Necro- And Geopolitics: Antonioni'S The Passenger

The bookends of this article are analyses of two kinds of Africa-situated visual texts. It begins with a focus on Michelangelo Antonioni's film The Passenger (1975), a movie simultaneously about a personal and cartographic drama, involving the micropolitics of the violent life of a journalist and a space with a legacy of colonial violence, the Africa country of Chad. It ends with a focus on the photography of Santu Mofokeng, which expresses a community of sense among Black citizens in post-Apartheid South Africa.