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Affective Moments in the Films of Martel, Carri, and Puenzo
by Inela Selimović<P>This book studies the intimate tensions between affect and emotions as terrains of sociopolitical significance in the cinema of Lucrecia Martel, Albertina Carri, and Lucía Puenzo. Such tensions, Selimović argues, result in “affective moments” that relate to the films’ core arguments. <P>They also signal these filmmakers’ novel insights on complex manifestations of memory, desire, and violence. <P>The chapters explore how the presence of pronounced—but reticent—affect complicates emotional bonding in the everydayness depicted in these films. By bringing out moments of affect in these filmmakers’ diegetic worlds, this book traces the ways in which subtle foci on gender, class, race, and sexuality correlate in these Argentine women’s films.
Affective Sexual Pedagogies in Film and Television (Routledge Research in Cultural and Media Studies)
by Kyra ClarkePopular film and television hold valuable potential for learning about sex and sexuality beyond the information-based model of sex education currently in schools. This book argues that the representation of complicated—or "messy"—relationships in these popular cultural forms makes them potent as affective pedagogical moments. It endeavours to develop new sexual literacies by contemplating how pedagogical moments, that is, fleeting moments which disrupt expectations or create discomfort, might enrich the available discourses of sexuality and gender, especially those available to adolescents. In Part One, Clarke critiques the heteronormative discourses of sex education that produce youth in particularly gendered ways, noting that "rationality" is often expected to govern experiences that are embodied and arguably inherently incoherent. Part Two explores public intimacy, contemplating the often overlapping and confused boundaries between public and private.
Affects in 21st-Century British Theatre: Exploring Feeling on Page and Stage
by Mireia Aragay Cristina Delgado-García Martin MiddekeThis book explores the various manifestations of affects in British theatre of the 21st century. The introduction gives a concise survey of existing and emerging theoretical and research trends and argues in favour of a capacious understanding of affects that mediates between more autonomous and more social approaches. The twelve chapters in the collection investigate major works in Britain by playwrights and theatre makers including Mojisola Adebayo, Mike Bartlett, Alice Birch, Caryl Churchill, Tim Crouch and Andy Smith, Rachel De-lahay, Reginald Edmund, James Fritz, David Greig, Idris Goodwin, Zinnie Harris, Kieran Hurley, Lucy Kirkwood, Anders Lustgarten, Yolanda Mercy, Anthony Neilson, Lucy Prebble, Sh!t Theatre, Penelope Skinner, Stef Smith, Kae Tempest and debbie tucker green. The interpretations identify significant areas of tension as they relate affects to the fields of cognition, politics and hope. In this, the chapters uncover interrelations of thought, intention and empathy; they reveal the nexus between identities, institutions and ideology; and, finally, they explore how theatre can accomplish the transition from a sense of crisis to utopian visions.
Affectual Erasure: Representations of Indigenous Peoples in Argentine Cinema (SUNY series in Latin American Cinema)
by Cynthia Margarita TompkinsAffectual Erasure examines how Argentine cinema has represented Indigenous peoples throughout a period spanning roughly a century. Cynthia Margarita Tompkins interrelates her discussion of films with the ethnographic context of the Indigenous peoples represented and an analysis of the affective dimensions at play. These emotions underscore the inherent violence of generic conventions, as well as the continued political violence preventing Indigenous peoples from access to their ancestral lands and cultural mores. Tompkins explores a broad range of movies beginning in the silent period and includes both feature films and documentaries, underscored by archival and contemporary film stills. She traces the initial erotic projection, moving through melodrama to the conventions of the Western, into the 1960s focus on decolonization, superseded by allegorical renditions and the promise of self-expression in late twentieth-century documentaries. Each section includes an introduction to the sociohistorical events of the period and their impact on film production. Analyzed chronologically, the films evidence different stages in the projection of the hegemonic Argentine imaginary, which fails to envision the daily life of Indigenous peoples prior to conquest or in colonial times—and remains in denial of their existence in the present.
Affektive Medienpraktiken: Emotionen, Körper, Zugehörigkeiten im Reality TV
by Margreth Lünenborg Claudia Töpper Laura Sūna Tanja MaierDas Buch liefert eine affekttheoretisch informierte Analyse des Reality TV. Dabei wird das komplexe Affektgeschehen zwischen Fernsehsendung, Medientechnologie und den Körpern der Zuschauenden empirisch zugänglich und sichtbar. Eine multiperspektivische Analyse zeigt auf, welche Strategien und Muster der Erzeugung von Affekten und Emotionen Fernsehproduzent*innen nutzen, wie Inklusion und Exklusion im audiovisuellen Medientext für Zuschauende körperlich spürbar wird und welche Spuren Affekte in den Körpern und den Diskursen des Publikums hinterlassen. Auf den Ebenen Körper, Diskurse und Praktiken werden auf diese Weise affektive Dynamiken der Aushandlung von Zugehörigkeiten analysiert. Die Studie leistet damit einen methodisch wie auch theoretisch innovativen Beitrag zur Affekt- und Emotionsforschung in der Kommunikationswissenschaft.
Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema
by Maud CeuterickFifty years of feminist thought have made the idea that women stay at home while men dominate the streets seem outdated; nevertheless, Ceuterick argues that theoretical considerations of gender, space, and power in film theory remain limited by binary models. Looking instead to more fluid models of spatial relations inspired by Sara Ahmed, Rosi Braidotti, and Doreen Massey, this book discovers wilful, affirmative, and imaginative activations of gender on screen. Through close, micro-analysis of historic European Messidor (Alain Tanner, 1979) and contemporary world cinema: Vendredi Soir (Claire Denis, 2002), Wadjda (Haifaa Al-Mansour, 2012), and Head-On (Fatih Akin, 2004), this book identifies affirmative aesthetics: light, texture, rhythm, movement and sound, all of which that participate in a rewriting of bodies and spaces. Ultimately, Ceuterick argues, affirmative aesthetics can challenge the gender categories and power structures that have been thought to determine our habitation of cars, homes, and city streets. Wilful women drive this book forward, through their movement and stillness, imagination and desire, performance and abjection.
Afghanistan in the Cinema
by Mark GrahamIn this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East. Through the lenses of postcolonial theory and historical reassessment, Graham analyzes what these films say about Afghanistan, Islam, and the West and argues that they are integral tools for forming discourse on Afghanistan, a means for understanding and avoiding past mistakes, and symbols of the country's shaky but promising future. Thoughtfully addressing many of the misperceptions about Afghanistan perpetuated in the West, Afghanistan in the Cinema incorporates incisive analysis of the market factors, funding sources, and political agendas that have shaped the films. The book considers a range of films, beginning with the 1970s epics The Man Who Would Become King and The Horsemen and following the shifts in representation of the Muslim world during the Russian War in films such as The Beast and Rambo III. Graham then moves on to Taliban-era films such as Kandahar, Osama, and Ellipsis, the first Afghan film directed by a woman. Lastly, the book discusses imperialist nostalgia in films such as Charlie Wilson's War and destabilizing visions represented in contemporary works such as The Kite Runner.
African: A Children's Picture Book (LyricPop #0)
by Peter ToshAn AALBC Recommended New Book! Included in Publishers Weekly's Children's Galleys to Grab at Winter Institute! A beautiful children's picture book featuring the lyrics of Peter Tosh's global classic celebrating children of African descent. So don't care where you come from As long as you're a black man, you're an African No mind your nationality You have got the identity of an African African is a children's book featuring lyrics by Peter Tosh and illustrations by Jamaican artist Rachel Moss. The song "African" by Peter Tosh was originally released in 1977 on his second solo record, Equal Rights. He wrote the song during a time of civil unrest in Jamaica as a reminder to all black people that they were part of the same community. The album is considered one of the most influential reggae works of all time. A key song from the classic 1970s era of reggae Peter Tosh was one of the founding members of the iconic reggae group the Wailers
African Accents: A Workbook for Actors
by Beth McGuireThis is a comprehensive workbook for actors, covering the key characteristics and profiles of a wide range of African accents of English. Its unique approach not only addresses the methods and processes by which to go about learning an accent, but also looks in detail at each example. This lets the reader plot their own route through the learning process and tailor not only their working methods but also their own personal idiolect. Full breakdowns of each accent cover: an introduction giving a brief history of the accent, its ethnic background, and its language of origin preparatory warm-up exercises specific to each accent a directory of research materials including documentaries, plays, films and online resources key characteristics such as melody, stress, pace and pitch descriptions of physical articulation in the tongue, lips, jaw, palate and pharynx practice sentences, phoneme tables and worksheets for solo study. African Accents is accompanied by a website at www.routledge.com/cw/mcguire with an extensive online database of audio samples for each accent. The book and audio resources guide actors to develop their own authentic accents, rather than simply to mimic native speakers. This process allows the actor to personalize an accent, and to integrate it into the creation of character rather than to play the accent on top of character.
African American Cinema through Black Lives Consciousness
by Dr Melba Joyce Boyd Dr Jonathan Munby Gerald R. Butters Jr. Charlene Regester African American Cinema James Smalls African American Cinema Anne Cremieux African American Cinema Chesya Burke African American Cinema Kimberly Nichele Brown African American Cinema Patricia Hilliard-Nunn African American Cinema Mark D Cunningham African American Cinema Dan Flory Karen Bowdre Mark A. ReidAfrican American Cinema through Black Lives Consciousness uses critical race theory to discuss American films that embrace contemporary issues of race, sexuality, class, and gender. Its linear history chronicles black-oriented narrative film from post–World War II through the presidential administration of Barack Obama. Editor Mark A. Reid has assembled a stellar list of contributors who approach their film analyses as an intersectional practice that combines queer theory, feminism/womanism, and class analytical strategies alongside conventional film history and theory. Taken together, the essays invigorate a "Black Lives Consciousness," which speaks to the value of black bodies that might be traumatized and those bodies that are coming into being-ness through intersectional theoretical analysis and everyday activism. The volume includes essays such as Gerald R. Butters’s, "Blaxploitation Film," which charts the genre and its uses of violence, sex, and misogyny to provoke a realization of other philosophical and sociopolitical themes that concern intersectional praxis. Dan Flory’s "African-American Film Noir" explains the intertextual—fictional and socio-ecological—dynamics of black action films. Melba J. Boyd’s essay, "‘Who’s that Nigga on that Nag?’: Django Unchained and the Return of the Blaxploitation Hero," argues that the film provides cultural and historical insight, "signifies" on blackface stereotypes, and chastises Hollywood cinema’s misrepresentation of slavery. African American Cinema through Black Lives Consciousness embraces varied social experiences within a cinematic Black Lives Consciousness intersectionality. The interdisciplinary quality of the anthology makes it approachable to students and scholars of fields ranging from film to culture to African American studies alike.
African American Female Leadership in Major Motion Pictures: From Marginalized to Mainstream (Routledge Studies in Media Theory and Practice)
by Tracy L.F. WorleyThis book explores the factors contributing to the under-representation of African American female directors in mainstream cinema leadership. It also unmasks the potential strategies African American female film directors might pursue to reduce this inequity.Author Tracy L. F. Worley draws on research around ethics to conclude that there are specific consequences of the male gaze on women in cinema leadership, especially African American female directors of box office cinema. Combining extensive analysis of ethics and ethical stance relative to the motion picture industry with perspectives from working African American female directors, the text discusses the ethical considerations and historical inequities, including the male gaze, and uses those findings to define how the inequities can be opportunities. The efficacy model for cinematic leadership is presented as a mechanism for viewing obstacles through the lenses of gender, ethnicity, and culture so they become drivers for African American women to achieve success.Ideal for students of directing and filmmaking, as well as aspiring professional filmmakers wishing to gain a better understanding of the industry as it stands today.
African American Music: An Introduction
by Mellonee Burnim Portia K. MaultsbyAfrican American Music: An Introduction is a collection of thirty essays by leading scholars which survey major African American musical genres, both sacred and secular, from slavery to the present. It is the most comprehensive study of African American music currently available, with sixteen essays on major genres of African American music, as well as lengthy sections on the music industry, gender, and music as resistance. The work brings together, in a single volume, treatments of African American music that have existed largely independent of each other. The research is based in large part on ethnographic fieldwork, which privileges the voices of the music-makers themselves, while interpreting their narratives through a richly textured mosaic of history and culture. The book is replete with references to seminal recordings and recording artists, musical transcriptions, photographs, and illustrations that bring the music to life as expressions of human beings.
African American Viewers and the Black Situation Comedy: Situating Racial Humor (Studies in African American History and Culture)
by Robin R. Means ColemanProviding new insight into key debates over race and representation in the media, this ethnographic study explores the ways in which African Americans have been depicted in Black situation comedies-from 1950's Beulah to contemporary series like Martin and Living Single.
African American Women Playwrights: A Research Guide (Critical Studies in Black Life and Culture #31)
by Christy GavinFirst Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
African Americans in Radio, Film, and TV Entertainers (Major Black Contributions from Emancipat)
by Linda J. ArmstrongThis book is filled with fascinating stories, from the night a shy young woman's play changed Broadway to the day the most successful talk show host in history got her start. Find out about the stage actor who once earned letters in four college sports--and who won academic honors, too. Follow the triumphs and disappointments of some of the most famous black entertainers in our nation's history. Rediscover great personalities who have been forgotten. And learn about how the roles of black performers both changed with and helped changed American society.
African Appropriations: Cultural Difference, Mimesis, And Media
by Matthias KringsWhy would a Hollywood film become a Nigerian video remake, a Tanzanian comic book, or a Congolese music video? Matthias Krings explores the myriad ways Africans respond to the relentless onslaught of global culture. He seeks out places where they have adapted pervasive cultural forms to their own purposes as photo novels, comic books, songs, posters, and even scam letters. These African appropriations reveal the broad scope of cultural mediation that is characteristic of our hyperlinked age. Krings argues that there is no longer an "original" or "faithful copy," but only endless transformations that thrive in the fertile ground of African popular culture.
African Cinema: Volume 3: The Documentary Record—Declarations, Resolutions, Manifestos, Speeches (Studies in the Cinema of the Black Diaspora)
by Gaston Jean-Marie Kaboré Michael T. MartinChallenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume Three of this landmark series on African cinema spans the past century and is devoted to the documentation of decoloniality in cultural policy in both Africa and the Black diaspora worldwide. A compendium of formal resolutions, declarations, manifestos, and programmatic statements, it chronologically maps the long history and trajectories of cultural policy in Africa and the Black Atlantic. Beginning with the 1920 declaration of the Rights of the Negro Peoples of the World, which anticipates cinema as we know it today, and the formal oppositional assertions—aspirational and practical. The first part of this work references formal statements that pertain directly to cultural policy and cinematic formations in Africa, while the next part addresses the Black diaspora. Each entry is chronologically ordered to account for when the statement was created, followed by where and in what context it was enunciated.
African Cinema: Volume 1: Colonial Antecedents, Constituents, Theory, and Articulations (Studies in the Cinema of the Black Diaspora)
by Gaston Jean-Marie Kaboré Michael T. Martin Roy Armes James E. Genova Femi Okiremuete Shaka James Burns Tom Rice Odile Goerg Med Hondo Férid Boughedir Haile Gerima Sada Niang Monique Mbeka Phoba Olivier Barlet Clyde R. Taylor Alexie Tcheuyap Esiaba Irobi Stephen A. Zacks Teshome H. Gabriel David Murphy Jude Akudinobi Maureen N. Eke Arnold Shepperson Keyan G. Tomaselli Paulin Soumanou Vieyra Boukary Sawadogo Claude Forest Samba Gadjigo Beti EllersonChallenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.
African Cinema: Volume 2: FESPACO—Formation, Evolution, Challenges (Studies in the Cinema of the Black Diaspora)
by Ardiouma Soma Michael T. Martin Gaston Jean-Marie Kaboré Lindiwe Dovey Manthia Diawara Beti Ellerson Sambolgo Bangre Dorothee Wenner M. Africanus Aveh Mahir Saul Mbye Cham Ousmane Sembene Wole Soyinka Aboubakar Sanogo Teresa Hoefert de Turegano Claire Andrade-Watkins Olivier Barlet Rod Stoneman Férid Boughedir Claire Diao Michel Amarger Mustapha Ouedgraogo Colin Dupré Sheila Petty Imruh Bakari June Givanni Rémi AbegaChallenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film.Volume Two of this landmark series on African cinema is devoted to the decolonizing mediation of the Pan African Film & Television Festival of Ouagadougou (FESPACO), the most important, inclusive, and consequential cinematic convocation of its kind in the world. Since its creation in 1969, FESPACO's mission is, in principle, remarkably unchanged: to unapologetically recover, chronicle, affirm, and reconstitute the representation of the African continent and its global diasporas of people, thereby enunciating in the cinematic, all manner of Pan-African identity, experience, and the futurity of the Black World. This volume features historically significant and commissioned essays, commentaries, conversations, dossiers, and programmatic statements and manifestos that mark and elaborate the key moments in the evolution of FESPACO over the span of the past five decades.
African Cinema and Human Rights (Studies In The Cinema Of The Black Diaspora Ser.)
by Edited by Mette Hjort and Eva JørholtEssays and case studies exploring how filmmaking can play a role in promoting social and economic justice. Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: Documenting human rights abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communitiesLegitimating, and consequently solidifying, an expanded scope for human rightsPromoting the realization of social and economic right Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations. With its interdisciplinary scope, attention to practitioners&’ self-understandings, broad perspectives, and particular case studies, African Cinema and Human Rights is a foundational text that offers questions, reflections, and evidence that help us to consider film&’s ideal role within the context of our ever-continuing struggle towards a more just global society.
African Discourse in Islam, Oral Traditions, and Performance (African Studies)
by Abdul-Rasheed Na'AllahThrough an engaged analysis of writers such as Wole Soyinka, Ola Rotimi, Niyi Osundare, and Tanure Ojaide and of African traditional oral poets like Omoekee Amao Ilorin and Mamman Shata Katsina, Abdul-Rasheed Na'Allah develops an African indigenous discourse paradigm for interpreting and understanding literary and cultural materials. Na'Allah argues for the need for cultural diversity in critical theorizing in the twenty-first century. He highlights the critical issues facing scholars and students involved in criticism and translation of marginalized texts. By returning the African knowledge system back to its roots and placing it side by side with Western paradigms, Na'Allah has produced a text that will be required reading for scholars and students of African culture and literature. It is an important contribution to scholarship in the domain of mobility of African oral tradition, and on African literary, cultural and performance discourse.
African Documentary Cinema: Beyond Representation (Routledge Advances in Film Studies)
by Alexie TcheuyapAfrican Documentary Cinema investigates the inception and trajectory of contemporary documentary filmmaking in sub-Saharan African countries and their diasporas. The book challenges critical paradigms that have long prevailed in African film criticism, shedding light on the diverse discourses and evolving aesthetic trends present within documentary films.Situating his analysis within the context of the significant transformation of the African film industry, the author focuses on the development, diversity, and shifting dynamics that have impacted contemporary documentary cinema. Examining the historical, political, sociological, economic, and cultural factors that have facilitated the rise of documentary films—especially those created by female documentarians—the book assesses the emergence of documentary filmmakers spanning different generations. Their training, practices, and innovative perspectives on social, political, and environmental issues ultimately give rise to new frameworks for understanding the bio-documentary genre, issues of gender discrimination, LGBTQIA+ identities, environmental trauma, genocide, and memory on the African continent.This ground-breaking study offers new insight into a rapidly expanding topic and will appeal to students and scholars in the fields of film studies, documentary film, media industry studies, African studies, French, postcolonial studies, politics, and cultural studies.
African Film Studies: An Introduction
by Boukary Sawadogo<p>African Film Studies: An Introduction is an accessible and authoritative textbook on African cinema as a field of study. The book provides a succinct and comprehensive study of the history, aesthetics, and theory of sub-Saharan African cinematic productions that is grounded in the field of film studies instead of textual interpretations from other disciplines. <p>Bringing African cinema out of the margins into the discipline of mainstream film studies and showcasing the diverse cinematic expressions of the continent, the book covers: <p> <li>Overview of African cinema(s): Questions our assumptions about the continent’s cinematic productions and defines the characteristics of African cinema across linguistic, geographic, and filmic divides. <li>History of African and African-American cinema: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’ to the quest for individuality. It also establishes parallels in the historical development of black African cinema and African-American cinema. <li>Aesthetics: Introduces new research on previously unexplored aesthetic dimensions such as cinematography, animation, and film music. <li>Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinema <p> <p>All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge with no prior knowledge of African cinema required. Students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.</p>
African Film Studies: An Introduction
by Boukary SawadogoAfrican Film Studies is an accessible and engaging introduction to African cinemas, showcasing the diverse cinematic expressions across the continent. Bringing African cinemas out of the margins and into mainstream film studies, the book provides a succinct overview of the history, aesthetics, and theory of sub-Saharan African cinematic productions. Updated throughout, this new edition includes new chapters on Nollywood, Ethiopian cinema, Streaming, and the rise of televisual series, which serve to complement the book’s main themes: • Overview of African cinema(s): Questions assumptions and defines the characteristics of African cinemas across linguistic, geographic, and filmic divides. • History of African cinemas: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’, the rise of Nollywood and local TV series to streaming, as well as building connections with the development of African American cinema. • Aesthetics: Introduces new research on previously under-explored aesthetic dimensions such as cinematography, animation, and film music. • Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinemas. • Traditions and practices in African screen media: Features Ethiopian cinema, Nollywood, Local Televisual Series in Burkina Faso and South Africa, and the Streaming rush for Africa. All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge, with no prior knowledge of African cinemas required. Students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.
African Performance Arts and Political Acts (African Perspectives)
by Naomi Andre Yolanda Covington-Ward Jendele HungboAfrican Performance Arts and Political Actspresents innovative formulations for how African performance and the arts shape the narratives of cultural history and politics. This collection, edited by Naomi André, Yolanda Covington-Ward, and Jendele Hungbo, engages with a breadth of African countries and art forms, bringing together speech, hip hop, religious healing and gesture, theater and social justice, opera, radio announcements, protest songs, and migrant workers’ dances. The spaces include village communities, city landscapes, prisons, urban hostels, Township theaters, opera houses, and broadcasts through the airwaves on television and radio as well as in cyberspace. Essays focus on case studies from Cameroon, the Democratic Republic of the Congo, Nigeria, Senegal, South Africa, and Tanzania.