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(POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr. -
African Freedom Phyllis Taoua Index More Information
Cambridge University Press 978-1-108-42741-8 — African Freedom Phyllis Taoua Index More Information Index Abani, Chris The Nation Writ Small: African Fictions Graceland, 28, 190, 242–9, 256, and Feminisms, 1958-1988., 18, 19, 282, 293 106 Abrahams, Peter Angola, 215 The Path of Thunder, 111 apartheid, 1, 2, 8, 17, 22, 28, 108, 109, Tell Freedom, 22 110, 111, 112, 113, 114, 115, 116, Achebe, Chinua, 44 117, 119, 136, 157, 159, 160, 193, Anthills of the Savannah, 167 196, 198, 199, 200, 223, 240 Things Fall Apart, 29, 120, 129, 278–81 apartheid state, 1 Adejunmobi, Moradewun popular protest against, 192 “Provocations: African Societies Appiah, Kwame Anthony, and Theories of Creativity” Cosmopolitanism: Ethics in a World of in Rethinking African Cultural Strangers, 261, 283 Production, 20 areas of narrative interest, 16 Adichie, Chimamanda Ngozi expansion of global capital, 16 Purple Hibiscus, 27, 106, 108, 128–35, gender relations, 16 281, 288, 293 introspection and intimate self, 16, 38, Aduaka, Newton 44, 75, 86 Ezra, 254, 263 spiritual realm, 16 African National Congress, 17, 152, 157, the nation, 16, 147–8, 202 158, 159, 160, 192 Armah, Ayi Kwei, 166 post- apartheid challenges, 7 Akan references in novels, 18 African studies The Beautyful Ones Are Not Yet Born, 19, debate about postcolonial theory, 11–13 27, 44, 134, 160–5, 167, 171, 245, African women 248, 293 enter conversation on freedom, 26 critical reception of early novels, 43–5 Agadez Fragments, 26, 45–61, 166, 288 travel to, 11 Fragments and Baako’s nested identity, Ahidjo, Ahmadou, -
View the 2021 Project Dossier
www.durbanfilmmart.com Project Dossier Contents Message from the Chair 3 Combat de Nègre et de Chiens (Black Battle with Dogs) 50 introduction and Come Sunrise, We Shall Rule 52 welcome 4 Conversations with my Mother 54 Drummies 56 Partners and Sponsors 6 Forget Me Not 58 MENTORS 8 Frontier Mistress 60 Hamlet from the Slums 62 DFM Mentors 8 Professional Mourners 64 Talents Durban Mentors 10 Requiem of Ravel’s Boléro 66 Jumpstart Mentors 13 Sakan Lelmoghtrebat (A House For Expats) 68 OFFICAL DFM PROJECTS The Day and Night of Brahma 70 Documentaries 14 The Killing of A Beast 72 Defying Ashes 15 The Mailman, The Mantis, and The Moon 74 Doxandem, les chasseurs de rêves Pretty Hustle 76 (Dream Chasers) 17 Dusty & Stones 19 DFM Access 78 Eat Bitter 21 DFM Access Mentors 79 Ethel 23 PARTNER PROJECTS IN My Plastic Hair 25 FINANCE FORUM 80 Nzonzing 27 Hot Docs-Blue Ice Docs Part of the Pack 29 Fund Fellows 81 The Possessed Painter: In the Footsteps The Mother of All Lies 82 of Abbès Saladi 31 The Wall of Death 84 The Woman Who Poked The Leopard 33 What’s Eating My Mind 86 Time of Pandemics 35 Unfinished Journey 37 Talents Durban 88 Untitled: Miss Africa South 39 Feature Fiction: Bosryer (Bushrider) 89 Wataalat Loughatou él Kalami (Such a Silent Cry) 41 Rosa Baila! (Dance Rosa) 90 Windward 43 Kinafo 91 L’Aurore Boréale (The Northern Lights) 92 Fiction 45 The Path of Ruganzu Part 2 93 2065 46 Yvette 94 Akashinga 48 DURBAN FILMMART 1 PROJECT DOSSIER 2021 CONTENTS Short Fiction: Bedrock 129 Crisis 95 God’s Work 131 Mob Passion 96 Soweto on Fire 133 -
1 1 the Physical Characteristics of a CO2 Seeping Fault
1 The Physical Characteristics of a CO2 Seeping Fault: the implications of fracture 2 permeability for carbon capture and storage integrity 3 4 Clare E. Bond1* 5 Yannick Kremer2 6 Gareth Johnson3 7 Nigel Hicks4 8 Robert Lister5 9 Dave G. Jones5 10 Stuart Haszeldine3 11 Ian Saunders6 12 Stuart Gilfillan3 13 Zoe K. Shipton2 14 Jonathan Pearce5 15 16 1Department of Geology and Petroleum Geology, University of Aberdeen, Meston Building, 17 Kings College, Aberdeen, AB24 3UE, UK ([email protected]) 18 2Department of Civil and Environmental Engineering, University of Strathclyde, James Weir 19 Building, Glasgow, G1 1XJ ([email protected]; [email protected]) 20 3School of Geosciences, University of Edinburgh, Grant Institute, Kings Buildings, James 21 Hutton Road, Edinburgh, EH9 3FE ([email protected]; [email protected]; 22 [email protected]) 23 4 Council for Geoscience, 139 Jabu Ndlovu Street, Pietermaritzburg, KwaZulu-Natal, South 24 Africa 3200 ([email protected]) 25 5 British Geological Survey, Environmental Science Centre, Nicker Hill, Keyworth, Nottingham 26 NG12 5GG ([email protected]; [email protected]; [email protected]) 27 6 Council for Geoscience, 280 Pretoria St, Silverton, Pretoria, 0184 ([email protected]) 28 *Corresponding Author [email protected] 29 30 31 32 Highlights 33 34 CO2 migration is spatially associated with the Bongwana fault fracture corridor. 35 Cap rock permeability suggests that without fractures it would act as a flow barrier. 36 Elevated CO2 concentration and flux are measured across the fracture corridor. 37 Fracture intensity and orientation variability creates permeability heterogeneity. -
African Carmen Transnational Cinema As an Arena for Cultural Contradictions
Mari Maasilta African Carmen Transnational Cinema as an Arena for Cultural Contradictions ACADEMIC DISSERTATION To be presented, with the permission of the Department of Journalism and Mass Communication of the University of Tampere, for public discussion in the auditorium A1 of the University Main Building, Kalevantie 4, Tampere on Saturday June 16th, 2007 at 12 o’clock. University of Tampere Tampere 2007 Mari Maasilta African Carmen Transnational Cinema as an Arena for Cultural Contradictions Media Studies ACADEMIC DISSERTATION University of Tampere Department of Journalism and Mass Communication FINLAND Copyright © 2007 Mari Maasilta Distribution Bookshop TAJU P.O. BOX 617 33014 University of Tampere Tel. +358 3 3551 6055 Fax +358 3 3551 7685 taju@uta.fi http://granum.uta.fi Page design Aila Helin Cover design Sakari Viista Photos Karmen. Joseph Gaï Ramaka Mari Maasilta. Sakari Viista Printed dissertation ISBN 978-951-44-6961-9 Electronic dissertation Acta Electronica Universitatis Tamperensis 626 ISBN 978-951-44-6972-5 (pdf) ISSN 1456-954X http://acta.uta.fi Tampereen Yliopistopaino Oy – Juvenes Print Tampere 2007 To all my transnational friends around the world. Contents Preface ..............................................................................11 1 Introduction .....................................................................21 Research task ...........................................................................24 Autonomy of Senegalese cultural production .....................29 Methodology ...........................................................................34 -
Festival Review 72Nd Festival De Cannes Finding Faith in Film
Joel Mayward Festival Review 72nd Festival de Cannes Finding Faith in Film While standing in the lengthy queues at the 2019 Festival de Cannes, I would strike up conversations with fellow film critics from around the world to discuss the films we had experienced. During the dialogue, I would express my interests and background: I am both a film critic and a theologian, and thus intrigued by the rich connections between theology and cinema. To which my interlocutor would inevitably raise an eyebrow and reply, “How are those two subjects even related?” Yet every film I saw at Cannes somehow addressed the question of God, religion or spirituality. Indeed, I was struck by how the most famous and most glamorous film festival in the Western world was a God-haunted environ- ment where religion was present both on- and off-screen. As I viewed films in competition for the Palme d’Or, as well as from the Un Certain Regard, Direc- tors’ Fortnight and Critics’ Week selections, I offer brief reviews and reflections on the religious dimension of Cannes 2019.1 SUBTLE AND SUPERFLUOUS SPIRITUALITY Sometimes the presence of religion was subtle or superfluous. For example, in the perfectly bonkers Palme d’Or winner, Gisaengchung (Parasite, Bong Joon- Ho, KR 2019), characters joke about delivering pizzas to a megachurch in Seoul. Or there’s Bill Murray’s world-weary police officer crossing himself and exclaim- ing (praying?), “Holy fuck, God help us” as zombie hordes bear down on him and Adam Driver in The Dead Don’t Die (Jim Jarmusch, US 2019). -
Mark Kermode's Best Films of 2019
Mark Kermode’s best films of 2019 @KermodeMovie - The Guardian Sun 29 Dec 2019 06.00 GMTLast modified on Tue 31 Dec 2019 15.51 GMT 2019 was the year that Netflix movies came of age, and ageing actors were made young again. At the 91st Oscars in February, the bland Green Book beat the superior BlackKklansman to the best picture award, although Spike Leewon his first competitive Oscar in the adapted screenplay category. Rami Malik scooped best actor for his portrayal of Freddie Mercury in Bohemian Rhapsody, but best actress Olivia Colman (The Favourite) stole the evening with one of the funniest and most self- deprecating acceptance speeches ever (complete with raspberry-blowing). More significantly, Alfonso Cuarón’s Roma won for cinematography, direction and best foreign language film, despite naysayers’ complaints that Netflix-backed movies were essentially made-for-TV films. That attitude is now history: in the forthcoming awards season, the platform has several contenders, including Noah Baumbach’s Marriage Story and Martin Scorsese’s The Irishman. The Irishman marked a watershed moment for “digital de-ageing”, with innovative technology allowing Robert De Niro, Al Pacino and Joe Pesci to play characters much younger than themselves. We’ve seen de-aging elsewhere (from Captain Marvel to Gemini Man), but never this unobtrusively. Alongside the release of its first original animated feature, Sergio Pablos’s Klaus, Netflix also picked up distribution rights for I Lost My Body, which made history when it took the top prize in the Critics’ Week section at Cannes in May. More family-friendly releases – Frozen II, Toy Story 4 and a weirdly photorealist rehash of The Lion King – may have dominated the box office in 2019, but I Lost My Body was my favourite animated film of the year. -
South Africa's Economic Statecraft in Southern Africa
OCCASIONAL PAPER NO 187 South African Foreign Policy and African Drivers Programme May 2014 South Africa’s Economic Statecraft in Southern Africa: Non-existent or Nascent? An Examination of Relations with Zimbabwe and Swaziland Aditi Lalbahadur s ir a f f A l a n o ti a rn e nt f I o te tu sti n In rica . th Af hts Sou sig al in Glob African perspectives. ABOUT SAIIA The South African Institute of International Affairs (SAIIA) has a long and proud record as South Africa’s premier research institute on international issues. It is an independent, non-government think tank whose key strategic objectives are to make effective input into public policy, and to encourage wider and more informed debate on international affairs with particular emphasis on African issues and concerns. It is both a centre for research excellence and a home for stimulating public engagement. SAIIA’s occasional papers present topical, incisive analyses, offering a variety of perspectives on key policy issues in Africa and beyond. Core public policy research themes covered by SAIIA include good governance and democracy; economic policymaking; international security and peace; and new global challenges such as food security, global governance reform and the environment. Please consult our website www.saiia.org.za for further information about SAIIA’s work. ABOUT THE SOUTH AFRICAN FOREIGN POLICY AND AFRICAN DRIVERS PROGRAMME Since the fall of Apartheid in 1994, South Africa’s foreign policy has prioritised the development of Africa. To achieve its ‘African Agenda’ objectives, South Africa needs to intensify its strategic relations with key African countries. -
Why South Africa Gave up the Bomb and the Implications for Nuclear Nonproliferation Policy 1
White Elephants:Why South Africa Gave Up the Bomb and the Implications for Nuclear Nonproliferation Policy 1 WHITE ELEPHANTS: WHY SOUTH AFRICA GAVE UP THE BOMB AND THE IMPLICATIONS FOR NUCLEAR NONPROLIFERATION POLICY Maria Babbage This article examines why the South African government chose to dismantle its indigenous nuclear arsenal in 1993. It consid- ers three competing explanations for South African nuclear disarmament: the realist argument, which suggests that the country responded to a reduction in the perceived threat to its security; the idealist argument, which sees the move as a signal to Western liberal democratic states that South Africa wished to join their ranks; and a more pragmatic argument—that the apartheid government scrapped the program out of fear that its nuclear weapons would be misused by a black-major- ity government. The article argues that the third explanation offers the most plausible rationale for South Africa’s decision to denuclearize. Indeed, it contends that the apartheid South African government destroyed its indigenous nuclear arsenal and acceded to the Nuclear Non-Proliferation Treaty to “tie the hands” of the future ANC government, thereby preventing any potential misuse of the technology, whether through its proliferation or use against a target. Maria Babbage is a Master of Arts candidate at the Norman Paterson School of Inter- national Affairs, Carleton University ([email protected]). Journal of Public and International Affairs, Volume 15/Spring 2004 Copyright © 2004, the Trustees of Princeton University 7 http://www.princeton.edu/~jpia White Elephants:Why South Africa Gave Up 2 Maria Babbage the Bomb and the Implications for Nuclear Nonproliferation Policy 3 In March 1993, South African President F.W. -
Film Review: Red Dust [Univ. of Duisburg-Essen / Filmrezension.De]
Benjamin Neumanni Benjamin Neumann Review of „Red Dust“ South Africa in Films University of Duisburg-Essen, Dr. Claudia Drawe pubished in cooperation with Düsseldorf 2007 Review of „Red Dust“ 1 Benjamin Neumanni Table of contents 1. Drum: Film review: More than telling Henry`s story 3 2. Film facts 12 3. references 13 Review of „Red Dust“ 2 Benjamin Neumanni Introduction: Red Dust (2004) South Africa some years after the end of apartheid. Three people are returning to the small dusty town of Smitsrivier. From New York comes South African- born lawyer Sarah Barcant (Hilary Swank), from a Cape Town prison former deputy-policeman Dirk Hendricks (Jamie Bartlett) and from the parliament politician Alex Mpondo (Chiwetel Ejiofor). And they all will face their own past... Red Dust first debuted on the cinema screens at the Toronto International Film Festival in September 2004. The main theme of this festival was 'South Africa: Ten Years Later' . At the festival the new arising South African cinema was celebrated and also the tenth anniversary of the new South Africa after the end of apartheid. Ten South African made movies were shown to the audience. Three of these movies got a special screening. Thereby were Red Dust, the movie Yesterday (2004) and Hotel Rwanda (2004). Red Dust was receiving a stunning response by the audience at this festival. Was this response justified or not? Background: The Truth and Reconciliation Commission In 1995, one year after the end of the era of apartheid in South Africa, the Government of National Unity under president Nelson Mandela set up the South African Truth and Reconciliation Commission (TRC). -
ZAMBEZIA a Journal of Social Studies in Southern and Central Africa
ZAMBEZIA a journal of social studies in Southern and Central Africa Vol. 3 Nci. 1, December, 1973 UNIVERSITY OF RHODESIA CONTENTS SYMPOSIUM ON RACE IN SOUTHERN AFRICA (held at the Fourth Vacation School of the University of Rhodesia in 1972). Introduction: Race in Southern Africa.............. M. W. Murphree 1-3 The History of Race Relations in South Africa T. R. H. Davenport 5-14 The History of Race Relations in Rhodesia ... P. R. Warhurst 15-19 South African Racial Policy .......................... N. J. J. Olivier 21-30 Race Policies in Rhodesia .......................... W. R. Whaley 31-37 Race Relations in Mofambique.......................... J. L. Ribeiro Torres 39-52 ‘Non-Racialism’ : Botswana, Lesotho and Swaziland S. Ngcobo 53-60 The Multiracial Myth ..................................... A. J. Dixon 61-65 Race and International Politics.......................... H. H. Patel 67-74 E s s a y R e v ie w s Persistence and Change in South African Society.......................... C. M. Brand 75-81 Dialogue and Closer Association in Southern Africa ............... M. C. Steele 83-87 South Africa’s Foreign Policy and the World .......................... A. M. Chambati 89-93 Flame or Lily? Revisited: A Response and Elaboration of Rhodesian Racial Attitudes ................................................. G. C. Kinloch 95-101 B o o k R e v ie w s 102-109 Essay Review South Africa’s Foreign Policy and the World A. M. Chambati Department of Political Science, University of Rhodesia South Africa’s relations with the rest of defensive foreign policy. the world have been a subject of more intense Nevertheless, Cockram’s discussion of debate at the United Nations and the O.A.U. -
Transformers Franchise, and Redefines What It Means to Be a Hero
Paramount Pictures Presents In Association with Hasbro A Don Murphy/Tom DeSanto / di Bonaventura Pictures / Ian Bryce Production A Michael Bay Film Executive Produced by Steven Spielberg Michael Bay Brian Goldner Mark Vahradian Produced by Lorenzo di Bonaventura, p.g.a. Tom DeSanto Don Murphy Ian Bryce, p.g.a. Story by Akiva Goldsman and Art Marcum & Matt Holloway & Ken Nolan Screenplay by Art Marcum & Matt Holloway & Ken Nolan Directed by Michael Bay Cast: Mark Wahlberg, Josh Duhamel, Anthony Hopkins, Laura Haddock, Jerrod Carmichael, Isabela Moner, Santiago Cabrera Synopsis: The Last Knight shatters the core myths of the Transformers franchise, and redefines what it means to be a hero. Humans and Transformers are at war, Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. Saving our world falls upon the shoulders of an unlikely alliance: Cade Yeager (Mark Wahlberg); Bumblebee; an English Lord (Anthony Hopkins); and an Oxford Professor (Laura Haddock). There comes a moment in everyone’s life when we are called upon to make a difference. In Transformers: The Last Knight, the hunted will become heroes. Heroes will become villains. Only one world will survive: theirs, or ours. TRANSFORMERS: THE LAST KNIGHT is in theatres [local date], 2017 TRANSFORMERS: THE LAST KNIGHT has been rated [local rating]. ABOUT THE CAST MARK WAHLBERG (“Cade Yeager”) earned both Academy Award® and Golden Globe® nominations for his standout work in the family boxing film The Fighter and Martin Scorsese’s acclaimed drama The Departed.