People's Democratic Republic of Algeria Ministry of Higher Education and Scientific Research University of Abou Bekr Belkaid- Tlemcen Faculty of Letters and Languages Department of English Reshaping the Past: The Oscillation of Memories of Slavery between Past and Present as Represented in the Original American Miniseries Roots (1977) and its Remake in 2016 Thesis Submitted to the Department of English in Candidacy for the Degree of Doctorate in Civilization Presented by: Supervised by: Miss. Saadia OULDYEROU Prof. Faiza SENOUCI MEBERBECHE Board of Examiners Prof. Noureddine MOUHADJER President University of Tlemcen Prof. Faiza SENOUCI MEBERBECHE Supervisor University of Tlemcen Dr Azzeddine BOUHASSOUN External Examiner University Center of Ain Tmouchent Dr Belkacem BESSEDIK External Examiner University of Sidi Bel Abbes Dr Mohamed KIES External Examiner University of Sidi Bel Abbes Dr Daoudi FRID Internal Examiner University of Tlemcen Academic Year: 2020-2021 STATEMENT OF ORIGINALITY I, Saadia OULDYEROU, hereby, certify that this thesis, which is entitled “Reshaping the Past: The Oscillation of Memories of Slavery between Past and Present as Represented in the Original American Miniseries Roots (1977) and its Remake in 2016,” represents my own work and has not been taken from others’, or previously included in a thesis, dissertation or report submitted to this university or to any other institution for a degree, diploma or other qualifications, except where otherwise stated. 25/10/2020 Miss. Saadia OULDYEROU To my parents, Hadja, Khaled and Ahlem To Prof. Habib YAHIAOUI: the constant fuel to the latent flames To the memories of Alex Haley’s ancestors To Kunta Kinte ACKNOWLEDGMENTS My heartfelt thanks go to my supervisor Prof. Faiza SENOUCI MEBERCBECH for wholeheartedly helping me throughout the entire journey. I am forever in debt to her constant support, guidance and consolation in moments of despair. She is the embodiment of commitment to unfeigned hard work. Special thanks and gratitude are offered to the board of examiners: Prof. Noureddine MOUHADJER and Dr Daoudi FRID from the University of Tlemcen, Dr Azzeddine BOUHASSOUN from the University Center of Ain Tmouchent, Dr Mohamed KIES and Dr Belkacem BESSEDIK from the University of Bel Abbes. I thank them for the precious devoted time to go through the lines of this thesis. To my epitome of perseverance and strength Prof. Habib YAHIAOUI, I shall forever thankfully hold him in a great esteem for being the spark that rekindled my spirit of research whenever it blew out. His incessant assistance is a gift I will always treasure. Not to overlook the sincere help of Dr Anne Combarnous from the University of Pau, France; albeit the distance, she neither hesitated to help nor stalled over replying. Indeed, I could never revel in this moment without the presence, encouragement, prayers and sacrifices of my parents, brother Khaled; my sisters Hadja, Ahlem, ‘Hadjer TOUAA’, ‘Djamila BENCHENNAE’ and ‘Kadidja HAMDI; and my friends Ahmed “Tommy” GHEROUTI aka Jack , the legend Zoheir MAI and the ‘Simba’ Yahia HAMAM. I am blessed to have them in my life. To all those who intentionally or unintentionally pushed me to undertake this journey, thank you! iv ABSTRACT Representing an atrocious side of the U.S. (United States) history, slavery has always been a sensitive issue whose discussion was steered clear by the Americans. Hollywood, for instance, as an American film industry, treated Blacks as pariahs and eschewed from giving their experience in America its due on the screen for a long time. In fact, anti-Black racism harks back to the period that extends from 1619 to 1865 when Blacks were slaves under the subjugation of the Whites. Once they got their freedom in 1865, they fought heart and soul to be fully integrated into the American society, and they succeeded after the passage of the Civil Rights Act and the Voting Rights Act in 1964 and 1965, respectively. Blacks’ positions in the American motion picture, hence, changed as well. In 1977, Alex Haley’s Roots: the Saga of an American Family (1976) was adapted into the miniseries Roots that became a smash hit. In 2016, its remake was produced to address the modern generation of the Black Lives Matter era. In this regard, this thesis explores twofold aspects: the production and the reception of the remake. On the one hand, it focuses on the way the new miniseries was modernized with reference to the context. On the other hand, it investigates how the audience received the remake. To this aim, the encoding/decoding model of Stuart Hall and the content analysis method were used not only to extract the embedded messages of the remake through a close look at some aspects of the adopted cinematographic and mise-en-scène techniques but also to analyze the stances of the audience. The results reveal that the producers availed themselves of diverse methods to speed the circulation of the remake that diverges in many instances from its original. Going in tandem with the surrounding racial happenings, the producers implemented intensive violent images, relied on more accurate information than in the original miniseries, and omitted the White’s benevolent side to point up Blacks’ staunch resistance to survive and to be accepted as part of the whole but not losing their African heritage, identity and dignity. The susceptibility of the audience to feed his memory by embracing and preserving the past –however horrific it was –to define and understand the present was clearly laid bare as well. v TABLE OF CONTENTS ACKNOWLEDGMENTS iv ABSTRACT v TABLE OF CONTENTS vi LIST OF ABBREAVIATIONS ix LIST OF FIGURES x LIST OF MAPS xii LIST OF TABLES xiv GENERAL INTRODUCTION 2 PART I LITERATURE REVIEW Chapter One Slavery in America: a Conceptual and Historical Background up to 1865 1.1.Introduction 9 1.2.Slavery: the Old Institution 9 1.2.1. The Etymological Stance 10 1.2.2. The Historical Stance 15 1.3.The Beginning of Slavery in America 20 1.4.Life under Slavery in America 33 1.5.The End of Slavery in America 43 1.6.Conclusion 48 Chapter Two Blacks and the American Motion Picture 2.1. Introduction 51 2.2.The Motion Picture: the New Literature 51 2.2.1. Hollywood 58 2.2.2. The Filmmaking Process 63 2.2.2.1.Development 65 2.2.2.2. Pre-production 70 2.2.2.3. Production 73 2.2.2.4. Post-production 74 2.2.2.5. Distribution 76 2.2.3. Film versus Series 78 2.3. Inching Towards Equality: the Representation of Blacks and Slavery in the American vi Motion Picture 85 2.4. Alex Haley’s Roots (1976): from the Novel to the Miniseries 91 2.5. Stuart Hall’s Encoding/Decoding Theory of Communication 98 2.6.Conclusion 104 PART II ROOTS UNDER THE LENS OF STUART HALL’S THEORY Chapter Three Encoding Roots 2016 3.1. Introduction 108 3.2. Developing the Idea 109 3.3. The Summary of Roots 114 3.4. Miser-en-scène and Cinematography 115 3.5. Retelling the History of Slavery on Screen 119 3.5.1. Resistance 120 3.5.2. Identity and Adherence to African Traditions and Culture 144 3.6. Discussion 152 3.7. Conclusion 157 Chapter Four Circulating and Decoding Roots 2016 4.1. Introduction 160 4.2. Circulating Roots 2016 161 4.2.1. The Implementation of the Cast-related Method 163 4.2.2. The Implementation of the Streaming-related Method 167 4.3. Decoding Roots 2016 174 4.3.1. The Content Analysis Method 177 4.3.2. The Analysis of the Audience’s Comments on Instagram 178 4.3.3. The Analysis of the Audience’s Comments on Facebook and YouTube 187 4.3.4. Analyzing Responses on the Rotten Tomatoes Website 191 4.4. Embracing the Past to Define the Present 195 4.5. Conclusion 197 GENERAL CONCLUSION 200 LIST OF BIBLIOHRAPHY 205 APPENDIXES Appendix A: Key Dates in the History of Slavery in America 229 Appendix B: Pictures of Emile Reynaud’s Praxinoscope, Edison’s Kinetoscope and Cinématographe of 1895 231 vii Appendix C: Alex Haley’s Biography 233 Appendix D: the Main Crew of Roots 1977 234 Appendix E: the Main Crew of Roots 2016 236 viii LIST OF ABBREVIATIONS ABC American Broadcasting Company BLM Black Lives Matter IMDb Internet Movie Database CSM Common Sense Media DVD Digital Video Disc MGM Metro-Goldwyn-Mayer MPAA The Motion Picture Association of America MPPC The Motion Picture Patents Company RAC The Royal African Company TV Television U.S. The Unites States ix LIST OF FIGURES Figure 1. The Etymology of the Word Slave ................................................................................ 13 Figure 2. Announcing the Sale of Slaves and Stock in the 1852 Auction of Property .................... 37 Figure 3. Diagram of the Main Filmmaking Steps ........................................................................ 65 Figure 4. Black Snyder’s Basic Film Paradigm ............................................................................ 67 Figure 5. Film Pre-production Workflow ..................................................................................... 73 Figure 6. Film Distribution Flow .................................................................................................. 78 Figure 7. Lipscomb and Kendall’s (1994) Film Music Paradigm .................................................. 84 Figure 8. The White American Film Star Al Jolson (1886-1950) Wearing His Famous ‘Black-and White Minstrel’ Make-up ............................................................................................................. 88 Figure 9. Shannon and Weaver’s Model of Communication ......................................................... 99 Figure 10. Stuart Hall’s Process of