'A robust, decolonial challenge to carceral feminism' - Angela Y. Davis ***Winner of an English PEN Award 2022*** The mainstream conversation surrounding gender equality is a repertoire of violence: harassment, rape, abuse, femicide. These words suggest a cruel reality. But they also hide another reality: that of gendered violence committed with the complicity of the State. In this book, Francoise Verges denounces the carceral turn in the fight against sexism. By focusing on 'violent men', we fail to question the sources of their violence. There is no doubt as to the underlying causes: racial capitalism, ultra-conservative populism, the crushing of the Global South by wars and imperialist looting, the exile of millions and the proliferation of prisons - these all put masculinity in the service of a policy of death. Against the spirit of the times, Francoise Verges refuses the punitive obsession of the State in favour of restorative justice.

Weaving together critical analysis and a filmic conversation, this book journeys through the multiple layers of Cameroonian filmmaker Jean-Marie Teno's thematically and aesthetically challenging body of work, framed here as a formof decolonial cinematic resistance. Co-winner African Literature Association Book of the Year - Scholarship Both a monograph and a critical dialogue between academic Melissa Thackway, author of Africa Shoots Back, and the Cameroonian filmmaker Jean-Marie Teno, this collaborative work takes the reader on a journey through Teno's multifaceted on-going filmic reflection on Cameroon and the wider African continent, its socio-political systems, history, memory and cultures. Presenting and contextualizing Teno's cinema, it addresses the notion of political commitment in art and of cinema as a form of resistance. It also considers Teno's filmmaking both in relation to the theoretical and aesthetic debates to have animated West and Central African filmmakers since the 1960s and 1970s, and n relation to documentary filmmaking practices on the continent and beyond. In so doing, the book offers an analysis of the predominant stylistic and thematic traits of Teno's work, examines the individual films and the collective oeuvre, and highlights the evolutions of his film language and concerns. It identifies and explores the committed socio-political and historical themes at play, such as violence, power, history, memory, gender, trauma and exile. It also considers Teno's unwavering focus, both thematically and in his filmmaking choices, on forms and instances of resistance, framing his cinema as a form of decolonial aesthetics.

This book deals with the contemporary history of the imprisonment of Palestinians in Israeli prisons since 1967, and, since the 2000s, in Palestinian facilities. The prison experience is widely shared in the Occupied Palestinian Territories. It endurably marks personal and collective stories. Since the Occupation of the Palestinian Territories in 1967, mass incarceration has spun a prison web, a kind of suspended detention. Approximately, 40 percent of the male population has been to prison. It shows how the judicial and prison practices applied to Palestinian residents of the OPT are major fractal devices of control contributing to the management of Israeli borders, and shape a specific bordering system based on a mobility regime: such borders are mobile, networked, and endless. This history of confinement is that of the prison web, and of the in-between political, social, and personal spaces people weave between Inside and Outside prison. Based on in-depth ethnographic fieldwork, oral and written sources, archives, and extensive institutional documentation, this political anthropology book deals with carceral citizenships and subjectivities. Over time, imprisonment has had profound effects on personal experiences: on masculinities, femininities, gender relations, parentality, and intimacy. Woven like a web, this story is built around places, moments, people, and their testimonies.

'A robust, decolonial challenge to carceral feminism' - Angela Y. Davis ***Winner of an English PEN Award 2022*** The mainstream conversation surrounding gender equality is a repertoire of violence: harassment, rape, abuse, femicide. These words suggest a cruel reality. But they also hide another reality: that of gendered violence committed with the complicity of the State. In this book, Francoise Verges denounces the carceral turn in the fight against sexism. By focusing on 'violent men', we fail to question the sources of their violence. There is no doubt as to the underlying causes: racial capitalism, ultra-conservative populism, the crushing of the Global South by wars and imperialist looting, the exile of millions and the proliferation of prisons - these all put masculinity in the service of a policy of death. Against the spirit of the times, Francoise Verges refuses the punitive obsession of the State in favour of restorative justice.

Weaving together critical analysis and a filmic conversation, this book journeys through the multiple layers of Cameroonian filmmaker Jean-Marie Teno's thematically and aesthetically challenging body of work, framed here as a form of decolonial cinematic resistance. Co-winner African Literature Association Book of the Year - Scholarship Both a monograph and a critical dialogue between academic Melissa Thackway, author of Africa Shoots Back, and the Cameroonian filmmaker Jean-Marie Teno, this collaborative work takes the reader on a journey through Teno's multifaceted on-going filmic reflection on Cameroon and the wider African continent, its socio-political systems, history, memory and cultures. Presenting and contextualizing Teno's cinema, it addresses the notion of political commitment in art and of cinema as a form of resistance. It also considers Teno's filmmaking both in relation to the theoretical and aesthetic debates to have animated West and Central African filmmakers since the 1960s and 1970s, and n relation to documentary filmmaking practices on the continent and beyond. In so doing, the book offers an analysis of the predominant stylistic and thematic traits of Teno's work, examines the individual films and the collective oeuvre, and highlights the evolutions of his film language and concerns. It identifies and explores the committed socio-political and historical themes at play, such as violence, power, history, memory, gender, trauma and exile. It also considers Teno's unwavering focus, both thematically and in his filmmaking choices, on forms and instances of resistance, framing his cinema as a form of decolonial aesthetics.