2.0 Narrative and Cinematic Modes of Representation
Stories are at the heart of what explorers and novelists say about strange regions of the world; they also became the method colonized people use to assert their own identity and the existence of their own history…the power to narrate, or to black other narratives from forming and emerging, is very important to culture and imperialism, and constitutes one of the connections between them1
This chapter discusses those literary and cinematic forms that the filmmakers employ to narrate the German stories of, in, on and about Africa. Literary conventions as well as cinematic forms are interrogated on how they aid in weaving the ideologies present in the films. The chapter remains alive to the fact that the films are productions whose realization is not only for auteuristic but also for commercial purposes as part of the popular culture and thus the aesthetics of their realization are also geared towards spectator pleasure for commercial gains. In such a case, spectator positioning becomes part of the aesthetics of the film and this chapter will seek to look at how the spectator is positioned in the films. Cinematic forms like the panoramic shot on African scenes and closed shots on German scenes are analysed for their ideological functions. The different kinds of plots of the feature length films, the ficto-documentaries and the TV drama (the three kinds of films that are in the corpus of the films under study) are analysed in this chapter. The chapter concludes that the forms...
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