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Statues Also Die

Name: Statues Also Die
Director: Chris Marker, Alain Resnais, Ghislain Cloquet
Released: 1953
Duration: 30 min

Representation Score

4.0/10

Limited

1953

Director

Chris Marker, Alain Resnais, Ghislain Cloquet

Runtime

30 minutes

Average Rating

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New Showbiz Analysis

Statues Also Die is a foundational post-colonial text that offers a radical critique of Western cultural dominance. By exposing how museums alienate African art, the film centers the historical validity of the colonized subject. While the film does not engage with modern LGBTQ+ narratives or non-traditional gender roles, its intellectual depth is significant. The involvement of Marker and Resnais ensures a sophisticated dismantling of imperialist narratives. Ultimately, the work succeeds by replacing colonial hierarchies with a narrative that prioritizes the subjective truth of African identity over the official accounts of the colonizer.

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Category Breakdown

Does Statues Also Die have LGBTQ+ representation?

Minimal

The documentary does not include LGBTQ+ characters or stories. Instead, it focuses on the symbolism and political context of art during colonial times.

How does Statues Also Die portray gender?

Fair

The film captures Algerian social life through an observational lens. It follows the social norms of the 1950s without emphasizing female empowerment or challenging traditional gender roles.

How racially and ethnically diverse is Statues Also Die?

Excellent

This landmark film highlights the importance of the colonized perspective. It challenges the Eurocentric view of museums by focusing on African art and the Algerian experience against colonial structures.

How does Statues Also Die represent religion and culture?

Excellent

The film provides a deep critique of Western dominance and the colonial 'civilizing mission.' It presents the fight for sovereignty as essential for reclaiming cultural dignity.

Does Statues Also Die include disability representation?

Minimal

The film does not focus on characters with visible or invisible disabilities. There is no specific representation of disability in this narrative.

Present on Screen

Provides a radical critique of Western institutionalism and the Eurocentric museum gaze.
Prioritizes the ability to act and cultural heritage of the colonized subject through a post-colonial framework.
Uses sophisticated symbolism to dismantle the perceived superiority of Western art institutions.

Limited or Absent

Lacks engagement with LGBTQ+ narratives or non-straight orientations.
Does not actively seek to challenge traditional gender roles or center female empowerment.
Provides no representation or focus regarding disability.

Official Synopsis

Commissioned by the journal Présence Africaine, this short documentary examines how African art is devalued and alienated through colonial and museum contexts. Beginning with the question of why African works are confined to ethnographic displays while Greek or Egyptian art is celebrated, the film became a landmark of anti-colonial cinema and was banned in France for eight years.

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