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Challenging 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.
Challenging 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.
Challenging 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.
Challenging 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.
Charles Burnett's 1977 film, Killer of Sheep is one of the towering
classics of African American cinema. As a deliberate counterpoint
to popular blaxploitation films of the period, it combines harsh
images of the banality of everyday oppression with scenes of
lyrical beauty, and depictions of stark realism with flights of
comic fancy. From Street to Screen: Charles Burnett's Killer of
Sheep is the first book-length collection dedicated to the film and
designed to introduce viewers to this still relatively unknown
masterpiece. Beginning life as Burnett's master's thesis project in
1973, and shot on a budget of $10,000, Killer of Sheep immediately
became a cornerstone of the burgeoning movement in African American
film that came to be known variously as the LA School or LA
Rebellion. By bringing together a wide variety of material, this
volume covers both the politics and aesthetics of the film as well
as its deeper social and contextual histories. This expansive and
incisive critical companion will serve equally as the perfect
starting point and standard reference for all viewers, whether they
are already familiar with the film or coming to it for the first
time.
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the
intensity of social and political upheaval during a volatile period
in American history. Based on Sam Greenlee's novel by the same
name, the film is a searing portrayal of an American Black
underclass brought to the brink of revolution. This series of
critical essays situates the film in its social, political, and
cinematic contexts and presents a wealth of related materials,
including an extensive interview with Sam Greenlee, the original
United Artists' press kit, numerous stills from the film, and the
original screenplay. This fascinating examination of a
revolutionary work foregrounds issues of race, class, and social
inequality that continue to incite protests and drive political
debate.
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the
intensity of social and political upheaval during a volatile period
in American history. Based on Sam Greenlee's novel by the same
name, the film is a searing portrayal of an American Black
underclass brought to the brink of revolution. This series of
critical essays situates the film in its social, political, and
cinematic contexts and presents a wealth of related materials,
including an extensive interview with Sam Greenlee, the original
United Artists' press kit, numerous stills from the film, and the
original screenplay. This fascinating examination of a
revolutionary work foregrounds issues of race, class, and social
inequality that continue to incite protests and drive political
debate.
Challenging 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.
Written and directed by two white men and performed by an all-black
cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a
drifter turned family man who struggles with the pressures of
small-town life and the limitations placed on him and his community
in the Deep South, an area long fraught with racism. Though
unmistakably about race and civil rights, the film makes no direct
reference to the civil rights movement. Despite this intentional
absence, contemporary audiences were acutely aware of the social
context for the film's indictment of white prejudice in America. To
help frame and situate the film in the context of black film
studies, the book gathers primary and secondary resources,
including the original screenplay, essays on the film, statements
by the filmmakers, and interviews with Robert M. Young, the film's
producer and cinematographer, and Khalil Gibran Muhammad, the
Director of the Schomburg Center for Research in Black Culture.
Written and directed by two white men and performed by an all-black
cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a
drifter turned family man who struggles with the pressures of
small-town life and the limitations placed on him and his community
in the Deep South, an area long fraught with racism. Though
unmistakably about race and civil rights, the film makes no direct
reference to the civil rights movement. Despite this intentional
absence, contemporary audiences were acutely aware of the social
context for the film's indictment of white prejudice in America. To
help frame and situate the film in the context of black film
studies, the book gathers primary and secondary resources,
including the original screenplay, essays on the film, statements
by the filmmakers, and interviews with Robert M. Young, the film's
producer and cinematographer, and Khalil Gibran Muhammad, the
Director of the Schomburg Center for Research in Black Culture.
Challenging 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.
Over one hundred years since it premiered on cinema screens, D. W.
Griffith's controversial photoplay The Birth of a Nation continues
to influence American film production and to have relevance for
race relations in the United States. While lauded at the time of
its release for its visual and narrative innovations and a box
office hit with film audiences, it provoked African American
protest in 1915 for racially offensive content. In this collection
of essays, contributors explore Griffith's film as text, artifact,
and cultural legacy and place it into both the historical and
transnational contexts of the first half of the 1900s and its
resonances with current events in America, such as
#BlackLivesMatter, #HollywoodSoWhite, and #OscarsSoWhite movements.
Through studies of the film's reception, formal innovations in
visual storytelling, and comparisons with contemporary movies, this
work challenges the idea the United States has moved beyond racial
problems and highlights the role of film and representation in the
continued struggle for equality. This title is also available as an
Open Access edition online at
https://iu.pressbooks.pub/thebirthofanation/
Sing a New Song is Martinez's fifth book, and his third to be
centered around poetry. In this collection, the poems alternate
between works inspired by (but not based off of or translated from)
psalms and original poems straight from the mind of Michael T.
Martinez.
This is the third edition of his first book, a collection of short
stories and poems he has written over the years. This edition has
over twenty pages of new material that was not in the first
edition.
In this sequel to "Happy's House: The Diary of Benjamin Smith", the
Knowing Killer that haunted Benjamin and Ginger comes back in force
when their daughter's friend Lily discovers Benjamin's old diary. A
story about love and hardship, and about overcoming difficulties,
this novel by Michael T. Martinez is sure to bring smiles, tears,
and also fears...
A sixth grader whose life is plagued by poverty and bullies meets a
girl who is actually (to his surprise) kind to him. The two sixth
graders go on adventures in the woods, soon finding a house that
will change their lives more than they could have ever guessed....
In Windows to Minds, Martinez masterfully uses free form poetry to
present perspectives of life that range from pleasantly endearing
to shockingly confrontational. He invites readers to open their
minds and consider his perspectives, while ultimately challenging
them to think for themselves and not take anything he or anyone
else says for granted. At the end, he even invites them to put
their own perspectives on life into words! Windows to Minds has the
power to either demand you turn the pages quickly, or force you to
slow down and think. Its brutal honesty may have the same person
who nods their head in agreement at some points, shake their head
and curse under their breath at others. Perhaps not since Walt
Whitman has free form poetry taken such a powerful form. But
Martinez is not the next Walt Whitman-he is the first Michael
Martinez, and this manifesto of his opinions and perspectives
attests to this.
When you pass by a cemetery what do you see? Michelle T. Martin
sees hundreds of unfulfilled destines buried in the graves.
Callings, gifts, talents, etc., that were never fullfilled. Now,
instead of being shared with the world they lie dormant forever.
During one of the most difficult seasons in Martins life, knowing
that she was anointed and appointed but yet challenged on every
side, a cry began to form in her spirit. "Lord Don't Let Me Die
With Destiny Inside of Me " In this book she shares her experiences
and the life changing lessons she learned during the journey. This
dynamic women of God was determined that God's plans for her life
would manifest despite the storms raging all around her and is now
on a mission to challenge the body of Christ. This book will change
your life. Don't you die with destiny inside of you
Mapping the historical and cultural contexts of film practices in
Latin America, this two-volume collection of programmatic
statements, esays and interviews is devoted to the study of a
theorized, dynamic and unfinished cinematic movement. Forged by
Latin America's post-colonial environment of underdevelopment and
dependency, the New Latin American Cinema movement has sought to
inscribe itself in Latin America's struggles for cultural and
economic autonomy. ""Volume One"" explores the formation of the New
Latin American Cinema movement, its national and continental
implications (including the diasporic/exilic experience) and
transcontinental articulations through the writings of pioneer
filmmakers and scholars. Glauber Rocha, Julio Garcia Espinosa,
Jorge Sanjines, Fernando Solanas and Octavio Getino address the
central question of the Latin American aesthetic - a particular
style and production method connected with the political and social
conditions and circumstances of Latin America. Ana Lopez, Julianne
Burton and Michael Chanan examine the movement's formation in the
1950s and its development through the 1980s in a socio-historical
context, paying special attention to modes of production and
consumption. Paul Willemen assesses the movement's relevance to
radical film practice and theory in the First and Third Worlds, and
Antonio Skarmeta calls for a distribution network of Third World
Cinema on a pan-European level. The volume concludes with essays by
Ruby Rich and Zuzana M. Pick who address, from widely different
approaches, the issues of the movement's adaptability, renovation
and identity, in consideration of its evolution since the 1950s.
""Volume Two"" - this one - comprises essays on the development of
the New Latin American Cinema as a comparative national project.
Essays are grouped by nation into two regions - Middle and Central
America and Caribbean and South America - for comparitive study,
particularly between capitalist and post-revolutionary socialist
formations. The selected essays examine the relationship between
cinema and nationhood and the ambiguous categories of culture,
identity and nation within the socio-historical specificities of
the movement's development, especially in Cuba, Brazil, Mexico,
Chile and Argentina. This collection will serve as an essential
reference and research tool for the study of world cinema. The
collection, while celebrating the diversity and innovation of the
New Latin American Cinema, explicates the historical importance of
filmmaking as a cultural form and political practice in Latin
America.
Mapping the historical and cultural contexts of film practices in
Latin America, this two-volume collection of programmatic
statements, essays and interviews is devoted to the study of a
theorized, dynamic and unfinished cinematic movement. Forged by
Latin America's post-colonial environment of underdevelopment and
dependency, the New Latin American Cinema movement has sought to
inscribe itself in Latin America's struggles for cultural and
economic autonomy. ""Volume One"" - this work - explores the
formation of the New Latin American Cinema movement, its national
and continental implications (including the diasporic/exilic
experience) and transcontinental articulations through the writings
of pioneer film-makers and scholars. Glauber Rocha, Julio Garcia
Espinosa, Jorge Sanjines, Fernando Solanas and Octavio Getino
address the central question of the Latin American aesthetic - a
particular style and production method connected with the political
and social conditions and circumstances of Latin America. Ana
Lopez, Julianne Burton and Michael Chanan examine the movement's
formation in the 1950s and its development through the 1980s in a
socio-historical context, paying special attention to modes of
production and consumption. Paul Willemen assesses the movement's
relevance to radical film practice and theory in the First and
Third Worlds, and Antonio Skarmeta calls for a distribution network
of Third World Cinema on a pan-European level. The volume concludes
with essays by Ruby Rich and Zuzana M. Pick who address, from
widely different approaches, the issues of the movement's
adaptability, renovation and identity, in consideration of its
evolution since the 1950s. ""Volume Two"" comprises essays on the
development of the New Latin American Cinema as a comparative
national project. Essays are grouped by nation into two regions -
Middle and Central America and Caribbean and South America - for
comparitive study, particularly between capitalist and
post-revolutionary socialist formations. The selected essays
examine the relationship between cinema and nationhood and the
ambiguous categories of culture, identity and nation within the
socio-historical specificities of the movement's development,
especially in Cuba, Brazil, Mexico, Chile and Argentina. This
collection should serve as an essential reference and research tool
for the study of world cinema. The collection, while celebrating
the diversity and innovation of the New Latin American Cinema,
explicates the historical importance of filmmaking as a cultural
form and political practice in Latin America.
This is a study of the cinematic traditions and film practices in
the black Diaspora. With contributions by film scholars, film
critics, and film-makers from Europe, North America and the Third
World, this diverse collection provides a critical reading of
film-making in the black Diaspora that challenges the assumptions
of colonialist and ethnocentrist discourses about Third World,
Hollywood and European cinemas. The book examines the impact on
film-making of Western culture, capitalist production and
distribution methods, and colonialism and the continuing
neo-colonial status of the people and countries in which
film-making is practiced. Organised in three parts, the study first
explores cinema in the black Diaspora along cultural and political
lines, analysing the works of a radical and aesthetically
alternative cinema. The book proceeds to group black cinemas by
geographical sites, including Africa, the Caribbean and South
America, Europe, and North America, to provide global context for
comparative and case study analyses. Finally, three important
manifestoes document the political and economic concerns and
counter-hegemonic institutional organising efforts of black and
Third World film-makers from the 1970s to the early 1990s.
""Cinemas of the Black Diaspora"" should serve as a valuable basic
reference and research tool for the study of world cinema. While
celebrating the diversity, innovativeness, and fecundity of
film-making in different regions of the world, this important
collection also explicates the historical importance of film-making
as a cultural form and political practice.
The 15th Edition of Law of Mass Communications addresses attacks on
the media from people who don't like uncomfortable truths. The book
informs readers of the rights that protect the media and explains
the value those rights have that are vitally important to our
democracy, now more than ever. The text retains "old-school"
research and analysis coupled with continuing developments in media
law. The authors use footnotes to add context and perspective for
many of the cases and principles of media law.
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