“This acknowledgement of a people who are missing is not a renunciation of political cinema, but on the contrary the new basis on which it is founded, in the third world and for minorities. Art, and especially cinematographic art, must take part in this task: not that of addressing a people, which is presupposed already there, but of contributing to the invention of a people. The moment the master, or the colonizer, proclaims ‘There have never been people here’, the missing people are a becoming, they invent themselves, in shanty towns and camps, or in ghettos, in new conditions of struggle to which a necessarily political art must contribute. (…) The cinema author finds himself before a people which, from the point of view of culture, is doubly colonized: colonized by stories that have come from elsewhere, but also by their own myths become impersonal entities at the service of the colonizer. The author must not, then, make himself into the ethnologist of his people, nor himself invent a fiction which would be one more private story: for every personal fiction, like every impersonal myth, is on the side of the ‘masters’. (…) There remains the possibility of the author providing himself with ‘intercessors’, that is, of taking real and not fictional characters, but putting these very characters in the condition of ‘making up fiction’, of ,making legends’, of ‘story-telling’. The author takes a step towards his characters, but the characters take a step towards the author: double becoming. Story-telling is not an impersonal myth, but neither is it a personal fiction: it is a word in act, a speech-act through which the character continually crosses the boundary which would separate his private business from politics, and which itself produces collective utterances.”

Gilles Deleuze, Cinema 2. The Time-Image – Editions de Minuit, 1985. University of Minnesota Press

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