This year’s discussions of the Oscar nominations, especially before they were announced, centred on the notion of American history and managed somehow to suggest that this is both a very strange subject for mainstream movies to take on and something they do all the time. Slaves are freed in Lincoln, a slave takes operatic revenge in Django Unchained, Osama bin Laden is traced and killed in Zero Dark Thirty, Argo recounts an old secret mission in Iran. Is there a worry here? An act of national self-reassurance? An uneasy celebration of questionable moments? An easy celebration? Whatever the answers to these questions, they have nothing to do with Quentin Tarantino’s Django.

LRB 24 January 2013 | PDF Download