This essay examines how colonialism and imperialism are portrayed through opposing cultural lenses in three works: Joseph Conrad's Heart of Darkness, Francis Ford Coppola's film adaptation Apocalypse Now, and Chinua Achebe's Things Fall Apart. The paper argues that Conrad and Coppola present an Anglo- and American-centric view in which African and Cambodian peoples are depicted as savage and uncivilized, while Achebe's novel offers an Afrocentric counter-narrative that foregrounds the destruction imperialism inflicted on indigenous social, religious, and political structures. Together, the works illustrate how perspective shapes historical understanding and the representation of power.
The unfolding of historical events can be told from a variety of perspectives that are heavily influenced by an individual's background and personal prejudices. Heart of Darkness by Joseph Conrad and Things Fall Apart by Chinua Achebe provide two distinct and opposing perspectives on colonialism. Heart of Darkness, and consequently its film adaptation Apocalypse Now directed by Francis Ford Coppola, presents an Anglo-centric view of colonialism and imperialism, whereas Things Fall Apart provides an Afrocentric account of the same forces at work.
Heart of Darkness, published in 1899, follows Charles Marlow as he sets out to meet Mr. Kurtz, a smart and successful ivory trader who has established residency and taken control of a village at Central Station. Conrad creates a deeply imperialistic character through Kurtz. Like the European nations that sought to expand their territories for political and financial gain, Kurtz sets out to exploit as much of the Congo as possible for personal profit. When asked what Kurtz was doing — "exploring or what?" — the response reveals that "he had discovered lots of villages, a lake, too — he did not know exactly in what direction; it was dangerous to inquire too much — but mostly his expeditions had been for ivory… 'To speak plainly, he raided the country'" (Conrad 31).
In this regard, Kurtz's attitude is thoroughly European in the way he explores unknown regions without any regard for who or what he encounters. The effects of imperialism are captured by Marlow, who observes: "The conquest of the earth, which mostly means taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much" (5). Kurtz's attitude reflects the imperialist mindset of Europeans who, throughout history, were obsessed with expanding their empires to demonstrate power.
Paradoxically, Marlow argues that Kurtz's family background is one of the reasons he was so successful in taking over the Central Station and establishing his relationship with the natives. Marlow notes: "[Kurtz's] mother was half-English, his father was half-French. All Europe contributed to the making of Kurtz; and by I learned that, most appropriately, the International Society for the Suppression of Savage Customs had entrusted him with the making of a report, for its future guidance" (25).
Heart of Darkness is also markedly Eurocentric in the way it depicts Africans and their customs as perceived by Marlow and other "civilized" men in the novella. Marlow regards his ship's crewmen as uncivilized and savage, frequently referring to them in those terms and judging them by their appearance and customs rather than their character. For instance, Marlow describes the cannibal who served as the fireman on his ship and fixates on his physical appearance: "He had filed teeth, too, the poor devil, and the wool of his pate shaved into queer patterns, and three ornamental scars on each of his cheek" (Conrad 13).
Moreover, Marlow notes that this "savage" was "useful because he had been instructed; and what he knew was this — that should the water in that transparent thing disappear, the evil spirit inside the boiler would get angry through the greatness of his thirst, and take a terrible vengeance" (14). By using religious language — calling the cannibal a "poor devil" and suggesting he believed in an "evil spirit inside the boiler" — Marlow implies that much of the savagery attributed to the natives stemmed from the fact that they were not Christian.
"Coppola shifts setting while preserving imperial gaze"
"Achebe shows colonialism's destruction of indigenous society"
Unlike Heart of Darkness and Apocalypse Now, in which the natives are regarded as savage, in Things Fall Apart white men are considered to be savage because of the death and destruction they left in their wake. While many contend that "history is written by the victors" (Churchill), Things Fall Apart allows readers to understand history from the perspective of those who were forcibly conquered, and in doing so illuminates the deeply destructive nature of imperialism and conquest.
You’re 51% through this paper. Sign up to read the remaining 2 sections.
Sign Up Now — Instant Access Already a member? Log inAlways verify citation format against your institution’s current style guide requirements.