundred in William Faulkner's Absalom, Absalom (1936), Sweet Home in Toni Morrison's Beloved (1987), and Candyland in Quentin Tarantino's Django Unchained (2012). While Hutcheon speaks of the \"constant oscillation\" between an older source text and a new adaptation (xvii), I argue that an adaptation like Song of the South achieves much of its emotive power from a multitude of oscillations that include not just the literary source text but also the larger history of American plantation fictions and the film's extension into television shows, children's books, comic strips, and theme park rides. There is a more complex lesson to be learned here, and \"The Wonderful Tar-Baby Story\" is a case in point.
Journal Article
Bringing the Slave Narrative to Screen: Steve McQueen and John Ridley's Searing Depiction of America's \Peculiar Institution\
Olaudah Equiano, the progenitor of the genre,1 originated the motto in 1789, appending for good measure a proud declaration of his aboriginal heritage (\"the African\"), and in 1845 Frederick Douglass, the greatest of all slave narrators, placed it under the accusatory subtitle (\"an American slave\") of his incendiary memoir.2 The phrase bold-faced the central importance of print to the nineteenth-century mind: literacy equals intelligence equals personhood. The mere act of writing rebuked the racism that underpinned \"the peculiar institution,\" the special blend of economics, agriculture, paternalism, and terror that defined slavery as practiced on the plantation system in the Deep South, before the Civil War blasted the institution, if never its ideological residue, out of American history.
Magazine Article