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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.
Hollywood's Africa after 1994 investigates Hollywood's colonial
film legacy in the postapartheid era, and contemplates what has
changed in the West's representations of Africa. How do we read
twenty-first-century projections of human rights issues-child
soldiers, genocide, the exploitation of the poor by multinational
corporations, dictatorial rule, truth and reconciliation-within the
contexts of celebrity humanitarianism, "new" military
humanitarianism, and Western support for regime change in Africa
and beyond? A number of films after 1994, such as Black Hawk Down,
Hotel Rwanda, Blood Diamond, The Last King of Scotland, The
Constant Gardener, Shake Hands with the Devil, Tears of the Sun,
and District 9, construct explicit and implicit arguments about the
effects of Western intervention in Africa. Do the emphases on human
rights in the films offer a poignant expression of our shared
humanity? Do they echo the colonial tropes of former "civilizing
missions?" Or do human rights violations operate as yet another
mine of sensational images for Hollywood's spectacular
storytelling? The volume provides analyses by academics and
activists in the fields of African studies, English, film and media
studies, international relations, and sociology across continents.
This thoughtful and highly engaging book is a valuable resource for
those who seek new and varied approaches to films about Africa.
Contributors: Harry Garuba and Natasha Himmelman; Margaret R.
Higonnet, with Ethel R. Higgonet; Joyce B. Ashuntantang; Kenneth W.
Harrow; Christopher Odhiambo; Ricardo Guthrie; Clifford T. Manlove;
Earl Conteh-Morgan; Bennetta Jules-Rosette, J. R. Osborn, and Lea
Marie Ruiz-Ade; Christopher Garland; Kimberly Nichele Brown; Jane
Bryce; Iyunolu Osagie; and Dayna Oscherwitz.
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.
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