Ultimately what Gates provides is a part poststructuralist, part postmodernist, and part postcolonialist read of Fanon that surreptitiously serves as a theoretical substitute for the Frantz Fanon who decidedly committed himself to: As a psychoanalyst of culture, as a champion of the wretched of the earth, he is an almost irresistible figure for a criticism that sees itself as both oppositional and postmodern. It may be a matter of judgment whether his writings are rife with contradiction or richly dialectical, polyvocal, and multivalent; they are in any event highly porous, that is, wide open to interpretation, and the readings they elicit are, as a result, of unfailing symptomatic interest:
Franz Fanon is a towering figure in the modern history of thinking about race, human emancipation and democracy in post-colonial states, and radical psychiatric practice.
Born in in Martinique, he died in in the United States, and was buried in Algeria, a country in which he had lived and worked during the anti-colonial war of liberation. Working in unison, each was put to the service of fighting human suffering and racism and to the goal of post-colonial liberation.
His writing on the violence of colonial racism and on the productive role of violence in human emancipation was as controversial when The Wretched of the Earth first appeared in as it is today. Daring to produce a documentary — Concerning Violence: Stressing the value the never-before-seen-ness of the archive seems to once again place Africa in an awkward pre-history, outside of time, and certainly outside of film.
Surely, that occludes so much bravery and sacrifice across the continent? In this sense, the movie is self-reflexively Swedish, re centering the European subject in anti-colonial struggles in Africa. Indeed, you can see this Euro-centric perspective throughout the film.
This is why having Gayatri Spivak introduce the film is such an interesting choice. In many places, the same could be said of this film.
But upon discussing the doc with Erin, I am also left wondering: While it has undoubtedly generated important and reflexive scholarship that challenges the racist myth of European boundedness and homogeneity, the postcolonial turn in Europe has also morphed into either a romanticized, colonial nostalgia in which colonialism is glossed as cosmopolitanism and multiracial conviviality or a redirection of scholarly and popular attention to white Europeans in the context of anti-colonial struggles.
On the other hand, however, one could also view Concerning Violence as a sort of attempt at absolution—an effort to displace contemporary reckonings with racism see: Above and beyond the tinge of Third Worldist nostalgiasomething about the timing and the narrative rhythm felt out of step.
I locate my unease in the treatment of the title concept, violence. Famed postcolonial theorist Gayatri Spivak opens the movie arguing against a reading of Fanon that presents violence as salvational. Though, lest I be accused, as Fanon is and was, of heralding violence as divine ascent, I contend that these images of jungle patrols, feckless missionaries, mangled mothers and persistent fighters, are undoubtedly terrestrial—the provenance of neither angel nor demon.
It is this issue of means and ends that is at the heart of my unease about the temporal rhythm of the film. Particularly in a moment when violence as a means of resistance has been discredited, not necessarily for its ineffectualness, but because it has become the prized possession of powerful states.
Still, I am left pondering: What does self-defense look like amid late-stage racial capitalism and unending wars on terror? Ultimately, I am agitated, exasperated and, yet, profoundly humbled by these images of armed black and brown radicals, poised to make history.
He is the author of numerous articles and books. His research interests include: Her research focuses on U. You can follow her on Twitter BrittanyMeche. Before attending grad school, she worked in South Africa for seven years with land and housing NGOs and social movements.
Her current research interests include Southern Africa, youth politics, generation, memory and migration. Her research addresses the politics of Blackness in Italy, diaspora theory, and postcolonial science and technology studies.
She tweets at camillahawth.The Wretched of the Earth This might be best summarized in Fanon's idea of replacing the 'concept' with the 'muscle'.: “Concerning Violence”, wherein Fanon indicts colonialism and its post-colonial legacies, for which violence is a means of catharsis and liberation from being a colonial subject.
in the s, The Wretched. of. the Earth is Frantz Fanon's manifesto on de Fanon's revolutionary theory warns that the lumpenproletariat, Marx's definition for the lowest levels of society (e.g., ture of contemporary politics in the post-colonial .
Despite Frantz Fanon's and Karl Marx's shared goal of the emancipation of all human beings from oppression, Fanon maintains in his final book, The Wretched of the Earth, that the connection between his theory of colonial identity and Marxist ideology cannot be reduced to a superficial doctrine of class struggles.
Though Fanon resisted an. The Wretched of the Earth ( ), Homi Bhabha states that Fanon’s work pro- Frantz Fanon’s Theory of Racialization Implications for Globalization Nazneen Kane tigate how Fanon theorizes the concept of race, that is, the content of his construct.
I. POST-COLONIAL THEORY. PART TWO: FRANTZ FANON. Black Skin, White Masks and The Wretched of the Earth.
Since the voyages of Columbus, Europeans sought out the territories of the Other, claimed the dark skinned people for slaves, and exploited the resources of those alien “virgin” lands. THE WRETCHED OF THE EARTH by Frantz Fanon Preface by JEAN-PAUL SARTRE These differences are born of colonial history, in other words of oppression.
Here, the mother country is satisfied to keep some feudal rulers in her pay; there, dividing and The Wretched of the Earth.