{"id":7118,"date":"2022-07-20T17:00:05","date_gmt":"2022-07-20T15:00:05","guid":{"rendered":"https:\/\/jubainthemaking.com\/?p=7118"},"modified":"2024-05-27T11:49:28","modified_gmt":"2024-05-27T09:49:28","slug":"a-night-at-the-movies","status":"publish","type":"post","link":"https:\/\/jubainthemaking.com\/it\/a-night-at-the-movies\/","title":{"rendered":"A Night At The Movies"},"content":{"rendered":"<p>&nbsp;<\/p>\n\n\n<p><em>Some of the following is excerpted from &#8220;Cinema, Southern Sudan, and the End of Empire, 1943-1965,&#8221; by Brendan Tuttle and Joseph Chol Duot, which appears in&nbsp;<\/em><a href=\"https:\/\/www.degruyter.com\/document\/isbn\/9783110719611\/html?lang=en\" target=\"_blank\" rel=\"noreferrer noopener\"><span class=\"has-inline-color has-vivid-cyan-blue-color\">Sudan, 1504-2019: From Social History to Politics from Below<\/span><\/a><em><span class=\"has-inline-color has-vivid-cyan-blue-color\">&nbsp;<\/span>(2022), edited by Mahassin Abd al-Jaliil, Iris Seri-Hersch, Anael Poussier, Lucie Revilla, Elena Vezzadini and published by De Gruyter.<\/em><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Cover image: &#8220;Out for a dance in Juba&#8221; by Vonda Adorno (1975). Copyright.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2><strong><span class=\"has-inline-color has-black-color\">Mobile cinema and making audiences in South Sudan<\/span><\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>The first cinema show in Sudan was organized under the direction of Herbert Kitchener in January 1912 to mark the opening of a new section of railway in El Obeid.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_1');\" ><sup id=\"footnote_plugin_tooltip_7118_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_1\" class=\"footnote_tooltip\">Lord Kitchener, Consul-General in Egypt at the time, had come to Sudan to greet the King and Queen.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> A few days before, notables \u2018from all parts of the county\u2019 had attended the arrival of the H.M.S. <em>Medina<\/em> at Port Sudan and the reception of King George V and Queen Mary of England (Fortescue 1912:19). A cinema film was made of the event and shown in El Obeid a few days later. Thousands of people were gathered on a parade ground near El Obeid, Steward Symes, Assistant-Director of Intelligence at Khartoum, wrote, describing how a \u2018silence fell on the crowd as a dark object moved across the patch of light,\u2019 and then built into \u2018loud gusts of applause and laughter\u2019 with the recognition of familiar individuals among those pictured in film of the arrival of the H.M.S. <em>Medina<\/em>, the reception of the king and queen, and the presentation of Sudanese notables (Symes 1946:20).<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p><p>A decade later, in the 1920s, merchants began setting up commercial cinemas in Sudan. The first were small \u2018make-shift open-air\u2019 travelling outfits consisting of little more than a few chairs arranged before a bedsheet or a blank wall upon which silent Charlie Chaplin comedies were projected (Ibrahim 1999:38). Larger open-air commercial establishments were set up in the 1930s. \n<\/p>\n<p>&nbsp;<\/p><\/p>\n\n\n<p>During the 1940s, the government greatly expanded the use of mobile cinema in order to manage perceptions of the Second World War. British officials worried about how Sudanese, like other colonial subjects in similar situations elsewhere, would interpret events in Europe (Sikainga 2015). English- and Arabic-language press conferences were held and radio broadcasts, newspapers, and magazines were put into circulation. Communal listening sets were installed in public places in towns across Sudan to reach more listeners; and special broadcasts in Shilluk and other languages were also established. A travelling cinema was also organized to exhibit propaganda films around the country. \u2018The information office directed a steady and ever-increasing flow of hand-outs, maps, photographs, blocks, articles, pamphlets, reviews of the war, calendars, and other publications\u2019, the Governor General wrote of the output of the early years of the war.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_2');\" ><sup id=\"footnote_plugin_tooltip_7118_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_2\" class=\"footnote_tooltip\">Governor-General of the Sudan. \u201cReport on the Administration of the Sudan for the years 1942-44 (inclusive).\u201d 126.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p><\/p>\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Picture1-Desert-Victory.png\" alt=\"\" class=\"wp-image-6887\" width=\"831\" height=\"368\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Picture1-Desert-Victory.png 624w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Picture1-Desert-Victory-300x133.png 300w\" sizes=\"(max-width: 831px) 100vw, 831px\" \/><figcaption><em>Figure 1: <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.youtube.com\/watch?v=SwgcdqlrXzU\" target=\"_blank\" rel=\"noreferrer noopener\">Desert Victory, a 1943 documentary film<\/a> <\/span>produced by the British Ministry of Information, showing the Allies&#8217; North African campaign against German general Erwin Rommel and the Afrika Korps during World War II.  <\/em><\/figcaption><\/figure>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>This ever-increasing flow of imperial war propaganda and other material carried stories of partnership and unity that portrayed the wartime empire pulling together across differences of class, nationality, and race in a global fight against fascism. <em>Desert Victory<\/em> (1943), a film about the \u2018rout of Rommel,\u2019 and <em>Partners in Victory<\/em>, a specially commissioned film about the Sudan Defense Force in North Africa, were shown to huge audiences in provincial capitals across all parts of Sudan (Swanzy 1947:71).<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p><\/p>\n\n\n\n<p>But the disturbing irony of this message of unity was particularly apparent to audiences in places like Juba, <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/jubainthemaking.com\/it\/to-the-juba-wharf\/\" target=\"_blank\" rel=\"noreferrer noopener\">where the city\u2019s rapid growth was evidence that the Second World War was maintained by the labor, materials, and economic resources extracted by imperial violence<\/a>.<\/span> The African Forces Line of Communication (AFLOC)\u2014by which Juba linked up the United Kingdom, Canada, and the United States to campaigns fought in the deserts of North Africa\u2014was made possible by the British possession of territory in Sudan and the colonial control of the global movement of people and materials. The roads that carried war materials through southern Sudan were built by forced labor. \n<p>&nbsp;<\/p>\n\nThe same roads also carried popular entertainments. By 1947, three Government mobile cinema vans were on the road. Their audiences were rural, but by no means small or isolated. 5,000 people attended mobile cinema exhibitions in the Khartoum area in 1947 and more than 230,000 men, women, and children attended mobile cinema shows in rural areas.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_3');\" ><sup id=\"footnote_plugin_tooltip_7118_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_3\" class=\"footnote_tooltip\">Governor-General of the Sudan. \u201cReport on the Administration, Finances and Conditions of the Sudan in 1947.\u201d 144. For a comparison of numbers reached by mass literacy campaigns, see Seri-Hersch&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\" onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Over the next years, the movement of mobile cinema vans across the country created mass rural audiences. There was even a cinema train, the Sudan Railways\u2019 \u2018Public Enlightenment\u2019 Car, which was equipped with a silent movie projector and portable generator to help reach railroad workers and residents of villages and towns near railways with war films, government information shorts, and educational pictures.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_4');\" ><sup id=\"footnote_plugin_tooltip_7118_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_4\" class=\"footnote_tooltip\">US Department of Commerce, 1944. \u201cSudan Railway\u2019s \u2018Public Enlightenment\u2019 Car.\u201d <em>Foreign Commerce Weekly<\/em> 14, no. 1 (January 1, 1944), 24.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>In Juba, mobile cinema exhibitions were announced by loudspeakers attached to the roof of a Landcruiser that drove around town. These exhibitions were held in the open, often following a short lecture or speech that began at sunset. Spectators gathered in front of a white sheet upon which a program was projected which consisted of short films, ranging in length from five minutes to thirty or more, including newsreels showing happenings in Sudan and other parts of the world, American comedies and westerns, short documentaries made by the mobile Sudanese film-making unit for a Sudanese public, and a variety of films made in India, Kenya, and Britain. Films concerning topics of public health or daily life in England were alternated with Cowboy films, Charlie Chaplain features, and Sudan Film Unit productions such as <em>Sudan Independence <\/em>(1956) or sponsored trade films like<span class=\"has-inline-color has-vivid-cyan-blue-color\"> <a href=\"https:\/\/www.youtube.com\/watch?v=STw-_DMWm8I\"><em>King Cotton<\/em><\/a><\/span> (1949). Images of dances in distant villages in Sudan and in India (<em>Kathakali<\/em>, B\/W, 8 minutes), developments around Khartoum (<em>Abu Akar<\/em>, B\/W, 10 minutes; <em>Three Towns<\/em>, B\/W, 8 minutes), and public transportation and tourist sites in England (<em>Sudanese in London<\/em>, B\/W, 5 minutes), for instance, prompted reflection on the circumstances of Southern Sudan, the region\u2019s place in the British Empire, and the lives of other colonized people.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_5');\" ><sup id=\"footnote_plugin_tooltip_7118_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_5\" class=\"footnote_tooltip\">Public Relations Office, Catalogue of 16mm. Films (February 1952).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n\n\n\n<p><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>The first purpose-build cinema in what is today South Sudan, the Juba Picture House, opened in 1954. Mobile cinema exhibitions had already created large film-going audiences in southern Sudan. When the Juba Picture House opened on the borderlands between the hospital and Juba\u2019s Native Lodging Area, it attracted all segments of Juba society: families, lovers, intellectuals, entertainment seekers, young people, children, and ticket touters and hawkers of every kind. Hai Cinema exists today because for two decades the Picture House gathered all of Juba around itself.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"768\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Martina-Nicolls_2006_Cinema-Juba-1024x768.jpg\" alt=\"\" class=\"wp-image-6893\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Martina-Nicolls_2006_Cinema-Juba-1024x768.jpg 1024w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Martina-Nicolls_2006_Cinema-Juba-300x225.jpg 300w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Martina-Nicolls_2006_Cinema-Juba-768x576.jpg 768w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Martina-Nicolls_2006_Cinema-Juba-1536x1152.jpg 1536w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Martina-Nicolls_2006_Cinema-Juba-2048x1536.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption><em>Figure 2: The old Juba Picture House, renamed Alsalam Cinema (Martina Nicolls, 2006)<\/em><\/figcaption><\/figure>\n\n\n\n<p> <\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2><strong>Juba Picture House<\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>During the early summer of 2017, the attorney Joseph Chol Duot circulated a questionnaire survey about cinema-going among some of the men who spent their off-hours around the tea stalls of Hai Cinema. This work resulted in \u201cA Research Report on Leisure Activities, Films, Fashions, and Popular culture in Hai Cinema, now Emmanuel Diocese, Juba (1962-2017),\u201d a study providing a summary of some of the films that people had seen at the Juba Picture House, their recollections of the cost of admission, what people had worn when they went there, where they had sat, and other details. Over the next few months, we spoke with a few dozen people whom Chol had identified as movie-goers in the 1960s and 1970s.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>That the Juba Picture House had a history worthy of being told was taken for granted by everyone we talked to. After all, it was the place where the Liberal Party meeting of 1954 was held, when (by Alexis Mbali Yangu\u2019s 1966 account) \u201820,000 persons from every walk of life and from all parts of the South\u2014chiefs, notables, officials, and all other classes of the Southern populace\u2019 (1966:23)\u2014came together in Juba to come to an agreement on \u2018the political future of the Sudan\u2019 (Lwoki &amp; Morgan 1954:118). \u2018The House,\u2019 as participants called it, held 400 people. Attendees shuttled back and forth between discussions in the House and discussions among all those \u2018from every walk of life\u2019 who had come to Juba for the event. The meeting not only produced a statement on federalism; it also provided a concrete experience of the principles and organization of a pan-Southern political association. Liberal Party members, Southern National Unionist Party members, chiefs from Upper Nile, Equatoria, and Bahr El Ghazal, representatives of South Sudanese residents in Khartoum, and \u2018Northern Sudanese who claim African descent\u2019 all came together for a slow and thoughtful multilingual debate carried out \u2018well and in Good Spirit,\u2019 with their words \u2018translated into various languages in the South\u2019: Bari, Zande, Latuka, Dinka, and Arabic (Lwoki &amp; Morgan 1954:121).<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2 class=\"has-text-align-center\">*<\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>The Juba Picture House\u2014or Kirrissasa Cinema, as many called it after the cinema\u2019s proprietor Antony Crassas, a Greek businessman, or simply \u2018the cinema,\u2019 since it was the only one\u2014was a large motion-picture theatre. At 7pm, when the dim headlights of Anthony\u2019s little light-green Volkswagen swung into view in the distance, the box office would open. \u2018And when we saw the car is coming [we\u2019d cry], \u201coh, Anton. Anton. Anton,\u201d\u2019 one movie-goer recalled. \u2018And clap. And people will just rush to the line and be ready to get their tickets.\u2019<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_6');\" ><sup id=\"footnote_plugin_tooltip_7118_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_6\" class=\"footnote_tooltip\">One person that we spoke to said the car was a Peugeot.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Tickets cost three and a half, seven, or fourteen piasters, depending on the seat. For this sum a customer saw movie trailers and one feature film. For a few days during Christmastime Anton put on two showings, with a first run at 7pm and another at 10pm. Many cinema-goers also bought a handful of roast peanuts or a fava-bean sandwich, which could be had for one piaster.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Inside the theatre the town\u2019s social divisions and hierarchies were visible in miniature. Visitors who paid 14 piasters to sit in the first-class class balcony overlooked families, petty traders, and schoolchildren with their mothers\u2014who had paid 7 piasters for second-class seats in the middle of the hall\u2014and \u2018the youth\u2019 who had paid 5 piasters to sit in the third-class area. \u2018Those in first class were more civilized,\u2019 one cinema-goer recalled, laughing. The third-class section could be rowdy. If any tickets were left over, children could pay 3 \u00bd piasters for entrance, which got them a place in the already crowded third-class section, where they could sit with their noses practically pressed against the screen. (The Picture House\u2019s latrine offered another entrance through the wooden seat set over a large bucket, which was collected by night-soil men. By lifting the iron flap at the back of the box, pushing the heavy bucket aside, and climbing up, small boys were able to enter the cinema compound without paying the entrance fee.) The town\u2019s teachers, civil servants, and business people, Greeks, Turks, Indians, and Egyptians tended to sit in the first-class seats.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>The Juba Picture House opened during a period of great transformation in Juba. The war of 1939-45 had relied on the labor of South Sudanese for building and maintaining roads and bridges, loading cargo, producing food, cutting timber, and soldiering in the Equatorial Corps and East African units. Chiefs were made to impress thousands of laborers to clear and gravel roads and to build bridges for heavy trucks. Officials rounded up and arrested hundreds of \u2018able-bodied men\u2019 in order to put them to work. Juba town alone required almost 1,500 conscript laborers to manage 1,000 tons per day of cargo and 800 vehicles each month during the war. All this forced labor produced lasting demographic changes in Juba. Between 1939 and 1941, the town\u2019s male population rose from 600 to about 2,500. Juba\u2019s population reached 4,135 by the end of the war and doubled, reaching 8,265 during the next four years (Mills 1981).<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>For Juba\u2019s authorities, the cinema\u2019s popularity among young people and all the new arrivals from rural areas focused broader anxieties about urbanization and change in the country. The Governor General\u2019s Report for 1942-44 noted a worrying increase of petty theft in Juba, which the report attributed to the large number of laborers employed there, alongside increased traffic offenses and fatal accidents, attributable to military vehicles and the \u2018drunkenness of the drivers.\u2019<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_7');\" ><sup id=\"footnote_plugin_tooltip_7118_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_7\" class=\"footnote_tooltip\">Governor General\u2019s Report on the Administration of the Sudan for the years 1942-44 (inclusive), p. 187<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> All this growth and excitement, together with the return of soldiers with their wages to a town which lacked much to spend it on, helped to encourage the growth of beer parlors, dance halls, gambling places, and other inexpensive pass-times, such as lodging appeals to court cases.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_8');\" ><sup id=\"footnote_plugin_tooltip_7118_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_8\" class=\"footnote_tooltip\">Owing to rationing and shortages. Governor-General of the Sudan. Report on the Administration, Finances and Conditions of the Sudan in 1945. Governor-General of the Sudan. Report on the&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\" onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_8');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Officials across the country worried that new residents would fall into crime and delinquency. Cinemas were commonly singled out for their \u2018great influence upon in-migrants\u2019 and \u2018the youth,\u2019 whom, one observer wrote, were thought to be \u2018more susceptible to the effect of the Cinema, where they are stimulated to violence and crime by the highly coloured episodes which they see on the screen.\u2019 (Hadi 1972:188, quoted in Kindersley 2016:68).<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_9');\" ><sup id=\"footnote_plugin_tooltip_7118_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_9\" class=\"footnote_tooltip\">Lord Milvertoni, The Colonial Territories, HL Deb 06 July 1955 vol 193 cc497-500.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>It is not hard to see how fears about children\u2019s and rural arrivals\u2019 susceptibility to \u2018highly coloured episodes\u2019 might ultimately be based in anxieties about the loss of colonial and patriarchal control and authority. Indeed, it was not only British officials who were concerned by the changes that film might bring. In 1945, for example, the Nahud Town Council, a body composed of prominent Sudanese residents, rejected the proposal of a Syrian merchant to establish a cinema in Nahud by a vote of 15 to 4. The council members worried that a cinema \u2018would only lead the children to squander their own &amp; their parents\u2019 pennies and introduce an unsophisticated audience to a cheap &amp; immoralising mode of life.\u2019<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_10');\" ><sup id=\"footnote_plugin_tooltip_7118_1_10\" class=\"footnote_plugin_tooltip_text\">[10]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_10\" class=\"footnote_tooltip\">TRH Owen, letter to his father, August 17, 1945 (SAD 414\/15\/97-98).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_10').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_10', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> In Juba, parents often refused to allow their children to visit the cinema, fearing that what was shown there would cause them to become thieves or criminals.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_11');\" ><sup id=\"footnote_plugin_tooltip_7118_1_11\" class=\"footnote_plugin_tooltip_text\">[11]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_11\" class=\"footnote_tooltip\">Florence Miettaux, <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.lemonde.fr\/afrique\/article\/2021\/07\/21\/au-soudan-du-sud-le-cinema-de-juba-a-traverse-l-histoire-tumultueuse-du-jeune-pays_6089085_3212.html\" target=\"_blank\" rel=\"noreferrer noopener\">Au Soudan du Sud, le cin\u00e9ma de Juba a travers\u00e9 l\u2019histoire tumultueuse du jeune pays<\/a> <\/span>(<em>Le Monde <\/em>21 July 2021).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_11').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_11', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>For British authorities and many parents, then, more diffuse anxieties about Sudan\u2019s future and the changes brought about by rapid post-war urban growth coalesced around the influence of films on supposedly unsophisticated viewers: children and recent migrants from rural parts of the country. But for many viewers in the rapidly changing and growing city, the stories and scenes presented in film offered ways to rethink relations with each other and to reimagine communities that were both larger and smaller than southern Sudan. For others, the places pictured in films provided a view of a possible future for Juba; \u201ctall buildings, riding motorcycles,\u201d one cinema-goer recalled: \u201cand every person was wishing, \u2018I hope one day it will be like that here.\u2019\u201d For young people, film provided material for creatively fashioning new kinds of adulthoods and reimagining their place in the world.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Audiences in Juba engaged with the films that were shown there, playing a role that made each performance different. Some cinema-goers were silent, gripped by the story or, sometimes, asleep; others booed or laughed or shouted at the screen, or provided running translation or commentary. People sometimes threw things. \u201cOnce a man brought a spear,\u201d one cinema-goer told <em>Juba in the Making<\/em>\u2019s co-founder, Florence Miettaux. \u201cAnd when the action got too dangerous for the hero, he threw it on the screen to kill his enemy! Then the spears were banned in the cinema.\u201d<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_12');\" ><sup id=\"footnote_plugin_tooltip_7118_1_12\" class=\"footnote_plugin_tooltip_text\">[12]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_12\" class=\"footnote_tooltip\">I feel obliged to mention here the wide circulation of stories about cinema audiences mistaking what was being projected for reality. Most were probably untrue. But these stories were told again and&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\" onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_12');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_12').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_12', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> It was thrilling. \u201cAt the start of the film, you would silently follow the action to understand what was going on,\u201d another viewer told Miettaux; \u201cand then, once you had started supporting a character, you couldn\u2019t help yourself\u2014you\u2019d start shouting automatically: you were trying to warn him when another attacked him!&#8221;<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_18');\" ><sup id=\"footnote_plugin_tooltip_7118_1_18\" class=\"footnote_plugin_tooltip_text\">[18]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_18\" class=\"footnote_tooltip\">Florence Miettaux, <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.lemonde.fr\/afrique\/article\/2021\/07\/21\/au-soudan-du-sud-le-cinema-de-juba-a-traverse-l-histoire-tumultueuse-du-jeune-pays_6089085_3212.html\" target=\"_blank\" rel=\"noreferrer noopener\">Au Soudan du Sud, le cin\u00e9ma de Juba a travers\u00e9 l&#8217;histoire tumultueuse du jeune pays<\/a><\/span> (<em>Le Monde<\/em>, 21 July 2021)<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_18').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_18', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2><strong>What was playing?<\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Between March and July, 1960, the Juba Picture House exhibited more than forty different films in four languages.<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_13');\" ><sup id=\"footnote_plugin_tooltip_7118_1_13\" class=\"footnote_plugin_tooltip_text\">[13]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_13\" class=\"footnote_tooltip\">This paragraph is drawn from notices placed the Equatoria Daily News Bulletin (JUB EP\/36\/F 1950-1960). By 1960, Sudan had the highest per capita cinema attendance in Africa south of the Sahara. There&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\" onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_13');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_13').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_13', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Several films were shown for several successive days. Most were in technicolor; some were black and white. Few films had been released more than three years prior to their exhibition in Juba. There were westerns, adventures, legal and crime dramas, spy thrillers, science fiction films, war films, romances, and wildlife pictures, from the United States, England, India, Egypt, and Russia. On Sunday, April 3<sup>rd<\/sup>, audiences were offered a costume drama set in ancient Egypt. On the following Monday, Rock Hudson thrilled the staff of the Information Office in Juba with his performance in <em>Farewell to Arms <\/em>(1957),<span class=\"has-inline-color has-vivid-cyan-blue-color\"> <\/span>a \u2018marvellous picture in Cinemascope &amp; colour.\u2019 In May, audiences watched a flying saucer settle on a field in Washington DC in the <em>Day the Earth Stood Still<\/em> (1951), the <em>Beat Generation<\/em> (1959), <em>Up Periscope<\/em> (1959), a World War II movie about a submarine, and <em>Chori Chori<\/em> (1956), which begins on a yacht. <em>Al-Wessada al-Khalia<\/em> (The Empty Pillow, 1957), a film about a man getting over his first love played three times between April 6<sup>th<\/sup> and April 10<sup>th<\/sup>.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Up-Periscope.png\" alt=\"\" class=\"wp-image-6898\" width=\"839\" height=\"409\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Up-Periscope.png 624w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Up-Periscope-300x146.png 300w\" sizes=\"(max-width: 839px) 100vw, 839px\" \/><figcaption><em>Figure 3: Up Periscope (1959). Shown at the Juba Picture House on Saturday, May 7, 1960<\/em><\/figcaption><\/figure>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2><strong>Hollywood films<\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Juba had been massively transformed by the war of 1939-45, but the cargo and vehicles moving through the town along the African Forces Line of Communication provided only a very limited window on the world that was at war. American war films gave a fuller picture\u2014albeit one that was often upside down, or falsely colored, missing important elements, or otherwise distorted. These films were full of all sorts of propaganda and stereotypes, but they also pictured places that were very much on people\u2019s minds. Juba\u2019s audiences had long been perfectly aware that the understanding that they could gain through propaganda was partial and incomplete, taking it for granted such things had to be understood critically. And the films were a lot of fun.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>The Cinematograph Ordinance of 1949 established a Cinematograph Board, which, during its first meeting in April of 1950, established a series of principles for application by censors based on the American Motion Picture Production Code. The Cinematograph Board limited the themes that were explicitly explored by films shown at the Juba Picture House. But, still, stories about adapting to postwar life in the United States echoed experiences in Juba in the 1950s. Hollywood films of this era often explored the contradictions between soldiering and family, the difficulties faced by returning American servicemen, and post-war anxieties. Changing relations between men and women supplied a popular theme. On Sunday, April 24, 1960, the Juba Picture House showed \u201cShe Devil\u201d (1957), a misogynistic horror film about what happens when a woman is no longer afraid of male violence. In the film, a scientist develops a serum by distilling putrefied fruit flies which he administers in turn to a guinea pig, a cat with a broken spine, a rabid dog, a chimpanzee with \u201cdouble pneumonia,\u201d a lacerated leopard, and a woman with tuberculosis, Kyra Zelas (Mari Blanchard). The serum gives Kyra superpowers (she\u2019s able to change her hair color, recover from any sort of injury), and she goes on a crime spree.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-day-the-earth-stood-still.png\" alt=\"\" class=\"wp-image-6901\" width=\"838\" height=\"376\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-day-the-earth-stood-still.png 624w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-day-the-earth-stood-still-300x135.png 300w\" sizes=\"(max-width: 838px) 100vw, 838px\" \/><figcaption><em>Figure 4: The Day The Earth Stood Still (1951)<\/em><\/figcaption><\/figure>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Another science fiction film, \u201cThe Day the Earth Stood Still\u201d (1951), was shown at the Juba Picture House the following week on Tuesday, May 3, 1960. This film is about what happens when an alien from outer space named Klaatu, accompanied by a giant robot, Gort, lands a flying saucer in Washington, D.C., and issues a warning: \u201cjoin us and live in peace, or pursue your present course and face obliteration.\u201d The film\u2019s producer, Julian Blaustein, said the film was meant to argue in favor of a \u201cstrong United Nations.\u201d<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_14');\" ><sup id=\"footnote_plugin_tooltip_7118_1_14\" class=\"footnote_plugin_tooltip_text\">[14]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_14\" class=\"footnote_tooltip\">Blaustein later produced Khartoum (1966), which starred Charlton Heston as Charles Gordon and Laurence Olivier as Muhammad Ahmed.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_14').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_14', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"824\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-Big-hunt-1024x824.jpg\" alt=\"\" class=\"wp-image-6904\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-Big-hunt-1024x824.jpg 1024w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-Big-hunt-300x241.jpg 300w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-Big-hunt-768x618.jpg 768w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-Big-hunt-1536x1235.jpg 1536w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/The-Big-hunt.jpg 1916w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption><em>Figure 5: The Big Hunt, shown at the Juba Picture House on Tuesday, July 12, 1960 <\/em><\/figcaption><\/figure>\n\n\n\n<h2><p>&nbsp;<\/p><strong> Westerns<\/strong><\/h2>\n\n\n\n<p><p>\u00a0<\/p>The establishment of the Juba Picture House coincided with the ascent of the Western as a popular genre globally, which\u2014together with the fact that many of the men we spoke to were born in the mid-1950s and first attended the cinema as boys\u2014helps to account for the prominence of Cowboy films among those films mentioned by the cinema-goers that we spoke to. These films were also inexpensive for commercial cinema proprietors to obtain.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Three-Silver-Dollars.png\" alt=\"\" class=\"wp-image-6907\" width=\"837\" height=\"408\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Three-Silver-Dollars.png 624w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Three-Silver-Dollars-300x146.png 300w\" sizes=\"(max-width: 837px) 100vw, 837px\" \/><figcaption><em>Figure 6: <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.youtube.com\/watch?v=ukl1FYuVxFI\" target=\"_blank\" rel=\"noreferrer noopener\">Three Silver Dollars<\/a><\/span><\/em><\/figcaption><\/figure>\n\n\n<p>&nbsp;<\/p>\n\n\n<p> Westerns often seem to be fairly explicit meditations on the relations between masculinity, violence, and the imperial frontier. But it was the mix of hardscrabble effort and cowboy bravado that may explain their appeal to young people in a place like Juba, where many felt vulnerable being so far from home. The historian Ch. Didier Gondola describes in <em>Tropical Cowboys <\/em>(Bloomington: Indiana University Press, 2016) how Hollywood westerns provided young people in the 1950s with material for reimagining masculinity in colonial Leopoldville (now Kinshasa), where colonial authorities infantilized Congolese men.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Most of the cinema-goers we spoke to were men, well-educated civil servants who had done much of their growing up in Juba. Many were in their late fifties. A few were older. The period of their recollection of the cinema ran from the 1960s to the early 1980s. Their personal narratives of cinema-going were often stories about growing up\u2014stories about how, as boys, they had made bamboo swords for games inspired by Zorro, or played Cowboys (\u201cNo one wanted to be an Indian\u201d) in schoolyards and scrublands.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<blockquote class=\"wp-block-quote\"><p>\u201cWhen we were still young boys, we liked cowboy films. If the film is a Cowboy, then we all rushed to it: because we want to see the star man shooting with the revolver. How to use the revolver was very impressive to us. We\u2019d go to the school in the evening. And then everybody took a position. Then, if you saw him and he didn\u2019t see you, you would make your fingers [into an L-shape] like this and point and say, \u2018pa-PEWM! pa-PEWM!\u2019 And that means you killed him with the pistol. When you shoot him, then he is out [of the game]. Or sometimes we do that in the bush. Because the grass will be so tall. Nobody can see the other one. We\u2019d go and hide in the tall grass\u2014and then we were in there shooting ourselves.\u201d<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_15');\" ><sup id=\"footnote_plugin_tooltip_7118_1_15\" class=\"footnote_plugin_tooltip_text\">[15]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_15\" class=\"footnote_tooltip\">Interview: 10 October 2017, Hai Cinema, Juba<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_15').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_15', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n\n\n\n<p><\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Another man told us that he was introduced to the cinema by a friend of his who liked cowboy films and later joined the army. He described how, as he grew older, he would find some excuse to refuse his friend\u2019s invitation to see a western. \u2018Those cowboy films were all the same: a guy walks into a bar and starts fighting,\u2019 he said. As he got older, he said, he came to prefer Indian romance films. Particularly, the musical numbers: the part where \u2018a young man sings to a young lady who [feigns indifference] for a while\u2014then sings to the man.\u2019<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2><strong>Indian romance films<\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Brian Larkin (2003) has written about how for Hausa film-goers in Nigeria, Indian films provided a kind of \u2018parallel modernity,\u2019 that is, a look at the lives of people living in another newly-independent country, where people were reckoning with their own legacies of colonialism.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Chori-Chori.png\" alt=\"\" class=\"wp-image-6910\" width=\"837\" height=\"424\" srcset=\"https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Chori-Chori.png 624w, https:\/\/jubainthemaking.com\/wp-content\/uploads\/2022\/07\/Chori-Chori-300x152.png 300w\" sizes=\"(max-width: 837px) 100vw, 837px\" \/><figcaption><em>Figure 7: <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.youtube.com\/watch?v=fIvodFD7r-o\" target=\"_blank\" rel=\"noreferrer noopener\">Chori Chori<\/a><\/span> (1956)<\/em><\/figcaption><\/figure>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Many of these films explicitly probe questions about social change and \u2018tradition,\u2019 a domain customarily marked in film by marriage celebrations, food, village life, and song, and centered around concerns about who to marry and what language to speak. Like Egyptian films of the period, many concerned love marriages and the drama that followed young people\u2019s efforts to navigate different ambitions, differences of wealth and poverty, and choices about love.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Films about how people redefined their relations with each other in the midst of profound change would have resonated in Juba during the years after the Second World War. In May 1960, for example, audiences at the Juba Picture House saw <em>Chori Chori<\/em> (1956), a Hindi-language remake of <em>It Happened One Night<\/em> (1934), which ran several nights at the theater. <em>Chori Chori<\/em> tells the story of what happens when a wealthy young socialite, Kammo, runs away from her father and meets a poor journalist who\u2019s recently lost his job. Though the film begins on a luxury yacht anchored at British Ceylon, most of the film takes place in familiar places: on a crowded bus, along the roadside where women roast maize on braziers, beside a river, and on farm fields.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>A handful of Juba\u2019s Hindi-speaking residents may have been able to follow the film\u2019s dialogue without the aid of Arabic subtitles. Some of Juba\u2019s ex-soldiers may have visited the places represented in the film, having served in British Ceylon and India during the Second World War. Most audience members could enjoy the film and follow the plot (without the help of Arabic or English subtitles): an argument between a father and a daughter provokes a long journey, shown with buses and roads and sleeping in fields, punctuated by song-and-dance numbers, and concluding after some more peregrinations with romance.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<h2><strong>Hai Cinema<\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Films made for wider audiences <em>about<\/em> Sudan have often been preoccupied with violent encounters between Sudanese and outsiders <a>(Elsanhouri 2017<\/a>). This theme runs like a bright red thread through Sudan\u2019s and South Sudan\u2019s appearances on the big screen: from the first film made in Sudan, John Bennet Stanford\u2019s 1898 \u201cAlarming Queen\u2019s Company of Grenadier Guards at Omdurman,\u201d which showed some infantry soldiers at Kerreri on the day before the battle at Omdurman standing up, fixing their bayonets, and marching away, through seven versions of <em>The Four Feathers<\/em> (made in 1915, 1921, 1929, 1939, 1955, 1978, 2002), Charlton Heston and Laurence Olivier\u2019s confrontation in <em>Khartoum<\/em> (1966), and <em>Machine Gun Preacher<\/em> (2011).<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_16');\" ><sup id=\"footnote_plugin_tooltip_7118_1_16\" class=\"footnote_plugin_tooltip_text\">[16]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_16\" class=\"footnote_tooltip\">On John Bennet Stanford see Stephen Bottomore, Filming, faking and propaganda: The origins of the war film, 1897-1902 (Doctoral dissertation, Utrecht University, 2007). The historian Douglas Johnson&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\" onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_16');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_16').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_16', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> It is no wonder that the filmmaker Simon Bingo, who helped to organized South Sudan\u2019s first film festival, publicized the event by saying: &#8220;What we know now is that people are talking of South Sudanese as fighters, war people [who] like fighting, but we are struggling to try to change that.&#8221;<span class=\"footnote_referrer\"><a onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_17');\" ><sup id=\"footnote_plugin_tooltip_7118_1_17\" class=\"footnote_plugin_tooltip_text\">[17]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_7118_1_17\" class=\"footnote_tooltip\">Conor Gaffey, The Juba Identity: South Sudan&#8217;s First Film Festival Recasts Its Image, Newsweek (7 July 2016).&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\" onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_reference_7118_1_17');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_7118_1_17').tooltip({ tip: '#footnote_plugin_tooltip_text_7118_1_17', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> The films that have most appealed to South Sudanese audiences are not those about how imperial regimes have conquered and oppressed people but rather films about how, as a result, people in different times and places have ended up reconsidering their relations with each other.<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Brendan Tuttle<\/p>\n\n\n<p>&nbsp;<\/p>\n\n\n<p><\/p>\n\n\n\n<h2><strong>References cited<\/strong><\/h2>\n\n\n<p>&nbsp;<\/p>\n\n\n<p>Bottomore, Stephen. 2007. \u201cFilming, faking and propaganda: The origins of the war film, 1897-1902.\u201d PhD Diss., Utrecht University.<\/p>\n\n\n\n<p>Duot, Joseph Chol. 2017. \u201cA Research Report on Leisure Activities, Films, Fashions, and Popular culture in Hai Cinema, now Emmanuel Diocese, Juba (1962-2017).\u201d Unpublished report.<\/p>\n\n\n\n<p>Elsanhouri, Taghreed. 2017. \u201cBackstage with \u2018Fuzzy Wuzzy,\u2019 Reflections On the Representational Influences on Filming Our Beloved Sudan (2011).\u201d In African Film Cultures: Contexts of Creation and Circulation, edited by Winston Mano, Barbara Knorpp, A\u00f1uli Agina. Cambridge Scholars.<\/p>\n\n\n\n<p>Fortescue, John. 1912. Narrative of the Visit to India. London: MacMillan and Co.<\/p>\n\n\n\n<p>Hadi, Abdullahi Mohammed Abdel. 1972. \u201cThe Impact of Urbanization on Crime and Delinquency.\u201d In Urbanization in the Sudan, edited by El-Sayed Bushra. Khartoum.<\/p>\n\n\n\n<p>Ibrahim, Kamal Mohamed. 1999. \u201cA Brief on Cinema in Sudan.\u201d Sudanow (April 1999): 38.<\/p>\n\n\n\n<p>Kindersley, Nicki. 2016. \u201cThe fifth column? An intellectual history of Southern Sudanese communities in Khartoum, 1969-2005.\u201d PhD Diss., Durham University.<\/p>\n\n\n\n<p>Larkin, Brian. 2003. \u201cItineraries of Indian Cinema: African Videos, Bollywood, and Global Media.\u201d In Multiculturalism, Postcoloniality, and Transnational Media, edited by Ella Shohat and Robert Stam, 170-92. Rutgers University Press.<\/p>\n\n\n\n<p>Lwoki, Sayed Benjamin and M.R. Morgan. 2005[1954]. \u201cMinutes of the 1954 Liberal Party conference in Juba (October 18<sup>th<\/sup>-21<sup>st<\/sup>, 1954).\u201d In <em>The Southern Sudanese Pursuits of Self-Determination: Documents in Political History<\/em>, edited by Yosa H. Wawa. Kampala: Marianum Press.<\/p>\n\n\n\n<p>Mills, L.R. 1981. The People of Juba: Demographics and Socio-Economic Characteristics of the Capital of Southern Sudan. Juba: University of Juba.<\/p>\n\n\n\n<p>Seri-Hersch, Iris. 2011. \u201cTowards Social Progress and Post-Imperial Modernity ? Colonial Politics of Literacy in the Anglo-Egyptian Sudan, 1946-1956\u201d, History of Education 40(3): 333-356.<\/p>\n\n\n\n<p>Sikainga, Ahmad Alawad. 2015. \u201cSudanese Popular Response to World War II.\u201d In Africa and World War II, edited by Judith A. Byfield, Carolyn A. Brown, Timothy Parsons, and Ahmad Alawad Sikainga, 462-479. Cambridge: Cambridge University Press.<\/p>\n\n\n\n<p>Swanzy, H. 1947. \u201cQuarterly Notes.\u201d <em>African Affairs<\/em> 46, no. 183: 71.<\/p>\n\n\n\n<p>Symes, Stewart. 1946. Tour of Duty. London: Collins.<\/p>\n\n\n\n<p>Yangu, Alexis Mbali. 1966. The Nile Turns Red. New York: Pageant Press.<\/p>\n<div class=\"us_posts_bottom\" style=\"margin-top:50px;margin-bottom:50px;\"><div class=\"us_wrapper us_share_buttons us_tac us_skin_minimal\" data-text=\"Juba in the Making\" data-url=\"http:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/posts\/7118\" data-ajaxnetworks=\"facebook\"><div class=\"us_facebook us_first us_button\"><a class=\"us_box\" href=\"#\"><div class=\"us_share\"><i class=\"us-icon-facebook\"><\/i><\/div><div class=\"us_count\"><\/div><\/a><\/div><div class=\"us_twitter us_last us_no_count us_button\"><a class=\"us_box\" href=\"#\"><div class=\"us_share\"><i class=\"us-icon-twitter\"><\/i><\/div><\/a><\/div><\/div><\/div><div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_7118_1();\">References<\/span><span class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_7118_1();\">[<a id=\"footnote_reference_container_collapse_button_7118_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_7118_1\" style=\"\"> <table class=\"footnotes_table footnote-reference-container\"> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_1');\"><a id=\"footnote_plugin_reference_7118_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/td> <td class=\"footnote_plugin_text\">Lord Kitchener, Consul-General in Egypt at the time, had come to Sudan to greet the King and Queen.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_2');\"><a id=\"footnote_plugin_reference_7118_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/td> <td class=\"footnote_plugin_text\">Governor-General of the Sudan. \u201cReport on the Administration of the Sudan for the years 1942-44 (inclusive).\u201d 126.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_3');\"><a id=\"footnote_plugin_reference_7118_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/td> <td class=\"footnote_plugin_text\">Governor-General of the Sudan. \u201cReport on the Administration, Finances and Conditions of the Sudan in 1947.\u201d 144. For a comparison of numbers reached by mass literacy campaigns, see Seri-Hersch (2011). For standard equipment and budgets from mobile film units see L.N.M Newell to Governor, UNP, \u201cMobile Cinema,\u201d 25 November 1951. JUB UNP\/92\/B\/1 &#8211; 43. During the first years of the travelling cinema, commentary was provided by Inspectors or senior teachers \u2018knowing the local language who hear the English commentary through once or twice first.\u2019 During later years officials sometimes accompanied mobile cinemas \u2018so that the operator and driver will not be tempted to use the van for their own ends.\u2019 P. Le Fleming. \u201cSouthern Provinces \u2013 Mobile Cinema,\u201d 20th June 1952. JUB EP\/108\/B\/2 &#8211; 76-7. [1] US Department of Commerce, 1944. \u201cSudan Railway\u2019s \u2018Public Enlightenment\u2019 Car.\u201d <em>Foreign Commerce Weekly<\/em> 14, no. 1 (January 1, 1944), 24.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_4');\"><a id=\"footnote_plugin_reference_7118_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/td> <td class=\"footnote_plugin_text\">US Department of Commerce, 1944. \u201cSudan Railway\u2019s \u2018Public Enlightenment\u2019 Car.\u201d <em>Foreign Commerce Weekly<\/em> 14, no. 1 (January 1, 1944), 24.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_5');\"><a id=\"footnote_plugin_reference_7118_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/td> <td class=\"footnote_plugin_text\">Public Relations Office, Catalogue of 16mm. Films (February 1952).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_6');\"><a id=\"footnote_plugin_reference_7118_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/td> <td class=\"footnote_plugin_text\">One person that we spoke to said the car was a Peugeot.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_7');\"><a id=\"footnote_plugin_reference_7118_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/td> <td class=\"footnote_plugin_text\">Governor General\u2019s Report on the Administration of the Sudan for the years 1942-44 (inclusive), p. 187<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_8');\"><a id=\"footnote_plugin_reference_7118_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/td> <td class=\"footnote_plugin_text\">Owing to rationing and shortages. Governor-General of the Sudan. Report on the Administration, Finances and Conditions of the Sudan in 1945. Governor-General of the Sudan. Report on the Administration, Finances and Conditions of the Sudan in 1945, p. 197<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_9');\"><a id=\"footnote_plugin_reference_7118_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/td> <td class=\"footnote_plugin_text\">Lord Milvertoni, The Colonial Territories, HL Deb 06 July 1955 vol 193 cc497-500.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_10');\"><a id=\"footnote_plugin_reference_7118_1_10\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>10<\/a><\/td> <td class=\"footnote_plugin_text\">TRH Owen, letter to his father, August 17, 1945 (SAD 414\/15\/97-98).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_11');\"><a id=\"footnote_plugin_reference_7118_1_11\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>11<\/a><\/td> <td class=\"footnote_plugin_text\">Florence Miettaux, <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.lemonde.fr\/afrique\/article\/2021\/07\/21\/au-soudan-du-sud-le-cinema-de-juba-a-traverse-l-histoire-tumultueuse-du-jeune-pays_6089085_3212.html\" target=\"_blank\" rel=\"noreferrer noopener\">Au Soudan du Sud, le cin\u00e9ma de Juba a travers\u00e9 l\u2019histoire tumultueuse du jeune pays<\/a> <\/span>(<em>Le Monde <\/em>21 July 2021).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_12');\"><a id=\"footnote_plugin_reference_7118_1_12\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>12<\/a><\/td> <td class=\"footnote_plugin_text\">I feel obliged to mention here the wide circulation of stories about cinema audiences mistaking what was being projected for reality. Most were probably untrue. But these stories were told again and again partly because they captured the feeling of being gripped and enthralled by film and, partly, because they reflected metropolitan prejudices about rural and \u201cunsophisticated\u201d audiences. Gadallah Gubara, a cinematographer who worked on Sudan\u2019s first mobile filmmaking unit, tells a similar story in his memoir, <em>Hayati wa al-sinima<\/em> (My life and Cinema, 2008). For a critical discussion of such \u2018first contact\u2019 narratives and their politics see: Stephanie Newell. 2017. \u201cThe Last Laugh: African Audience Responses to Colonial Health Propaganda Films.\u201d <em>The Cambridge Journal of Postcolonial Literary Inquiry<\/em> 4, no. 3: 347-361. Timothy Burke. 2002. \u201c\u2018Our Mosquitoes Are Not So Big\u2019: Images and Modernity in Zimbabwe.\u201d In <em>Images &amp; Empire: Visuality in Colonial and Postcolonial Africa<\/em>, edited by Paul S. Landau and Deborah D. Kaspin, 41-55. University of California Press. James Burns. 2000. \u201cWatching Africans Watch Films: Theories of spectatorship in British Colonial Africa.\u201d <em>Historical Journal of Film, Radio and Television<\/em> 20, no. 2: 197-211.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_13');\"><a id=\"footnote_plugin_reference_7118_1_13\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>13<\/a><\/td> <td class=\"footnote_plugin_text\">This paragraph is drawn from notices placed the Equatoria Daily News Bulletin (JUB EP\/36\/F 1950-1960). By 1960, Sudan had the highest per capita cinema attendance in Africa south of the Sahara. There were 34 purpose-built cinemas in the country with a combined seating capacity of 60,000. Arno George Huth<em>, Communications Media in Tropical Africa: Report Prepared for the International Cooperation Administration<\/em> (International Cooperation Administration, 1961), 50-51<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_14');\"><a id=\"footnote_plugin_reference_7118_1_14\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>14<\/a><\/td> <td class=\"footnote_plugin_text\">Blaustein later produced Khartoum (1966), which starred Charlton Heston as Charles Gordon and Laurence Olivier as Muhammad Ahmed.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_15');\"><a id=\"footnote_plugin_reference_7118_1_15\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>15<\/a><\/td> <td class=\"footnote_plugin_text\">Interview: 10 October 2017, Hai Cinema, Juba<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_16');\"><a id=\"footnote_plugin_reference_7118_1_16\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>16<\/a><\/td> <td class=\"footnote_plugin_text\">On John Bennet Stanford see Stephen Bottomore, Filming, faking and propaganda: The origins of the war film, 1897-1902 (Doctoral dissertation, Utrecht University, 2007). The historian Douglas Johnson has pointed out that for many filmmakers, Sudan and South Sudan provide a stage upon which \u201cto portray an essentially European moral struggle, beset by doubt, but redeemed by sacrifice.\u201d Douglas H. Johnson, \u201cWhy The Four Feathers? (why not seven?),\u201d Sudan Studies 34 (2006), 14-19.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_17');\"><a id=\"footnote_plugin_reference_7118_1_17\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>17<\/a><\/td> <td class=\"footnote_plugin_text\">Conor Gaffey, The Juba Identity: South Sudan&#8217;s First Film Festival Recasts Its Image, Newsweek (7 July 2016). <span class=\"footnote_url_wrap\">https:\/\/www.newsweek.com\/juba-identity-south-sudans-first-film-festival-offers-new-image-war-torn-478131<\/span><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <td class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_7118_1('footnote_plugin_tooltip_7118_1_18');\"><a id=\"footnote_plugin_reference_7118_1_18\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>18<\/a><\/td> <td class=\"footnote_plugin_text\">Florence Miettaux, <span class=\"has-inline-color has-vivid-cyan-blue-color\"><a href=\"https:\/\/www.lemonde.fr\/afrique\/article\/2021\/07\/21\/au-soudan-du-sud-le-cinema-de-juba-a-traverse-l-histoire-tumultueuse-du-jeune-pays_6089085_3212.html\" target=\"_blank\" rel=\"noreferrer noopener\">Au Soudan du Sud, le cin\u00e9ma de Juba a travers\u00e9 l&#8217;histoire tumultueuse du jeune pays<\/a><\/span> (<em>Le Monde<\/em>, 21 July 2021)<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_7118_1() { jQuery('#footnote_references_container_7118_1').show(); jQuery('#footnote_reference_container_collapse_button_7118_1').text('\u2212'); } function footnote_collapse_reference_container_7118_1() { jQuery('#footnote_references_container_7118_1').hide(); jQuery('#footnote_reference_container_collapse_button_7118_1').text('+'); } function footnote_expand_collapse_reference_container_7118_1() { if (jQuery('#footnote_references_container_7118_1').is(':hidden')) { footnote_expand_reference_container_7118_1(); } else { footnote_collapse_reference_container_7118_1(); } } function footnote_moveToAnchor_7118_1(p_str_TargetID) { footnote_expand_reference_container_7118_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>&nbsp; Some of the following is excerpted from &#8220;Cinema, Southern Sudan, and the End of Empire, 1943-1965,&#8221; by Brendan Tuttle and Joseph Chol Duot, which appears in&nbsp;Sudan, 1504-2019: From Social History to Politics from Below&nbsp;(2022), edited by Mahassin Abd al-Jaliil, Iris Seri-Hersch, Anael Poussier, Lucie Revilla, Elena Vezzadini and published by De Gruyter. &nbsp; Cover &hellip; <a href=\"https:\/\/jubainthemaking.com\/it\/a-night-at-the-movies\/\">Continua<\/a><\/p>\n","protected":false},"author":5,"featured_media":6937,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[114,87,89,98,108],"tags":[],"_links":{"self":[{"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/posts\/7118\/"}],"collection":[{"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/posts\/"}],"about":[{"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/types\/post\/"}],"author":[{"embeddable":true,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/users\/5\/"}],"replies":[{"embeddable":true,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/comments\/?post=7118"}],"version-history":[{"count":8,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/posts\/7118\/revisions\/"}],"predecessor-version":[{"id":7149,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/posts\/7118\/revisions\/7149\/"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/media\/6937\/"}],"wp:attachment":[{"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/media\/?parent=7118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/categories\/?post=7118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jubainthemaking.com\/it\/wp-json\/wp\/v2\/tags\/?post=7118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}