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African literature --- African literature. --- Arts and society --- Arts and society. --- Globalization. --- Motion pictures, African. --- Motion pictures, African. --- Postcolonialism and the arts --- Postcolonialism and the arts. --- History and criticism --- 2000-2099. --- Africa.
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Depuis les années 2000, le cinéma africain est marqué par de nombreuses évolutions nouvelles avec un impact considérable sur son positionnement dans le paysage cinématographique international, notamment concernant sa présence dans les festivals, mais aussi aux niveaux de la production et de la distribution. Ces dynamiques culturelles sont au centre de l'intérêt de cet ouvrage qui est le fruit d'une rencontre de chercheurs africains et européens pour explorer ces nouvelles tendances du cinéma africain principalement selon trois perspectives : le rôle des cinéastes comme agents dans les dynamiques culturelles, les genres, formats et formes esthétiques émergents, et l'influence des grands réseaux de production cinématographique (populaire) en Afrique subsaharienne.
Motion pictures --- Motion pictures, African --- Motion picture industry --- Arts and society --- Motion picture producers and directors --- Performing arts
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Mediating Violence from Africa explores how African and non-African Francophone authors, filmmakers, editors, and scholars have packaged, interpreted, and filmed the violent histories of post–Cold War Francophone Africa. This violence, much of which unfolded in front of Western television cameras, included the use of child soldiers facilitated by the Soviet Union’s castoff Kalashnikov rifles, the rise of Islamist terrorism in West Africa, and the horrific genocide against the Tutsi in Rwanda.Through close readings of fictionalized child-soldier narratives, cinematic representations of Islamist militants, genocide survivor testimony, and Western scholarship, George S. MacLeod analyzes the ways Francophone African authors and filmmakers, as well as their editors and scholarly critics, negotiate the aesthetic, political, cultural, and ethical implications of making these traumatic stories visible. MacLeod argues for the need to periodize these productions within a “post–Cold War” framework to emphasize how shifts in post-1989 political discourse are echoed, contested, or subverted by contemporary Francophone authors, filmmakers, and Western scholars.The questions raised in Mediating Violence from Africa are of vital importance today. How the world engages with and responds to stories of recent violence and loss from Africa has profound implications for the affected communities and individuals. More broadly, in an era in which stories and images of violence, from terror attacks to school shootings to police brutality, are disseminated almost instantly and with minimal context, these theoretical questions have implications for debates surrounding the ethics of representing trauma, the politicization of memory, and Africa’s place in a global (as opposed to a postcolonial or Euro-African) economic and political landscape.
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""Mediating Violence from Africa" examines how both African and non-African French-speaking authors, filmmakers, editors, and scholars have packaged, interpreted, and filmed the violent histories of post-Cold War Francophone Africa"--
African literature (French) --- Motion pictures, African --- Violence in literature. --- Violence in motion pictures. --- History and criticism. --- History and criticism. --- Africa --- In mass media.
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Intended as a guide to the filmmakers and films of the African cinema. Provides the framework for understanding the history and development of African film with respect to its situation in world cinema.
Motion pictures --- -Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- History and criticism --- Cinéma --- Histoire --- Cinema --- History. --- Motion pictures, African. --- Motion picture producers and directors --- Foreign films.
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Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women's stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film - from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners. The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book's essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa's film practitioners.
Women in motion pictures. --- Motion picture industry --- Feminism --- Motion pictures, African. --- Motion pictures --- Marginality, Social, in motion pictures. --- Social aspects --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- African motion pictures --- Film industry (Motion pictures) --- Moving-picture industry --- History and criticism --- Audio-visual materials --- Mass media --- Performing arts --- Foreign films --- Cultural industries
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