Contemporary Cinema Of Africa And The Diaspora Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Contemporary Cinema Of Africa And The Diaspora book. This book definitely worth reading, it is an incredibly well-written.
Contemporary Cinema of Africa and the Diaspora by Anjali Prabhu Pdf
Analyzing art house films from the African continent and the African diaspora, this book showcases a new generation of auteurs with African origins from political, aesthetic, and spectatorship perspectives. Focuses on art house cinema and discusses commercial African cinema Enlarges our understanding of African film to include thematic and aesthetic influence Highlights aesthetic and political aspects including racial identity, women’s issues, and diaspora Heavily illustrated with over 90 film stills Features selected stills integral to the filmic analysis in full color Moves beyond Western-oriented analytical paradigms
"African Diasporic Cinema: Aesthetics of Reconstruction examines contemporary diasporic African films, explores the aesthetic strategies used by black diasporic filmmakers to express identity reconstruction processes after migration, and highlights their films' continuities with and distances from foundational African films. The analyzed films (by Newton I. Aduaka, Sarah Bouyain, Haile Gerima, Alain Gomis, and Balufu Bakupa-Kanyinda) reflect different personal and artistic paths and various visions between Africa and Europe or the United States"--
Author : Michael T. Martin Publisher : Wayne State University Press Page : 548 pages File Size : 45,5 Mb Release : 1995 Category : African Americans in motion pictures ISBN : 0814325882
Cinemas of the Black Diaspora by Michael T. Martin Pdf
This is a study of the cinematic traditions and film practices in the black Diaspora. With contributions by film scholars, film critics, and film-makers from Europe, North America and the Third World, this diverse collection provides a critical reading of film-making in the black Diaspora that challenges the assumptions of colonialist and ethnocentrist discourses about Third World, Hollywood and European cinemas. Cinemas of the Black Diaspora examines the impact on film-making of Western culture, capitalist production and distribution methods, and colonialism and the continuing neo-colonial status of the people and countries in which film-making is practiced. Organized in three parts, the study first explores cinema in the black Diaspora along cultural and political lines, analyzing the works of a radical and aesthetically alternative cinema. The book proceeds to group black cinemas by geographical sites, including Africa, the Caribbean and South America, Europe, and North America, to provide global context for comparative and case study analyses. Finally, three important manifestoes document the political and economic concerns and counter-hegemonic institutional organizing efforts of black and Third World film-makers from the 1970s to the early 1990s. Cinemas of the Black Diaspora should serve as a valuable basic reference and research tool for the study of world cinema. While celebrating the diversity, innovativeness, and fecundity of film-making in different regions of the world, this important collection also explicates the historical importance of film-making as a cultural form and political practice.
African Diasporic Cinema: Aesthetics of Reconstruction analyzes the aesthetic strategies adopted by contemporary African diasporic filmmakers to express the reconstruction of identity. Having left the continent, these filmmakers see Africa as a site of representation and cultural circulation. The diasporic experience displaces the center and forges new syncretic identities. Through migratory movement, people become foreigners, Others—and in this instance, black. The African diasporic condition in the Western world is characterized by the intersection of various factors: being African and bearing the historical memory of the continent; belonging to a black minority in majority-white societies; and finally, having historically been the object of negative, stereotyped representation. As a result, quests for the self and self-reconstruction are frequent themes in the films of the African diaspora, and yet the filmmakers refuse to remain trapped in the confines of an assigned, rigid identity. Reflecting these complex circumstances, this book analyzes the contemporary diaspora through the prism of cultural hybridization and the processes of recomposing fragmented identities, out of which new identities emerge.
North African Cinema in a Global Context by Andrea Khalil Pdf
This book provides insight into contemporary film production from North African countries referred to as the Maghreb. Focus is both on the socio-economic context of film production, which suffers some of the same setbacks and obstacles as other regions of the developing world, and on the thematic details treated in the films themselves. The book delves into ideas such as gender and sexuality, national identity, political conflict, and issues of post and neo-colonial relationships in the context of globalisation. The book includes close analyses of individual films which at times show the taboo subjects of sexual and substance abuse, the lives of street children, and prostitution, as well as upper-class contradictions between an increasingly global position of privilege while in the midst of a traditionalist society. Others chapters focus on an individual filmmakers’ world view as depicted in representations of contemporary daily life of the average Tunisian, Moroccan or Algerian. The book provides an understanding of day to day existence in Morocco, Tunisia, and Algeria as depicted by local artists. The theoretical questions raised stretch beyond this topic to touch on ‘third world’ art and film production, and production in conditions of political repression and rigid moral conservatism.
Ethics and Aesthetics in Contemporary African Cinema by James S. Williams Pdf
Since the beginnings of African cinema, the realm of beauty on screen has been treated with suspicion by directors and critics alike. James S. Williams explores an exciting new generation of African directors, including Abderrahmane Sissako, Mahamat-Saleh Haroun, Fanta Régina Nacro, Alain Gomis, Newton I. Aduaka, Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and embrace the concept of cinematic beauty by not reducing it to ideological critique or the old ideals of pan-Africanism. Locating the aesthetic within a range of critical fields - the rupturing of narrative spectacle and violence by montage, the archives of the everyday in the 'afropolis', the plurivocal mysteries of sound and language, male intimacy and desire, the borderzones of migration and transcultural drift - this study reveals the possibility for new, non-conceptual kinds of beauty in African cinema: abstract, material, migrant, erotic, convulsive, queer. Through close readings of key works such as Life on Earth (1998), The Night of Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille soleils (2013) and Timbuktu (2014), Williams argues that contemporary African filmmakers are proposing propitious, ethical forms of relationality and intersubjectivity. These stimulate new modes of cultural resistance and transformation that serve to redefine the transnational and the cosmopolitan as well as the very notion of the political in postcolonial art cinema.
Contemporary Lusophone African Film by Paulo de Medeiros,Livia Apa Pdf
Offering a range of critical perspectives on a vibrant body of films, this collection of essays engages with questions specific to the various cinemas and films addressed while putting forward an argument for their inclusion in current debates on world cinema. The collection brings together 11 chapters by recognized scholars, who analyze a variety of films and videos from Angola, Cape Verde, Guiné-Bissau, and Mozambique. It also includes an interview with Pedro Pimenta, one of the most distinguished African film festival organizers. Drawing on various theoretical perspectives, the volume strives to reverse the relative invisibility that has afflicted these cinemas, arguing that most, if not all, Lusophone films are transnational in all aspects of production, acting, and reception. The initial three chapters sketch broad, comparative overviews and suggest theoretical approaches, while the ensuing chapters focus on specific case studies and discuss a number of key issues such as the convergence of film with politics, the question of gender and violence, as well as the revisiting of the period immediately following independence. Attention is given to fiction, documentary films and recent, short, alternative video productions that are overlooked by more traditional channels. The book stresses the need to pay attention to the significance of African film, and Lusophone African film in particular, within the developing field of world cinema. Bringing together general overviews, historical considerations, detailed case studies, and focused theoretical reflections, this book is a significant volume for students and researchers in film studies, especially African, Lusophone cultural studies, and world cinema.
The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), 'failed states' (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.
A Companion to African Cinema by Kenneth W. Harrow,Carmela Garritano Pdf
An authoritative guide to African cinema with contributions from a team of experts on the topic A Companion to African Cinema offers an overview of critical approaches to African cinema. With contributions from an international panel of experts, the Companion approaches the topic through the lens of cultural studies, contemporary transformations in the world order, the rise of globalization, film production, distribution, and exhibition. This volume represents a new approach to African cinema criticism that once stressed the sociological and sociopolitical aspects of a film. The text explores a wide range of broad topics including: cinematic economics, video movies, life in cinematic urban Africa, reframing human rights, as well as more targeted topics such as the linguistic domestication of Indian films in the Hausa language and the importance of female African filmmakers and their successes in overcoming limitations caused by gender inequality. The book also highlights a comparative perspective of African videoscapes of Southern Nigeria, Ethiopia, and Côte d’Ivoire and explores the rise of Nairobi-based Female Filmmakers. This important resource: Puts the focus on critical analyses that take into account manifestations of the political changes brought by neocolonialism and the waning of the cold war Explores Examines the urgent questions raised by commercial video about globalization Addresses issues such as funding, the acquisition of adequate production technologies and apparatuses, and the development of adequately trained actors Written for film students and scholars, A Companion to African Cinema offers a look at new critical approaches to African cinema.
Art, Creativity, and Politics in Africa and the Diaspora by Abimbola Adelakun,Toyin Falola Pdf
This book explores the politics of artistic creativity, examining how black artists in Africa and the diaspora create art as a procedure of self-making. Essays cross continents to uncover the efflorescence of black culture in national and global contexts and in literature, film, performance, music, and visual art. Contributors place the concerns of black artists and their works within national and transnational conversations on anti-black racism, xenophobia, ethnocentrism, migration, resettlement, resistance, and transnational feminisms. Does art by the subaltern fulfill the liberatory potential that critics have ascribed to it? What other possibilities does political art offer? Together, these essays sort through the aesthetics of daily life to build a thesis that reflects the desire of black artists and cultures to remake themselves and their world.
Yosefa Loshitzky challenges the utopian notion of a post-national "New Europe" by focusing on the waves of migrants and refugees that some view as a potential threat to European identity, a concern heightened by the rhetoric of the war on terror, the London Underground bombings, and the riots in Paris's banlieues. Opening a cinematic window onto this struggle, Loshitzky determines patterns in the representation and negotiation of European identity in several European films from the late 20th and early 21st centuries, including Bernardo Bertolucci's Besieged, Stephen Frears's Dirty Pretty Things, Mathieu Kassovitz's La Haine, and Michael Winterbottom's In This World, Code 46, and The Road to Guantanamo.
The Palgrave Handbook of Media and Communication Research in Africa by Bruce Mutsvairo Pdf
This handbook attempts to fill the gap in empirical scholarship of media and communication research in Africa, from an Africanist perspective. The collection draws on expert knowledge of key media and communication scholars in Africa and the diaspora, offering a counter-narrative to existing Western and Eurocentric discourses of knowledge-production. As the decolonial turn takes centre stage across Africa, this collection further rethinks media and communication research in a post-colonial setting and provides empirical evidence as to why some of the methods conceptualised in Europe will not work in Africa. The result is a thorough appraisal of the current threats, challenges and opportunities facing the discipline on the continent.
Decolonising Media and Communication Studies Education in Sub-Saharan Africa by Selina Linda Mudavanhu,Shepherd Mpofu,Kezia Batisai Pdf
The book provides insights on decolonising media and communication studies education from diverse African scholars at different stages of their careers. These academics, located on the continent and in the diaspora, share an interest in decolonising higher education broadly and media and communication studies teaching and learning in particular. Although many African countries gained flag independence from different European colonial powers between the 1950s and the 1970s, this book argues that former colonies remain ensnared in a colonial power matrix. Many African universities did not jettison ways of teaching and learning established during colonialism, and even those journalism, communication, and media studies training programmes which were established after the attainment of flag independence did not place decolonial agendas at the front and centre when setting them up. Starting with big picture thematic questions around decolonisation, the book goes on to consider what the implications of change would be for students and instructors, before reflecting on how far it is possible to decolonise curricula and syllabi and what this might look like in practice across a range of subject areas and country contexts. Overall, this book presents a nuanced picture of what a decolonised media and communication studies education could look like in sub-Saharan Africa. This book is essential for researchers in Africa in disciplines such as media and communication studies, journalism, film studies, cultural studies, and higher education studies. More broadly, the concepts and ideas on decolonising teaching and learning discussed in the book are relevant to instructors in any discipline who are interested in doing the decolonial work of contesting coloniality.
New African Cinema examines the pressing social, cultural, economic, and historical issues explored by African filmmakers from the early post-colonial years into the new millennium. Offering an overview of the development of postcolonial African cinema since the 1960s, Valérie K. Orlando highlights the variations in content and themes that reflect the socio-cultural and political environments of filmmakers and the cultures they depict in their films. Orlando illuminates the diverse themes evident in the works of filmmakers such as Ousmane Sembène’s Ceddo (Senegal, 1977), Sarah Maldoror’s Sambizanga (Angola, 1972), Assia Djebar’s La Nouba des femmes de Mont Chenoua (The Circle of women of Mount Chenoua, Algeria, 1978), Zézé Gamboa’s The Hero (Angola, 2004) and Abderrahmane Sissako’s Timbuktu (Mauritania, 2014), among others. Orlando also considers the influence of major African film schools and their traditions, as well as European and American influences on the marketing and distribution of African film. For those familiar with the polemics of African film, or new to them, Orlando offers a cogent analytical approach that is engaging.
African Diaspora and the Metropolis by Fassil Demissie Pdf
At the end of the 19th and at the beginning of the 20th century, a number of African American and Caribbean intellectuals and immigrants of the African Diaspora with all their apprehensions set out in steamships en route and carried with them a certain presence to the metropoleis of Europe and North America. These individuals traversed the "middle passage" in the opposite direction from the forced journey undertaken by their enslaved ancestors. Later they began to arrive in large numbers as free men and women in London, Paris, Berlin, Madrid, Brussels, Lisbon, New York, and other places in the metropolis by steam ships and later by planes, and were actors in the larger history of empire from which the imperatives of forced migration, uprooting, displacement, and exile had arisen. The texts selected offer critical examination of a broad range of African Diaspora experiences in the metropole drawn from Senegal, the Caribbean, United States, Britain, Nigeria and France. Bringing together comparative and diasporic perspectives, the book explores the complex roles that race, gender, sexuality and history have played in the formation of African Diaspora identities in the metropole since the 19th century. This book was published as a special issue of African and Black Diaspora: An International Journal.
