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From visual place to aural space: the films of Mahamat-Saleh Haroun

Abstract Mahamat-Saleh Haroun has become an increasingly relevant directorial voice in African and international cinema. His films deal with various themes, such as family (especially the loss of a parent), civil war, and social inequality, mostly set up against the socio-political backdrop of Chad. Haroun's camera records and observes the country as a visual place, at the intersecting narrative point of fiction and documentary. As such, the director visually builds a place of tragedy and conflict. However, as one transition from place to space through the movement of the characters and the movement of the camera, a subsequent space emerges: an aural space. This essay investigates the narrative transition from visual place to aural space that occurs in Haroun's films and proposes that the materialization of this aural space represents an innovative way to claim the spatial freedom of the neocolonial subject.