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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. -
Blackbourn Veronica a 20101
The Beloved and Other Monsters: Biopolitics and the Rhetoric of Reconciliation in Post-1994 South African Literature by Veronica A. Blackbourn A thesis submitted to the Department of English Language and Literature In conformity with the requirements for the degree of Doctor of Philosophy Queen‘s University Kingston, Ontario, Canada (December, 2010) Copyright © Veronica A. Blackbourn, 2010 Abstract This dissertation examines the use of inter-racial relationships as emblems of political reconciliation in South African fiction from and about the transition from apartheid to democracy. Positive representations of the relationships that apartheid prohibited would seem to constitute a rejection of apartheid itself, but through an analysis of novels by Lewis DeSoto, Elleke Boehmer, Zoë Wicomb, Marlene van Niekerk, Ivan Vladislavić, and J.M. Coetzee, I argue that the trope of the redemptive inter-racial relationship in fact reinscribes what Foucault would designate a biopolitical obsession with race as a foundational construct of the nation. Chapter 2 examines an attempt to write against the legacy of apartheid by repurposing the quintessentially South African genre of the plaasroman, but Lewis DeSoto‘s A Blade of Grass (2003) fails to reverse the narrative effects created by the plaasroman structure, implicated as the plaasroman is and has been in a biopolitical framework. Chapter 3 examines Elleke Boehmer‘s rewriting of South African history to insist on the genealogical ―truth‖ of the racial mixing of the country and its inhabitants, but Bloodlines (2000) yet retains the obsession with racial constructs that it seeks to dispute. Zoë Wicomb‘s Playing in the Light (2006), meanwhile, invokes genealogical ―truth‖ as a corrective to apartheid constructions of race, but ultimately disallows the possibility of genealogical and historical narratives as correctives rather than continuations of apartheid. -
American Folk Music As Tactical Media
‘Svec in this powerfully revisionist book shows how the HENRY ADAM SVEC folk revival’s communications milieus, metaphors, and, in a brilliant reading of Bob Dylan, its songs, had already discovered that “the folk and the machine are often one and the same”. From Lomax‘s computer-generated Global American Jukebox and Dylan’s Telecaster to today’s music apps and YouTube, from the Hootenanny to the Peoples’ Mic, the folk process, then as now, Svec argues, reclaims our humanity, reinventing media technologies to become both instruments Media as Tactical Music American Folk of resistance and fields for imagining new societies, new Folk Music selves, and new futures.‘ – Robert Cantwell, author of When We Were Good: The Folk Revival ‘Svec’s analysis of the American folk revival begins from the premise that acoustic guitars, banjos, and voices have as Tactical much to teach us about technological communication and ends, beautifully, with an uncovering of “the folk” within our contemporary media environments. What takes center stage, however, is the Hootenanny, both as it informs the author’s own folk-archaeological laboratory of imaginary media and as it continues to instantiate political community – at a Media time when the need for protest, dissent, and collectivity is particularly acute.‘ – Rita Raley, Associate Professor of English at the University of California, Santa Barbara HENRY ADAM SVEC is Assistant Professor of Communica- tion Studies at Millsaps College in Jackson, Mississippi. ISBN 978-94-629-8494-3 HENRY ADAM SVEC Amsterdam AUP.nl University 9 789462 984943 Press AUP_recursions.reeks_SVEC_rug11.7mm_v03.indd 1 09-11-17 14:04 American Folk Music as Tactical Media The book series Recursions: Theories of Media, Materiality, and Cultural Techniques provides a platform for cuttingedge research in the field of media culture studies with a particular focus on the cultural impact of media technology and the materialities of communication. -
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 -
Actress Carey Mulligan to Receive the Artistic Achievement Award During the Centerpiece Presentation of Wildlife Costume Desi
Media Contact: Nick Harkin / Matthew Bryant Carol Fox and Associates 773.969.5033 / 773.969.5034 [email protected] [email protected] For Immediate Release: Sept. 12, 2018 ACTRESS CAREY MULLIGAN TO RECEIVE THE ARTISTIC ACHIEVEMENT AWARD DURING THE CENTERPIECE PRESENTATION OF WILDLIFE COSTUME DESIGNER RUTH CARTER (BLACK PANTHER, SELMA) TO BE HONORED WITH A CAREER ACHIEVEMENT AWARD AT THIS YEAR’S BLACK PERSPECTIVES TRIBUTE The Festival will also pay tribute to the legacy of actress and Festival co-founder Colleen Moore and Chicago graphic artist Art Paul th CHICAGO – The 54 Chicago International Film Festival, presented by Cinema/Chicago, today announced Tributes to actress Carey Mulligan in conjunction with this year’s Centerpiece film Wildlife, and costume designer Ruth Carter as part of the Festival’s annual Black Perspectives Program. The Festival will also celebrate posthumously two artists special to Chicago, graphic designer Art Paul in conjunction with a screening of Jennifer Kwong’s Art Paul of Playboy: The Man Behind the Bunny, and actress and Chicago International Film Festival co-founder Colleen Moore, with a screening of The Power and the Glory (1933). The tributes will take place over the course of the Festival’s 12-day run at AMC River East 21 (322 E. Illinois St.) in Chicago, October 10-21, 2018. British actress Carey Mulligan is one of the paramount talents of her generation. Nominated for an Oscar®, a Golden Globe, and a SAG award for her radiant portrayal of the innocent teenage Jenny in An Education, Mulligan has delivered captivating performances across stage and screen, including Shame, The Great Gatsby, Inside Llewyn Davis, Mudbound, and this year’s Festival selection, Wildlife. -
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. -
William B. Kaplan CAS
Career Achievement Award Recipient William B. Kaplan CAS CAS Filmmaker Award Recipient George SPRING Clooney 2021 Overcoming Atmos Anxiety • Playing Well with Other Departments • RF in the 21st Century Remote Mixing in the Time of COVID • Return to the Golden Age of Booming Sound Ergonomics for a Long Career • The Evolution of Noise Reduction FOR YOUR CONSIDERATION CINEMA AUDIO SOCIETY AWARDS NOMINEE MOTION PICTURE LIVE ACTION PRODUCTION MIXER DREW KUNIN RERECORDING MIXERS REN KLYCE, DAVID PARKER, NATHAN NANCE SCORING MIXER ALAN MEYERSON, CAS ADR MIXER CHARLEEN RICHARDSSTEEVES FOLEY MIXER SCOTT CURTIS “★★★★★. THE FILM LOOKS AND SOUNDS GORGEOUS.” THE GUARDIAN “A WORK OF DAZZLING CRAFTSMANSHIP.” THE HOLLYWOOD REPORTER “A stunning and technically marvelous portrait of Golden Era Hollywood that boasts MASTERFUL SOUND DESIGN.” MIRROR CAS QUARTERLY, COVER 2 REVISION 1 NETFLIX: MANK PUB DATE: 03/15/21 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” INSIDE THIS ISSUE SPRING 2021 CAREER ACHIEVEMENT AWARD RECIPIENT WILLIAM B. KAPLAN CAS | 20 DEPARTMENTS The President’s Letter | 4 From the Editor | 6 Collaborators | 8 Learn about the authors of your stories 26 34 Announcements | 10 In Remembrance | 58 Been There Done That |59 CAS members check in The Lighter Side | 61 See what your colleagues are up to 38 52 FEATURES A Brief History of Noise Reduction | 15 Remote Mixing in the Time of COVID: User Experiences | 38 RF in the Twenty-First Century |18 When mix teams and clients are apart Filmmaker Award: George Clooney | 26 Overcoming Atmos Anxiety | 42 Insight to get you on your way The 57th Annual CAS Awards Nominees for Outstanding Achievement Playing Well with Other Production in Sound Mixing for 2020 | 28 Departments | 48 The collaborative art of entertainment Outstanding Product Award Nominees| 32 Sound Ergonomics for a Long Career| 52 Return to the Golden Age Staying physically sound on the job Cover: Career Achievement Award of Booming | 34 recipient William B. -
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. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Ries Niemi's Oversized Imagination
FUZZ BUZZ, P.13 * -0(*-#.$/+yy * FREE WILL, P.30 cascadia REPORTING FROM THE HEART OF CASCADIA WHATCOM*SKAGIT*ISLAND*LOWER B.C. 06..11 :: #23, v.06 :: !- AND NOWNAOMI KLEINP.10 THE GRISTLE: OF COAL AND SOUL, P.8 }} PARK IT: THE SOUNDS OF SUMMER, P.22 BIG IDEAS: RIES NIEMI’S OVERSIZED IMAGINATION, P.20 34 34 cascadia Expect to see everything from FOOD #*/.20&$)" to'*"-*''$)" at the 28 49th annual Deming Log Show June 11-12 at the eponymous B-BOARD A glance at what’s happening this week grounds on Cedarville Road 26 2 ) .4[06..11] FILM FILM ON STAGE 22 Intro to Improv: 7pm, Improv Playworks MUSIC MUSIC Marvin Goldstein, Vanessa Joy: 7pm, Mount Baker Theatre 20 ART ART WORDS Sandstone Writer’s Theater: 7pm, Firehouse Performing Arts Center 18 Inga Muscio: 7pm, Village Books STAGE STAGE COMMUNITY Wednesday Market: 12-5pm, Fairhaven Village Green 16 GET OUT /#0-.4[06..11] ON STAGE The Servant of Two Masters: 7:30pm, Anacortes 14 Community Theatre Bard on the Beach: Through September, Vanier WORDS Park, Vancouver, B.C. Good, Bad, Ugly: 8pm, Upfront Theatre 10 Damn Yankees: 8pm, Bellingham Theatre Guild The Project: 10pm, Upfront Theatre WORDS CURRENTS CURRENTS Megan Chance: 7pm, Village Books 8 VIEWS VIEWS !-$4[06.x.11] ON STAGE 4 Director’s Cut: 8pm, Upfront Theatre Damn Yankees: 8pm, Bellingham Theatre Guild MAIL MAIL 48 Hour Theater Festival: 8pm and 10pm, iDiOM Theater 2 The Servant of Two Masters: 8pm, Anacortes Community Theatre DO IT IT DO DO IT 2 COPS 911: 10pm, Upfront Theatre DANCE 11 Head back to the 1800s when DANCE Emerald Bay: 7:30pm, Mount Baker Theatre .08.