This article analyses patterns of what I will call de-colonial gazing in Slanted Kisses (1962): a short film directed by two European settlers, in and around Algiers, during the Algerian War (1954–1962). As a means of departure, I identify two types of de-colonial gaze that I argue are crucial to the politics of Slanted Kisses: ‘the amorous gaze’ (linked to a desire to forget about conflict, and to retreat into Eurocentric solitude); and ‘the panoramic gaze’ (linked to a desire to control the colonial landscape, transforming it into a visual spectacle). In the third section of the article, I then examine the allegorical imaginary at play in Slanted Kisses – anchored in visual idioms of light and darkness – before concluding with some thoughts on how this allegory functions in relation to the history of decolonization in Algeria.

本文分析了我将在《Slanted Kisses 》 （1962 年）中称为非殖民凝视的模式：一部由阿尔及尔战争期间（1954-1962 年）期间阿尔及尔及其周边地区的两名欧洲定居者执导的短片。作为一种出发方式，我确定了两种类型的非殖民凝视，我认为它们对倾斜之吻的政治至关重要：“多情凝视”（与忘记冲突和退回以欧洲为中心的孤独的愿望有关）；和“全景凝视”（与控制殖民景观的愿望相关，将其转变为视觉奇观）。然后在文章的第三部分，我研究了《倾斜的吻》中的寓言想象——以光明与黑暗的视觉习语为基础——在结束对这个寓言如何与阿尔及利亚的非殖民化历史相关的一些想法之前。