Brain Gain 8 - Med Hondo's Documentary Disruptions in Soleil Ô

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Documentary Disruptions: Med Hondo's Soleil Ô and African

Cinematic Representation

Introduction Film genres, as commonly understood, function as categorical tools to classify movies based on their style and narrative. They serve as navigational aids for viewers, but also as descriptive frameworks for filmmakers, offering predefined sets of conventions and codes. Yet, as culture industries expand globally and cultural boundaries blur, the study of how genres traverse global landscapes becomes increasingly pivotal in understanding cinematic interpretations. These genres, with their archetypal elements, not only define sameness but also difference, offering the chance for creative divergence in the hands of filmmakers (Berry-Flint 2003). Within African cinema, Patrick Williams (2014) posits the potential for films to symbolize a cultural battleground, reflecting political and ideological struggles. In this context, Med Hondo's Soleil Ô (1968) emerges as a cornerstone of Africa's cinematic self-representation. Rooted in Hondo's pursuit of a 'cinema of rupture,' Soleil Ô stands not merely as a film but as a cry for his own, and, African self-expression and -representation amid the cinematic landscape (“World Cinema Project” n.d.). Hondo's foray into filmmaking transcends mere creativity; it stands as a profound act of personal therapy in the face of disruptions faced by Africans in France (Williams 2014). He insists on an authentic portrayal of Africans, shunning mimicry in favor of an original, unadulterated cinematic expression (Harvard Film Archive 2023). Embarking on a genre-oriented analysis of Soleil Ô — tagged as a drama but implementing stylistic elements of both fiction and documentary (Sanogo 2015) — allows an exploration into whether and how Hondo's envisioned self-representation transcends conventional genre boundaries. In this essay, I zoom in on the documentary scenes within Soleil Ô, probing Hondo's intentional play with documentary conventions to portray the historical and experiential facets of African identity. I argue, that through subjunctive imaging, theatrical performances, and cinéma vérité, Hondo masterfully spotlights the postcolonial African experience in France. To examine Med Hondo’s goal of an original and non-copying cinematic expression through the implementation of documentary elements in Soleil Ô, I will analyse three major scenes; The opening animation of history scene, The crosses and marching scene, and The public interracial love scene. In order to research to what extent these scenes communicate an authentic African representation, I will conduct a genre-oriented analysis, focusing on the use or subversion of typical documentary conventions. Especially since the authenticity of what is considered 'documentary' evolves over time (Ellis 2021). My analysis of the scenes is based upon the idea that not only genre conventions, but also the play with the specific codes, make it possible to communicate meaning (Berry-Flint 2003). The opening animation of history scene The depiction of the encounter between an African king and European colonizers introduces a subjunctive imagery (refering to visual representations that depict scenarios or events not as factual realities, but rather as conditional, possible, or emotionally nuanced interpretations) that not only reimagines historical events but also challenges conventional documentary norms. Soleil Ô opens by depicting a significant historical moment: the initial encounter between Africa and Europe during the colonial era. In this portrayal, an African king is situated at the center of the frame, surrounded by his people. Meanwhile, as the credits appear, a group of Europeans approaches the king, embodied by two individuals wearing the iconic colonial helmets (Fig. 1A-B). They engage in a whispered conversation with the king, then assert dominance by placing their elbows on his, symbolizing a shift in power dynamics (Fig. 1C). As these visuals unfold, the voiceover narration highlights the African inverse experience — the arrival of African migrants in the colonial capital. The narration expresses, ‘It is we the Africans who are coming from afar.’ (Fig. 1A). This scene serves as a pivotal moment encapsulating Hondo's cinematic pursuit of African self-representation within the genre boundaries. Typically, documentaries aim for factual representation which is strongly tied to the belief that (real) images hold and convey truth (Ellis 2021). However, Hondo employs animation to recreate a historical moment, employing subjunctive imagery that diverges from the traditional documentary's objective stance. By animating the encounter, Hondo reinterprets history, employing visual elements that transcend the factual representation seen in typical documentaries. This departure from the standard documentary conventions aligns with the intended analysis, here, of how Hondo's implementation of cinematic elements deviates from established genre norms. The scene reimagines history subjectively, thereby challenging the traditional confines of documentary filmmaking. In addition, unlike the subjunctive animation, the narration under the animated images in the opening scene aligns more with conventional documentary practices by offering a voiceover that typically accompanies visual storytelling. However, its disruptive nature emerges from its use to challenge the usual objective stance by re-telling Colonial narratives. These departures are not merely stylistic; they become a potent tool for conveying meaning beyond the confines of traditional documentary conventions, echoing Hondo's quest for an authentic expression of African identity and history.

The crosses and marching scene The crosses and marching scene in Soleil Ô presents an instance where Med Hondo's cinematic approach aligns with the integration of 'documents' within theatrical performance. After the traditional baptism sequence, the newly converted Christians seem to embark on a mission to propagate their teachings. They advance holding crosses, and posing as disciples. However, while marching, an unexpected shift takes place, transforming these missionaries into soldiers of the French colonial army (Fig. 2A-B). This sudden transformation takes place through stop-motion photography. Following this, they enact a seemingly straightforward action of flipping their crosses, theatrically transforming them into swords (Fig. 2C). This act reflects the historical narrative of the arrival of missionaries in Africa, ultimately leading to colonial military intervention. This pivotal scene in Soleil Ô unfolds as a compelling re-enactment of historical transformation through cinematic symbolism. Med Hondo’s stylistic choices in this scene encapsulate decades of African history within moments, employing condensed storytelling techniques. The innovative use of stop-motion and theatrical symbolism, particularly the theatrical act of turning crosses into swords, serves as a condensed representation of the historical narrative. Here, Med Hondo successfully adopts the power of theatre elements that integrate 'documents' within performances. Within theatre, specifically, there is the capacity for these documents to be prominently presented within the text itself, rather than being hidden within the subtext, being openly declared instead of being absorbed or concealed (Paget 1994). This aligns with Hondo's aim to reinterpret history within the documentary framework and challenges conventional documentary norms by employing condensed visual storytelling techniques and theatrical elements to compress historical narratives. This departure from traditional documentary codes aids Hondo's cinematic goal by condensing historical events, achieving an impactful representation within the confines of the film's duration.

The public interracial love scene The public interracial love scene in Soleil Ô exemplifies Med Hondo's adept directorial ‘finesse’ in employing cinéma vérité, aligning with the principles discussed by Economou and Limsjö-Svensson (2006) regarding the significance of authenticity in hidden-camera techniques within documentary styles. In this scene, the potential for interracial love is obstructed by the external dynamics of a gaze economy, cementing its impossibility. This notable moment is a blend of staged and authentic elements, featuring fictional characters — a black man and a white woman — embracing on the Champs Elysées (Fig. 3). Placing them within a racially homogeneous context accentuates not just the failure of passers-by to discern the scene's fictitious nature, but also starkly unveils (latent) racism through their gaze. Consequently, this sequence transcends the realms of fiction and enters the domain of documentary within its diegesis. It's a reflexive unfolding of — at that time current — history within the film, engaging spectators within its narrative while capturing real reactions to a fictional scene, akin to hidden camera documentary techniques. In this particular scene, Med Hondo deliberately employs cinéma vérité in a manner that leans towards more traditional documentary conventions, setting it apart from the previous analyses. Unlike the prior scenes where Hondo disrupts and diverges from typical documentary styles, here, he adheres to the fundamental principles of cinéma vérité, showcasing genuine reactions to a contrived scenario. I’d say here, as described by Economou and Limsjö-Svensson (2006) ‘The magic seems to lie in the Real, i.e. it is not [just] actors but real people sharing their behavior and feelings’. The implementation of cinéma vérité in this instance, rather than challenging established documentary norms, adheres more closely to traditional conventions. Here, Med Hondo's strategic departure from his disruptive approach aligns with his larger goal of cinematic self-representation. Through this shift, Hondo masterfully employs a different facet of documentary style in Soleil Ô to convey the complexities of societal attitudes toward interracial relationships. His ability to navigate diverse documentary techniques, from subversion to adherence, serves as a testament to his dedication to self-representation and disruption within the cinematic landscape.

Conclusion In the tapestry of African cinema, Med Hondo's Soleil Ô (1968) stands as a transformative milestone in self-representation, harnessing a spectrum of documentary elements to challenge norms and enrich authentic cinematic expression. When it comes to (re)portraying historical narratives, Med Hondo disrupts conventional documentary codes, but when portraying contemporary narratives he adopts more conventional documentary styles; Effectively — and literally formally — disrupting the Western understanding of the past and allowing a 'conventional Western' understanding of the present. The opening animation of the historical encounter between Africa and Europe challenges traditional documentary norms by employing subjunctive imaging, reimagining historical events subjectively. Ellis' (2012) insights into the portrayal of (real) images and their conveyance of truth resonate with Hondo's divergence from factual representation, aligning with his pursuit of an authentic African historical portrayal. In The crosses and marching scene, Hondo compresses extensive history into evocative visuals, employing theatrical techniques noted by Paget (1994) to symbolize colonial intervention. This strategic manipulation of traditional documentary codes effectively condenses historical narratives, aligning with Paget's discourse on the theatre's possibility of integration of 'documents' within performances. However, The public interracial love scene marks a pivotal shift, as Hondo embraces cinéma vérité's documentary conventions. This departure, in line with Economou and Limsjö-Svensson's (2006) emphasis on authentic, unscripted moments, underscores Hondo's adaptability and dedication to multifaceted cinematic self-representation. Med Hondo's strategic disruptions in Soleil Ô complement his adherence to documentary conventions, illuminating the nuanced layers within African representation in cinema, offering a profound testament to Hondo's dedication to authentic storytelling and self-representation through disruption.

Bibliography

Berry-Flint, Sarah. 2003. “Genre.” In A Companion to Film Theory, 25–44. John Wiley & Sons, Ltd. https://doi.org/10.1002/9780470998410.ch3. Economou, Konstantin, and C. Limsjö-Svensson. 2006. “Hidden Camera Speaks Louder than Words.” News from the Interview Society, 121–44. Ellis, John. 2021. “How Documentaries Mark Themselves out from Fiction: A Genre-Based Approach.” Studies in Documentary Film 15 (2): 140–50. https://doi.org/10.1080/17503280.2021.1923144. Hondo, Med. 1968. Soleil Ô. Paget, Derek. 1994. “True and Truer Stories. Documentary and Drama.” Interfaces. Image-Texte-Language 6 (1): 219–28. Sanogo, Aboubakar. 2015. “The Indocile Image: Cinema and History in Med Hondo’s Soleil O and Les Bicots-Nègres, Vos Voisins.” Rethinking History 19 (4): 548–68. https://doi.org/10.1080/13642529.2015.1063236. Williams, Patrick. 2014. “Soleil O (Med Hondo, 1969): ‘They Cannot Represent Themselves ….’” In Africa’s Lost Classics. Routledge. “World Cinema Project.” n.d. Accessed December 19, 2023. https://www.film-foundation.org/world-cinema?sortBy=title&sortOrder=1&page=5.