This article investigates the ways in which cinéma-monde imagines itself “universally” by examining how it portrays its relation to the cosmos, the universe beyond the Earth’s atmosphere. Analyzing Yamina Bachir-Chouikh’s 2002 Rachida, Jean-Pierre Bekolo’s 2005 Les saignantes, and Jean-Marc Vallée’s 2005 C.R.A.Z.Y., this article asks how a consideration of cinéma-monde’s perspective on outer space might allow us to conceive of the “kaleidoscope of Cinéma-monde” (Gott and Schilt) as a planetary phenomenon. The article also explores how imaginations of outer space reconfigure cinéma-monde’s margins in terms of gender and sexuality.
From the 1950s to the 1970s, the idea of independence inspired radical changes across the French-speaking world. In The Quebec Connection, Julie-Françoise Tolliver examines the links and parallels that writers from Quebec, the Caribbean, and Africa imagined to unite that world, illuminating the tropes they used to articulate solidarities across the race and class differences that marked their experience. Tolliver argues that the French tongue both enabled and delimited connections between these writers, restricting their potential with the language’s own imperial history. The literary map that emerges demonstrates the plurality of French-language literatures, going beyond the concept of a single, unitary francophone literature to appreciate the profuse range of imaginaries connected by solidary texts that hoped for transformative independence. Importantly, the book expands the "francophone" framework by connecting African and Caribbean literatures to Québécois literature, attending to their interactions while recognizing their particularities. The Quebec Connection’s analysis of transnational francophone solidarities radically alters the field of francophone studies by redressing the racial logic that isolates the northern province from what has come to be called the postcolonial world.
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