“…44-49, 85-89), the film makes no use of this material but substitutes the colonial voice-over with another dominant discourse when showing newsreels about cotton harvest, thereby silencing the subalterns. Furthermore, in the context of an idealized national history written by Frelimo, internal issues like the handling of political opponents, former political prisoners, or the challenges the movement faced when trying to build the 'homem novo' have no place (Igreja 2010). Still, this is not surprising when taking into account that Estas sao as armas is closely linked to a period in which a certain type of cinema, a 'liberation cinema' (Andrade-Watkins 1995, p. 135) prevailed.…”