English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

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.

Gazing, Settler Cinema, and the Algerian War: Slanted Kisses