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Abstract
In this paper, I will examine how films recreate memories of resistance and define, both visually and in film narration, the difference between imperial aggressors and local protagonists of resistance. The examples are taken from the Brazilian film Quilombo that describes the resistance of the 17th and 18th century Maroon communities against the onslaught of the Portuguese colonial powers (political and military). Med Hondo's (Mauretania) Sarraounia deals with the resistance in West Africa against the Jihad of the Sokoto Fulani and the (in)famous French "exploratory" expedition under the command of Voulet. Both films are based on "real" histories as they were generally communicated from the colonialist perspective. And both films present themselves as counter-discursive revisions of history. The analysis in this paper focuses on the visual representation of the resistance heroes, first isolating them from the continuity of film narration in a type of still image, thus emphasizing the contrastive imagology between aggression and resistance. In the second step, aggressors and resistors are examined in terms of how they relate socially to their fellow combatants and to their communities. The obvious difference is that the aggressors have no immediate community to relate to socially or emotionally. Particular emphasis is put on the associative and symbolic meanings of the scenic setting, in which the antagonistic characters are placed.

Erörterung der bildungs- und entwicklungspolitischen Zielvorstellungen der afrikanischen Länder, wie sie auf verschiedenen Konferenzen seit der UNESCO-Konferenz in Addis Abeba 1961 bis zur Harare-Konferenz in Simbabwe 1982 deutlich wurden. Das über Jahrzehnte konstatierte Schwanken bei der Gewichtung von Human- und Naturwissenschaft, Kultur- und Verwertungswissenschaft wird in den Zusammenhang der Lern- und Afrikanisierungsprozesse in der curricularen und didaktischen Umsetzung der Zielvorgaben gestellt. (DÜI-Hns)