As a film-maker who likes to transgress ideas of what is commonly expected from a black female artist to be making, British-Nigerian director Ngozi Onwurah has shown a particular interest in the various expressions of violence throughout her filmography. Her first feature film, Welcome II the Terrordome (1994), specifically grapples with themes of violence, memory, reincarnation and embodiment. The film follows the story of the McBride family : first as slaves, as the filmmaker evokes an ancient Igbo legend, and in their reincarnated life in the ghetto of Transdean, better known as the ‘Terrordome’. More than twenty years after its release, I will question Welcome II the Terrordome’s representations of violence through the ideas of postcolonial theorists Frantz Fanon and Achille Mbembe.

中文翻译：

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后殖民贫民区的暴力：恩戈兹·翁乌拉的《欢迎II 恐怖穹顶》（1994）

作为一名喜欢打破通常对黑人女性艺术家的创作理念的电影制片人，英籍尼日利亚籍导演恩戈齐·翁乌拉 (Ngozi Onwurah) 在她的电影作品中对各种暴力表达方式表现出特别的兴趣。她的第一部故事片《欢迎 II 恐怖穹顶》（1994 年）特别关注暴力、记忆、轮回和化身等主题。这部电影讲述了麦克布赖德家族的故事：首先是作为奴隶，电影制片人唤起了古老的伊博传说，然后在他们转世的生活中转世在 Transdean 贫民窟，更为人所知的是“恐怖穹顶”。在它发布二十多年后，我将通过后殖民理论家弗朗茨·法农和阿基尔·姆本贝的思想来质疑欢迎 II 恐怖穹顶对暴力的描述。