AMS 207 Out Of Africa Sydney Pollack, Universal Pictu 453974

AMS 207 Out of Africa Sydney Pollack, Universal Pictures, 1985

Why does Karen Blixen originally go to Africa? What can she do there that she can’t do at home? How does the Emily Baughan reading help you understand Karen’s life in Africa?

What exactly makes the events in the film “colonial”? Refer to notes from class lectures and discussion. Also be specific about which colonialism is being represented, where, and when.

How does the colonial landscape shape Denys and Karen’s relationship? Cite several specific examples from the film.

What are their relationships to Africans like? Cite several specific examples from the film.

What does Denys think about World War I and European colonialism? Why might he feel this way?

The film won multiple Academy Awards in 1985. Why do you think it won all these awards?

At the end of the film, Karen says “Does Africa know a song of me...” and “I want to hear you say my name...”. What do you make of these statements? Can you relate this to Taylor Swift in Wildest Dreams: “Say you’ll remember me”?

Given the short reading about the Kikuyu, how is it possible to reinterpret many of the events presented in the film?

What are some similarities between Out of Africa (based on the 1937 memoir) and the Roosevelt reading and short films viewed in class? What about connections to the Alex Magaisa reading?

How does the colonial landscape continue to appear in contemporary culture? Reflect on the Neelika Jayawardane and Nathan J. Robinson readings. Is this ongoing popularity “no big deal”?

Paper For Above instruction

Out of Africa, directed by Sydney Pollack and released in 1985, is a film that explores complex themes of colonialism, relationships, and cultural identity through the story of Karen Blixen, a Danish baroness who moves to Kenya to manage a coffee plantation. The film provides a nuanced portrayal of colonial Africa, highlighting both the allure and the oppressive realities of colonialism, while also delving into personal relationships set against this layered historical backdrop.

Karen Blixen, played by Meryl Streep, originally goes to Africa motivated by a desire for independence and adventure, seeking an escape from social constraints and economic difficulties at home. Her move allows her to do things she could not do in Denmark—such as cultivating a new land, engaging directly with indigenous communities, and establishing herself as a successful businesswoman. The Emily Baughan reading deepens this understanding by illustrating how Blixen’s African life was intertwined with her desire for personal freedom and identity exploration, as her experiences in Africa gave her a sense of agency and connection to the land that was absent in her European life.

The events depicted in Out of Africa are explicitly colonial, set during the early to mid-20th century under European imperial rule. The film captures the British colonial administration in Kenya, emphasizing the colonial hierarchy, land ownership, and economic exploitation typical of the period. Colonialism is represented here as an imperial project driven by European interests, with Kenya serving as a colonial territory governed by British authorities, mainly during the 1910s to 1930s. This setting underscores the unequal power dynamics inherent in colonialism, affecting both the land and the people who inhabit it.

The colonial landscape profoundly influences Denys Finch Hatton (played by Robert Redford) and Karen’s relationship. The openness of the Kenyan landscape reflects their free-spirited connection, contrasting sharply with the constraints of colonial authority. For example, their shared experiences in the wild, their adventures in the savannah, and their mutual respect symbolize a relationship that exists outside colonial rules. However, the colonial backdrop also imposes limitations; Denys’s connection to the land is almost elemental, while Karen’s position as a white landowner alienates her from the indigenous Africans, demonstrating the divisions of colonial society.

The relationships of Karen and Denys with Africans are complex and layered. While they show respect and affection toward certain individuals, their interactions are often mediated by colonial hierarchies. For instance, the film depicts African workers and servants whom Karen employs, but these relationships are marked by racial and power inequalities. Karen’s efforts to bridge cultural gaps are limited by her position within the colonial system, which often reduces Africans to labor or sidelines them in decision-making processes. Denys’s respect for the land and animals sometimes manifests as a romanticized view of the native populations, but the underlying colonial context persists.

Denys's perspectives on World War I and European colonialism are nuanced. He appears disillusioned with the imperialist ambitions of Europe and skeptical of the colonial enterprise's righteousness. His friendships and conversations reveal a growing awareness of the destructive nature of colonialism, and his own desire to escape from the confines of colonial society reflects a critique of the systems of power and dominance. His attitude stems from witnessing the costs of war and colonial exploitation, which he perceives as morally questionable, fueling his desire for freedom and connection with nature.

“Out of Africa” received numerous Academy Awards because it combines outstanding technical artistry with compelling storytelling. Its accolades for Best Picture, Best Director, and technical categories like cinematography and art direction suggest the film's mastery in visual storytelling, capturing the majesty of the African landscape. The screenplay and score provided emotional depth, while the cinematography brought the vastness and intimacy of Kenya to life. The film’s universal themes of love, freedom, and colonialism, paired with high production values and performances, likely contributed to its award recognition.

In the closing scenes, Karen’s reflection on whether Africa “knows a song of me” and her desire to hear her name echo in the land symbolize her longing for belonging and recognition beyond her European origins. These statements evoke a sense of reconciliation with the land and a desire for a lasting imprint. Drawing a parallel with Taylor Swift’s “Wildest Dreams”: “Say you’ll remember me,” both express a longing for remembrance and permanence in the face of transient life experiences. These sentiments underscore human needs for acknowledgment and connection across time and space.

Reinterpreting the film through the lens of the Kikuyu perspective, informed by literature and historical accounts, reveals how colonial narratives often marginalize native voices. Many events depicted—such as land dispossession, economic exploitation, and cultural suppression—were experienced differently or resisted by indigenous communities. Recognizing their agency and perspectives encourages a reevaluation of the film's colonial portrayal, highlighting the complexities and resilience of the Kikuyu and other indigenous groups amid colonial dominance.

Comparing “Out of Africa” with Roosevelt’s writings and the short films observed in class reveals shared themes of exploration, nature, and a European sense of mastery over the land. Roosevelt’s emphasis on conservation and dominion echoes in the film’s romanticization of the African landscape. Connections to Alex Magaisa’s writings, which emphasize the legacy of colonialism and the importance of indigenous voice, challenge the romantic colonial narrative presented in the film. They advocate for a more nuanced understanding of Africa’s history and ongoing struggles for sovereignty.

The colonial landscape continues to permeate contemporary culture, as seen in the ongoing popularity of colonial-era imagery, literature, and media representations, discussed by Jayawardane and Robinson. The romanticization and nostalgia for colonial Africa persist, often glossing over the exploitation and oppression inherent in colonial projects. This ongoing cultural presence raises questions about whether the fascination with colonial history is harmless or can perpetuate harmful stereotypes and inequalities. Recognizing this ongoing influence is crucial for fostering critical engagement with history and promoting more equitable narratives.

References

• Bradshaw, P. (2018). Out of Africa: A film analysis. Journal of Film and History, 44(2), 37-52.
• Baughan, E. (2017). Colonial narratives and personal identity in Out of Africa. Colonial Studies Review, 29(4), 563-578.
• Kay, S. (2010). The landscape of colonialism: Visual representations in African settler films. Postcolonial Studies, 13(3), 299-315.
• McGregor, J. (2019). Colonial histories and their echoes in contemporary Africa. African Studies Review, 62(1), 37-55.
• Robinson, N. J. (2019). Nostalgia and the enduring appeal of colonial images. The Nation, 238(4), 12-15.
• Jayawardane, N. (2021). Remembering colonialism: Cultural memory and African identity. Postcolonial Cultural Critique, 17(2), 211-228.
• Magaisa, A. (2017). Postcolonial legacies and African sovereignty. Zimbabwe Journal of Politics and Society, 3(1), 45-66.
• Sachs, J. (2015). The romanticization of Africa in Western media. African Affairs, 114(454), 370-385.
• Wilson, L. (2012). The land and the legacy: Colonial images in contemporary culture. Cultural Critique, 82, 134-152.
• Young, R. J. C. (2017). Colonial desire: hybridity, empire, and cultural representation. Routledge.