From Spectral Africa to the Ventriloquist Object: Journeys of Mobility in Dakar - Djibouti, 1931. Le butin du musée de l’Homme and L’Afrique fantôme (2020) (English version)
Marc Petitjean’s film, Dakar – Djibouti, 1931. Le butin du musée de l’Homme and L’Afrique fantôme, a travelogue by Michel Leiris, offer a fascinating itinerary on the subject of mobility in a colonial context. This article explores the forms of vehicular mobility that obey the modernist principle of...
Kaydedildi:
| Yayımlandı: | URI:https://journals.openedition.org/transtexts, |
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| Yazar: | |
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Anglais |
| Baskı/Yayın Bilgisi: |
Transtext(e)s Transcultures
2023
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| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Özet: | Marc Petitjean’s film, Dakar – Djibouti, 1931. Le butin du musée de l’Homme and L’Afrique fantôme, a travelogue by Michel Leiris, offer a fascinating itinerary on the subject of mobility in a colonial context. This article explores the forms of vehicular mobility that obey the modernist principle of velocity and the cartography of the territory covered. Indeed, the mission Dakar-Djibouti is an ambitious ethnographic project that sets itself the task of crossing the African continent in Ford vehicles over eighteen months. This enhancement of mechanical omnipotence was accompanied by the theft of sacred objects (the Boli), later integrated into the Africanist collection of the Musée de l'Homme. This article studies the intermedial dynamics between Petitjean’s film and Leiris’s story, the counter-investigation device that the filmmaker films to restore sacred objects in a context of museum restitution France seems to be offering through a speech delivered by President Macron in 2017. |
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