French Indochina map. |
This week I watched director Rithy Panh’s The Seawall and read selected passages
from France and “Indochina” Cultural
Representations as well as read France
in Indochina Colonial Encounters. Both books gave a good overview of
colonial domination in French Indochina (Laos, Cambodia, and Vietnam) as a
whole, and more specifically how French aesthetics and practices were implanted
into the colonies as a form of power. I overall enjoyed France and “Indochina” Cultural Representations, a compilation of essays, and found scholar Penny Edwards’ piece about “Taj Angkor” to relate very muchto what I have already read, especially in Michael Di Giovine’s The Heritage-scape. France in Indochina Colonial Encounters was also a very thorough
book about colonial visuality and media, but 1) did not translate French into
English (sorry my right brain doesn’t have google translate built in?) and 2) I
felt may have over exaggerated or was overly critical, a bit like Cambodia’s Curse: The Modern History of a
Troubled Land.
Original cover of Duras' book. |
The Seawall, or in French Un barrage contre le Pacifique, is based off of Marguerite Duras’ same-titled
novel, one of the first to criticize colonialism in Southeast Asia, and Panh
then molded the plot to fit the Cambodian context. Set in 1931, the film begins
showing the immense estate belonging to “Madam” and her children, Joseph and
Suzanne. Her husband, a civil servant, has either died or disappeared—it is not
made clear. We first see madam in the rice fields, realizing that the crops for
her and the villagers have been completely ruined because the salt water
destroyed them.
Also at the beginning of the film, we find out that Joseph
has purchased a horse, and that dies only after one week. Joseph pushes and
pushes the horse to work, and finally, it collapses suffocating. According to
Nicola Cooper, author of the essay “Disturbing the Colonial Order” in France and “Indochina” Cultural
Representations, “the death of the family’s horse symbolizes at once the
good intentions and the ideas of the European migrants to Indochina, and their
failures.” As Duras’ novel originally states “Il essaya honnêtement de
faire le travail qu’on lui demandait et qui était bien au-dessus de ses forces depuis
longtemps, puis il creva,” or in English, “He tried honestly to the work that was asked of
him and which had been beyond his capacities for a long time. And then he died”
(Cooper in Robson & Kim 85, 93). Madam
is like the horse: she tries to “realize a hopeless project” (building a seawall,
discussed later), and “succumbs to a seemingly inevitable outcome: madness and
death,” just like the horse (Cooper in Robson & Kim 85).
The Seawall. |
Madam’s main goal throughout the film is to gain the title
to the plot of land she lives on, and to let the villagers use it as well. Part
of this includes constructing the Seawall to ensure that the saltwater does not
rush in and ruin the harvest in the future. She goes to the villagers and explains
this request, and although is at first met with skepticism, the villagers
oblige. She is very mutually orientated with the villagers and sees them as
“equal” as the time period allows. Madam soon realizes that she was bribed into
living on the faulty plot of land that she does, and writes to the French
government that she is horrified by this and ashamed to be French—a theme that
continues throughout the plot. Duras in her novel as well refers to French
colonial corruption often (86). By the end of the film, the Cambodian people
build a seawall, watch the rice become “pregnant” (in Balinese language, the
term “pregnant” is also used as in both societies, rice has a soul), and in the
end watch the seawall collapse.
A pepper plant outside of Kampot, Cambodia Taken by yours truly in December 2009 |
The land entitlement certificate disputes get worse
throughout the film when Mr. Khing, a Frenchman, tells the villagers around
Madame’s bungalow that all of the plots that they have lived and worked on for
their whole lives are now owned by and in control of the French government. This
is because the Cambodian did not have a title for the land. As the French put
it in the film: “Our office has let you farm this land.” The French want the
Cambodians to stay on the land, and use demeaning rhetoric to make this look
like a favor from the French. Why do
the French want the Cambodians to stay? Because pepper plants (what they want
to grow) are more valuable than gold, and people need to work on the pepper plantation. As Panh discusses critically in a Cinemonde interview (part of the DVD’s
special features), the World Bank still does this today by forcing exports upon
countries, such as palm oil, that farmers cannot actually use to feed their
families. This makes the land, essentially, not theirs.
A pepper plantation outside of Kampot, Cambodia. Taken by yours truly in December 2009 |
As Madam states, “This colony will never experience peace
nor rest,” because not only have the French usurped the Cambodian’s livelihoods,
but also have taken their dignity. She writes to the French that it is unfair to
take the peasants’ land for pepper plants and that the peasants actually “know
[their] methods inside and out.” She even writes to the French government to
say that she has told the peasants that the government takes advantage of them
with the fraudulent land certificates.
Indochina's "Piastres" money. |
Postcard image circulated during colonial exhibitions in France of a "Cambodian Palace Pavillion." |
Postcard from France's colonial exposition. |
The French attempted to make their being in Cambodia as part
of a humanitarian mission to cover up its economic motives (Cooper 33). This
was meant to separate France from other European colonial powers that were more
explicitly exploitative (Cooper 33). France showed off how much they helped
Indochina through exhibits in France: general public works, constructing bridges,
building rail / road networks, cultivating land for food, modernizing
agriculture, and using raw materials (Cooper 79). This was all spun to be good. In other words: an ethical façade masked
colonialism’s exploitive activity in Indochina. These “humanitarian” ideas then
lead into what Cooper calls “media colonialism,” in which the main goal is not
exploring unknown continents, but rather surveilling the already appropriated (Cooper
68). France, and most of Europe, was then fixed in an “authoritative gaze of dominating
power” (Cooper 68).
Street scene in Kampot, Cambodia. Taken by yours truly in December 2009 |
Arc de Triomphe surrounded by fountains and gardens in Vientiane, Laos. Taken by yours truly in November 2009 |
French language was not only meant to dominate the people
(as the peasants were unable to communicate with the higher-ups, as The Seawall exemplifies), but also in
Indochina’s case especially, to homogenize
the people from Laotian, Cambodian, and Vietnamese backgrounds into one (Cooper
53). Education in Indochina sought to imbue more French nationalism into the people
(Cooper 57). Indeed, the “leçons de
morale” were meant to garner loyalty amongst the Indochinese colony and
instruct them on what they owed to France (Cooper 57).
Angkor Wat poster. |
Works Cited:
Cooper, Nicola. “Disturbing the Colonial Order: Dystopia and
Disillusionment in Indochina” in Robson, Kathryn and Jennifer Yee, eds. France and Indochina Cultural
Representations. New York, New York: Lexington Books, 2005. Print.
Cooper, Nicola. France
in Indochina Colonial Encounters. New York, New York: Berg Press, 2001.
Print.
Edwards, Penny. “Taj Angkor: Enshrining l’Inde in le Cambodge” in
Robson, Kathryn and Jennifer Yee, eds. France
and Indochina Cultural Representations. New York, New York: Lexington
Books, 2005. Print.
The Seawall. Dir. Rithy
Panh. Catherine Dussart Productions, 2008. Film.
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