Lies propagated at the national level were an important tool of colonial exploitation. If France was enforcing a race-based segregation in the colony of Algeria, similar practices within France were leading to the violent subjugation of people of Algerian origins. In Michael Haneke's Caché (2005), a film about France's official denial of colonial crimes of the Algerian War, the presence of multiple cameras reminds us that colonial truth is perspectival. Spatial analyses reveal Georges Laurent participating in a colonial psychosis that produces Majid as the orphaned product of France's war on Algeria. The space between the viewer and the film performatively reminds us that just as the colonizer and the colonized form a mutually inflecting relation, we, too, shall forever remain implicated in the subject of our gaze.

在国家层面传播的谎言是殖民剥削的重要工具。如果法国在阿尔及利亚殖民地实施基于种族的隔离，那么法国国内的类似做法正在导致对阿尔及利亚血统的人的暴力征服。在迈克尔·哈内克 (Michael Haneke) 的 Caché (2005) 这部关于法国官方否认阿尔及利亚战争中的殖民罪行的电影中，多台摄像机的存在提醒我们，殖民真相是透视图。空间分析显示乔治·洛朗参与了一种殖民精神病，这种精神病使马吉德成为法国对阿尔及利亚战争的孤儿。观众和电影之间的空间表演性地提醒我们，正如殖民者和被殖民者形成一种相互影响的关系一样，我们也将永远与我们凝视的主题有关。