What is Cinema? Critical Approaches Postcolonialism II

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Presentation transcript:

What is Cinema? Critical Approaches Postcolonialism II

Lecture structure 1. What is postcolonialism? 2. The ‘third eye’ 3. Making whiteness visible 4. District 9: genre, allegory, violence

Postclassical film theory (1900-1950s) ‘Early’ film theory: Altenloh, Balazs, Eisenstein, Bazin, Kracauer, the Frankfurt School (1960s-1980s) ‘Classical’ film theory: structuralism, semiotics (the ‘linguistic turn’), psychoanalysis, ideology critique, feminism (sometimes called ‘Screen theory’; Bordwell alludes disparagingly to ‘SLAB’ theory) (1990s-present) ‘Post-classical’ film theory?: cognitivism, poststructuralism, postcolonialism, postmodernism, queer theory, phenomenology, ethics, posthumanism

1. What is postcolonialism?

Postcolonialism: the period after colonialism?

Postcolonialism: a set of critical ideas and practices.

Postcolonial film theory: focus shifts from stereotypes (pre-1980s) to spectatorship and the gaze (1980s onwards) District 9 (Neill Blomkamp, 2009)

2. The ‘third eye’ King Kong (Merian C. Cooper, 1933) Nanook of the North (Robert Flaherty, 1922) Fatimah Tobing Rony, The Third Eye: Race, Cinema and Ethnographic Spectacle (1996) Criticises objectification of non-western indigenous peoples, especially in ethnographic film

Fanon: experience of being marked as other by the white European gaze ‘With another eye I see how I am pictured as a landscape, a museum display, an ethnographic spectacle, an exotic’ (Tobing Rony, p. 17)

The ‘third eye’ has critical potential; it can help reveal colonial and ethnographic tropes in films such as The Piano.

Actor Cliff Curtis

Tobing Rony: ethnographic tropes can be reappropriated and parodied by non-western indigenous peoples and people of colour in new forms of self-representation. Night Cries: A Rural Tragedy (Tracey Moffat, Australia, 1990)

Gesture vs. speech

3. Making whiteness visible Qallunaat! Why White People are Funny (Mark Sandiford, 2007) Subverts conventions of ethnographic cinema.

Richard Dyer: ‘The photographic media and […] movie lighting assume, privilege and construct whiteness’ (White, p. 89)

4. District 9: genre, allegory, violence Genre films that allegorise colonial violence 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) Do these films use violence legitimately?

Commentary on mass media The responsible spectator?: 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)