Gazing, Settler Cinema, and the Algerian War
Slanted Kisses
Bibliographic Data
| ID | 12914588 |
|---|---|
| Authors | Mani Sharpe (University of Leeds, corresponding author) |
| Year | 2021 |
| Volume | 15 |
| Issue | 1 |
| Pages | 67-85 |
| Publication date | 2021-03-11 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of War and Culture Studies (JOURNAL) |
| Journal identifiers | ISSN: 1752-6272 • E-ISSN: 1752-6280 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17526272.2021.1894378 |
| OpenAlex | W3138387306 |
| Language | EN |
| References cited | 19 |
This article analyses patterns of what I will call de-colonial gazing in Slanted Kisses (1962): a short film directed by two European settlers, in and around Algiers, during the Algerian War (1954–1962). As a means of departure, I identify two types of de-colonial gaze that I argue are crucial to the politics of Slanted Kisses: ‘the amorous gaze’ (linked to a desire to forget about conflict, and to retreat into Eurocentric solitude); and ‘the panoramic gaze’ (linked to a desire to control the colonial landscape, transforming it into a visual spectacle). In the third section of the article, I then examine the allegorical imaginary at play in Slanted Kisses – anchored in visual idioms of light and darkness – before concluding with some thoughts on how this allegory functions in relation to the history of decolonization in Algeria
Allegory · Archaeology · Art · Art history · Colonialism · Decolonization · Gaze · Literature · Movie theater · Politics · Psychoanalysis · Solitude · Spectacle · The Imaginary · Visual arts · African history and culture studies · Cinema and Media Studies · History · North African History and Literature · Psychology
| Highly cited | No |
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