Host Ellen DeGeneres speaks onstage during the Oscars at the Dolby Theatre on March 2, 2014 in Hollywood, California. (Photo by Kevin Winter/Getty Images)

Sunday night, as the 2014 Oscars got underway, host Ellen DeGeneres joked that the night could end in one of two ways.

“Possibility number one: 12 Years a Slave wins best picture,” DeGeneres said. “Possibility number two: You’re all racists.”

The uncomfortable truth of DeGeneres’s joke is that the Oscars can be as much about what the overwhelmingly white film industry wants to say about itself as it is about the quality of the films themselves. The film industry is a place where the stories of people of color are still rarely told through narratives they themselves create.

12 Years a Slave is a film adapted from a memoir written by Solomon Northup, a free black man who was captured and enslaved. That memoir was adapted by the Oscar-winning black American screenwriter John Ridley, and directed by Steve McQueen, a British black man of Grenadian descent. It is a story that was told and shaped by black artists like no other Oscar-winning best picture film.

Despite the film industry’s reputation for cultural liberalism, the films about the catastrophes of history it most recognizes are those in which a heroic white figure redeems the sins of others. We have films like Schindler’s List, which celebrate Liam Neeson’s Oskar Schindler – the Nazi who used his power to save some of his Jewish workers. We have Kevin Costner’s Lt. John Dunbar in Dances with Wolves, who tries to save the Lakota Indian people from inevitable genocide. We have Amistad, a film about a revolt on a ship carrying enslaved human cargo that somehow turns into a story about the benevolent white American abolitionists who prevent the kidnapped Africans from being convicted of murder. And let’s not get started on The Help.

Most films that tell stories of people of color are oftentimes movies about the exceptional white people who ultimately triumph against evil, and so people of color become vehicles for white redemption. They are exploited twice over – in history, and again in cinema.

What sets 12 Years a Slave apart is that it is utterly uninterested in redeeming anyone, or in making anyone feel better about slavery. Northup, portrayed by Chiwetel Ejiofor, and the other enslaved persons remain at the center of the film from start to finish. The audience never gets an opportunity to avert its eyes from Northup’s struggle to maintain his sanity and sense of self as he endures the unimaginable cruelty and desperate loneliness of enslavement. The moments of friendship, intimacy, loss and terror shared among the enslaved are paramount.

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