Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.1.0033
{"title":"Proposed Establishment of an All-African Cinema Union","authors":"","doi":"10.2979/blackcamera.13.1.0033","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0033","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686916","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}
Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.1.0032
{"title":"Resolution on Inter-African Cultural Festival","authors":"","doi":"10.2979/blackcamera.13.1.0032","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0032","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69687364","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}
Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.1.0358
{"title":"Second Congress of Negro Writers and Artists","authors":"","doi":"10.2979/blackcamera.13.1.0358","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0358","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69688993","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}
Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.2.04
K. Harrow
Abstract:John Akomfrah's film The Nine Muses (2010, United Kingdom) deals with the theme of the journey across the great works of literature. In particular the film sets the works of the Western canon, from Homer's epic Odyssey to Joyce's Malloy, within the visual frame of archival footage dealing with the Windrush Generation, that is, Caribbean Black migration to England following World War II. In counterpoint to that set of visuals Akomfrah has created a futurist set of scenes set in Alaska, and the frozen northlands, to which the concept of exile from the tropical settings of the Caribbean or Africa might seem most extreme. This article will provide an analysis of the journey and exile motifs utilizing the framing of Glissant's notion of Relation, primarily, and secondarily the quantum concept of entanglement.
{"title":"John Akomfrah's The Nine Muses: A Reading with Glissant's \"Relation\" and Quantum Entanglement","authors":"K. Harrow","doi":"10.2979/blackcamera.13.2.04","DOIUrl":"https://doi.org/10.2979/blackcamera.13.2.04","url":null,"abstract":"Abstract:John Akomfrah's film The Nine Muses (2010, United Kingdom) deals with the theme of the journey across the great works of literature. In particular the film sets the works of the Western canon, from Homer's epic Odyssey to Joyce's Malloy, within the visual frame of archival footage dealing with the Windrush Generation, that is, Caribbean Black migration to England following World War II. In counterpoint to that set of visuals Akomfrah has created a futurist set of scenes set in Alaska, and the frozen northlands, to which the concept of exile from the tropical settings of the Caribbean or Africa might seem most extreme. This article will provide an analysis of the journey and exile motifs utilizing the framing of Glissant's notion of Relation, primarily, and secondarily the quantum concept of entanglement.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42724285","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}
Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.2.26
Marco Lena
Abstract:Encouraged by Senegalese president Léopold Senghor, the Festival Mondial des arts nègres (FESMAN) of April 1966 hosted a large number of African and diasporic artists to celebrate an African Renaissance, through several cultural events that strengthened Blackness on the world stage. Working for the "Actualités Sénégalaises," Paulin Vieyra filmed a special piece entitled Le Sénégal au Fesman, a film previously thought lost to time before being rediscovered in the Senegalese National Cinémathèque and restored by the author of this article, who describes the importance of this find, as well as provides an account of the restoration process and the content of the recovered film. The black-and-white images shot by Vieyra show the preparations that Senegal made in order to host the FESMAN and show the visitors from around the world that Dakar was no longer "silt houses and shacks" but a modern and dynamic city involved in African development. Vieyra's images put on display the extension of the new airport, the touristic facilities, the city's natural beauty and its status as a cultural melting pot, as well as its cultural contributions: the Dynamic Museum, its film production, its artistic production, and its literary one, flowing toward the future with confidence, peace, and prosperity from the centuries-old traditions that are the solid foundations of Senegalese culture. In this film, Vieyra portrays a dynamic Senegal that wants to impose itself on an international level as a reference point for a rising Africa which leaves its colonial past behind and is projected without a complex into the future.
{"title":"Paulin Soumanou Vieyra in the Documents of the Rediscovered Audiovisual Archive of the Senegalese Ministry of Culture","authors":"Marco Lena","doi":"10.2979/blackcamera.13.2.26","DOIUrl":"https://doi.org/10.2979/blackcamera.13.2.26","url":null,"abstract":"Abstract:Encouraged by Senegalese president Léopold Senghor, the Festival Mondial des arts nègres (FESMAN) of April 1966 hosted a large number of African and diasporic artists to celebrate an African Renaissance, through several cultural events that strengthened Blackness on the world stage. Working for the \"Actualités Sénégalaises,\" Paulin Vieyra filmed a special piece entitled Le Sénégal au Fesman, a film previously thought lost to time before being rediscovered in the Senegalese National Cinémathèque and restored by the author of this article, who describes the importance of this find, as well as provides an account of the restoration process and the content of the recovered film. The black-and-white images shot by Vieyra show the preparations that Senegal made in order to host the FESMAN and show the visitors from around the world that Dakar was no longer \"silt houses and shacks\" but a modern and dynamic city involved in African development. Vieyra's images put on display the extension of the new airport, the touristic facilities, the city's natural beauty and its status as a cultural melting pot, as well as its cultural contributions: the Dynamic Museum, its film production, its artistic production, and its literary one, flowing toward the future with confidence, peace, and prosperity from the centuries-old traditions that are the solid foundations of Senegalese culture. In this film, Vieyra portrays a dynamic Senegal that wants to impose itself on an international level as a reference point for a rising Africa which leaves its colonial past behind and is projected without a complex into the future.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42317282","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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