Résumé de l'article d'Annamaria Motrescu-Mayes

'This chapter considers how private cinematographic illustrations and misrepresentations of colonial cities filmed by three amateur filmmakers between early 1920s and late1940s have simultaneously revealed and masked, made invisible key aspects of their colonial worlds. It explores several first-person visual narratives of colonial urban organisation as visual tropes able to reveal racial and social hierarchies in more direct ways than those found in traditional records of tourist sites. Issues of imperial hegemonic impact on, and visual re-modelling of colonial cities emerge alongside questions addressing the overall alteration of colonial identities within the racial and cultural specificities of such places. Lastly, it is argued that, despite having been influenced and driven by imperial ideologies, the three amateur filmmakers’ particular records of colonial cities in Palestine, Australia and South Africa often evade their predictable classification as colonial postcards in motion and present instead urban entities visible as synecdoches of the filmmakers’ imperial understandings and imaginings of the spaces themselves.'