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The depiction of racial minorities such as African Americans has changed over the last decades and the film industry is experiencing a period of transition towards new images of black identity. In this context, my article explores the complexities of Nate Parker's cinematic slave narrative The Birth of a Nation (2016). Parker's choices are constantly guided by reimagining, revising, and reclaiming the (hi)story and the representation of African Americans. I argue that, although Parker attemptsdoi:10.33178/alpha.13.08 fatcat:ejcpo3ydhzexnfcheg4oiceutq