非洲旅游主义与档案：Brixton和Crumbs的机器人

IF 0.2 0 FILM, RADIO, TELEVISION Science Fiction Film and Television Pub Date : 2019-06-01 DOI:10.3828/SFFTV.2019.11

M. Bould

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引用次数: 3

摘要

摘要：本文关注的是历史、记忆和意义问题，以及作为档案和生活传统的非洲主义的构建。它将首先概述这个词的起源，并考虑马克·辛克的一篇流行文章、马克·德里的采访和约翰·阿科姆弗拉的一部电影中对这个词的命名和最初的解释是如何作为初步档案的，而这些档案又成了他们成立的档案的一部分。然后，我们将转向最近的两部非洲主义电影，它们以有趣的方式处理历史、时间性、符号化和转变：Kibwe Tavares的六分钟短片《Brixton的机器人》（英国，2011年）和Miguel Llansó的短片《Crumbs》（埃塞俄比亚/西班牙/芬兰，2015年）。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Afrofuturism and the archive: Robots of Brixton and Crumbs

Abstract:This article is concerned with questions of history, memory and meaning, and with the construction of Afrofuturism as both an archive and a living tradition. It will begin by outlining the origins of the term, and consider how its naming and initial explication in a popular article by Mark Sinker, interviews by Mark Dery and a film by John Akomfrah functioned as preliminary archivings, which in turn became parts of the archive they inaugurated. It will then turn to two recent Afrofuturist films which deal with history, temporality, semiosis and transformation in intriguing ways: Kibwe Tavares's six-minute short, Robots of Brixton (UK 2011), and Miguel Llansó's short feature, Crumbs (Ethiopia/Spain/Finland 2015).

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