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Marcus POWER, p. 261-278

Le cin�ma post-colonial et la reconfiguration de la mozambicanit�
Le cin�ma a �t� t�moin (et protagoniste) de quelques p�riodes parmi les plus importantes de l’histoire mozambicaine r�cente, depuis les conflits et les r�volutions jusqu’aux mouvements id�ologiques et d�mographiques et jusqu’aux sch�mas subtilement changeants de la vie de tous les jours. Comment se produisit l’�mergence en Mozambique du cin�ma colonial, anti-colonial et post-colonial ? Quels furent les multiples et complexes moments et espaces qui font partie de l’histoire de la repr�sentation cin�mato�graphique mozambicaine ? Durant la p�riode coloniale en Mozambique, les Portugais ignoraient largement la population indig�ne qui apparaissait rarement dans des films coloniaux, sauf dans des r�les de � terroristes �, de sujets ethnographiques mythologis�s ou comme recevant passivement l’aide du d�veloppement colonial. Une gamme de subjectivit�s � post-coloniales � mozambicaines s’est construite � travers les films, aussi l’analyse historique du cin�ma en Mozambique peut-elle soulever des questions importantes au sujet de la construction des subjectivit�s mozambicaines et au sujet des significations culturelles de la mo�ambicanidade. Les g�ographies audiovisuelles dans le Mozambique contemporain sont devenues de plus en plus d�tach�es des espaces symboliques de la culture nationale, au fur et � mesure que les processus de formation de l’identit� nationale sont devenus de plus en plus transnationaux.

Cinema p�s-colonial e a reconfigura��o da Mo�ambicanidade
O cinema tem testemunhado alguns dos mais importantes per�odos da hist�ria recente de Mo�ambique e nela participado, desde conflitos e revolu��es at� mudan�as ideol�gicas e demogr�ficas e �s subtis mudan�as da vida do dia-a-dia. Este artigo lan�a um olhar sobre a emerg�ncia do cinema colonial, anti-colonial e p�s-colonial em Mo�ambique e sobre os m�ltiplos e complexos tempos e espa�os contidos na hist�ria da representa��o cinem�tica de Mo�ambique. Durante o per�odo colonial em Mo�ambique, os portugueses ignoraram largamento a popula��o ind�gena, que raramente aparecia em filmes coloniais, excepto como � terroristas �, como objectos etnogr�ficos tornados mitol�gicos, ou como os destinat�rios passivos de ajuda ao desenvolvimento colonial.
Um conjunto de subjectividades mo�ambicanas � p�s-coloniais � foi constru�do atrav�s do filme e a an�lise hist�rica do cinema em Mo�ambique pode fazer surgir perguntas importantes sobre a constru��o de subjectividades mo�ambicanas e sobre os significados culturais da Mo�ambicanidade. Geografias audiovisuais no Mo�ambique de hoje t�m-se afastado cada vez mais dos espa�os simb�licos da cultura nacional, assim como o processo de forma��o da identidade nacional se tornou cada vez mais transnacional.

Post-colonial Cinema and the Reconfiguration of Mo�ambicanidade
Cinema has been witness to (and participant in) some of the most important periods of recent Mozambican history, from conflicts and revolutions to ideological and demographic shifts and to the subtly changing patterns of everyday life. This paper looks at the colonial, anti-colonial and post-colonial emergence of cinema in Mozambique and at the multiple and complex times and spaces that are contained within the history of Mozambican cinematic representation. During the colonial period in Mozambique the Portuguese largely ignored the indigenous population who rarely appeared in colonial films except as � terrorists �, as mythologised ethnographic subjects or as the passive recipients of colonial development aid. A range of � post-colonial � Mozambican subjectivities were constructed through film and so the historical analysis of cinema in Mozambique can raise important questions about the construction of Mozambican subjectivities and about the cultural meanings of Mo�ambicanidade. Audiovisual geographies in contemporary Mozambique have become increasingly detached from the symbolic spaces of national culture as the processes of national identity formation have become ever more transnational.