colonialism

Charting the intersection of technology and ideology, cultural production and social science, Fatimah Tobing Rony explores early-twentieth-century representations of non-Western indigenous peoples in films ranging from the documentary to the spectacular to the scientific. Turning the gaze of the ethnographic camera back onto itself, bringing the perspective of a third eye to bear on the invention of the primitive other, Rony reveals the collaboration of anthropology and popular culture in Western constructions of race, gender, nation, and empire.

Native Americans have thrown themselves into filmmaking since the mid-1970s, producing hundreds of films and videos, and their body of work has had great impact on Native cultures and filmmaking itself. Wiping the War Paint off the Lens traces the history of Native experiences as subjects, actors, and creators, and develops a critical framework for approaching Native work. Singer positions Native media as part of a larger struggle for cultural sovereignty--the right to maintain and protect cultures and traditions.

Brahim, enfant, a perdu son sourire : à peine arrivé de sa Kabylie natale, ensanglantée par la guerre, il a vu tomber au quartier Latin l'un de ses frères, lors de la manifestation du 17 octobre 1961. En grandissant, il prend conscience, avec ses copains de la cité-béton, des dures réalités de l'émigration.

Assia Djebar L'Amour, la fantasia Nous glissons du passé lointain au passé proche, de la troisième personne à la première ; extraordinaire évocation du père, instituteur de français, de la mère, des cousines, des femmes cloîtrées vives et dont le cri et l'amour nous poursuivent.
Assia Djebar, sans conteste la plus grande romancière du Maghreb, nous donne ici son oeuvre la plus aboutie.

From the beginnings of the slave trade through colonization, the struggle for independence, Mobutu's brutal three decades of rule, and the civil war that has raged from 1996 to the present day, Congo: The Epic History of a People traces the history of one of the most devastated nations in the world.

Situated at the crossroads of queer theory and postcolonial studies, Hybrid Anxieties analyzes the intertwined and composite aspects of identities and textual forms in the wake of the French-Algerian War (1954–1962). C. L. Quinan argues that the war precipitated a dynamic in which a contestation of hegemonic masculinity occurred alongside a production of queer modes of subjectivity, embodiment, and memory that subvert norms.

De 1954 à 1962, plus d’un million et demi de jeunes Français sont partis faire leur service militaire en Algérie. Mais ils ont été plongés dans une guerre qui ne disait pas son nom. Depuis lors, les anciens d’Algérie sont réputés n’avoir pas parlé de leur expérience au sein de leur famille. Le silence continuerait à hanter ces hommes et leurs proches. En historienne, Raphaëlle Branche a voulu mettre cette vision à l’épreuve des décennies écoulées depuis le conflit.

Colonial Trauma is a path-breaking account of the psychosocial effects of colonial domination. Following the work of Frantz Fanon, Lazali draws on historical materials as well as her own clinical experience as a psychoanalyst to shed new light on the ways in which the history of colonization leaves its traces on contemporary postcolonial selves. Lazali found that many of her patients experienced difficulties that can only be explained as the effects of “colonial trauma” dating from the French colonization of Algeria and the postcolonial period.

Frantz Fanon's psychiatric career was crucial to his thinking as an anti-colonialist writer and activist. Much of his iconic work was shaped by his experiences working in hospitals in France, Algeria and Tunisia. The writing collected here was written from 1951 to 1960 in tandem with his political work and reveals much about how Fanon's thought developed, showing that, for him, psychiatry was part of a much wider socio-political struggle.

Alger, 1956. Jeune ouvrier communiste anticolonialiste rallié au FLN, Fernand Iveton a déposé dans son usine une bombe qui n'a jamais explosé. Pour cet acte symbolique sans victime, il est exécuté le 11 février 1957, et restera dans l'Histoire comme le seul Européen guillotiné de la guerre d'Algérie. Ce roman brûlant d'admiration, tendu par la nécessité de la justice et cinglant comme une sentence, lui rend hommage.