Abstract:

On June 22, 1958, Gomis Diouana, a young Senegalese woman who followed her colonial employers to France to work in their household, committed suicide. If it were not for Ousmane Sembene, her tragedy would have sunk into obscurity, its only public record being a short article in the faits-divers section of Nice-Matin two days later. But encountering this woman's tragic fate inspired Sembene to write a short story that he then adapted to the screen, La noire de…. In this 1966 film, the young Senegalese protagonist's tragedy unfolds through a series of close-up shots showing Diouana's emotional states. Frequently, the camera closes in on Diouana's face while her eyes look away. Contrasting these close-ups with those of other characters who look intently at the camera and with the post-Holocaust look-to-camera shot, I argue that a new form of cinematic testimony emerges in response to the suffering of colonialism, namely a screening of the unwitnessed. Informed by Michael Rothberg's notion of multidirectionality, my investigation of the cinematic and historical context of the film places the trauma of colonialism present in La noire de… in dialogue with the contemporaneously circulating memories of the Holocaust and their influence on cinema and society. Beyond exposing the severity and continuity of colonial suffering, the juxtaposition of these close-up shots points to a contributing cause: the absence of any public willing to receive the testimony of colonial injustice.

摘要：

1958年6月22日，一名年轻的塞内加尔妇女Gomis Diouana跟随她的殖民雇主到法国打工，自杀了。如果不是因为奥斯曼·辛贝尼（Ousmane Sembene），她的悲剧将变得晦涩难懂，其唯一的公开记录是两天后在尼斯·马廷（Nice-Matin）的跳蚤-潜水员区中的一篇短文。但是遇到这位女人的悲惨命运，Sembene创作了一个短篇小说，然后改编成银幕，《La noire de ...。在这部1966年的电影中，这位年轻的塞内加尔主角的悲剧通过一系列特写镜头展现了迪亚瓦纳的情绪状态，展现了他们的悲剧。通常，相机在Diouana的脸上注视时闭上眼睛。我将这些特写镜头与专心注视镜头的其他角色的镜头以及大屠杀后的镜头照相对照，我认为，针对殖民主义的苦难，一种新的电影见证形式应运而生，即放映目击者 在迈克尔·罗斯伯格（Michael Rothberg）的多向性概念的启发下，我对电影的电影和历史情境的调查发现了拉诺瓦德·黑尔（La Noire de ...与当代流传的大屠杀记忆及其对电影和社会的影响进行对话。除了揭露殖民地苦难的严重性和连续性之外，这些特写镜头的并列还指出了一个促成原因：没有任何公众愿意接受殖民地不公正的证词。