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De-Westernizing Film Studies aims to consider what form a challenge
to the enduring vision of film as a medium - and film studies as a
discipline - modelled on 'Western' ideologies, theoretical and
historical frameworks, critical perspectives as well as
institutional and artistic practices, might take today. The book
combines a range of scholarly writing with critical reflection from
filmmakers, artists & industry professionals, comprising
experience and knowledge from a wide range of geographical areas,
film cultures and (trans-)national perspectives. In their own ways,
the contributors to this volume problematize a binary mode of
thinking that continues to promote an idea of 'the West and the
rest' in relation to questions of production, distribution,
reception and representation within an artistic medium (cinema)
that, as part of contemporary moving image culture, is more
globalized and diversified than at any time in its history. In so
doing, De-Westernizing Film Studies complicates and/or re-thinks
how local, national and regional film cultures 'connect' globally,
seeking polycentric, multi-directional, non-essentialized
alternatives to Eurocentric theoretical and historical perspectives
found in film as both an artistic medium and an academic field of
study. The book combines a series of chapters considering a range
of responses to the idea of 'de-westernizing' film studies with a
series of in-depth interviews with filmmakers, scholars and
critics. Contributors: Nathan Abrams, John Akomfrah, Saer Maty Ba,
Mohammed Bakrim, Olivier Barlet, Yifen Beus, Farida Benlyazid,
Kuljit Bhamra, William Brown, Campbell, Jonnie Clementi-Smith,
Shahab Esfandiary, Coco Fusco, Patti Gaal-Holmes, Edward George,
Will Higbee, Katharina Lindner, Daniel Lindvall, Teddy E. Mattera,
Sheila Petty, Anna Piva, Deborah Shaw, Rod Stoneman, Kate E.
Taylor-Jones
Frederick Douglass asks students to confront an explosive question:
How, in a nation founded on ideas of equal rights and freedom,
could the institution of slavery become so entrenched and
long-lasting? How was slavery justified and how was it criticised?
At a literary forum, students consider the newly-published
Narrative of Frederick Douglass and hold a hearing on John C.
Calhoun's view of slavery as a "positive good". Finally, players
address the US Constitution, its original protections of the
slaveholders' power and the central question: Are Americans more
beholden to the Constitution or to some "higher law"?
While studies of American military culture have proliferated in
recent years, and the culture of academic institutions has been a
subject of perennial interest, comparatively little has been
written on the multiple ways the military and academe intersect.
Focusing on this subject offers an opportunity to explore how
teachers and researchers straddle the two quite different cultures.
The contributors to this volume both embody and articulate how the
two cultures co-exist and cooperate, however unevenly at times.
Chapters offer both ground-level perspectives of the classroom and
campus as well as well-considered articulations of the tensions and
opportunities involved in teaching and training civic-minded
soldiers on issues especially important in the post-9/11 world.
While studies of American military culture have proliferated in
recent years, and the culture of academic institutions has been a
subject of perennial interest, comparatively little has been
written on the multiple ways the military and academe intersect.
Focusing on this subject offers an opportunity to explore how
teachers and researchers straddle the two quite different cultures.
The contributors to this volume both embody and articulate how the
two cultures co-exist and cooperate, however unevenly at times.
Chapters offer both ground-level perspectives of the classroom and
campus as well as well-considered articulations of the tensions and
opportunities involved in teaching and training civic-minded
soldiers on issues especially important in the post-9/11 world.
De-Westernizing Film Studies aims to consider what form a challenge
to the enduring vision of film as a medium - and film studies as a
discipline - modelled on 'Western' ideologies, theoretical and
historical frameworks, critical perspectives as well as
institutional and artistic practices, might take today. The book
combines a range of scholarly writing with critical reflection from
filmmakers, artists & industry professionals, comprising
experience and knowledge from a wide range of geographical areas,
film cultures and (trans-)national perspectives. In their own ways,
the contributors to this volume problematize a binary mode of
thinking that continues to promote an idea of 'the West and the
rest' in relation to questions of production, distribution,
reception and representation within an artistic medium (cinema)
that, as part of contemporary moving image culture, is more
globalized and diversified than at any time in its history. In so
doing, De-Westernizing Film Studies complicates and/or re-thinks
how local, national and regional film cultures 'connect' globally,
seeking polycentric, multi-directional, non-essentialized
alternatives to Eurocentric theoretical and historical perspectives
found in film as both an artistic medium and an academic field of
study. The book combines a series of chapters considering a range
of responses to the idea of 'de-westernizing' film studies with a
series of in-depth interviews with filmmakers, scholars and
critics. Contributors: Nathan Abrams, John Akomfrah, Saer Maty Ba,
Mohammed Bakrim, Olivier Barlet, Yifen Beus, Farida Benlyazid,
Kuljit Bhamra, William Brown, Campbell, Jonnie Clementi-Smith,
Shahab Esfandiary, Coco Fusco, Patti Gaal-Holmes, Edward George,
Will Higbee, Katharina Lindner, Daniel Lindvall, Teddy E. Mattera,
Sheila Petty, Anna Piva, Deborah Shaw, Rod Stoneman, Kate E.
Taylor-Jones
Moroccan film production has increased rapidly since the late
2000s, and Morocco is a thriving service production hub for
international film and television. Taking a transnational approach
to Moroccan cinema, this book examines diversity in its production
models, its barriers to international distribution and success, its
key markets and audiences, as well as the consequences of digital
disruption upon it.
Moroccan film production has increased rapidly since the late
2000s, and Morocco is a thriving service production hub for
international film and television. Taking a transnational approach
to Moroccan cinema, this book examines diversity in its production
models, its barriers to international distribution and success, its
key markets and audiences, as well as the consequences of digital
disruption upon it.
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