Free State of Jones Capsizes Lost Cause MythsPosted in Articles, History, Media Archive, Mississippi, Slavery, United States on 2016-07-29 00:30Z by Steven |
Free State of Jones Capsizes Lost Cause Myths
Process: A Blog For American History
2016-07-12
Matthew E. Stanley, Assistant Professor of History
Albany State University, Albany, Georgia
Reconstruction is perhaps the least understood period in American history, a distinction that has been both perpetuated by and reflected in popular culture since the late nineteenth century. Films in particular have gone from presenting the era through the Dunning lens of rank white supremacy (The Birth of a Nation, Gone with the Wind, Tennessee Johnson) to skipping straight to white reunion (Abraham Lincoln, Ken Burns’s The Civil War) to addressing its social achievements and betrayals through either subtle foreshadowing (Lincoln, Glory) or highbrowed metaphor (The Hateful Eight). Director Gary Ross’s Free State of Jones, however, which depicts the origins and aftermath of Newton Knight’s bigender and biracial anti-Confederate insurgency in Jones County, Mississippi, might be the first to properly and historically situate Reconstruction in full relation to the war itself, serving as a vigorous repudiation of Lost Cause mythology.
Consulted by and employing source material from historians including Eric Foner, David Blight, and Victoria Bynum, Free State of Jones presents a wartime regional counternarrrative that becomes a postwar national standard narrative. In other words, the events depicted both are and are not historically representative. Led by farmer-turned-renegade Knight, ably portrayed by a suitably angular Matthew McConaughey, white members of the “Knight Company” are deserters and poor farmers who have rejected the Confederate “Twenty Negro Law” and regressive property confiscation; its black constituents are self-emancipated slaves and intrepid spies with even greater interest in overthrowing the callous Southern plantocracy. Through a series of competently shot skirmishes and ambushes, this militant underclass slowly drives Confederate forces from a large swath of southeast Mississippi. Persecuted by the Confederacy and ignored by the Union, Knight’s militia declares a “Free State of Jones” committed to principles of social and economic egalitarianism. His white wife and child having absconded, Knight falls for a mixed race slave, Rachel (Gugu Mbatha-Raw), and together they create a biracial community that still exists…
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