Page 189 - Cultural Studies A Practical Introduction

Transnationality, Globalization, and Postcoloniality 173

political, economic, military, and cultural influence of the former colonial
powers.
If one of the main aspects of colonialism and globalization is that they
attempt to impose a uniform ideology of progress, development, and civi-
lization, then one of the most important aspects of cultural studies is to
engage with alternative, postcolonial “ ways of knowing. ” For example, at
the beginning of the twentieth century, the writings, music, and visual art
produced by African Americans in the US were not recognized for their
contribution to national culture. Their so - called race books were not
taught at schools and universities and were not widely accepted for their
value in the study of society until later in the second part of the twentieth
century.
The postcolonial approach in cultural studies acknowledges the power
of such cultural exclusion and its lingering effects on cultures worldwide.
To colonize is to deprive of land and resources, but also to control the
representation of that experience. For example, most popular fi lms about
France after World War II did not engage with France ’ s colonial history.

In 1966, Senegalese filmmaker Ousemane Sembene released Black Girl
( La Noire de … ) as an attempt to correct this blindness. Shot in black and

white, in the minimalist style of the French New Wave, the film told the
story of a French family through the eyes of their Senegalese maid, Diouana.
Diouana is excited to leave Senegal and its poverty to pursue a better life
in France. Employed to be a nanny by the French middle - class couple, she

finds herself to be working as their housemaid. However, she soon learns
that her job requires her not only to clean and cook for the white couple.
She is also hired to “ perform Africa ” for them. In the course of the fi lm,

the flat on the French Riviera where the French couple reside with their
maid becomes a space where the colonial power structure is reenacted
daily. Diouana, along with the couples ’ collection of African masks, is just
another trophy of their neocolonial conquest. In the end, unable to come
to terms with her new imprisonment, she commits suicide.

In the film, Sembene used a dual - narrative structure. Throughout, the

viewers listen to two conflicting narrations: the couple ’ s discussions of
Africa and colonialism that always ignore and silence Diouana, and

Diouana ’ s internal monologue. By stifling the voices of postcolonial people,
and especially of postcolonial women, Sembene argues, the French were
able to retain most of their colonial control. Instead, Sembene allowed
Diouana ’ s voice to truly take over, and frame the story of one average
French family in the context of postcolonial struggle. His film gave voice