a.He invented him as a weary old leader who regains his love of country through the interaction with the Africans. b.Of course, we actually know a great deal about Adamsfrom his letters and writings, but none was used to create the character. 4.This gives dramatic development, but not actual portrayal of the person. H.This meeting between Joadson and Adams, of course, never happened (nor is it likely to have happened given the realities of race relations even in the North). 1.What it allows, however, is for Spielberg to emphasize the moral importanceof allowing the Africans to speak for themselves and for us to know who they are. 2.It reduces questions of justice to storytelling, which is good for Spielberg, but not accurate. a.The case never really was concerned with who they were, just about establishing that they were not from Cuba but from Africa. b.This is the closest that Spielberg comes to being self-reflexiveabout what he does (tell stories). c.This is only to affirm his commitment to revisionist functionalist metaphors as opposed to (or maybe in addition to) truth. III.THE TRIAL A.This telling of Cinque’s story is an example of where the desire to foreground emotion actually helps our understanding of history. 1.These are horrible, powerful and important images. 2.Though unrelated to the Amistadcase, things like this did happen, so they convey essential truths about slaveryand the horrors of the middle passage. 3.The testimony here situates our experience with Cinque’s personal narrative.a.It recuperates the nightmare of history so that these secrets are no longer forgotten. b.The lines Cinque speaks here are great dramatic sequences, showing his courage and innately human response. i.But it never happened. ii.There was a letter written to J.Q. Adams by an 11 year old African named Kale who had learned English very quickly that had something like this in it—“All we want is make us free”—but that is glossed over to keep the focus on the heroic Cinque.