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Դж. һԴڴ. ЩҪڵʹ,γضܱϿΪ. , "͵ת". ҪΪ͵, ͵ԡĴ,ҪʹúõϿ. Чʵ. > ο 0, 0
£ʦѧʿⳡԾҿ϶ʤˣҿˣԶӱʱ䣬Dzͣҷ
ص⣬ٵķ϶࣬ҪǸƼʱǸˣһʱӡһʦϲӰΪṩģѵһȫֻһĴʻӦǼʣrepresentation, preoccupation stardom discourse.
Film provided a space where colonial nostalgia, anxieties about modernity, and new prospects for empire could be rehearsed.2 The colonial failure in both the Americas and in North Africa played itself out through popular nostalgia in the mass media of the twenties and thirties, where manufactured notions of biological destiny justified Spain's need to conquer, and black Africa's need to be conquered. Viewed from this framework, the protagonist of Benito Perojo's El negro que tena el alma blanca [The Black Man With the White Soul], Peter Wald, undoubtedly threatened a Spanish mentality still reeling from the "1898 disaster," and in particular, the Spanish laborer forced to fight against the North African rebels. More importantly, El negro's politics of racial representation, which appeared in its references to skin color and colonial scenarios, and its simultaneous preoccupation with modernity and stardom discourse, created an intercultural arena for contemporary discussions on race and modernity in Spain.