The French overseas territories today

From French colonies (or protectorates) to French Overseas Territories or Overseas Départements in 1946, these French overseas entities have progressively evolved, by different speeds and degrees. If the initial changes suggested by the United Nations (UN) were mostly justified on political and ideological grounds (the right to independence, self-determination and sovereignty), the current changes, encouraged by France this time, appear mainly as an attempt to alleviate economic dependency. This paper considers what is really at stake in the current statutory evolution of the French Overseas territories.

Evolving approaches to sovereignty in the French Pacific

This contribution explores notions of sovereignty in the three French territories of the South Pacific: French Polynesia, New Caledonia, and Wallis and Futuna. It also analyses the key nuances and challenges of the transition from aspirations of 'independence' to those of 'shared sovereignty'. From protectorates or colonies to overseas territories (Territoires d'Outre-Mer), these three territories have experienced specific and customised statuses with various degrees of autonomy, all underscoring a fine line between autonomy and sovereignty. Indeed, 'sovereignty' has today become much more synonymous with the concept of 'self-government' or 'large autonomy', as the current situation in French Polynesia demonstrates. Meanwhile, New Caledonia is one step closer to 'full sovereignty', since its actual status includes provisions for a referendum on self-determination between 2014 and 2018. The claim for independence, a characteristic of Kanak and Maohi movements, has become more pragmatically focused, to the extent that considering sovereignty 'in free-association' with France is now a perfectly conceivable option. © 2012 Copyright Taylor and Francis Group, LLC.

McKinney, Mark. Redrawing French Empire Comics. Columbus, The Ohio State University Press, 2013. 304 pages. 9780814212202

The history of France and its empires is one that has been well trodden, particularly the French occupation, and subsequent war, in Algeria. In this companion to his earlier work, 2011’s The Colonial Heritage of French Comics,McKinney attempts to examine the reconstruction of French national identity in the wake of decolonisation through the medium of Francophonecomics. He endeavours to study the colonial affrontier (3), the space in which France and its colonies are connected and divided, where they seek to confront each other, or to seek peace and the removal of the division. McKinney argues this affrontier can be found most strongly in the Francophone comics produced dealing with the French colonial experience in Algeria, as well as that of Indochina,and does so from both sides of each conflict. McKinney examines in detail the French colonisation of Algeria (1830sonwards), the French war in Indochina (1946–54) and the Algerian war (1954–62), and his work is the first to approach these well-covered areas of research through the medium of comics. The resulting work takes the form of an investigation into the five forms of genealogical inquiry utilised in comics regarding these conflicts. His approach investigates the familial, ethnic, national, artistic and critical forms of genealogy relating to colonialism and imperialism from a variety of viewpoints, including the previously overlooked perspective of the pieds noirs. He aims to highlight both those cartoonists that critique the colonial ideology, as well as those cartoonists who to some extent attempt to gloss over or even romanticise the French empire, strengthening the affrontier. He positions himself alongside Foucault in seeing genealogy as a useful means of establishing ‘historical knowledge of struggles’ (Foucault1980, 85), but McKinney looks at the colonial representation in a popular medium,including the recent increase in comics produced which consider the French colonial experience. He argues that this consideration of the present, as well as European imperialism, is absent in the work of Foucault. The text is accompanied by a number of black and white facsimiles of pages from the comics he analyses to illustrate the different and often conflicting positions of cartoonists on these issues. Overall, McKinney’s work is a welcome addition to the study of the French colonial experience, which separates its elf from the rest by using Francophonecomics as lenses through which to look at these already well-trodden areas of study. He succeeds in determining if and how cartoonists critique colonial ideology and representations on both sides of the conflicts, a task in which he is unarguably successful. McKinney’s work, however, is unfortunately let down by typo graphicerrors, which occur throughout the text.Nevertheless, McKinney’s work is another important work in the field of Bande Dessine ́e scholarship, and useful for anyone interested in the representations of colonialism and imperialism in French comics, accompanied by anencyclopaedic bibliography of comics produced on this topic.