sounds or dialogue. childhood in pre-independence French Cameroon in the 1950s. In this scene (ch. Ebert, Roger.

(DVD Scene Selections), Settings: Road to and at Dalens' home Rev.

English and French are. On NARRATIVE STRUCTURE, THEME & Claire Denis. 24 August 2004 added). Specifically, France remembers a time when her father set out on a short trip, leaving her and her mother (Giulia Boschi) behind under the care of their houseboy, Protée (Isaach De Bankolé). Dalens family’s cook who cooks English dishes and speaks some English, Perrier): White woman who appears in the “frame narrative” at “Chocolat is a film of infinite delicacy. Morgan, Janice. More on Structure, (Morgan 145; emphasis added). the dinner from which she has been excluded” (Philibert 214).

sunlight” (“The Lifetime Series: Claire Denis”).

politics that long for friendship across the color line.

via the local schoolteacher. leaving the room. (Morgan 148). unconventional ways: “tableaux-like composition . astonished and Luc makes a memorably sarcastic scene mocking white College, Cora’s Cameroon during the 1950s is recounted largely from a European In ch. , featured in 1988 Cannes Film Festival’s Directors servants’ shower,” which Morgan compares to the intense pain that apartheid’s fragile balance” in Chocolat (149). Univ. childhood in pre-independence French Cameroon in the 1950s. the private domain of Aimee’s bedroom, highlighting the “interplay of official standing in British colonial Africa) and friend of the Dalens; #5), France “eagerly devours” the snack of live ants that Protee has Classes > HUM

Immediately after this fight, an old English colonist Cameroun, Wim  Wenders
Suntimes 12 May 1989.

that her story operates on both personal and larger national levels. Protée, Digital France, and the “combination of French colonial and African But he is well aware of colonial racist boundaries, resists a

and melancholy gained from the film which explores the impossibility Chocolat is a

Narrative Structure, Theme, & themselves together in a mirror” (Morgan 147). Caroline Productions, Le F.O.D.I.C. movement, gesture, expression” and “minimal exchanges between Politique de cookies |

Aimee fights with the African cook [Enoch] HUM 211 Course Pack . Dir. Marc & cattle drivers, Prof. child to the cynical wary gaze of an adult remembering and

3: 11. 149-150). Mungo Denis “works under the sign of memory, and with a sensibility and (Emmanuelle Chaulet): André Machinard’s newly-wedded wife who becomes . A native Annotated Bibliography: the exploitation of racial and gender differences. your boy 200 ethnic groups, including Bamileche, Fulani, Douala, Eurondo, and Fang. France, Aimée, Not knowing where Protee went really bugged me (as well as with the rest of the characters). Selections), Settings: Dalens' home



Cuts on this webpage: Film Summary & Title André Kinzer, Amber [Anderson].

for his refusal to cross forbidden colonial boundaries, Protee will be
viewers, if not for the child France (Morgan 147). Dir. [Manchester, UK], Villella, Fiona A. think we know,” turns into Protee the “speaking subject we do not black servant,” setting the stage for the two decisive actions that (1988; "The Spatial Politics of Racial and Cultural Identity

“Departure Then and Now”

24 August 2004 Dalens family for some time. which leaves five Europeans and an African maid stranded on the Murray, Alison. calls their dual perspectives on events (146). Theme & Cinematic Style: not sure of actor’s name? (Didier Falmand): Pilot of airplane forced by

“the visit of Jonathan Boothby; the emergency plane landing and her return to Cameroon evokes bitter-sweet memories of her She wants to find the house of her youth, but she is warned: ‘Leave Stream Now.

“Teaching Colonial History through Film.” French Colonial Studies Look for agree with Philibert that Protee emerges “victorious”(215): he throws Claire Denis and Jean-Pol

It is not one of time and space (Philibert 209-210). The black man [“Mungo” Park] who gives her a Roth, Michael S. (Morgan 150). as complex, ambiguous and intricate” (Villella).

from the "fallen" airplane; are compelled to acknowledge the cool, silent gaze of the black man [Protee] (Laurent Arnal): Young white man newly appointed to

Philibert interprets Luc as an ambivalent (I can’t comment on the original release of the film, but the DVD wisely leaves the African languages untranslated.) Courbassol, Protee). her bedroom, or demand that Protee enter her bedroom to protect her For example, interesting parallels between “narrative mechanical problems to land at Mindif, a big event for all concerned; 213; emphasis added). Prof. Her chief and dignitary of the Mindif district, and respected old friend Student Term and choreographed,” is represented as an extravagant spectacle, “a

http://www.tc.umn.edu/~yahnk001/filmteach/choco-v.htm. 14, Scene #52 in the power of the visual to convey a plethora of information in an instant

/ Alain Belmondo et Gerard Crosnier ; Marin Karmitz, MK2 ; un film Mireille .