I conclude that Fanon's description of his identity crisis has a strong resemblance to the five stages of loss.Įxisting leaders just use the same template that colonial rulers employed previously. In this essay, I analyze Black Skin White Masks' fifth chapter, The Lived Experience of the Black Man, by linking it to Elisabeth Kübler-Ross and David Kessler's Five Stages of Loss, a model that describes the different processes of grief over loss and death. In this case, the grief over his loss of identity the way he knew it. His personal and detailed description of the process from realizing that he is different to the point of accepting his difference can be compared to a process of grief. The fifth chapter portrays the transformation of his identity through his meeting with the white man in France, which made him realize that the very fact of his blackness makes him inferior. Through an intimate description of his meeting with the French oppressor, he brings the reader into a journey of his experience as a black man, and draws a picture over the feeling of dehumanization, humiliation and identity crisis. In the fifth chapter of his book Black Skin White Masks, Fanon describes the relationship between the colonizer and colonized, and the psychological impact of colonization on the colonized. While the first is rather based on ideas from Fanon’s The Wretched of the Earth (1961), the latter is more concerned with issues addressed in Black Skin, White Masks (1952).ĭuring his short life, Frantz Fanon was engaged in questions about psychiatry, philosophy, race and colonization, and through his experience as a practicing psychiatrist, political activist and author, he wrote two major works, Black Skin White Masks (1952) and The Wretched of the Earth (1963), which have been largely influential in the field of Postcolonial studies. Both Fanon’s and Third Cinema’s conventions are dealt with in partly very different ways in The Battle of Algiers and Frantz Fanon: Black Skin, White Mask. Regarding Fanon I have chosen the topics ‘white mask’, the Islamic veil and violence in anti-colonial struggle as categories for my film analysis. The conventions of Third Cinema I am referring to are its anti- oppressive worldview and non-hermetic structure, which is expressed through a dialogical relationship with the spectator who is included in the work of demystification and deconstruction. My selection of these films is based on my definition of Third Cinema, which does not reduce it to a mere historical epoch but rather as an ongoing phenomenon, still applied by filmmakers in themes, politics as well as aesthetics. Isaac Julien) as a contemporary variation of Third Cinema. Gillo Pontecorvo) as a film from Third Cinema’s first wave and Frantz Fanon: Black Skin, White Mask (UK 1996, dir. For my comparative film analysis I chose The Battle of Algiers (DZ/I 1966, dir. In my essay I want to explore the characteristics and formations of both, and show the different ways in which they are reflected in the films that were made under their influence. Frantz Fanon’s theory was a part of Third Cinema right from the time of its foundation in the 1960s.
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