201 Midterm

In her essay on "Nice Coloured Girls and the Decolonial Gaze," Jennifer Gauthier argues that Nice Coloured Girls

takes the perspective of the women as the active subjects of the film.

In Tracey Moffatt’s revolutionary strategy, she turns the whole history of colonialism on its head, or in Barry Barclay’s words

puts the camera "on the shore."

In Cynthia Baron's essay on Tracey Moffatt's and "Mr. Chuck," the director

shows the haunting effect that white commercial cinema has had on Australian Aboriginal children.

For Wendy Larson, Raise the Red Lantern represents Fifth Generation filmmaker Zhang Yimou and his desire to

critique the traditions of China

According to Wendy Larson, Fifth Generation filmmakers refers to

the fifth class of students graduating from the Beijing Film Academy.

In Jacqueline Loeb's essay on the use of sound in Raise the Red Lantern, she contends that Songlian's discovery of Third Mistress' body is effectively and chillingly communicated by

her scream

In her essay on "Cléo from 5 to 7," Sandy Flitterman-Lewis argues that Cléo becomes transformed into

an active social participant, she appropriates the gaze for herself in a new appreciation of others in the world around her.

In their manifesto, "Towards a Third Cinema," Fernando Solanas and Octavio Getino argue that

a decolonization of culture entails a rejection of traditional and commercial filmmaking and embraces the use of film to serve ideological and revolutionary goals.

Sohail Daulatzai, in his analysis of the many afterlives of "Battle of Algiers," discusses how the film is based on

the memoirs of Saadi Yacef, who played a major role as a revolutionary in the National Liberation Front during the Algerian War.

According to Frank Ukadike, Ousmane Sembene's first film, "Borom Sarret," encourages audiences to

participate in the experiences of the wagoner and see from his flawed perspective the problems afflicting postcolonial Senegalese society.

In Rachel Langford's essay on "Black Girl," she contends that

the black and white design of Madame and Monsieur's apartment is evocative of a prison.