Cinema, the Settler
2. Homology and Surrogacy
Zionism is a settler colonial project, but not only that. It combines the image of the refugee with the image of the soldier, the powerless with the powerful, the victim with the victimizer, the colonizer with the colonized, a settler project and a national project at the same time. The Europeans see the back of the Jewish refugee fleeing for his life. The Palestinian sees the face of the settler colonialist taking over his land.
3. Resurgence and Fragmentation
Our taverns and our metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung debris, we calmly and adventurously go travelling.(cited in Russell 2002, p. 557)
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For a definition of classic cinema during ‘mid-twentieth-century modernity, roughly from the 1920s to the 1950s, a definition that focuses on Hollywood and on a specifically modernist mode of mass producing and mass consuming: see, for example, (Bratu Hansen 2009, pp. 242–58).
A parallax shift identifies the ostensible movement of an object when it is seen from different perspectives. Žižek postulates that the different viewing positions are incommensurable, and that discursive separation can be understood as a parallax ‘gap’: two closely linked perspectives between which no neutral common ground is possible’ (Žižek 2006, p. 4). He dialectically argues, however, that a synthesis can be achieved through a parallax ‘shift’. Byrd dismisses this dialectics.
See, for example, Indigenous filmmaker Sky Hopinka’s antisettler cinematography, a subversion of ‘photography and cinema’s historical complicities with settler colonialism’, and a ‘filmmaking practice’ that’ undisciplines vision as it has been constructed and sustained by settler visual regimes’ (see Flores Ruíz 2022).
See www.johnwaynebirthplace.museum (accessed on 5 June 2022).
Other instances of resurgent Indigenous filmmaking include Wild Indian (2021), created by Chippewa director Lyle Mitchell Corbine Jr., and APTN’s Mohawk Girls (2010–2017). On Waititi’s Indigenous cinematography, for example, see (Ripeka Mercier 2007).
On surveillance capitalism and the moving image, on the settler coloniality of appropriating data about human behaviour, see (Gustafsson 2022).
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Veracini, L. Cinema, the Settler. Humanities 2023, 12, 40. https://doi.org/10.3390/h12030040
Veracini L. Cinema, the Settler. Humanities. 2023; 12(3):40. https://doi.org/10.3390/h12030040Chicago/Turabian Style
Veracini, Lorenzo. 2023. "Cinema, the Settler" Humanities 12, no. 3: 40. https://doi.org/10.3390/h12030040