{"title":"The Battle of Algiers, Alan O’Leary (2019)","authors":"A. Mututa","doi":"10.1386/jac_00078_5","DOIUrl":"https://doi.org/10.1386/jac_00078_5","url":null,"abstract":"Review of: The Battle of Algiers, Alan O’Leary (2019) Milan: Mimesis International, 127 pp., ISBN 978-8-86977-079-1, e-book, $18","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"65 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139262076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Space and Time in African Cinema and Cine-scapes, Kenneth W. Harrow (2022) New York and London: Routledge, 238 pp., ISBN 978-1-00328-889-3, e-book, $35.09
评论Kenneth W. Harrow (2022) New York and London：Routledge，238 页，ISBN 978-1-00328-889-3，电子书，35.09 美元
{"title":"Space and Time in African Cinema and Cine-scapes, Kenneth W. Harrow (2022)","authors":"A. Mututa","doi":"10.1386/jac_00076_5","DOIUrl":"https://doi.org/10.1386/jac_00076_5","url":null,"abstract":"Review of: Space and Time in African Cinema and Cine-scapes, Kenneth W. Harrow (2022) New York and London: Routledge, 238 pp., ISBN 978-1-00328-889-3, e-book, $35.09","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"100 5","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: The 21st Century Film, TV & Media School: Challenges, Clashes, Changes, Maria Dora Mourão, Stanislav Semerdjiev, Cecília Mello and Alan Taylor (eds) (2016) Sofia: CILECT – The International Association of Film and Television Schools, 476 pp., ISBN 978-6-19735-800-1, Kindle version, $33
评论21 世纪电影、电视和媒体学校：挑战、冲突、变革》，Maria Dora Mourão、Stanislav Semerdjiev、Cecília Mello 和 Alan Taylor（编辑）（2016 年），索非亚：CILECT - 国际电影电视学校协会，476 页，ISBN 978-6-19735-800-1，Kindle 版，33 美元
{"title":"The 21st Century Film, TV & Media School: Challenges, Clashes, Changes, Maria Dora Mourão, Stanislav Semerdjiev, Cecília Mello and Alan Taylor (eds) (2016)","authors":"A. Mututa","doi":"10.1386/jac_00077_5","DOIUrl":"https://doi.org/10.1386/jac_00077_5","url":null,"abstract":"Review of: The 21st Century Film, TV & Media School: Challenges, Clashes, Changes, Maria Dora Mourão, Stanislav Semerdjiev, Cecília Mello and Alan Taylor (eds) (2016) Sofia: CILECT – The International Association of Film and Television Schools, 476 pp., ISBN 978-6-19735-800-1, Kindle version, $33","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"36 2","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Projecting Nation: South African Cinemas after 1994 , Cara Moyer-Duncan (2020) East Lansing, MI: Michigan State University Press, 298 pp., ISBN 978-1-60917-638-9, e-book, $54.95
{"title":"Projecting Nation: South African Cinemas after 1994, Cara Moyer-Duncan (2020)","authors":"Addamms Mututa","doi":"10.1386/jac_00079_5","DOIUrl":"https://doi.org/10.1386/jac_00079_5","url":null,"abstract":"Review of: Projecting Nation: South African Cinemas after 1994 , Cara Moyer-Duncan (2020) East Lansing, MI: Michigan State University Press, 298 pp., ISBN 978-1-60917-638-9, e-book, $54.95","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134909202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is intended to contribute to a growing debate about how to approach and interact with problematic archives. The article examines three works made by a photographer and two filmmakers, respectively, based on their artistic interactions with their respective archives. Their works were brought to annual workshops in 2019 and 2020 organized by Reframing Africa , co-hosted by the University of the Witwatersrand (Wits) and the Market Photo Workshop in Johannesburg. The central objective of Reframing Africa continues to be lobbying for the preservation, restoration and repatriation of films made by African filmmakers on the continent and in the diaspora. But there has also been growing interest among participants in the colonial and other racially inflected archives of the moving/still image. The main title of the article, ‘Can the archive restore you?’, is intended to echo that of Nigerian filmmaker Ogwe Inyeka’s short film No Archive Can Restore You (). The article argues that the engagement by the authors of the three works with deeply problematic visual archives has produced significant insights into their construction and the ways in which they represent ‘reality’ and ‘truth’. Each of the three artistic interventions does suggest how even the bleakest archival materials, however, can be used as the basis for activating the restorative potential of the archive. The works discussed are Mpho Khwezi’s A Piece of Paper , Abri de Swardt’s Ridder Thirst and Eva Knopf’s Majubs Reise .
这篇文章旨在促进关于如何处理和处理有问题的档案的日益激烈的辩论。本文分别考察了一位摄影师和两位电影人的三件作品，基于他们与各自档案的艺术互动。他们的作品被带到2019年和2020年由南非威特沃特斯兰德大学(Wits)和约翰内斯堡市场摄影工作室共同主办的非洲重塑年度研讨会上。重塑非洲的中心目标仍然是游说保存、修复和遣返非洲大陆和散居海外的非洲电影人制作的电影。但是，参与者对殖民地和其他种族影响的动态/静态图像档案也越来越感兴趣。这篇文章的主要标题是《档案能恢复你吗?》，意在呼应尼日利亚电影制作人Ogwe Inyeka的短片《No Archive Can Restore You》()。本文认为，这三部作品的作者对存在严重问题的视觉档案的参与，对它们的结构以及它们代表“现实”和“真相”的方式产生了重要的见解。然而，这三种艺术干预都表明，即使是最黯淡的档案材料，也可以作为激活档案修复潜力的基础。讨论的作品有Mpho Khwezi的《一张纸》，Abri de Swardt的《Ridder Thirst》和Eva Knopf的《Majubs Reise》。
{"title":"Can the archive restore you? A study of three works: Mpho Khwezi’s A Piece of Paper (2020), Abri de Swardt’s Ridder Thirst (2018) and Eva Knopf’s Majubs Reise (2013)","authors":"Cynthia Kros","doi":"10.1386/jac_00075_1","DOIUrl":"https://doi.org/10.1386/jac_00075_1","url":null,"abstract":"The article is intended to contribute to a growing debate about how to approach and interact with problematic archives. The article examines three works made by a photographer and two filmmakers, respectively, based on their artistic interactions with their respective archives. Their works were brought to annual workshops in 2019 and 2020 organized by Reframing Africa , co-hosted by the University of the Witwatersrand (Wits) and the Market Photo Workshop in Johannesburg. The central objective of Reframing Africa continues to be lobbying for the preservation, restoration and repatriation of films made by African filmmakers on the continent and in the diaspora. But there has also been growing interest among participants in the colonial and other racially inflected archives of the moving/still image. The main title of the article, ‘Can the archive restore you?’, is intended to echo that of Nigerian filmmaker Ogwe Inyeka’s short film No Archive Can Restore You (). The article argues that the engagement by the authors of the three works with deeply problematic visual archives has produced significant insights into their construction and the ways in which they represent ‘reality’ and ‘truth’. Each of the three artistic interventions does suggest how even the bleakest archival materials, however, can be used as the basis for activating the restorative potential of the archive. The works discussed are Mpho Khwezi’s A Piece of Paper , Abri de Swardt’s Ridder Thirst and Eva Knopf’s Majubs Reise .","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anant Singh is South Africa’s most prolific film producer. The publication of his memoirs in 2021 occasioned an assessment of this genre in relation to published scholarly research and some other biographies and autobiographies written by contemporary South African filmmakers, radio and television broadcasters. This article mobilizes the Singh story as a framing window through which to make connections with other such works, including studies on the media industry itself, from the early 1980s to 2021. Where autobiographies rarely offer self-reflexive analyses, this article attempts to facilitate a dialogue between different media personalities while simultaneously excavating some hidden transcripts that themselves cast some light on professional practices. The article sketches some of the underlying structural conditions within which the various commentators had to work and on which they comment anecdotally, here examined as latent illustrations of their lived experience.
{"title":"Memoir and media: Anant Singh’s personage in contemporary South Africa","authors":"K. Tomaselli","doi":"10.1386/jac_00072_1","DOIUrl":"https://doi.org/10.1386/jac_00072_1","url":null,"abstract":"Anant Singh is South Africa’s most prolific film producer. The publication of his memoirs in 2021 occasioned an assessment of this genre in relation to published scholarly research and some other biographies and autobiographies written by contemporary South African filmmakers, radio and television broadcasters. This article mobilizes the Singh story as a framing window through which to make connections with other such works, including studies on the media industry itself, from the early 1980s to 2021. Where autobiographies rarely offer self-reflexive analyses, this article attempts to facilitate a dialogue between different media personalities while simultaneously excavating some hidden transcripts that themselves cast some light on professional practices. The article sketches some of the underlying structural conditions within which the various commentators had to work and on which they comment anecdotally, here examined as latent illustrations of their lived experience.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49309491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reviewe of: De Sable et de Feu: Le Rève Impossible (Sand and Fire: The Impossible Dream!), Souheil Ben-Barka (2019), Morocco: Jal’s Production and Flat Parioli
回顾:De Sable et De Feu: Le r ve Impossible(沙子与火:不可能的梦想!)，Souheil Ben-Barka(2019)，摩洛哥:Jal的生产和扁平的帕里利
{"title":"De Sable et de Feu: Le Rève Impossible (Sand and Fire: The Impossible Dream!), Souheil Ben-Barka (2019)","authors":"Abdeghni Dahman","doi":"10.1386/jac_00074_5","DOIUrl":"https://doi.org/10.1386/jac_00074_5","url":null,"abstract":"Reviewe of: De Sable et de Feu: Le Rève Impossible (Sand and Fire: The Impossible Dream!), Souheil Ben-Barka (2019), Morocco: Jal’s Production and Flat Parioli","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48734856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dan Georgakas: Obituary","authors":"Keyan G. Tomaselli","doi":"10.1386/jac_00073_7","DOIUrl":"https://doi.org/10.1386/jac_00073_7","url":null,"abstract":"","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44365875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The South African television entertainment industry has created a utopia of perfect multilingualism despite existing cultural disparities. The object of any translation consists in communicating in the target language (TL) the message that is functionally equivalent to the one emitted in the source language (SL). This requires use of researched techniques, linguistic and extralinguistic competencies in both languages. However, sometimes the translation fails to tick all the boxes and this calls into question the translation processes followed. This article studies South African sitcoms and soap operas with the aim to explore audio-visual translation (AVT) techniques employed to render subtitles in English. It tries to establish to what extent the English subtitles are equivalent to the discourse uttered by Sesotho speaking actors and to determine how well translators handled both the linguistic and extralinguistic complexities as well as other cultural and creative expressions. It proposes scatologization as a form of subtitling technique that can be used in unique and befitting situations.
{"title":"Equivalence and translatability in the subtitling of South African situation comedies and soap operas","authors":"Mosisili Sebotsa, Goitumetswe Moseki","doi":"10.1386/jac_00071_1","DOIUrl":"https://doi.org/10.1386/jac_00071_1","url":null,"abstract":"The South African television entertainment industry has created a utopia of perfect multilingualism despite existing cultural disparities. The object of any translation consists in communicating in the target language (TL) the message that is functionally equivalent to the one emitted in the source language (SL). This requires use of researched techniques, linguistic and extralinguistic competencies in both languages. However, sometimes the translation fails to tick all the boxes and this calls into question the translation processes followed. This article studies South African sitcoms and soap operas with the aim to explore audio-visual translation (AVT) techniques employed to render subtitles in English. It tries to establish to what extent the English subtitles are equivalent to the discourse uttered by Sesotho speaking actors and to determine how well translators handled both the linguistic and extralinguistic complexities as well as other cultural and creative expressions. It proposes scatologization as a form of subtitling technique that can be used in unique and befitting situations.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45152023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Popular Ethiopian Cinema: Love and Other Genres, Michael W. Thomas (2023) New York and London: Bloomsbury Publishing, 261 pp., ISBN 978-1-35022-741-5, e-book, £76.50
{"title":"Popular Ethiopian Cinema: Love and Other Genres, Michael W. Thomas (2023)","authors":"A. Mututa","doi":"10.1386/jac_00067_5","DOIUrl":"https://doi.org/10.1386/jac_00067_5","url":null,"abstract":"Review of: Popular Ethiopian Cinema: Love and Other Genres, Michael W. Thomas (2023)\u0000 New York and London: Bloomsbury Publishing, 261 pp.,\u0000 ISBN 978-1-35022-741-5, e-book, £76.50","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44372721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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