Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.
20世纪90年代初，随着坦桑尼亚媒体的自由化，音乐、电影和视频制作领域的创造性实践出现了爆炸式增长。由于担心文化帝国主义，坦桑尼亚首任总统朱利叶斯•尼雷尔(Julius Nyerere)拒绝在坦桑尼亚大陆开设电视，因此直到1994年才颁发了第一张牌照。随着第一家电视台的成立，传播流行音乐视频这种新类型的电视台和网络平台激增。在过去十年中，新的媒体空间，包括遍及整个大陆的电视频道，如O频道和MTV非洲(均设在南非)，为坦桑尼亚音乐录影带的传播创造了新的途径。自由主义催生的新媒体空间已经成为讨论性别、道德和社会政治价值的场所。它们也是欲望和幻想的想象场所。在达累斯萨拉姆(Dar es Salaam)新建的高层建筑和“专属”俱乐部的电影空间中拍摄的音乐视频已经成为坦桑尼亚的一种比喻。这些视频展示了享受和消费的幻想。在这样做的过程中，它们反映了新自由主义和个人财富积累模式，挑战了关于消费和财富的公认社会规范。通过审视这些将城市作为幻想和欲望空间的新当代电影表现形式，本文将探索观众带给这些视频的观看模式。它将研究那些基本上被排除在这些消费和过度的专属城市空间之外的观众如何在音乐视频中阅读城市景观。本文最终阐述了当代音乐录像在观众心中唤起的欲望(既有创造性的，也有破坏性的)的多样性、模糊性和不确定性。
{"title":"'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos","authors":"D. Kerr","doi":"10.1386/jac_00018_1","DOIUrl":"https://doi.org/10.1386/jac_00018_1","url":null,"abstract":"Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland\u0000 Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including\u0000 continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also\u0000 serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal\u0000 and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these\u0000 videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences\u0000 by contemporary music video.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47925375","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 In this article, I offer a reading of Stories of Our Lives (2014), a documentary about the experiences of queer people who live in the city of Nairobi. I am interested in how through the use of the documentary film, the director of the film and the queer people whose lives are represented, articulate new forms of inhabiting and being in the city. This is despite the legal and political hurdles that govern queer liveability in Kenya. I argue that when queer individuals inhabit, move through, move in, occupy or transit through city spaces in their daily habits, practices, rituals and performances, a rubric is generated. As a form, this rubric of ordinary also works both in, and outside of the convention of the documentary film. This rubric not only destabilizes the circulating discourses about queer sexuality, it also crafts a unique queer subjectivity that transcends the physical limitations of the city that enliven forms of queer world making
{"title":"Filming the invisible: Rubrics of ordinary life in Stories of Our Lives (2014)","authors":"Eddie Ombagi","doi":"10.1386/jac_00020_1","DOIUrl":"https://doi.org/10.1386/jac_00020_1","url":null,"abstract":"Abstract In this article, I offer a reading of Stories of Our Lives (2014), a documentary about the experiences of queer people who live in the city of Nairobi. I am interested in how through the use of the documentary film, the director of the film and the queer people\u0000 whose lives are represented, articulate new forms of inhabiting and being in the city. This is despite the legal and political hurdles that govern queer liveability in Kenya. I argue that when queer individuals inhabit, move through, move in, occupy or transit through city spaces in their\u0000 daily habits, practices, rituals and performances, a rubric is generated. As a form, this rubric of ordinary also works both in, and outside of the convention of the documentary film. This rubric not only destabilizes the circulating discourses about queer sexuality, it also crafts a unique\u0000 queer subjectivity that transcends the physical limitations of the city that enliven forms of queer world making","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48933668","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}
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":null,"pages":null},"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":null,"pages":null},"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 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":null,"pages":null},"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 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":null,"pages":null},"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 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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