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The film project Prism, created by Rosine Mbakam, An van Dienderen, and Eléonore Yaméogo, delves into the concept of the photographic lens as a neutral tool, specifically in its portrayal of race. The film begins in a film school and then focuses on a minimalistic set where a lighting test is being performed. This segment by Dienderen is a continuation of her short film Lili, which explores the practice of using a “china girl” in cinema for calibration purposes. These test images typically feature a white model and a color chart, reflecting the fact that color films were primarily made with white skin in mind.
Although Dienderen focuses on addressing camera bias from a technical standpoint, Mbakam and Yaméogo broaden the discussion by highlighting the influence of larger ideological structures. In her portion, Mbakam directly connects imperialism to the film industry, noting that early footage of Africans was often captured by their colonizers. Through her reenactment of Marie-Guillemine Benoist’s iconic painting, “Portrait of a Black Woman,” with a live model who applies her own makeup and boldly gazes back at the audience, Mbakam reclaims agency for marginalized individuals from the dominant white perspective.
Based on honest conversations with Black individuals like actor Tella Kpomahou and director Sylvestre Amoussou, Yaméogo’s work suggests that the camera’s preference for certain races is not fixed. Although systemic challenges still exist, films by innovative creators such as Senegalese trailblazer Paulin Soumanou Vieyra and Spike Lee demonstrate that Black experiences can be portrayed on screen in all their dynamic and intricate nature. By bringing together three distinct perspectives, this multifaceted examination of race and cinema highlights the importance of dialogue in film-making, rather than a one-sided presentation.
Source: theguardian.com
