Abstract
Invoking the past in film is a political gesture because it suggests new interpretations of historical events. French Caribbean director Christian Lara portrays the Guadeloupean rebellion of 1803 in two of his films. In his own words, he builds “a historical fresco” of the events, abounding with frequent changes of scenery, elaborate period costumes, and a wide range of minor and major characters through which he exposes France’s colonial wrongdoings. He further questions present French involvement in Guadeloupe. My aim in this paper is to demonstrate that his cinematic efforts, though criticized for their theatricality, underscore an urgency to correct and confirm the islands’ distinctive and inspiring local history.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Imaginations: Journal of Cross-Cultural Image Studies
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
