a privileged moment in the
progress, and latecolonial sentiment is finely calibrated in the
discursive distinctions and local inflections attending this ritual
renewal of ties across the Pacific. The obeisance of flower girls is
linked to royal renewal though the elaborate coronation dress, which
accompanied Elizabeth on tour and was worn to open various parliaments.
It was stitched with floral
conditions of colonial West Africa.
However, some African film-makers and scholars have been critical of Rouch's work, considering it irredeemably colonialist, even if in a largely benign paternalist manner. These critical voices should be understood within the complex entanglements of the latecolonial and postcolonial period and in particular, of the effects of the Laval Decree which, in place since the 1930s, prevented any form of film-making by Africans in French colonial Africa until after independence. In the circumstances, it cannot have been