This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of this book. The book argues that a world of cinemas is engaged in telling the stories of the lost pasts of colonial modernity. For colonial modernity's continuation, rebranding of former divisions to ensure inequality is perpetuated must ensure the repeated re-erasure of the past, the submergence of the many-sided struggle over history which it repeatedly 'wins'. If Gilles Deleuze identified a new political cinema arising with the time-image, it was due to its potential to deterritorialise Eurocentric world history by indicating a multiplicity of views from the Global South on world history. It is in the sense that cinema can be realised to be unthinking doublethink, positioning itself against the obliteration of different perspectives on history to that of the Eurocentric vision of colonial modernity.

The methods used in researching this book deliberately draw from a number of disciplines—specifically, sociology, history, and political theory. Such a mixed-methods approach was in keeping with the "Elite Schools" project as a multisited, global ethnography. In this chapter, the author anonymized the Caledonian School, as well as some others. This de-identification is in keeping with the ethics policy surrounding research at my institution, Monash University. It also adds a sense of consistency for the overall "Elite Schools" project's publications. The incomplete nature of the school's archives is surprising given its status: many elite schools in the Anglophone "North" now employ full-time archivists. The authors' perambulations around the school's neighbourhood, as well as different parts of the city with local friends, all contributed to his study, even if not in ways made obvious in the text.