We found a match
Your institution may have access to this item. Find your institution then sign in to continue.
- Title
The Colonialist Regime of Representation, 1945–1960.
- Authors
Genova, James E.
- Abstract
He writes, "[T]he practices of colonial instructional cinema instituted a different regime of representation of Africa and Africans that stands in direct contrast to that of films of colonialist African cinema." However, he raises the question of whether the flattening is the product of the films (and filmmakers) or of the tradition of film criticism that has taken motion pictures about Africa as its subject. As Slavin notes in his study of movies set in North Africa between the two world wars, "Colonial film reflected and reinforced the machinery of cultural hegemony, noncoercive social control, and the underlying politics of privilege."[80] However, the role film was to play within the larger project of sustaining and deepening imperial power was never straightforward or consistent over time. It is unclear what the film's fate was at the time, but the first postwar systematic list of authorized movies, published in 1949, does not include I L'Heroïque Embuscade i .[107] Another film that received contradictory treatment from the 1930s through the postwar period was I L'Esclave Blanche i ( I Pasha's Wives i ) a 1939 French film directed by Marc Sorkin and Georg Wilhelm Pabst, and starring the American actor John Lodge as Vedad Bey and the French starlet Viviane Romance as Mireille. The specific colonialist film language of such movies, though, had also to be true to the emerging cinematic discourse in general such that experienced motion picture audiences would be able to grasp the film as such.
- Subjects
PROPAGANDA; MOTION picture audiences; FILM genres; COLONIES; POSTCOLONIAL literature; FRENCH Third Republic
- Publication
Black Camera: The New Series, 2021, Vol 12, Issue 2, p29
- ISSN
1536-3155
- Publication type
Article
- DOI
10.2979/blackcamera.12.2.03