Architectures of Containment
Cinema and the Colonial Museum Infrastructures
Bibliographic Data
| ID | 22223381 |
|---|---|
| Authors | Ekin Pınar (0000-0002-8367-1234, Middle East Technical University, corresponding author) |
| Year | 2026 |
| Volume | 17 |
| Issue | 1 |
| Pages | 127-155 |
| Publication date | 2026-06-03 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | sinecine Sinema Araştırmaları Dergisi (JOURNAL) |
| Journal identifiers | ISSN: 2636-784X |
| Publisher | Sinema Arastirmalari Dergisi (PUBLISHER) |
| DOI | 10.32001/sinecine.1913635 |
| OpenAlex | W7163182187 |
| Language | EN |
| References cited | 25 |
Colonial museums do not simply display looted objects; they regulate their visibility, movement, and containment through interconnected infrastructures of exhibition, storage, and circulation. This article examines how cinema critically represents and destabilizes these museal infrastructures through three films: Statues meurent aussi (Statues Also Die, dir. Alain Resnais and Chris Marker, 1953),You Hide Me(dir. Nii Kwate Owoo, 1970), andDahomey(dir. Mati Diop, 2024). The article argues that these films conceptualize and, in turn, challenge the colonial museum as “architectures of containment.” These interrelated spatial formations (the vitrine, the storage vault, the shipping crate, and the journey) control and define the visibility, mobility, and meaning of stolen cultural artifacts. While recent scholarship has emphasized the museum’s role in colonial accumulation, this article argues that cinema provides us with its own distinct mode of analysis by revealing and challenging these infrastructural systems that underpin it. Accordingly, it demonstrates how cinema shifts our attention from the museum as a site of display to the spatial regimes of display, storage, packaging, and transport. Through its reintroduction of agency, visibility, and mobility to looted artifacts within these four spatial regimes, cinema thus constitutes its own counter-museum
Colonialism · Movie theater · Scholarship · African history and culture studies · Memory, Trauma, and Commemoration · South African History and Culture
Representing Reality
The Deadly Life of Logistics
Introduction
Destination Culture
Reorienting objects in Alain Resnais and Chris Marker’s Les Statues Meurent Aussi
Africa’s Struggle for Its Art
Black African Cinema
Reinventing the archive in Africa
Les Statues meurent aussi
The Ethnography of Infrastructure
Along the Archival Grain
The Sonic Color Line
The Politics and Poetics of Infrastructure
| Citation velocity | historical |
|---|---|
| Highly cited | No |