In the Fall, I’m thinking of tailoring HUM303: History and Culture to focus on novel-to-film adaptations and including a section on glamour and the film crush. An obvious candidate would be Mary Shelley’s Frankenstein and The Bride of Frankenstein starring Elsa Lanchester.
Honoré de Balzac, Père Goriot (France 1834) 978-0199538751
John Dos Passos, 1919 (US 1932) 9780618056828
Mary Shelley, Frankenstein (UK 1818) 978-0143131847
Fiston Mwanza Mujila, Tram 83 (Congo 2015) 978-1941920046
Focus on the basics of film analysis and the defining qualities of German Expressionist Cinema. There will, of course, be some stylistic variations between the different directors Roberts discusses.
Revisit the paper prompts and our readings on the gothic. These will likely help you to forge links between otherwise disparate concepts and texts.
Did you read chapter 4 of DOC? What’s the difference between colonialism and neocolonialism?
Sorry, this isn’t a very elegant review. I’ll add further details as time permits.
A bronzed and Brylcreemed Victor Mature plays Ken Duffield, an American soldier turned white hunter, in this turgid colonial romance that also stars a benzedrine-thin Janet Leigh as a former showgirl on holiday with her pompous billionaire fiancé.
When the dreaded Mau-Mau horribly butcher his wife and son with the aid of one of his Kikuyu “house boys,” Jeroge (Bermuda-born actor Earl Cameron), Ken vows to avenge them. He escorts Linda Latham (Leigh) and the increasingly erratic and demanding Sir Vincent Brampton on safari, intending to use the hunting expedition to locate his nemesis and kill as many Mau-Mau as possible.
Also features Zanzibari child actor Juma as Odongo, a tagalong scamp prone to bouts of loud, forced laughter.
There are a number of British Pathé newsreels about the Mau Mau uprising available online and they’re worth screening in part because they evince clear parallels with our own moment.
It’s strange to see Dirk Bogarde– generally more well-known for the films he did with Harold Pinter and Joseph Losey or even The Night Porter— in this late imperial romance. Though there’s room here for a soft liberal critique of British colonialism in Africa– Bogarde’s Alan Howard is poisoned by his hatred of all black Kenyans in the aftermath of his brother’s murder by the Mau-Mau– the film argues for a kind of enlightened paternalism. There were a whole string of films devoted to this version of the Empire as an ultimately beneficent if sporadically violent enterprise (Zulu, Something of Value, etc.) during the era of decolonization.
Most of these images were made by George Rodger, who also documented the liberation of Bergen-Belsen. What would they look like if they were made by Black Kenyans?