What is Cinema? Critical Approaches Postcolonialism II.

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Presentation transcript:

What is Cinema? Critical Approaches Postcolonialism II

THE TENTH ANNUAL ALFRED HITCHCOCK LECTURE IN FILM HISTORY Dr Lawrence Napper, ‘Over the Top: Representing the Battle of the Somme in the Cinema’ 6.30pm Tuesday 2 February 2016, Arts Two Lecture Theatre To register for this free event, visit:

District 9 (Neill Blomkamp, 2009)

Lecture structure 1. What is Postcolonialism? 2. Decolonising the Gaze 3. Making Whiteness Visible 4. Postcolonial Cinemas

1. What is Postcolonialism?

Colonialism redefined: ‘a way of maintaining unequal international relations of economic and political power’ (Patrick Williams and Laura Chrisman, Colonial Discourse and Post-Colonial Theory: A Reader, p. 4) ‘representing the “other” as […] radically different, and hence incorrigibly inferior’ (Partha Chaterjee, The Nation and its Fragments, p. 33)

Postcolonialism as theory and critical practice: ‘the multiple political, economic, cultural and philosophical responses to colonialism from its inauguration to the present day’ (Jane Hiddleston, Understanding Postcolonialism (Stocksfield: Acumen, 2009), p. 1)

2. Decolonising the Gaze

Les Damnés de la terre reimagined by Ousmane Sembene

Fanon argues that revolution in response to colonial violence can disrupt the damaging identification with the coloniser

‘I am being dissected under white eyes, the only real eyes. I am fixed’ (Fanon, Black Skin, White Masks) Isaac Julien ‘decolonising’ the gaze

Concerning Violence (Göran Olsson, 2014)

3. Making Whiteness Visible Qallunaat! Why White People are Funny (Mark Sandiford, 2007)

4. Postcolonial Cinemas Chronology or epistemology? Filmmaking practice or form of critical spectatorship?

Third cinema persists: ‘refusing to offer in opposition to “the values of colonial or imperial predators” a simplistic notion of “national identity or of cultural authenticity”’ ‘a far more explicitly critical post-colonial awareness of their national histories than had previously been possible’ (Rajadhyaksha, p. 417) Bamako (Abderrahmane Sissako, 2006)

Night Cries: A Rural Tragedy (Tracey Moffat, 1990)

Bend It Like Beckham (Gurinder Chadha, 2002)

Postcolonial genre films which allegorise colonial violence and atrocities Eg District 9 (Neill Blomkamp, US/New Zealand/Canada/South Africa, 2009); Avatar (James Cameron, US, 2009); Inglorious Basterds (Quentin Tarantino, US/Germany, 2009)

‘spectacularly violent, racialised revenge fantasies directed against white-male representatives of organised racial injustice’ (John Rieder, ‘Race and Revenge Fantasies in Avatar, District 9 and Inglourious Basterds’, p. 41)

District 9 makes us ‘infer connections between past and present wrongs carried out in the name of humanity and […] assume responsibility for them’ (Chaudhuri, Cinema of the Dark Side, p. 143)