Colonial Cinema and Imperial France, 1919–1939: White Blind Spots, Male Fantasies, Settler MythsJohns Hopkins University Press, 2001年10月9日 - 320 頁 North Africa has captured the French imagination for centuries and shaped it in ways the French themselves have yet to acknowledge. The advent of cinema allowed artists and propagandists alike to exploit a new medium in their romanticized depictions of France's imperial mission in Algeria and Morocco. The films of the 1920s expressed a cautious optimism about the prospect of cooperation between Europeans and Muslims—with Europeans dominant. By the 1930s, however, attitudes toward indigenous North Africans had hardened. In response to demands for liberal reform in Algeria, French settlers appealed to racial solidarity and protection of white womanhood. The films of this period warned against the perils of miscegenation and portrayed the Foreign Legion and the settlers as the defenders of white, European civilization's frontiers. In Colonial Cinema and Imperial France, David Henry Slavin uses such key colonial-era films as L'Atlantide (1921; remade in 1932) and Pépé le Moko (1937) to document how the French cinema reflected the changing policies and values of French colonialism in the interwar period. Slavin is most interested in the "blind spots" within these films, the avoidance or denial of colonial realities that becomes apparent when sound-era remakes are compared with their original silent versions. The reworking of history and the interplay of history and memory evident in this process still hinders France's ability to confront the legacy of its colonial past. |
搜尋書籍內容
第 1 到 3 筆結果,共 23 筆
... relations . Mindful of subaltern as well as dominant readings of such texts , and of the rule that " popular culture can simultaneously subvert and reproduce hegemony , ” we can employ the device of the " integrated reader " to analyze ...
... combat . " Like other public - relations flaks , Danvers romanticized Moroccan customs to promote films and , disin- genuously or not , reinforced positive impressions of the traditional French Cinema's Other First Wave 65.
... relations with the pasha of Marrakech and other powerful noble- men of south - central Morocco to mobilize cheap labor . The leading fam- ilies used their influence with the Chleuh Berbers to enable director Luitz - Morat to employ ...