Analysis Of The Movie 13th

This paper provides an analysis of Ava DuVernay’s 2016 film, 13th. To begin, it provides a high-level overview of the film plot. Next, this exploration introduces the key characters and contributors of the film. Lastly, it provides a synthesis of the film’s story through making direct connections to the course concepts of conscious rap and Black radicalism in music, controlling images, and oppositional difference. In general, 13th is a thought-provoking documentary providing an in-depth look at the United States prison system and its relation to the exploitation of the criminal clause loophole in the 13th Amendment. Accordingly, this film exposes how the 13th Amendment provides legal cover for our court and prison systems to effectively

However, there are three specific concepts which are critical to unpacking the criminalization loophole, which is the foundation of the film. First and foremost, the cinematic iconography of the music featured in 13th directly relates to the Gender and Hip Hop course through its use of conscious rap throughout the film (Ward, 2017, Chapter 3, “Black Radicalism in Rap Music”, para. 7). For example, the lyrics of conscious rap songs are featured during the segment breaks where the prison population statistics are displayed, accompanied by using words from the lyrics as the subheading of the topic about to be discussed. This use of cinematic dramatization is intentional, and serves as a segue into the next discussion. Specifically, the artists/songs featured include Common’s “Letter to the Free” (CITE), Public Enemy’s “Don’t Believe the Hype” (27:14), Killer Mike’s “Reagan” (19:05), and Dead Prez’s “Behind Enemy Lines”

Indeed, the criminalization loophole in the 13th Amendment is explicitly used as the vehicle for a system of domination whereby people of color “are objectified as 'the Other' and are viewed as objects to be manipulated and controlled” (Ward, 2017, Chapter 4, “Controlling Images”, para. 2). As it relates to the film, it explains how oppositional difference creates a dynamic where those in power abuse the 13th Amendment to justify mass incarceration of African Americans, which in turn, is weaponized and used to stoke fear in the general public. To be sure, the political consequences of the 1988 United States presidential election can be directly linked to oppositional difference. To enumerate, the Bush campaign used images of a convicted felon named Willie Horton to claim that then democratic candidate, Michael Dukakis, supported the weekend releases of dangerous criminals. Moreover, the formerly incarcerated activist and author, James Kilgore states, “Bush won the election by creating fear around Black men as criminal, without saying that’s what he was doing” (32:16). Therefore, this electoral victory further proliferates the sentiment that people of color are criminals who must remain locked up and