|
Showing 1 - 6 of
6 matches in All Departments
The Western in the Global South investigates the Western film
genre's impact, migrations, and reconfigurations in the Global
South. Contributors explore how cosmopolitan directors have engaged
with, appropriated, and subverted the tropes and conventions of
Hollywood and Italian Westerns, and how Global South Westerns and
Post-Westerns in particular address the inequities brought about by
postcolonial patriarchy, globalization and neoliberalism. The book
offers a wide range of historical engagements with the genre, from
African, Caribbean, South and Southeast Asian, Central and South
American, and transnational directors. The contributors employ
interdisciplinary cultural studies approaches to cinema,
integrating aesthetic considerations with historical, political,
and gender studies readings of the international appropriations and
U.S. re-appropriations of the Western genre.
The Western in the Global South investigates the Western film
genre's impact, migrations, and reconfigurations in the Global
South. Contributors explore how cosmopolitan directors have engaged
with, appropriated, and subverted the tropes and conventions of
Hollywood and Italian Westerns, and how Global South Westerns and
Post-Westerns in particular address the inequities brought about by
postcolonial patriarchy, globalization and neoliberalism. The book
offers a wide range of historical engagements with the genre, from
African, Caribbean, South and Southeast Asian, Central and South
American, and transnational directors. The contributors employ
interdisciplinary cultural studies approaches to cinema,
integrating aesthetic considerations with historical, political,
and gender studies readings of the international appropriations and
U.S. re-appropriations of the Western genre.
It can be argued that cinema was created in France by Louis Lumiere
in 1895 with the invention of the "cinematographe," the first true
motion-picture camera and projector. While there were other cameras
and devices invented earlier that were capable of projecting
intermittent motion of images, the "cinematographe" was the first
device capable of recording and externally projecting images in
such a way as to convey motion. Early films such as Lumiere's "La
Sortie de l'usine," a minute-long film of workers leaving the
Lumiere factory, captured the imagination of the nation and quickly
inspired the likes of Georges Melies, Alice Guy, and Charles Pathe.
Through the years, French cinema has been responsible for producing
some of the world's best directors Jean Renoir, Jean-Luc Godard,
Francois Truffaut, and Louis Malle and actors Charles Boyer,
Catherine Deneuve, Gerard Depardieu, and Audrey Tautou.The
"Historical Dictionary of French Cinema" covers the history of
French film from the silent era to the present in a concise and up
to date volume detailing the development of French cinema and major
theoretical and cultural issues related to it. This is done through
a chronology, an introduction, photographs, a bibliography, and
hundreds of cross-referenced dictionary entries on many of the
major actors, directors, films, movements, producers, and studios
associated with French cinema. Going beyond mere biographical
information, entries also discuss the impact and significance of
each individual, film, movement, or studio included. This detailed,
scholarly analysis of the development of film in France is useful
to both the novice and the expert alike.
Undoubtedly one of Africa's most influential first generation of
writers and filmmakers, Ousmane Sembene's creative works of fiction
as well as his films have been the subject of a considerable number
of scholarly articles. The schemas of reading applied to Sembene's
oeuvre (novels, short stories and films) have, in the main, focused
either on his militant posture against colonialism, his
disenchantment with African leadership, or his infatuation with
documenting the past in an attempt to present a balanced and
nuanced view of African history. While these studies,
unquestionably contribute to a better understanding of his works,
they collectively ignore Sembene's relentless preoccupation with
culture in his entire career as a writer and filmmaker. The
collection of essays in Sembene and the Politics of Culture sets
out to fill that gap as the contributors at once foreground
Sembene's fixation on the centrality of culture in the articulation
of the discourse of national consciousness and reevaluate his
intellectual and artistic legacy within an overarching framework of
African liberation. The contributors critically reassess the
ideological underpinnings of Sembene's thoughts, his role as one of
the foundational pillars of African cultural production, and his
relevance in current discourses of nationhood. They do so through a
wide variety of interdisciplinary approaches that draw on
linguistics, feminist theory, film theory, historiography, Marxist
criticism, psychoanalysis and a host of other approaches that give
novel insights in the critical analysis of the works under study.
In the part entitled "Testimonies," a collection of conversations
with people who worked closely with Sembene, each of the
interlocutors provide illuminating insights into the man's life and
work. The variety of themes and critical approaches in this
critical anthology will certainly be of interest not only to
students and scholars of African literature and cinema at various
levels of intellectual and cultural sophistication but also anyone
interested in the analysis of the nexus between power, culture, and
the discourse of liberation.
Undoubtedly one of Africa's most influential first generation of
writers and filmmakers, Ousmane Sembene's creative works of fiction
as well as his films have been the subject of a considerable number
of scholarly articles. The schemas of reading applied to Sembene's
oeuvre (novels, short stories and films) have, in the main, focused
either on his militant posture against colonialism, his
disenchantment with African leadership, or his infatuation with
documenting the past in an attempt to present a balanced and
nuanced view of African history. While these studies,
unquestionably contribute to a better understanding of his works,
they collectively ignore Sembene's relentless preoccupation with
culture in his entire career as a writer and filmmaker. The
collection of essays in Sembene and the Politics of Culture sets
out to fill that gap as the contributors at once foreground
Sembene's fixation on the centrality of culture in the articulation
of the discourse of national consciousness and reevaluate his
intellectual and artistic legacy within an overarching framework of
African liberation. The contributors critically reassess the
ideological underpinnings of Sembene's thoughts, his role as one of
the foundational pillars of African cultural production, and his
relevance in current discourses of nationhood. They do so through a
wide variety of interdisciplinary approaches that draw on
linguistics, feminist theory, film theory, historiography, Marxist
criticism, psychoanalysis and a host of other approaches that give
novel insights in the critical analysis of the works under study.
In the part entitled "Testimonies," a collection of conversations
with people who worked closely with Sembene, each of the
interlocutors provide illuminating insights into the man's life and
work. The variety of themes and critical approaches in this
critical anthology will certainly be of interest not only to
students and scholars of African literature and cinema at various
levels of intellectual and cultural sophistication but also anyone
interested in the analysis of the nexus between power, culture, and
the discourse of liberation.
It can be argued that cinema was created in France by Louis Lumiere
in 1895 with the invention of the cinematographe, the first true
motion-picture camera and projector. While there were other cameras
and devices invented earlier that were capable of projecting
intermittent motion of images, the cinematographe was the first
device capable of recording and externally projecting images in
such a way as to convey motion. Early films such as Lumiere's La
Sortie de l'usine, a minute-long film of workers leaving the
Lumiere factory, captured the imagination of the nation and quickly
inspired the likes of Georges Melies, Alice Guy, and Charles Pathe.
Through the years, French cinema has been responsible for producing
some of the world's best directors-Jean Renoir, Jean-Luc Godard,
Francois Truffaut, and Louis Malle-and actors-Charles Boyer,
Catherine Deneuve, Gerard Depardieu, and Audrey Tautou. The A to Z
of French Cinema covers the history of French film from the silent
era to the present in a concise and up to date volume detailing the
development of French cinema and major theoretical and cultural
issues related to it. This is done through a chronology, an
introduction, photographs, a bibliography, and hundreds of
cross-referenced dictionary entries on many of the major actors,
directors, films, movements, producers, and studios associated with
French cinema. Going beyond mere biographical information, entries
also discuss the impact and significance of each individual, film,
movement, or studio included. This detailed, scholarly analysis of
the development of film in France is useful to both the novice and
the expert alike.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|