Videos by Marie Rodet
2014. 23min. Dir. Marie Rodet
African slavery was officially abolished in French Sudan (present d... more 2014. 23min. Dir. Marie Rodet
African slavery was officially abolished in French Sudan (present day Mali) by the colonial authorities in 1905, but effective emancipation of formerly enslaved populations was in fact a lengthy process, the repercussions of which were still felt long after Mali's independence in 1960.
This documentary tells the story of those who resisted slavery by escaping their owners and founding new independent and free communities in the district of Kayes in the first half of the twentieth century. The film presents a unique audio-visual archive of slave liberation in Mali. 134 views
Books by Marie Rodet
Brill, 2020
This is an open access title distributed under the terms of the CC BY-NC 4.0 license, which permi... more This is an open access title distributed under the terms of the CC BY-NC 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder.
Bouillagui
BD en cours de réalisation avec le dessinateur Massiré Tounkara sur l'histoire de Bouillagui (Mal... more BD en cours de réalisation avec le dessinateur Massiré Tounkara sur l'histoire de Bouillagui (Mali), un village fondé par des anciens esclaves après qu'ils se soient rebellés contre leurs anciens maitres au début du vingtième siècle.
Introduction: Child Migration in Africa: Key Issues & New Perspectives
Centré sur la région de Kayes au Mali, l'ouvrage de Marie Rodet s'attache à analyser les formes d... more Centré sur la région de Kayes au Mali, l'ouvrage de Marie Rodet s'attache à analyser les formes de mobilité féminine au sein du pays et vers le Sénégal à l'époque coloniale (1900-1946). En élargissant le concept de migration, l'ouvrage met en évidence que les migrations féminines dans la région de Kayes ont été nombreuses, et ce dès les débuts de la colonisation.
Ce livre montre en particulier que les femmes esclaves étaient majoritaires dans les mouvements migratoires que connaît la région au début du XXème siècle, qu'elles furent les premières migrantes dans la ville de Kayes.
A partir d'une étude précise de sources coloniales a priori peu loquaces mais ingénieusement confrontées à des enquêtes de terrain, Marie Rodet resitue donc ici l'histoire des migrations de la région de Kayes à l'époque coloniale dans une dynamique de recherche genrée. Cet ouvrage constitue un outil essentiel pour repenser la question des migrations féminines en Afrique et déconstruire le discours androcentrique ambiant sur les migrations.
Documentary Film by Marie Rodet
bouillagui.soas.ac.uk, 2020
In 2008 I started an oral history project on slavery in the Kayes region. It is how I heard of ‘r... more In 2008 I started an oral history project on slavery in the Kayes region. It is how I heard of ‘rebel villages’ for the first time, which led me onto the tracks of the village of Bouillagui.
Bouillagui is a Soninke village of Western Mali. It is located next to the Mauritanian border. At first sight, it appears indistinguishable from other villages in the region. Yet, its exceptional history of fighting against slavery makes it a unique village
Its inhabitants liberated themselves from slavery at the beginning of the twentieth century. They rebelled against their masters and founded Bouillagui where they lived freely.
The people of Bouillagui are very proud of their history. It is in stark contrast with the rest of Mali. Indeed, there is usually a taboo towards internal slavery. People are unwilling to speak about it. It is considered shameful to have had enslaved ancestors.
Full version available here: https://vimeo.com/245704289, Jun 2, 2014
"African slavery was officially abolished in French Sudan (present day Mali) by the colonial admi... more "African slavery was officially abolished in French Sudan (present day Mali) by the colonial administration in 1905, but effective emancipation of former slaves was in fact a lengthy process, the repercussions of which were still felt long after Mali’s independence in 1960.
This documentary tells the story of those who resisted slavery by escaping their masters and founding new independent and free communities in the district of Kayes in the first half of the twentieth century. The film presents a unique audiovisual archive of slave emancipation in Mali."
Exhibitions by Marie Rodet
"Beyond the Postcolonial: Video Art from Africa.
By Marie Rodet
Lecturer in African History, Co... more "Beyond the Postcolonial: Video Art from Africa.
By Marie Rodet
Lecturer in African History, Convenor MA Film and History, SOAS London
This set of video art from Africa offers to the spectator a crucial entry key into a new historical atmosphere, in which the cultural legacies of postcolonialism no longer seem to matter much. Indeed, while many African contemporary artists have been much concerned, in the past three decades, by responding to European modernity and cultural neocolonialism, this new generation of African video artists proposes a different stand deeply anchored in their intimate – sometimes violent – daily experiences of globalization and displacement. They are very much preoccupied with being within their time, sharing their own everyday life and their responses to constantly moving environments, more than responding to a (post)colonial past which appears henceforth far from their immediate concerns.
If the globalization process sometimes left us with the impression of dissolution of geographical territories or the disappearing of old landscapes of power, these video artists remind us that it was far from being a uniform process, that globalization has often affected the global South differently. In the same way as their predecessors experienced a hangover of the African independences, this new generation of African artists seems to have experienced a hangover of the false promises of a globalised cosmopolitan world in which boundaries of race, ethnicity, class or religion were no longer important. Despite the tremendous hopes sparked by the 1990s’ democratization process on the continent, many Africans continue to be confronted with economic and political distress on a daily basis.
The life of African artists is not the one of the Afropolitan that the Western world would like to believe. Their mobility is still constrained by the rules of the market and the increasing fears built in our Western fortresses. The videos convey these often-traumatic experiences of migration and exile, and dislocated identities in the face of the delusion of globalization. They are therefore powerful political denunciations of the fault lines of our systems and definitely offer alternative and more complex views of the world.
These videos certainly belong to the globalised world of incessant flows of materials, information, and images. But their intrinsic ubiquity, their simultaneous negotiation of multiple cultural systems and temporalities defy the structures of the contemporary art market which long ignored African art production and then started catching up in a clear attempt to control its internationalisation. Indeed, video art is a very astute arm of resistance against these market structures. It offers its own modes of production and reception. It can be easily transferred, downloaded. Not surprisingly, at the 1:54 Contemporary African Art Fair in London last year, there was a complete absence of video art. Artistic videos from Africa do not need to be put on the market to be accessed and valued. They simply need a virtual platform to be visible, as the one in motion masterfully deployed by Kisito Assangni. As such, this exhibition materializes the internationalisation and democratization of arts and information networks of the past decade, but also denounces their fault lines. No one should wonder that the new generation of African artists increasingly favour the video medium to fight against ignorance and intellectual perfidy in the interconnected world that we all live in.
African slavery was officially abolished in Mali by the French colonial authorities in 1905, but ... more African slavery was officially abolished in Mali by the French colonial authorities in 1905, but effective emancipation of formerly enslaved was a lengthy process, the repercussions of which were still felt long after Mali's independence in 1960.
The exhibition presents photographs of archival documents testifying to the history of slavery and emancipation in Kayes (Mali), as well as photographs by French visual artist Fanny Challier of the present-day village of Bouyagui, which was created in 1914 by populations escaping slavery.
The exhibition accompanies the documentary film 'The Diambourou: Slavery and Emancipation in Kayes - Mali' (2014) directed by Dr Marie Rodet (SOAS), which tells the story of those communities escaping slavery in the region of Kayes in the first half of the twentieth century.
For more info about the film, please contact Dr Marie Rodet (mr28@soas.ac.uk) or subscribe to the mailing list: http://eepurl.com/OVFEz
Exhibition organized with the support of the Centre of African Studies at SOAS and the Royal African Society (London).
Papers by Marie Rodet
Journal of Migration History, 2024
This special issue introduces the concept of e-motions in (post-)slavery Africa to analyse moveme... more This special issue introduces the concept of e-motions in (post-)slavery Africa to analyse movement or motion that is not so much driven by labour and economic survival but rather by relational/emotional (dis-)connection. We introduce the term e-motions to qualify the gendered mobilities mainly of subaltern girls and women who have been voluntarily or forcedly moving in the past and present to establish and consolidate emotional ties. These ties exist in intimate spheres that are profoundly entangled in histories of slavery and asymmetrical dependencies. In this special issue, we use the concept of e-motions to flesh out the link between small-scale and rural (im-)mobilities executed by subaltern women and girls, who are expected to fulfil important ritualised roles in various emotional stages of life through pathic labour and care work. While not denying we are living in a world with exponential digitisation, mobilities and extreme forms of exclusion, we wish to historicise less spectacular but acute, highly impactful and often implicitly violent e-motions that mostly women at the lowest echelons of
their societies faced and continue to face in a male-dominated world.
Revue d’Histoire Contemporaine de l’Afrique, 2022
Cet article revient sur une expérience de collaboration entre des chercheur•se•s et une associati... more Cet article revient sur une expérience de collaboration entre des chercheur•se•s et une association malienne spécialisée dans la collecte et la numérisation de savoirs locaux, Donkosira. Cette expérience menée depuis 2017 dans des villages excentrés du Mali, du Sénégal et de la Guinée a donné lieu à des reportages réalisés par les communautés grâce à des téléphones portables fournis par le projet, et postés sur internet et les réseaux sociaux. Cet article questionne notamment la valorisation des savoirs locaux et l'écueil de leur essentialisation ; les difficultés de la pratique de la co-production des données ; l'asymétrie de la relation enquêteur•se•s/ enquêté•e•s et ses impensés (post)coloniaux. La valorisation numérique des savoirs locaux contribue à créer des « communautés numériques par le bas », aux contours souples, que cet article s'attache à décrire.
Cet article entend retracer le parcours de Djiguiba Camara, chef de canton à partir de 1928, puis... more Cet article entend retracer le parcours de Djiguiba Camara, chef de canton à partir de 1928, puis Conseiller territorial de Beyla (Guinée forestière) en 1953 1. Il est le quatrième fils de Fata Kéoulé Camara qui a signé un traité de paix avec les Français en 1893 2. Comme gage de cet accord, Djiguiba est envoyé à l'école des fils de chefs de Kayes. Il en sort interprète auxiliaire en 1900 : formation d'intermédiaire colonial qui lui permettra par la suite d'accéder au poste de chef de canton en 1928 en remplacement de son frère décédé dans son village natal de Damaro, au pied des montagnes du Simandougou, à 800 kilomètres de Conakry. Par une approche transdisciplinaire (histoire, littérature, enquêtes orales), nous montrerons comment la sphère politique est intimement liée à la sphère privée dans le transfert de pouvoir sur plus d'un siècle à travers la famille Camara. Nous retracerons notamment le parcours des écrits de Djiguiba Camara, et les usages familiaux qui en seront faits à la période postcoloniale.
Republic, 2021
Examining the links between descent-based slavery and contemporary slavery in West Africa helps u... more Examining the links between descent-based slavery and contemporary slavery in West Africa helps us to find the missing link to understanding the conditions under which slavery and slavery-like practices keep persisting despite abolitions and international anti-slavery legislation.
In 2010 I filmed descendants of formerly enslaved populations in Kayes narrating the history of t... more In 2010 I filmed descendants of formerly enslaved populations in Kayes narrating the history of their ancestors and the realities of internal slavery in West Africa. The result was a 23-minute documentary film entitled "The Diambourou: Slavery and Emancipation in Kayes-Mali," which was released in 2014. The film was as much responding to specific historiographical questions in the field as a tool of research action to raise awareness among younger generations and to fight legacies of social discrimination today. With the exactions perpetuated against descendants of formerly enslaved populations in the Kayes region since 2018, the film, via its access-free online version, has experienced a second life as an anti-slavery activist medium, helping to bridge the gap between endogenous historical fighting against slavery and contemporary anti-slavery activism in the Soninke diaspora.
Newsletter nr. 1, 2021
Une première lettre d’informations, pour partager les activités de recherches (publications, conf... more Une première lettre d’informations, pour partager les activités de recherches (publications, conférences), les activités sur le terrain (ateliers, formations, sensibilisations) et nouveautés du projet EMIFO (French) /SLAFMIG (English) au Mali.
Voir aussi le lien ci-dessous.
Africa is a Country (AIAC), 2021
Newsletter 1, 2021
THis is the newsletter listing the activities of the Slavery and Forced Migration project, in Eng... more THis is the newsletter listing the activities of the Slavery and Forced Migration project, in English. It is the first newsletter of the project. You can also find it online
Africa. The Journal of the International African Institute, 2018
Almost every day, and especially during summer, European countries bordering
the Mediterranean a... more Almost every day, and especially during summer, European countries bordering
the Mediterranean are bombarded with radio news about boats full of migrants
from Africa who have sailed from the coasts of Libya or Morocco and are
seeking to reach Europe. They may be escaping from wars or persecution,
looking for jobs or simply in search of a better life, but they are all portrayed as
part of the entire African population that is moving towards Europe, as if this
were a relentless planned invasion. European media rarely convey the information
that migration within the African continent is actually the most prominent
migration pattern experienced by African populations.
Uploads
Videos by Marie Rodet
African slavery was officially abolished in French Sudan (present day Mali) by the colonial authorities in 1905, but effective emancipation of formerly enslaved populations was in fact a lengthy process, the repercussions of which were still felt long after Mali's independence in 1960.
This documentary tells the story of those who resisted slavery by escaping their owners and founding new independent and free communities in the district of Kayes in the first half of the twentieth century. The film presents a unique audio-visual archive of slave liberation in Mali.
Books by Marie Rodet
Ce livre montre en particulier que les femmes esclaves étaient majoritaires dans les mouvements migratoires que connaît la région au début du XXème siècle, qu'elles furent les premières migrantes dans la ville de Kayes.
A partir d'une étude précise de sources coloniales a priori peu loquaces mais ingénieusement confrontées à des enquêtes de terrain, Marie Rodet resitue donc ici l'histoire des migrations de la région de Kayes à l'époque coloniale dans une dynamique de recherche genrée. Cet ouvrage constitue un outil essentiel pour repenser la question des migrations féminines en Afrique et déconstruire le discours androcentrique ambiant sur les migrations.
Documentary Film by Marie Rodet
Bouillagui is a Soninke village of Western Mali. It is located next to the Mauritanian border. At first sight, it appears indistinguishable from other villages in the region. Yet, its exceptional history of fighting against slavery makes it a unique village
Its inhabitants liberated themselves from slavery at the beginning of the twentieth century. They rebelled against their masters and founded Bouillagui where they lived freely.
The people of Bouillagui are very proud of their history. It is in stark contrast with the rest of Mali. Indeed, there is usually a taboo towards internal slavery. People are unwilling to speak about it. It is considered shameful to have had enslaved ancestors.
This documentary tells the story of those who resisted slavery by escaping their masters and founding new independent and free communities in the district of Kayes in the first half of the twentieth century. The film presents a unique audiovisual archive of slave emancipation in Mali."
Exhibitions by Marie Rodet
By Marie Rodet
Lecturer in African History, Convenor MA Film and History, SOAS London
This set of video art from Africa offers to the spectator a crucial entry key into a new historical atmosphere, in which the cultural legacies of postcolonialism no longer seem to matter much. Indeed, while many African contemporary artists have been much concerned, in the past three decades, by responding to European modernity and cultural neocolonialism, this new generation of African video artists proposes a different stand deeply anchored in their intimate – sometimes violent – daily experiences of globalization and displacement. They are very much preoccupied with being within their time, sharing their own everyday life and their responses to constantly moving environments, more than responding to a (post)colonial past which appears henceforth far from their immediate concerns.
If the globalization process sometimes left us with the impression of dissolution of geographical territories or the disappearing of old landscapes of power, these video artists remind us that it was far from being a uniform process, that globalization has often affected the global South differently. In the same way as their predecessors experienced a hangover of the African independences, this new generation of African artists seems to have experienced a hangover of the false promises of a globalised cosmopolitan world in which boundaries of race, ethnicity, class or religion were no longer important. Despite the tremendous hopes sparked by the 1990s’ democratization process on the continent, many Africans continue to be confronted with economic and political distress on a daily basis.
The life of African artists is not the one of the Afropolitan that the Western world would like to believe. Their mobility is still constrained by the rules of the market and the increasing fears built in our Western fortresses. The videos convey these often-traumatic experiences of migration and exile, and dislocated identities in the face of the delusion of globalization. They are therefore powerful political denunciations of the fault lines of our systems and definitely offer alternative and more complex views of the world.
These videos certainly belong to the globalised world of incessant flows of materials, information, and images. But their intrinsic ubiquity, their simultaneous negotiation of multiple cultural systems and temporalities defy the structures of the contemporary art market which long ignored African art production and then started catching up in a clear attempt to control its internationalisation. Indeed, video art is a very astute arm of resistance against these market structures. It offers its own modes of production and reception. It can be easily transferred, downloaded. Not surprisingly, at the 1:54 Contemporary African Art Fair in London last year, there was a complete absence of video art. Artistic videos from Africa do not need to be put on the market to be accessed and valued. They simply need a virtual platform to be visible, as the one in motion masterfully deployed by Kisito Assangni. As such, this exhibition materializes the internationalisation and democratization of arts and information networks of the past decade, but also denounces their fault lines. No one should wonder that the new generation of African artists increasingly favour the video medium to fight against ignorance and intellectual perfidy in the interconnected world that we all live in.
The exhibition presents photographs of archival documents testifying to the history of slavery and emancipation in Kayes (Mali), as well as photographs by French visual artist Fanny Challier of the present-day village of Bouyagui, which was created in 1914 by populations escaping slavery.
The exhibition accompanies the documentary film 'The Diambourou: Slavery and Emancipation in Kayes - Mali' (2014) directed by Dr Marie Rodet (SOAS), which tells the story of those communities escaping slavery in the region of Kayes in the first half of the twentieth century.
For more info about the film, please contact Dr Marie Rodet (mr28@soas.ac.uk) or subscribe to the mailing list: http://eepurl.com/OVFEz
Exhibition organized with the support of the Centre of African Studies at SOAS and the Royal African Society (London).
Papers by Marie Rodet
their societies faced and continue to face in a male-dominated world.
https://theconversation.com/pourquoi-l-esclavage-par-ascendance-subsiste-encore-au-mali-155226
in English:
https://theconversation.com/mali-fails-to-face-up-to-the-persistence-of-slavery-147636
Voir aussi le lien ci-dessous.
Link to the online article: https://africasacountry.com/2021/03/the-fight-against-descent-based-slavery-in-mali (see also added below)
read online here:
https://theconversation.com/mali-fails-to-face-up-to-the-persistence-of-slavery-147636
the Mediterranean are bombarded with radio news about boats full of migrants
from Africa who have sailed from the coasts of Libya or Morocco and are
seeking to reach Europe. They may be escaping from wars or persecution,
looking for jobs or simply in search of a better life, but they are all portrayed as
part of the entire African population that is moving towards Europe, as if this
were a relentless planned invasion. European media rarely convey the information
that migration within the African continent is actually the most prominent
migration pattern experienced by African populations.
African slavery was officially abolished in French Sudan (present day Mali) by the colonial authorities in 1905, but effective emancipation of formerly enslaved populations was in fact a lengthy process, the repercussions of which were still felt long after Mali's independence in 1960.
This documentary tells the story of those who resisted slavery by escaping their owners and founding new independent and free communities in the district of Kayes in the first half of the twentieth century. The film presents a unique audio-visual archive of slave liberation in Mali.
Ce livre montre en particulier que les femmes esclaves étaient majoritaires dans les mouvements migratoires que connaît la région au début du XXème siècle, qu'elles furent les premières migrantes dans la ville de Kayes.
A partir d'une étude précise de sources coloniales a priori peu loquaces mais ingénieusement confrontées à des enquêtes de terrain, Marie Rodet resitue donc ici l'histoire des migrations de la région de Kayes à l'époque coloniale dans une dynamique de recherche genrée. Cet ouvrage constitue un outil essentiel pour repenser la question des migrations féminines en Afrique et déconstruire le discours androcentrique ambiant sur les migrations.
Bouillagui is a Soninke village of Western Mali. It is located next to the Mauritanian border. At first sight, it appears indistinguishable from other villages in the region. Yet, its exceptional history of fighting against slavery makes it a unique village
Its inhabitants liberated themselves from slavery at the beginning of the twentieth century. They rebelled against their masters and founded Bouillagui where they lived freely.
The people of Bouillagui are very proud of their history. It is in stark contrast with the rest of Mali. Indeed, there is usually a taboo towards internal slavery. People are unwilling to speak about it. It is considered shameful to have had enslaved ancestors.
This documentary tells the story of those who resisted slavery by escaping their masters and founding new independent and free communities in the district of Kayes in the first half of the twentieth century. The film presents a unique audiovisual archive of slave emancipation in Mali."
By Marie Rodet
Lecturer in African History, Convenor MA Film and History, SOAS London
This set of video art from Africa offers to the spectator a crucial entry key into a new historical atmosphere, in which the cultural legacies of postcolonialism no longer seem to matter much. Indeed, while many African contemporary artists have been much concerned, in the past three decades, by responding to European modernity and cultural neocolonialism, this new generation of African video artists proposes a different stand deeply anchored in their intimate – sometimes violent – daily experiences of globalization and displacement. They are very much preoccupied with being within their time, sharing their own everyday life and their responses to constantly moving environments, more than responding to a (post)colonial past which appears henceforth far from their immediate concerns.
If the globalization process sometimes left us with the impression of dissolution of geographical territories or the disappearing of old landscapes of power, these video artists remind us that it was far from being a uniform process, that globalization has often affected the global South differently. In the same way as their predecessors experienced a hangover of the African independences, this new generation of African artists seems to have experienced a hangover of the false promises of a globalised cosmopolitan world in which boundaries of race, ethnicity, class or religion were no longer important. Despite the tremendous hopes sparked by the 1990s’ democratization process on the continent, many Africans continue to be confronted with economic and political distress on a daily basis.
The life of African artists is not the one of the Afropolitan that the Western world would like to believe. Their mobility is still constrained by the rules of the market and the increasing fears built in our Western fortresses. The videos convey these often-traumatic experiences of migration and exile, and dislocated identities in the face of the delusion of globalization. They are therefore powerful political denunciations of the fault lines of our systems and definitely offer alternative and more complex views of the world.
These videos certainly belong to the globalised world of incessant flows of materials, information, and images. But their intrinsic ubiquity, their simultaneous negotiation of multiple cultural systems and temporalities defy the structures of the contemporary art market which long ignored African art production and then started catching up in a clear attempt to control its internationalisation. Indeed, video art is a very astute arm of resistance against these market structures. It offers its own modes of production and reception. It can be easily transferred, downloaded. Not surprisingly, at the 1:54 Contemporary African Art Fair in London last year, there was a complete absence of video art. Artistic videos from Africa do not need to be put on the market to be accessed and valued. They simply need a virtual platform to be visible, as the one in motion masterfully deployed by Kisito Assangni. As such, this exhibition materializes the internationalisation and democratization of arts and information networks of the past decade, but also denounces their fault lines. No one should wonder that the new generation of African artists increasingly favour the video medium to fight against ignorance and intellectual perfidy in the interconnected world that we all live in.
The exhibition presents photographs of archival documents testifying to the history of slavery and emancipation in Kayes (Mali), as well as photographs by French visual artist Fanny Challier of the present-day village of Bouyagui, which was created in 1914 by populations escaping slavery.
The exhibition accompanies the documentary film 'The Diambourou: Slavery and Emancipation in Kayes - Mali' (2014) directed by Dr Marie Rodet (SOAS), which tells the story of those communities escaping slavery in the region of Kayes in the first half of the twentieth century.
For more info about the film, please contact Dr Marie Rodet (mr28@soas.ac.uk) or subscribe to the mailing list: http://eepurl.com/OVFEz
Exhibition organized with the support of the Centre of African Studies at SOAS and the Royal African Society (London).
their societies faced and continue to face in a male-dominated world.
https://theconversation.com/pourquoi-l-esclavage-par-ascendance-subsiste-encore-au-mali-155226
in English:
https://theconversation.com/mali-fails-to-face-up-to-the-persistence-of-slavery-147636
Voir aussi le lien ci-dessous.
Link to the online article: https://africasacountry.com/2021/03/the-fight-against-descent-based-slavery-in-mali (see also added below)
read online here:
https://theconversation.com/mali-fails-to-face-up-to-the-persistence-of-slavery-147636
the Mediterranean are bombarded with radio news about boats full of migrants
from Africa who have sailed from the coasts of Libya or Morocco and are
seeking to reach Europe. They may be escaping from wars or persecution,
looking for jobs or simply in search of a better life, but they are all portrayed as
part of the entire African population that is moving towards Europe, as if this
were a relentless planned invasion. European media rarely convey the information
that migration within the African continent is actually the most prominent
migration pattern experienced by African populations.
has included the production of documentaries as well as fiction films based on historical facts.