Colonial Cinema and Imperial France, 1919-1939: White Blind Spots, Male Fantasies, Settler Mythsby David Henry Slavin
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
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.
The book's strengths lie in its detailed and informative contextualization of French colonial cinema, especially those films made in or about the Maghreb, and in its ability to reveal general trends and 'blind spots' that characterise these films.
- Johns Hopkins University Press
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- New Edition
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- (w) x (h) x 0.92(d)
What People are saying about this
An important and ambitious book on the history of colonial cinema, one that will be consulted for a good number of years.
Tom Conley, Harvard University
A thoughtful and valuable work of history that addresses the relationship between imperialism and French film in the interwar years. Slavin forces the reader to reconsider the basis upon which French imperial rule in North Africa was advocated and advanced, resulting in a substantially new contribution to our understanding of French history in these years.
Michael Miller, Syracuse University
Meet the Author
David Henry Slavin is a visiting assistant professor of history at Knox College.
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