Hamid Naficy discusses the interstitial mode of production. Where does this stand in relation to other modes of production? How does the interstitial mode of production manifest itself in the style and content of its films? Filmmakers working in this mode faced some of the same challenges that independent filmmakers in the United States faced in the late 1980s and 1990s. In what ways are emergent national cinemas similar or dissimilar to the independent film movement?
The films we watched from emerging national cinemas tended to have simple or minimal narratives. Many of the characters and places can be seen as allegories for larger concepts. To what extent are the filmmakers of these movements more concerned with portraying general situations that their people went through, as opposed to telling a specific story about specific characters? Much of the content in the films coming out of emergent cinemas is subversive. Do these cinemas, like Godard’s counter-cinema, also subvert mainstream techniques?
In the article entitled “The National”, Paul Willemen argues that by isolating individual cultures within a certain area through “multicultural” tendencies, “the host culture conspires with the conservative upholders of an imagined ‘ethnicity’ to draw lines around those ‘other’ cultural practices, ghettoizing them.” Is this the case within Sembene’s The Camp at Thiaroye? Or does this film represent a break from this position of otherness? Is the film solely defined by its relation to French colonialism? Does the fact that this film was produced by three separate nations (Senegal, Algeria, and Tunisia) all under French rule continue to ghettoize these peoples as cultural others or is there a collective strength represented here against colonialism in this collaboration?
In Rey Chow’ article, Fredric Jameson is quoted as writing that, “all third world texts are necessarily to be read as national allegories.” Does this hold true in terms of the films that we watched this week? In what way can these films be read as national allegories? Is it possible for these films to be interpreted in other ways outside of this scope? Is it possible for any “third world cinema” to be understood as simply a film within itself as opposed to having some deeper national connection? Why aren’t western films to be seen as national allegories?