12 Years A Slave Movie Download In Hindi

The first Africans forced to work in the New World left from Europe at the beginning of the sixteenth century, not from Africa. The first voyage carrying enslaved people direct from Africa to the Americas probably sailed in 1526.

Well over 90 percent of enslaved Africans were sent to the Caribbean and South America. Only about 6 percent of African captives were sent directly to British North America. Yet by 1825, the US population included about one-quarter of the people of African descent in the Western Hemisphere.

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Plantations in the United States were dwarfed by those in the West Indies. In the Caribbean, many plantations held 150 enslaved persons or more. In the American South, only one slaveholder held as many as a thousand enslaved persons, and just 125 had over 250 enslaved persons.

In the Caribbean, Dutch Guiana, and Brazil, the enslaved death rate was so high and the birth rate so low that they could not sustain their population without importations from Africa. Rates of natural decrease ran as high as 5 percent a year. While the death rate of the US enslaved population was about the same as that of Jamaican enslaved persons, the birth rate was more than 80 percent higher in the United States.

In the United States enslaved persons were more generations removed from Africa than those in the Caribbean. In the nineteenth century, the majority of enslaved in the British Caribbean and Brazil were born in Africa. In contrast, by 1850, most US enslaved persons were third-, fourth-, or fifth-generation Americans.

Slavery in the US was distinctive in the near balance of the sexes and the ability of the enslaved population to increase its numbers by natural reproduction. Unlike any other enslaved society, the US had a high and sustained natural increase in the enslaved population for a more than a century and a half.

There were few instances in which enslaved women were released from field work for extended periods during slavery. Even during the last week before childbirth, pregnant women on average picked three-quarters or more of the amount normal for women.

Infant and child mortality rates were twice as high among enslaved children as among southern White children. Half of all enslaved infants died in their first year of life. A major contributor to the high infant and child death rate was chronic undernourishment.

Common symptoms among enslaved populations included blindness, abdominal swelling, bowed legs, skin lesions, and convulsions. Common conditions among enslaved populations included beriberi (caused by a deficiency of thiamine), pellagra (caused by a niacin deficiency), tetany (caused by deficiencies of calcium, magnesium, and Vitamin D), rickets (also caused by a deficiency of Vitamin D), and kwashiorkor (caused by severe protein deficiency).

Diarrhea, dysentery, whooping cough, and respiratory diseases as well as worms pushed the infant and early childhood death rate of enslaved children to twice that experienced by White infants and children.

Prices of enslaved persons varied widely over time, due to factors including supply and changes in prices of commodities such as cotton. Even considering the relative expense of owning and keeping an enslaved person, slavery was profitable.

Slaveholding became more concentrated over time, particularly as slavery was abolished in the northern states. The fraction of households owning enslaved persons fell from 36 percent in 1830 to 25 percent in 1860.

The seed for a television version of Twelve Years a Slave was planted in 1976 through conversations between producer Shep Morgan and University of North Carolina-Wilmington historian Robert Brent Toplin. Toplin suggested that Morgan make use of a recently awarded NEH planning grant to produce a series of dramatic films on American slavery based on true historical figures and events.

The timing seemed right for Morgan and Toplin to forge ahead with their audacious plan. The success of the television miniseries Roots (1977) demonstrated a public interest in slavery. Equally important, by the late 1970s, assumptions about slavery had changed dramatically. A new generation of historians revealed the ways slaves forged communities, challenged their masters, and preserved their humanity. Many of these scholars participated on an advisory board that offered input into what Morgan and his team of producers envisioned as a three-film series on American slavery.

Steve McQueen and John Ridley have also benefited from good timing with their recent film. Representations of slavery on film have experienced a remarkable evolution since the days of Birth of a Nation and Gone with the Wind, with their depictions of a benign institution filled with happy slaves who unconditionally loved their masters. By the 1990s, new scholarship and changing racial attitudes had debunked this view of slavery and allowed for films like Glory, Amistad, and Beloved to reach mainstream audiences. More recently, films such as Lincoln and Django Unchained have shown that movies about slavery can achieve box-office success and garner critical acclaim.

Many viewers have remarked that the violence in 12 Years a Slave is at times too difficult to watch. That is exactly the point. The violence must be unbearable to look at for the very reason that the real violence of slavery was so unbearable for those who experienced it on a daily basis.

In the new film adaptation of Twelve Years A Slave, Chiwetel Ejiofor plays Solomon Northup, a black man who was kidnapped and sold into slavery in 1841. Jaap Buitendijk/Fox Searchlight Pictures hide caption

Northup was drugged, kidnapped and sold into slavery not far from the National Mall in 1841. What is now the Federal Aviation Administration headquarters was once the site of "a slave pen within the very shadow of the Capitol," as Northup described it in his book, which he dictated to writer David Wilson.

After the book came out, Northup hit the lecture circuit, produced two unsuccessful stage plays about his experience and sued his kidnappers. There is also some evidence that he helped fugitive slaves escape through the Underground Railroad.

A DOCSOUTH BOOK. This collaboration between UNC Press and the University of North Carolina at Chapel Hill Library brings classic works from the digital library of Documenting the American South back into print. DocSouth Books uses the latest digital technologies to make these works available in paperback and e-book formats. Each book contains a short summary and is otherwise unaltered from the original publication. DocSouth Books provide affordable and easily accessible editions to a new generation of scholars, students, and general readers. About the Author Elizabeth Keckley was born into slavery in Virginia, moved to St. Louis, Missouri, where she earned enough money to free herself and her son, and then moved to Washington, D.C., where she worked as a seamstress and dressmaker for prominent Washington women, including Mary Todd Lincoln. Sadly, she spent her final years in the Home for Destitute Women and Children, which she had helped to establish.

For more information about Elizabeth Keckley, visit the Author Page.

The audience leaving the theater after a recent screening of 12 Years a Slave looked deeply shaken. When asked about their intense reaction to the film, some described feeling as though they had just experienced slavery. The movie felt believable, they reported, due not only to the caption indicating its basis in fact, but because the settings and characters looked authentic. Director Steve McQueen succeeded in connecting emotions to history, making viewers care about Solomon Northup's sudden descent into slavery.

Apologists may dismiss the gut-wrenching picture of human bondage drawn in 12 Years a Slave as over-the-top, Hollywood melodrama-arguing that master-slave relations were never as bad as the movie suggests-but McQueen has a convenient response: this is a movie based substantially on Solomon Northup's 1853 narrative, Twelve Years a Slave. At least two historians, Sue Eakin and Joseph Logsdon, have confirmed that Northup presented a remarkably accurate picture of antebellum slavery and plantation society near the Red River in Louisiana.

As indicated in both the book and movie, Solomon Northup lived as a free man with his wife and children in Saratoga Springs, New York. In 1841 two visitors tricked him into traveling to Washington, DC, to earn money in a circus. Once Northup was in the nation's capital, the men drugged him, marketed him as a slave, and earned several hundred dollars for their crime. Northup was shipped to the slave auctions of New Orleans and thereafter spent 12 years laboring in the cotton and sugar plantations of Louisiana until a white carpenter from Canada sent a communication to Northup's friends in New York. After some delay, help arrived. In 1853 Solomon Northup returned to his family as a free man.

With assistance from legal authorities, Northup endeavored to make his kidnappers pay for their crime. He failed to win convictions in a court of law, but succeeded in a broader sense. Twelve Years a Slave, written with assistance from David Wilson, a New York lawyer, became enormously popular, selling 30,000 copies. Twelve Years a Slave educated Americans about slave life in the Deep South and contributed to the growth of anti-slavery sentiment before the Civil War.

Steve McQueen's movie feels more like an unrelentingly hellish view of slavery than does Northup's book, which depicts the occasional opportunities slaves had for relief from the brutal plantation regimen-a few days during the Christmas holidays for rest, celebration, and good eating. Talented slaves could experience small degrees of liberty. On Sundays, Northup visited other locales, played his fiddle for whites at social events, and kept some of the earnings. Although McQueen portrays some of these activities, his two-hour movie cannot present the full range of observations that Northup offered in his 336-page narrative. McQueen's principal message concerns the horrors of slavery, both physical and psychological. The director cannot be faulted in this choice, for virtually all of the tragic scenes in his production are documented in Northup's book. 006ab0faaa