Crime, the city and the Congo: Family, race and the urban in recent Belgian cinema.
Pieter Van Hees's Waste Land (2014) situates Belgian national anxiety in the country's White supremacist past and present, both of which milieux are shared by its language communities. The film suggests, perhaps in spite of itself, that the claim by Brussels to be a centre of power is ethnically, as...
| Publicado en: | Journal of European Popular Culture Vol. 15; no. 1; pp. 21 - 35 |
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| Formato: | Artículo |
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Intellect Ltd.
Apr2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=178562453&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 178562453 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20406134 90BD jtl: Journal of European Popular Culture issn: 20406134 maglogo: N pubinfo: dt: Apr2024 vid: 15 iid: 1 pid: 12270 pub: Intellect Ltd. artinfo: ui: 178562453 10.1386/jepc_00065_1 ppf: 21 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 352KB tig: atl: Crime, the city and the Congo: Family, race and the urban in recent Belgian cinema. aug: au: Hartford, Jason affil: University of Dundee su: Waste lands History of colonies Black women Black feminists Families Crime Brussels (Belgium) sug: subj: Brussels (Belgium) Waste lands History of colonies Black women Black feminists Families Crime keyword: Belgian cinema black feminist Brussels colonialism Flemish neo-noir Waste Land ab: Pieter Van Hees's Waste Land (2014) situates Belgian national anxiety in the country's White supremacist past and present, both of which milieux are shared by its language communities. The film suggests, perhaps in spite of itself, that the claim by Brussels to be a centre of power is ethnically, as well as ethically, problematic. It breaks a taboo in confronting Belgium's colonial past, on the eve of the 150th anniversary of Leopold II's accession (1865). Yet, it ultimately reproduces the economy of the racialized system it tries to critique, becoming particularly problematic from the point of view of Black women. The ineffability of spatial spectacle would betray the way in which its protagonist's narrative is 'mapped' onto the space of Brussels, with the character's breakdown – hence, a failed attempt at constructing his own narrative, at mapping his life in Brussels – bearing further unintentional testimony to the city's abject history beneath it. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of European Popular Culture is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of European Popular Culture holder: Intellect Ltd. dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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