Making Settler Cinemas: Film and Colonial Encounters in the by P. Limbrick

By P. Limbrick

Via a clever research of the historic event of imperialism and settler colonialism, Limbrick attracts new conclusions approximately their influence on cinematic creation, distribution, reception and filmic discourse.

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Additional info for Making Settler Cinemas: Film and Colonial Encounters in the United States, Australia, and New Zealand

Sample text

Ford is, of course, prominent in the canon of American “auteurs”; indeed, he is one of the figures who anchored la politique des auteurs as it was first proposed in France. S. culture. I, therefore, draw him into a conversation 18 Making Settler Cinemas that begins in chapter one with Merian C. Cooper. Cooper, primarily a producer rather than director, is best known for his collaboration with Ernest B. Schoedsack on King Kong (1933). But his work before that, notably The Four Feathers, and his later collaborations with Ford in Argosy Pictures, the production company they formed together, offer a rich illustration of the way in which settler societies have produced figures who, in their public personas and in the work they produce, mediate the histories of imperial conquest and settler anxieties.

18 What is particularly interesting in the case of Cooper, however, is how the performance of a certain kind of white masculinity in fact exceeds the bounds of settler identifications and becomes 38 Making Settler Cinemas performatively imperial in its scope and ambitions. That is, rather than embrace only the resourceful, canny, pioneering masculinity of a Longstocking or similar American frontier hero, what Cooper appeared to be drawn to is the “Biggles” hero of imperial British literature. E.

Cooper and Schoedsack’s history of colonial travel and ethnographic film production, their encounters with African locations and peoples in shooting for The Four Feathers, their staging of scenes within the California desert, and the performance of imperial masculinities embedded in extratextual images like the one above, all constitute a web of settler colonial encounters. Those encounters situate the film in active dialogue with other settler discourses on empire, landscape, and culture. That is, they combine to mark The Four Feathers as particularly illuminating example of the transnational settler discursivity that is the focus of this book.

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