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CONGOCENE. Congolese Cinema in / on / against the Anthropocene

2019, in Marina Gržinić and Sophie Uitz (eds.), Rethinking the Past for a New Future of Conviviality: Opposing Colonialism, Anti-Semitism, Turbo-Nationalism, Cambridge Scholars Publishing, Cambridge, 2019, 87-109

Rethinking the Anthropocene. Why we need perspectives from the Global South. Colonial Anthropocene. Aesthetizations of colonialism as something from a remote past became forms of anesthetizations: the inability to perceive the colonial present. The modality of coloniality (including its aesthetics), which we will focus on in this chapter, is not the spectral, but the real, and the one euphemistically called “Anthropocene.” Unthinking Anthropocene’s eurocentrisms implies the need to look at it from the South. Since I will discuss Congo in particular, I will call this chapter “CONGOCENE.” The neologism will be the latest addition to the long list of -cenes, including Anglocene, Goracene, Blancocene, Eurocene, Occidentocene, Gringocene, Capitalocene, Chthulucene, MisAnthropocene, Plantationocene, Homogenocene, Plasticene, Neganthropocene, Anthrobscene, AnthropoScreams, Neganthropocene, AnthropoScene, Symbiocene, Alienocene, Atomicocene, and White-Supremacy-Scene. CONGOCENE shows that “decolonization,” rather than the colonial past, has been rejected, refused and amputated. This is visualized in a series of Congolese films on the mining area of Katanga, R.D. Congo. At stake here is not so much the “decolonization” understood as political and economic autonomy, but the undoing of the colonial relation to nature, which resulted in what is now known as the Anthropocene.

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