Release on 2014-02-27 | by Nwachukwu Frank Ukadike
Author: Nwachukwu Frank Ukadike
Pubpsher: Lexington Books
Category: Literary Criticism
This book emphasizes the plurality of African cinema through a variety of themes and critical approaches that illuminate the scope of the mobilizing techniques for its proliferation, as well as its deep concern for methods of production, film aesthetics, theory, and criticism. Critical Approaches to African Cinema Discourse will offer scholars and students in film, media, and cultural studies, as well as in history, and Black and African studies, a broader understanding of African cinema as a cultural art. The contributors show that it is informed not only by ideological determinants but also by the concern to boost perspectives for reading African film images that may or may not belong to the conventional interpretations proffered in Euro-American critical paradigms.
Roy Armes examines the political & cultural context of the films & the film industry of the Maghreb in the era since independence. Included is a detailed examination of ten films made in Algeria, Morocco & Tunisia between 1970 & 2000.
A Companion to Contemporary French Cinema presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Features original contributions from top film scholars relating to all aspects of contemporary French cinema Includes new research on matters relating to the political economy of contemporary French cinema, developments in cinema policy, audience attendance, and the types, building, and renovation of theaters Utilizes groundbreaking research on cinema beyond the fiction film and the cinema-theater such as documentary, amateur, and digital filmmaking Contains an unusually large range of methodological approaches and perspectives, including those of genre, gender, auteur, industry, economic, star, postcolonial and psychoanalytic studies Includes essays by important French cinema scholars from France, the U.S., and New Zealand, many of whose work is here presented in English for the first time
À la rencontre du cinéma français: analyse, genre, histoire is intended to serve as the core textbook in a wide variety of upper-level undergraduate and graduate French cinema courses. In contrast to content-, theme-, or issue-based approaches to film, Professor Berg stresses “the cinematically specific, the warp and fabric of the film itself, the stuff of which it is made.” Sufficient proficiency in French is the sole prerequisite: “No previous background in film studies is assumed, nor is any prior acquaintance with French cinema. It will help, of course, to like movies, and to have seen quite a few…” (from the preface).
An in-depth look at some of the best and most influential French films of all time, The Cinema of France contains 24 essays, each on an individual film. The book features works from the silent period and Poetic Realism, through the stylistic developments of the New Wave, and up to more contemporary challenging films, from directors such as Abel Gance, Jean Renoir, Marcel Carn?, Fran?ois Truffaut, Jean-Luc Godard, Alain Resnais, Agn?s Varda and Luc Besson. Set in chronological order, The Cinema of France includes in-depth studies of films such as Un Chien Andalou (1929), Les Vacances de Monsieur Hulot (1953), Le Samoura? (1967), Shoah (1985), Jean de Florette (1986), Les Visiteurs (1993) and La Haine (1995).
Political Fictions in French Cinema of the 1990s and Early 2000s
Author: Florian Grandena
Pubpsher: Cambridge Scholars Publishing
The book focuses on the interest in socio-political themes that marked many French film productions of the 1990s and early 2000s. In order to underline the main characteristics and the originality of these feature films (political fictions), the author addresses the following questions: o How can one explain the renewed interest in contemporary French society? o To what extent can political fictions be described as political? o What is the contribution of political fictions to what some critics and scholars have described as a new type of realism? Showing the World to the World primarily addresses to the critical and socio-political context in which political fictions were made and released. With these parameters in mind, the book then moves on to in-depth discussions of films that have already attracted some attention, such as Mathieu Kassovitz's La Haine and Olivier Ducastel and Jacques Martineau's Drale de Fèlix, as well as lesser known works, Siegrid Alnoy's Elle est des natres and Jean-Marc Moutout's Violence des èchanges en milieu tempèrè being some examples. Showing the World to the World makes an original contribution to theoretical debates on political cinema and to the field of French film studies. The study targets students and academic researchers as well as individuals with a keen interest in contemporary French cinema.
Originally released as a videographic experiment in film history, Jean-Luc Godard's Histoire(s) du cinéma has pioneered how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard’s landmark work as both a specimen of an artist's vision and a philosophical statement on the history of film. Witt contextualizes Godard's theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.