A Time There Was: Stories from the Last Days of Kenya Colony

A Time There Was: Stories from the Last Days of Kenya Colony

| 1 h 27 min
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This autobiographical documentary revisits the Mau Mau Rebellion of the 1950s. More than 50 years after the conflict, in which the director participated as a young British soldier stationed in Kenya for his national service, he confronts his past with audacity and unflinching self-inquiry.

Combining McWilliams' own photographic record of the times with original animation and archival imagery, A Time There Was crafts a thoughtful account of the Mau Mau Rebellion – one of the most contentious episodes in Britain’s imperial endgame.

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A Time There Was: Stories from the Last Days of Kenya Colony, Donald McWilliams, offert par l'Office national du film du Canada

Largeur de la vidéo :

par Réinitialiser
Générique
  • réalisation
    Donald McWilliams
  • montage
    Donald McWilliams
  • collaboration
    Karen Feiertag
  • None
    Donald McWilliams
    Pierre Landry
    Thea Pratt
    Suzie Synnott
    Sarah Marchand
    Karen Feiertag
    Susan Gourley
    Claude Chevalier
    Pierre Béluse
    Jean-Guy Plante
    Luigi Allemano
    Geoffrey Mitchell
    Luc Léger
    Matthew Thomson
    Sylvain Cajelais
    Julie Laperrière
    Sylvain Desbiens
    Louis Dupuis
    Steve Hallé
    Robert Paquin
    Elizabeth Klinck
  • narration
    Donald McWilliams
  • caméra
    James Aquila
    John Walker
  • gérant de production
    Karen Feiertag
  • photographie de plateau
    Karen Feiertag
  • preneur de son
    Karen Feiertag
  • participation
    Mwaria Njuma
    John Nottingham
    Achrroo Kapila
  • traducteur
    Terry Wairimu
  • transport
    John Bisley
    Arthur Taylor
  • animation
    Marcy Page
    Randall Finnerty
  • dessin
    Gail Lamarche
  • caméra d'animation
    Pierre Landry
    Thea Pratt
  • spécialiste en imagerie numérique
    Susan Gourley
  • montage sonore
    Oana Suteu
  • traduction
    Jane Nyoike
  • musique originale
    Kevin Dean
  • musicien
    Kevin Dean
    Michel Lambert
    Jean-Gabriel Lambert
  • enregistrement en studio
    Geoffrey Mitchell
    Luc Léger
    Matthew Thomson
    Sylvain Cajelais
  • ré-enregistrement
    Jean Paul Vialard
  • titres
    Gaspard Gaudreau
  • montage en ligne
    Yannick Carrier
  • support technique au montage
    Danielle Raymond
    Martine Forget
    Isabelle Painchaud
    Pierre Dupont
    Amélie Bolduc
  • recherche musique
    Elizabeth Klinck
    Karen Feiertag
    Donald McWilliams
  • droits
    Elizabeth Klinck
    Karen Feiertag
    Donald McWilliams
  • mise en marché
    Moira Keigher
    Annmarie Martin
    Philip Lewis
  • administration
    Gisèle Guilbault
    Marie-Christine Nadon
    Rosalina Di Sario
    Lysanne Fortier
  • producteur exécutif
    Ravida Din
    David Verrall
  • producteur
    Marcy Page
    Adam Symansky
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Ajouter un commentaire
  • kingmaxwell

    I think this is an elegant attempt to get at some complicated ideas. The difficulty of memory, and what we remember is put at the forefront. Turns out that "being there" isn't a guarantee that you'll see, perceive or remember what actually happens. This film is a good example of national amnesia and the preference to disown our own stories when they are scary. Kudos to McWilliams for his struggle to get at the very ideas of what he encountered and did. I also think that the structure of the film is topnotch. Use of still shots, overlays, and narration were strong. This isn't a film to get at the full history of colonialism, but rather how it impacts a few people who swam in the water. Provocative.

    kingmaxwell, 27 Mai 2011
  • Ambricourt

    Although superbly edited the pacing is slow for contemporary audiences. The narrative is carried by the contrast between the unrepentant former Independence (Mau Mau) leader and the repentant ex-Englishman John Nottingham. Through these figures and the narrator's voice-over, moral issues are raised, but evaded; nostalgia becomes a narrative device blocking deeper questions such as: Who benefited from the Kenyan economy - in 1920s, 1950s, and 2000s? Who manipulated the anti-Independence propaganda machine in 1950s financing films like SIMBA? Who, in 2010, are the present controllers of the Kenyan government and economy? Despite references to outrageous behaviours, this is a benign film about abominations committed across racial boundaries. If it were less benign its message would be more potent.

    Ambricourt, 2 Jul 2010

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