Abstract
ABSTRACTLe passage du milieu (France, 1999) or The Middle-Passage (US version, 2001) proposes in theoretical and conceptual cinematic language a visual and aural translation of the Creolization process on screen. Drawing on literary and theoretical imageries of the middle passage, Filmmaker Guy Deslauriers and his screenwriters replace plot-driven Western literary and visual constructions of la traite with an abstract and disorienting rumination on the slave trade to situate the film in a tradition of African diasporic discourses and to posit the ship as the first island and the original site of proto-creolization.
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