This article examines the 2015 art-film Necktie Youth (Sibs Shongwe-La Mer) with a view to understanding new affective, temporal and genre formations in post-transitional South Africa. A quasi-documentary portrait of ennui and depression among a circle of privileged ‘born-free’ youth in Johannesburg’s wealthy suburbs, the film uses a coming-of-age narrative template to allegorize post-transitional South Africa. Yet this allegory is not a straightforward one of either disillusionment or progressivist maturation. Rather, it has something in common with David Scott’s analysis of the ‘ruined time’ of post-revolution: an endless present haunted by the ghosts of futures past. I use Scott’s lens to understand the floating, marooned temporalities of the film, whose deep melancholic undertow is at odds with its performance of youthful post-apartheid self-fashioning. Thus, despite its claims to inhabiting a ‘new’ historical phase, the film remains haunted by the ghosts of what Scott calls the ‘allegory of emancipatory redemption’. I show how the film ultimately produces a sense of ‘exile from history’ – a mode in which key historical events have already happened and in effect overwhelm the present – and argue that this sensibility is key to understanding the contradictory temporalities of the present.
{"title":"Melancholy freedom: Movement and stasis in Sibs Shongwe-La Mer's Necktie Youth (2015)","authors":"T. Wright","doi":"10.1386/jac_00017_1","DOIUrl":"https://doi.org/10.1386/jac_00017_1","url":null,"abstract":"This article examines the 2015 art-film Necktie Youth (Sibs Shongwe-La Mer) with a view to understanding new affective, temporal and genre formations in post-transitional South Africa. A quasi-documentary portrait of ennui and depression among a circle of privileged ‘born-free’ youth in Johannesburg’s wealthy suburbs, the film uses a coming-of-age narrative template to allegorize post-transitional South Africa. Yet this allegory is not a straightforward one of either disillusionment or progressivist maturation. Rather, it has something in common with David Scott’s analysis of the ‘ruined time’ of post-revolution: an endless present haunted by the ghosts of futures past. I use Scott’s lens to understand the floating, marooned temporalities of the film, whose deep melancholic undertow is at odds with its performance of youthful post-apartheid self-fashioning. Thus, despite its claims to inhabiting a ‘new’ historical phase, the film remains haunted by the ghosts of what Scott calls the ‘allegory of emancipatory redemption’. I show how the film ultimately produces a sense of ‘exile from history’ – a mode in which key historical events have already happened and in effect overwhelm the present – and argue that this sensibility is key to understanding the contradictory temporalities of the present.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"11 1","pages":"207-224"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46536801","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}
Abstract Situating U-Carmen eKhayelitsha (2005) within a diasporic genealogy of black opera that privileges black sonic/aural epistemologies, I am interested in how these knowledges 'disidentify' racialized and gendered hermeneutics of sounding and listening. Through the lens of Katherine McKittrick's Demonic Grounds (2006), I centre black women's cartographies, imagining the black singing voice as, not only soundscape, but a uniquely embodied black geography. Identifying Carmen's singing voice as an embodied black geography, I discuss the sonic cartographies in U-Carmen through close readings of the film's opening and finale, as well as 'La Habanera'/ 'Lwaz'Uthando'. Embracing isiXhosa with Georges Bizet's score, the film struggles against the sonic colour line, challenging and recalibrating our listening ear. Within this soundscape, U-Carmen responds to the patriarchally imagined femme fatale, presenting a Carmen who struggles against gender-based violence.
{"title":"Listening and hearing Carmen: Sonic cartographies of struggle in U-Carmen eKhayelitsha (2005)","authors":"Natasha Himmelman","doi":"10.1386/jac_00019_1","DOIUrl":"https://doi.org/10.1386/jac_00019_1","url":null,"abstract":"Abstract Situating U-Carmen eKhayelitsha (2005) within a diasporic genealogy of black opera that privileges black sonic/aural epistemologies, I am interested in how these knowledges 'disidentify' racialized and gendered hermeneutics of sounding and listening. Through\u0000 the lens of Katherine McKittrick's Demonic Grounds (2006), I centre black women's cartographies, imagining the black singing voice as, not only soundscape, but a uniquely embodied black geography. Identifying Carmen's singing voice as an embodied black geography, I discuss the sonic\u0000 cartographies in U-Carmen through close readings of the film's opening and finale, as well as 'La Habanera'/ 'Lwaz'Uthando'. Embracing isiXhosa with Georges Bizet's score, the film struggles against the sonic colour line, challenging and recalibrating our listening ear. Within this\u0000 soundscape, U-Carmen responds to the patriarchally imagined femme fatale, presenting a Carmen who struggles against gender-based violence.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"11 1","pages":"241-260"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45758208","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}
Abstract This article discusses Maria João Ganga's representations of musseques and the casebre in Na Cidade Vazia (2004). It reads such images and characterization of neglected characters as visual expressions of the way in which Luanda's informal spaces have become the most visible expression of precarious, indeed, excepted citizenship. Set in 1991, the film depicts a period during which the government and the rebels entered a temporary truce, which rapidly disintegrated, gesturing towards a continuing sense of exclusion from postcolonial prosperity. However, the bloody civil war that ensued between rival factions (1975‐2002) ‐ the governing Movimento Popular de Libertação de Angola (MPLA), led by Jose Eduardo dos Santos, and União Nacional para a Independência Total de Angola (UNITA), led by Jonas Savimbi ‐ remarkably shifted the way post-Portuguese citizenship in Angola could be discussed. It clearly necessitates a new way of thinking about inclusion with respect to the incipient repercussions of indeterminate governance. In the context of this historical process, this article uses exception as a lens to conceptualize postcolonial urban citizenship in Luanda's cinema. The article sets off with an overview of 1975 literary imaginations of Luanda when the Portuguese colonialists were leaving Angola, which resulted in a clamour for the so-called spoils of independence. It then critiques excepted citizenship using two approaches: analysing urban architecture as a visual code for precariousness and filmic characters as embodiments of excepted citizenship.
摘要:本文讨论了Maria jo o Ganga在《Na Cidade Vazia》(2004)中对标本和案例的表现。它将这些被忽视的人物的形象和特征解读为罗安达非正式空间成为最明显的不稳定，事实上，例外的公民身份的视觉表达方式。这部电影以1991年为背景，描述了政府和叛军暂时休战的时期，这一时期迅速解体，暗示了一种被排除在后殖民繁荣之外的持续感觉。然而，1975年至2002年的血腥内战——由Jose Eduardo dos Santos领导的执政的安哥拉人民解放运动(MPLA)和若纳斯·萨文比领导的安哥拉全国联盟Independência (UNITA)——极大地改变了安哥拉后葡萄牙国籍的讨论方式。这显然需要一种新的思考方式，考虑到不确定治理的初期影响。在这一历史进程的背景下，本文以例外为视角，对罗安达电影中的后殖民城市公民身份进行概念化。这篇文章首先概述了1975年葡萄牙殖民者离开安哥拉时对罗安达的文学想象，当时安哥拉爆发了争夺所谓独立战利品的热潮。然后，它使用两种方法来批评例外公民:分析城市建筑作为不稳定性的视觉代码和电影人物作为例外公民的体现。
{"title":"The casebre on the sand: Reflections on Luanda's excepted citizenship through the cinematography of Maria João Ganga's Na Cidade Vazia (2004)","authors":"A. Mututa","doi":"10.1386/jac_00021_1","DOIUrl":"https://doi.org/10.1386/jac_00021_1","url":null,"abstract":"Abstract This article discusses Maria João Ganga's representations of musseques and the casebre in Na Cidade Vazia (2004). It reads such images and characterization of neglected characters as visual expressions of the way in which Luanda's informal\u0000 spaces have become the most visible expression of precarious, indeed, excepted citizenship. Set in 1991, the film depicts a period during which the government and the rebels entered a temporary truce, which rapidly disintegrated, gesturing towards a continuing sense of exclusion from postcolonial\u0000 prosperity. However, the bloody civil war that ensued between rival factions (1975‐2002) ‐ the governing Movimento Popular de Libertação de Angola (MPLA), led by Jose Eduardo dos Santos, and União Nacional para a Independência Total de Angola (UNITA),\u0000 led by Jonas Savimbi ‐ remarkably shifted the way post-Portuguese citizenship in Angola could be discussed. It clearly necessitates a new way of thinking about inclusion with respect to the incipient repercussions of indeterminate governance. In the context of this historical process,\u0000 this article uses exception as a lens to conceptualize postcolonial urban citizenship in Luanda's cinema. The article sets off with an overview of 1975 literary imaginations of Luanda when the Portuguese colonialists were leaving Angola, which resulted in a clamour for the so-called spoils\u0000 of independence. It then critiques excepted citizenship using two approaches: analysing urban architecture as a visual code for precariousness and filmic characters as embodiments of excepted citizenship.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":"11 1","pages":"277-293"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48876815","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}
Abstract Where analyses of the city as a landscape often visualize 'urban-ness' through images of tall buildings and concrete, this article thinks about how the genre of romance might turn our attention to other genres of city-as-landscape. I offer Johannesburg from this orientation through a reading of its history as a 'Secret Garden'. Most romance genres rely on a temporal closure of 'happily-ever-after', but here I am interested in other possible endings. This reading of romance I draw from David Scott's (2004) account of romance as a temporal relation to anticolonial struggle. The article examines Kagiso Lediga's 2018 film, Catching Feelings. The film is framed around the narrative of the 'cuckold', which I argue articulates the libidinal economy between the protagonist Max and his friend, Heiner. This libidinal economy is also presented through the landscape of the city. While more accurately defined as a film within the genre of 'bro' or 'lad lit', what Lediga's film does share with chick lit is the way that it borrows from the form of the fairy tale. Through this fairy tale, I locate emergent and continuous forms of masculinity in a history of Johannesburg's landscape through the visual language of the domesticated forest. Through the cuckold as a fairy tale, Lediga offers the city not simply as the place of the action, but as an object of desire, or of fantasy that makes his fragile protagonist 'strange'.
{"title":"Fragile feeling","authors":"Danai S. Mupotsa","doi":"10.1386/jac_00023_1","DOIUrl":"https://doi.org/10.1386/jac_00023_1","url":null,"abstract":"Abstract Where analyses of the city as a landscape often visualize 'urban-ness' through images of tall buildings and concrete, this article thinks about how the genre of romance might turn our attention to other genres of city-as-landscape. I offer Johannesburg from this\u0000 orientation through a reading of its history as a 'Secret Garden'. Most romance genres rely on a temporal closure of 'happily-ever-after', but here I am interested in other possible endings. This reading of romance I draw from David Scott's (2004) account of romance as a temporal relation\u0000 to anticolonial struggle. The article examines Kagiso Lediga's 2018 film, Catching Feelings. The film is framed around the narrative of the 'cuckold', which I argue articulates the libidinal economy between the protagonist Max and his friend, Heiner. This libidinal economy is also presented\u0000 through the landscape of the city. While more accurately defined as a film within the genre of 'bro' or 'lad lit', what Lediga's film does share with chick lit is the way that it borrows from the form of the fairy tale. Through this fairy tale, I locate emergent and continuous forms of masculinity\u0000 in a history of Johannesburg's landscape through the visual language of the domesticated forest. Through the cuckold as a fairy tale, Lediga offers the city not simply as the place of the action, but as an object of desire, or of fantasy that makes his fragile protagonist 'strange'.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44134126","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}
Abstract The film À peine j'ouvre les yeux (As I Open My Eyes, 2015) by Leyla Bouzid condenses performance and narration to create a space alternating between normative discourses prescribed by ruling elites on the one hand and the subjectivity of human agency on the other. Recent developments in the Maghreb have noted that issues previously attributed to the private realm, the cultural or social sphere are being politicized and thus become the focus of public controversy. Following postcolonial, cultural studies and space-theoretical concepts, the epistemological interest of this article is linked to a flexible, media-theoretical notion of the political, so as to discuss specific forms of social/private spheres and discourses of knowledge production in a critical analysis with questions about individual/collective agencies based on examples in the film itself.
蕾拉·布齐德的电影《当我睁开眼睛》(À peine j'ouvre les yeux, As I Open My Eyes, 2015)将表演和叙事浓缩在一起，创造了一个由统治精英规定的规范性话语和人类能动性主观性之间交替的空间。马格里布最近的事态发展表明，以前属于私人领域、文化或社会领域的问题正在被政治化，从而成为公众争论的焦点。继后殖民、文化研究和空间理论概念之后，本文的认识论兴趣与一种灵活的、媒体理论的政治概念联系在一起，以便在批判性分析中讨论社会/私人领域的具体形式和知识生产的话语，并以电影本身的例子为基础，提出有关个人/集体机构的问题。
{"title":"Tunisians in motion: Performing and narrating the (non-)political in Leyla Bouzid's As I Open My Eyes","authors":"A. Strohmaier","doi":"10.1386/jac_00012_1","DOIUrl":"https://doi.org/10.1386/jac_00012_1","url":null,"abstract":"Abstract The film À peine j'ouvre les yeux (As I Open My Eyes, 2015) by Leyla Bouzid condenses performance and narration to create a space alternating between normative discourses prescribed by ruling elites on the one hand and the subjectivity of human\u0000 agency on the other. Recent developments in the Maghreb have noted that issues previously attributed to the private realm, the cultural or social sphere are being politicized and thus become the focus of public controversy. Following postcolonial, cultural studies and space-theoretical concepts,\u0000 the epistemological interest of this article is linked to a flexible, media-theoretical notion of the political, so as to discuss specific forms of social/private spheres and discourses of knowledge production in a critical analysis with questions about individual/collective agencies\u0000 based on examples in the film itself.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42447193","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}
Abstract This article explores the relationships between popular film and politics of popular empowerment, especially in anti-colonial and anti-racist contexts. I am placing concepts from political theories in dialogic relationships with scenes from films. A basic tenet of this approach is that there is insight into movies, especially where orthodox scientific/philosophical discourses would not expect it (in genre cinemas, action film, horror movies, etc). So, my arguments are not made about films, but at their respective sites of insights. Conceptually, I take off first from the W/Hole of the people the popular as a totality necessarily haunted by incompleteness that figures in social struggles and dissensual film images; second, from the missing of masses as the people in an improper amount, a basic mistake in the counting of the social; and third, from dis-positions regarding power relations, also positionings on ‘sides’ (e.g., ‘undersides of power’) and on sites in social space, and dis-positioning in time, a.k.a. history.
{"title":"The Underside of Power (Algiers): On W/Hole people, missing masses and dispositions of politics in popular cinema","authors":"Drehli Robnik","doi":"10.1386/jac_00013_1","DOIUrl":"https://doi.org/10.1386/jac_00013_1","url":null,"abstract":"Abstract This article explores the relationships between popular film and politics of popular empowerment, especially in anti-colonial and anti-racist contexts. I am placing concepts from political theories in dialogic relationships with scenes from films. A basic tenet of\u0000 this approach is that there is insight into movies, especially where orthodox scientific/philosophical discourses would not expect it (in genre cinemas, action film, horror movies, etc). So, my arguments are not made about films, but at their respective sites of insights. Conceptually, I take\u0000 off first from the W/Hole of the people the popular as a totality necessarily haunted by incompleteness that figures in social struggles and dissensual film images; second, from the missing of masses as the people in an improper amount, a basic mistake in the counting of the social; and third,\u0000 from dis-positions regarding power relations, also positionings on ‘sides’ (e.g., ‘undersides of power’) and on sites in social space, and dis-positioning in time, a.k.a. history.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217006","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}
Abstract Focusing on Post-Third Cinema in the Maghreb, this article analyses productions that break ith both the elitism and the nativist agenda of Third Cinema to establish film as a mass art, which, hile still heavily politicized, no longer needs to call itself ‘African’, or ‘Arabic’ or ‘non-western’, fter all. Post-Third Cinema may therefore be a paradigm of multiplicity within World Cinema that is based n an emphatically universal approach. Regarded this way, it is an art form that is universal to the extent that it achieves a global appeal that transcends cultural differences. Drawing on the epistemology of multiplicity, as in recent times laid out by scholars such as Alain Badiou, Fredric Jameson or Quentin eillassoux, this article maps Post-Third Cinema as a paradigm of a media culture of multiplicity, ocusing on the idea of a cinematic epistemology that possesses a unique capacity for thought on its own.
{"title":"Maghreb forever: From Third-Worldism to the epistemology of multiplicity in media culture","authors":"Ivo Ritzer","doi":"10.1386/jac_00009_1","DOIUrl":"https://doi.org/10.1386/jac_00009_1","url":null,"abstract":"Abstract Focusing on Post-Third Cinema in the Maghreb, this article analyses productions that break ith both the elitism and the nativist agenda of Third Cinema to establish film as a mass art, which, hile still heavily politicized, no longer needs to call itself ‘African’,\u0000 or ‘Arabic’ or ‘non-western’, fter all. Post-Third Cinema may therefore be a paradigm of multiplicity within World Cinema that is based n an emphatically universal approach. Regarded this way, it is an art form that is universal to the extent that it achieves a global\u0000 appeal that transcends cultural differences. Drawing on the epistemology of multiplicity, as in recent times laid out by scholars such as Alain Badiou, Fredric Jameson or Quentin eillassoux, this article maps Post-Third Cinema as a paradigm of a media culture of multiplicity, ocusing on the\u0000 idea of a cinematic epistemology that possesses a unique capacity for thought on its own.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41566633","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}
Abstract The uprisings that swept across North Africa and the Middle East in 2011 brought to world attention the revolutionary potential of youth in the face of social injustice and political repression. This article explores how the so-called Arab Spring foregrounded Moroccan youth's alternative conceptions of citizenship and being young in the MENA region today. Using the emergence of citizen cinema as a case study, I will examine the subjective politics of Moroccan youth's alternative to dominant political and social authority. Made, self-produced and distributed online free of charge by a young and self-avowed citizen filmmaker, Nadir Bouhmouch's debut documentary My Makhzen and Me (2012) does not pretend to offer an objective account of Morocco's so-called Arab Spring. Instead, the filmmaker focuses on relating his own personal story as a young upper-class Moroccan student in San Diego, who returned to the country in the summer of 2011 armed with a camera as his weapon in the February 20 Movement's battle for democratic citizenship and social justice in Morocco. In this article, I will show how the subjective point of view structuring this documentary offers a unique perspective not only on Morocco's Arab Spring but also on the impossibility of representing citizenship objectively on the documentary camera. The article ultimately argues that because the personal is always already political in North African documentary filmmaking since 2011, the subjective point of view allows for the emergence of the insurgent citizenship of the region's youth.
{"title":"Insurgent citizenship: Youth, political activism and citizen cinema in post-2011 Morocco","authors":"Jamal Bahmad","doi":"10.1386/jac_00011_1","DOIUrl":"https://doi.org/10.1386/jac_00011_1","url":null,"abstract":"Abstract The uprisings that swept across North Africa and the Middle East in 2011 brought to world attention the revolutionary potential of youth in the face of social injustice and political repression. This article explores how the so-called Arab Spring foregrounded Moroccan\u0000 youth's alternative conceptions of citizenship and being young in the MENA region today. Using the emergence of citizen cinema as a case study, I will examine the subjective politics of Moroccan youth's alternative to dominant political and social authority. Made, self-produced and\u0000 distributed online free of charge by a young and self-avowed citizen filmmaker, Nadir Bouhmouch's debut documentary My Makhzen and Me (2012) does not pretend to offer an objective account of Morocco's so-called Arab Spring. Instead, the filmmaker focuses on relating his own personal\u0000 story as a young upper-class Moroccan student in San Diego, who returned to the country in the summer of 2011 armed with a camera as his weapon in the February 20 Movement's battle for democratic citizenship and social justice in Morocco. In this article, I will show how the subjective point\u0000 of view structuring this documentary offers a unique perspective not only on Morocco's Arab Spring but also on the impossibility of representing citizenship objectively on the documentary camera. The article ultimately argues that because the personal is always already political in North African\u0000 documentary filmmaking since 2011, the subjective point of view allows for the emergence of the insurgent citizenship of the region's youth.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48487427","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}
Abstract Since 2013, the Moroccan filmmaker Hicham Lasri has released a film each year, each of which has met with success at international festivals. All of these films transgress narrative and aesthetic cinematic boundaries, and The Sea is Behind (2015) is no exception: in a fable about the relations between human beings in a society that is losing its ethical and moral orientations, it invites us to consider our perception of the Other. The first part of the article addresses the active construction of its narrative from narrative fragments; the second part focuses on the ways in which the film's fragmented/composite narrative structure is reinforced by aesthetic means, so that, as the complex theme of the position and perception of marginalized groups is developed, new perspectives open up at the interstices, creating an impression of the dehumanizing conditions of life in this society.
{"title":"Cinema is a country: The transgressive power of images in The Sea is Behind by Hicham Lasri","authors":"Ute Fendler","doi":"10.1386/jac_00010_1","DOIUrl":"https://doi.org/10.1386/jac_00010_1","url":null,"abstract":"Abstract Since 2013, the Moroccan filmmaker Hicham Lasri has released a film each year, each of which has met with success at international festivals. All of these films transgress narrative and aesthetic cinematic boundaries, and The Sea is Behind (2015) is no exception:\u0000 in a fable about the relations between human beings in a society that is losing its ethical and moral orientations, it invites us to consider our perception of the Other. The first part of the article addresses the active construction of its narrative from narrative fragments; the second part\u0000 focuses on the ways in which the film's fragmented/composite narrative structure is reinforced by aesthetic means, so that, as the complex theme of the position and perception of marginalized groups is developed, new perspectives open up at the interstices, creating an impression of the dehumanizing\u0000 conditions of life in this society.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386534","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：