Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix
My article examines the ways in which colonial history intersects with manifestations of subjective and narrative memory in the present. I discuss two Netflix original series to trace the development of contemporary responses to intergenerational, intersectional trauma. Hugo Blick’s Black Earth Risi...
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| Udgivet i: | URI:https://journals.openedition.org/map, |
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| Format: | Article ou chapitre numérique |
| Sprog: | Anglais |
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Mise au point
2023
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:map_5960 |
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openedition |
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openedition-oai:revues.org:map_5960 https://doi.org/10.4000/map.5960 urn:doi:10.4000/map.5960 en https://journals.openedition.org/map/5960 2023-02-07T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/i3p8 https://creativecommons.org/licenses/by-nc-nd/4.0/ Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix Mise au point Association française des enseignants et chercheurs en cinéma et audiovisuel info:eu-repo/semantics/reference/issn/2261-9623 URI:https://journals.openedition.org/map Peters-Hill, Rosemary colonialisme Netflix streaming traumatisme collectif intergénérationnel Rwanda Sénégal Arsène Lupin colonialism Netflix streaming intergenerational trauma collective trauma Rwanda Senegal Arsène Lupin My article examines the ways in which colonial history intersects with manifestations of subjective and narrative memory in the present. I discuss two Netflix original series to trace the development of contemporary responses to intergenerational, intersectional trauma. Hugo Blick’s Black Earth Rising depicts a Rwanda living under the dominion of both external and internal responses to its historical trauma: the corrupt domestic politics of a remade republic confront the power of organizations that erase the details of a past fraught with complexity, while courting a global public’s approval. In Lupin, director George Kay uses the character of Assane Diop to explore the lingering effects of explicitly colonial trauma, and the many-layered ways it continues to play out in racial politics and social divisions – while having recourse to a well-known figure from French popular literature of a different age. Along with a study of the series’ focus on time, memory, and trauma, I address the remaining problematic politics of streaming itself, which – even while claiming to delve into the wrongs wrought by colonial powers upon the developing world – nonetheless prioritizes narratives from the global North in its representation of developing nations, even to the point of limiting those nations’ access to the streaming platforms that claim to offer them global visibility. Dans cet article, j’examine les façons dont l’histoire coloniale croise différentes manifestations de la mémoire subjective et narrative dans le présent. J’aborde deux séries originales de Netflix pour retracer le développement de réponses contemporaines aux traumatismes intergénérationnels et intersectionnels. Black Earth Rising, du réalisateur britannique Hugo Blick, dépeint un Rwanda vivant sous la domination de forces à la fois domestiques et internationales. Le pays essaie de se confronter à son histoire traumatique : la politique intérieure corrompue d’une république reconstruite et le pouvoir d’organisations qui effacent les détails d’un passé lourd de complexité, tout en cherchant à obtenir l’approbation d’un public mondial. Dans Lupin de George Kay, le réalisateur crée le personnage d’Assane Diop pour explorer les effets persistants d’un traumatisme explicitement colonial, ainsi que les multiples manières dont il continue à se manifester à travers les politiques raciales et les divisions sociales – tout en ayant recours à une figure bien connue de la littérature populaire française d’une autre ère. Parallèlement à l’étude du temps, de la mémoire, et du traumatisme représentés dans ces deux séries, je traite de la politique problématique du « streaming ». Même si ce dernier prétend approfondir les torts causés par les puissances coloniales aux pays en voie de développement, le « streaming » donne néanmoins la priorité aux récits du Nord global dans sa représentation des nations en développement, au point de limiter l’accès aux plateformes de streaming qui prétendent leur offrir une visibilité globale. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
colonialisme Netflix streaming traumatisme collectif intergénérationnel Rwanda Sénégal Arsène Lupin colonialism Netflix streaming intergenerational trauma collective trauma Rwanda Senegal Arsène Lupin |
| spellingShingle |
colonialisme Netflix streaming traumatisme collectif intergénérationnel Rwanda Sénégal Arsène Lupin colonialism Netflix streaming intergenerational trauma collective trauma Rwanda Senegal Arsène Lupin Peters-Hill, Rosemary Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix |
| description |
My article examines the ways in which colonial history intersects with manifestations of subjective and narrative memory in the present. I discuss two Netflix original series to trace the development of contemporary responses to intergenerational, intersectional trauma. Hugo Blick’s Black Earth Rising depicts a Rwanda living under the dominion of both external and internal responses to its historical trauma: the corrupt domestic politics of a remade republic confront the power of organizations that erase the details of a past fraught with complexity, while courting a global public’s approval. In Lupin, director George Kay uses the character of Assane Diop to explore the lingering effects of explicitly colonial trauma, and the many-layered ways it continues to play out in racial politics and social divisions – while having recourse to a well-known figure from French popular literature of a different age. Along with a study of the series’ focus on time, memory, and trauma, I address the remaining problematic politics of streaming itself, which – even while claiming to delve into the wrongs wrought by colonial powers upon the developing world – nonetheless prioritizes narratives from the global North in its representation of developing nations, even to the point of limiting those nations’ access to the streaming platforms that claim to offer them global visibility. |
| author |
Peters-Hill, Rosemary |
| author_facet |
Peters-Hill, Rosemary |
| author_sort |
Peters-Hill, Rosemary |
| title |
Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix |
| title_short |
Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix |
| title_full |
Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix |
| title_fullStr |
Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix |
| title_full_unstemmed |
Can the Subaltern Stream?: Trauma, Intersectionality, and Netflix |
| title_sort |
can the subaltern stream?: trauma, intersectionality, and netflix |
| publisher |
Mise au point |
| publishDate |
2023 |
| container_title |
URI:https://journals.openedition.org/map |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/map.5960 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/map/5960 |
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1877292900222500864 |