Postcolonial theory has hardly been a defining paradigm in the field of film studies. Postcolonial theory originally emerged from comparative literature departments and film from film and media studies departments, and despite the many intersections postcolonial theory has not been explicitly foregrounded. However, there are more similarities and natural points of intersections between the two areas than it would at first appear. For example, both postcolonial theory and film studies emerged at the end of the 1970s with the development of semiotic theory and poststructuralist thought. Both areas engage intensively with the field of representation, implying the ways in which a language, be it cinematic or otherwise, manages to convey reality as “mediated” and “discursive,” and therefore influenced by power relations. An example could be the notion of the gendered gaze by Laura Mulvey and her concept of looked-at-ness and how it also applies to the screening and representation of black and colonized bodies in films, which bell hooks later theorized as black looks, to which she proposed the response of an oppositional gaze. Despite their different genealogies, it is therefore not only very natural but also necessary to combine postcolonial theory and film in order to unearth how the visual field is inherently hegemonizing and hierarchical and therefore in need of critical appraisal and a deconstructive take, such as postcolonial theory. Postcolonial theory has critically contributed to revisiting the representation of the Other, addressing long-standing tropes and stereotypes about cultural difference and racial otherness. This implies new interventions on how visual representations are implicated in the policing of boundaries between East and West, between Europe and the Rest, the self and the other, undoing or rethinking the ways in which the visual field conveys operation of a mastery that needs to be undone and decoded. For example, empire cinema contributed to specific ways of seeing, making films that legitimated the domination of colonies by the colonial powers. Colonial images of gender, race, and class carried ideological connotations that confirmed imperial epistemologies and racial taxonomies, depicting natives, in documentary or fictional films, as savages, primitive, and outside modernity. More recent cinema genres such as border cinema, transnational cinema, accented cinema, haptic cinema, migrant cinema, diasporic cinema, and world cinema can be considered affiliated with the postcolonial paradigm as they all embrace ethnic, immigrant, hyphenated counter-narratives. Yet the field of postcolonial cinema studies, which relates postcolonial theory to film, is a false friend to all these categories as it connects with but also departs from the projects they name in order to pursue the tense power asymmetries generated by the legacies of conquest and colonialism.
Interview with Kevin Brownlow on the Making of Winstanley