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'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.
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.
Francophone African Women Documentary Filmmakers is groundbreaking
edited collection which explores the contributions of Francophone
African women to the field of documentary filmmaking. Rich in its
scope and critical vision it constitutes a timely contribution to
cutting-edge scholarly debates on African cinemas. Featuring 10
chapters from prominent film scholars, it explores the distinctive
documentary work and contributions of Francophone African women
filmmakers since the 1960s. It focuses documentaries by North
African and Sub-Saharan women filmmakers, including the pioneering
work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will
Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En
attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory
and Leila Kitani's Nos lieux interdits. Shunned from costly
fictional- 35mm-filmmaking, Francophone African Women Documentary
Filmmakers examines how these women engaged and experimented with
documentary filmmaking in personal, evocative ways that countered
the officially sanctioned, nationalist practice of show and
teach/promote.
'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.
Francophone African Women Documentary Filmmakers is groundbreaking
edited collection which explores the contributions of Francophone
African women to the field of documentary filmmaking. Rich in its
scope and critical vision it constitutes a timely contribution to
cutting-edge scholarly debates on African cinemas. Featuring 10
chapters from prominent film scholars, it explores the distinctive
documentary work and contributions of Francophone African women
filmmakers since the 1960s. It focuses documentaries by North
African and Sub-Saharan women filmmakers, including the pioneering
work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will
Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En
attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory
and Leila Kitani's Nos lieux interdits. Shunned from costly
fictional- 35mm-filmmaking, Francophone African Women Documentary
Filmmakers examines how these women engaged and experimented with
documentary filmmaking in personal, evocative ways that countered
the officially sanctioned, nationalist practice of show and
teach/promote.
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.
African Diasporic Cinema analyses 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 centre 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 characterised
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 analyses the contemporary diaspora through
the prism of cultural hybridization and the processes of
recomposing fragmented identities, out of which new identities
emerge.
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