Abstract

Across the past decade or so, “politically committed” strains of film studies have undergone a much-vaunted aesthetic turn. It is now widely acknowledged that political struggle is as likely to converge in and around the tangible, audible and/or visible surface of the filmic image as it is to involve forces operating “within,” “beyond” or “behind” that surface. Yet while this so-called aesthetic turn has restored questions of film sound, film form and film colour to the film-political agenda, questions of film lighting are yet to feature prominently in these discussions. This essay addresses this situation through a re-reading of John Ford's The Searchers, a film whose ambivalent engagement with America's troubled settler-colonial history has seen it mortgaged to depth-oriented reading methods. Countering these approaches, I argue that, even before the filmic image signifies or symptomatizes settler-colonial struggle, that struggle is played out across the surface of the filmic image in the form of...