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- W2328200422 abstract "Trader Horn (W. S. Van Dyke, 1931) has a significant place in film history because it was the first talkie filmed in Africa, and because its excess location footage provided the basis for the Tarzan franchise. This essay argues that Trader Horn has significance for film theory as well, providing a particularly revealing example of how a film's colonial ‘labour problem’ – the fact that it was made possible by black colonial labour, but needs to conceal that fact – shapes both its production and its narrative. In terms of production, the filmmakers masked the difficulties of recording sound on location with a supplementary ‘racially-synched’ sound regime, covering disjunctions of image and sound quality between shots with an ‘African’ sound that relies on the audience's ideological assumption of Africa as uniting body, place and sound. In terms of narrative, Trader Horn is notable for representing of the love between African middleman and white master as peculiarly ambivalent, continually gesturing towards the violent coercion it seeks to mask. Ultimately, Trader Horn can help us understand how later colonial films represent the black body's function in the process of ‘remembering and denying’ the labouring body under capitalism." @default.
- W2328200422 created "2016-06-24" @default.
- W2328200422 creator A5081050321 @default.
- W2328200422 date "2013-12-01" @default.
- W2328200422 modified "2023-10-18" @default.
- W2328200422 title "Kicking black images: absent violence, unsynchronized sound and the problem of colonial labour in Trader Horn" @default.
- W2328200422 doi "https://doi.org/10.1093/screen/hjt040" @default.
- W2328200422 hasPublicationYear "2013" @default.
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