Whose Voice? Whose Film?

Steven Ungar’s film historical research examines one of Jean Rouch’s early work (Moi, un noir) in a new approach. And yet postcolonial interpretational framework is not a posteriorly projected theory but rather a radical way of searching new priorities in the reception of the film. Ungar points out an antagonism in the filmmakers’ approaches and practices of the period: representational politics and their criticism can coexist in the oeuvre of the same author.