radio to rally not only the nation but also the Empire to another war.
George VI’s broadcast declaration is in fact an appeal to Empire: ‘For
the second time in the lives of most of us, we are at war. … It is to
this high purpose that I now call my people at home and my people
overseas who will make our cause their own.’ The First World War had put
the chivalric contract between colonialsubject and monarch to the test
, Logue’s actions prompt Bertie to shout
out in a melodramatic moment of psychological unblockage: ‘I have a
right to be heard! I have a voice!’ In other words, the therapist’s
concern is not the monarchy as institution, but Bertie’s absence of
self-belief. It could also be argued that this relationship between the
future King and Emperor and his colonialsubject works in the way Paul
Dave notes of the
towards the end of the decade, as film-makers prepared for the International Colonial Exposition of 1931 in Paris, where, over the course of six months, some 300 films on colonialsubjects were screened in a cinema of 1,500 seats. While most of these films concerned colonial modernising projects – roads, ports, forest industries, hospitals, campaigns against sleeping sickness and so on – a considerable number were exclusively or predominantly concerned with social and cultural aspects of indigenous life within particular colonies.