Empire,Repetition, and Reluctant Subjects: British Home Movies of Kenya, 1928–72

This article examines efforts by a range of British visitors to produce ‘home movies’ or amateur film of Kenya from 1928 to 1972, and attempts by both the British film-makers and Kenyans to navigate and influence this production. By bringing cine-cameras to Kenya to record images to be consumed back in the metropole by family and friends as ‘holiday films’, these British visitors laid bare what a number of historians have identified as the ‘imperial gaze’ that defined both colonial and post-colonial conceptions of Africa. Colonialism’s obsession with ordering and positioning bodies within a projected image of power and control made cinema the perfect vessel for such an exercise, while amateur film, with its often clumsy framing and highly personal interaction between the film-maker and the film subject, grants us unique insight into the sometimes coercive, transactional and forced efforts involved in projecting such an image. The amateur films that sit at the centre of this article, which were produced by British visitors to Kenya both before and after independence, offers us the opportunity to examine the wide range of behaviours of both the film-maker and the filmed which underpinned the production of repetitive imperial image-making in colonial and post-colonial Kenya.     

China in Australia: The Discourses of Changst

Abstract

China matters significantly to contemporary Australia in terms of trade relations, capital movements, education and global order. Australian public discourse on China, however, inhabits two conflicting parallel universes, one a narrative of economic complementarity, the other of fear and anxiety. The spectre of the rise of China haunts Australian society in and among these two spheres: one in which China’s economic rise is to be encouraged as a sign of it joining the capitalist world system, and the other in which China’s ascent is regarded as a threat to be contained. The paper examines this problematic discourse, calling it Changst [China angst], arguing that it is permeated with a developmentalist logic (Chakrabarty, 2000) that misreads China through the homogenising history of both capitalism and Eurocentrism. This reading of China as but a copy of Western capitalism evokes anxiety because its distinctive forms of capital flow disrupt the comforting teleology. Equally, when Chinese society, including its education system, is perceived as not-yet modern, this induces fear of cultural contamination from the outpouring of Chinese international students. The exploration of this anxiety is conducted via six Australian case studies, showing how China’s engagement with Australia produces intense but unwarranted angst.     

The importance of difference in the making of transnationality: biographies and networks of the Benedictine mission in Tanganyika (1922–65)

The Missionary Benedictines of Saint Ottilien were the first Roman Catholic mission house in imperial Germany. During the heyday of European imperialisms, colonialisms and Christian missions the monastic community began its engagement in ‘German East Africa’. To enable and promote its proselytization efforts in the imperial colony until the end of the Great War, the Missionary Benedictines had to respond to shifting political conditions and to rearrange their networks as and when required. This orientation became even more pronounced during the renewal of the Benedictine Mission in the British mandated territory of Tanganyika up until the Second Vatican Council and the political independence of Tanzania. From 1922 to 1965 at least 379 members of the Congregation lived and worked in Tanganyika. Their biographies were closely linked to the complex transboundary system of their religious community. This article will portray them as a highly institutionalized group of transnational actors. It argues that to maintain its activities and organizational structures, the leaders of the Benedictine Mission established a dynamic multi-level network connecting a variety of scales, spaces and actors. To ensure its continued existence under constantly changing conditions they constituted a hierarchic system of difference and diversity.