Journal of African Cinemas最新文献_第7页

Melancholy freedom: Movement and stasis in Sibs Shongwe-La Mer's Necktie Youth (2015) 忧郁的自由:《姐妹颂威·拉·梅尔的领带青春》中的运动与静止

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00017_1

T. Wright

{"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":"11 1","pages":"207-224"},"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}

引用次数: 1

Listening and hearing Carmen: Sonic cartographies of struggle in U-Carmen eKhayelitsha (2005) 聆听卡门：U-Carmen eKhayelitsha斗争的声波制图（2005）

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00019_1

Natasha Himmelman

引用次数: 1

The casebre on the sand: Reflections on Luanda's excepted citizenship through the cinematography of Maria João Ganga's Na Cidade Vazia (2004) 沙滩上的案例：通过Maria João Ganga的Na Cidade Vazia（2004）的摄影反思罗安达被排除的公民身份

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00021_1

A. Mututa

{"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":"11 1","pages":"277-293"},"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}

引用次数: 0

Fragile feeling 脆弱的感情

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Journal of African Cinemas Pub Date : 2019-12-01 DOI: 10.1386/jac_00023_1

Danai S. Mupotsa

{"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":" ","pages":""},"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}

引用次数: 1

Tunisians in motion: Performing and narrating the (non-)political in Leyla Bouzid's As I Open My Eyes 运动中的突尼斯人：在Leyla Bouzid的《当我睁开眼睛》中表演和讲述（非）政治

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Journal of African Cinemas Pub Date : 2019-10-01 DOI: 10.1386/jac_00012_1

A. Strohmaier

引用次数: 0

The Underside of Power (Algiers): On W/Hole people, missing masses and dispositions of politics in popular cinema 权力的底层（阿尔及尔）：关于W/Hole人、失踪的群众和大众电影中的政治倾向

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Journal of African Cinemas Pub Date : 2019-10-01 DOI: 10.1386/jac_00013_1

Drehli Robnik

引用次数: 0

Maghreb forever: From Third-Worldism to the epistemology of multiplicity in media culture 永远的马格里布：从第三世界主义到媒介文化多样性的认识论

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Journal of African Cinemas Pub Date : 2019-10-01 DOI: 10.1386/jac_00009_1

Ivo Ritzer

引用次数: 0

Editorial 编辑

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Journal of African Cinemas Pub Date : 2019-10-01 DOI: 10.1386/jac_00008_2

Ivo Ritzer

引用次数: 0

Insurgent citizenship: Youth, political activism and citizen cinema in post-2011 Morocco 反叛公民:2011年后摩洛哥的青年、政治行动主义与公民电影

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Journal of African Cinemas Pub Date : 2019-10-01 DOI: 10.1386/jac_00011_1

Jamal Bahmad

{"title":"Insurgent citizenship: Youth, political activism and citizen cinema in post-2011 Morocco","authors":"Jamal Bahmad","doi":"10.1386/jac_00011_1","DOIUrl":"https://doi.org/10.1386/jac_00011_1","url":null,"abstract":"Abstract The uprisings that swept across North Africa and the Middle East in 2011 brought to world attention the revolutionary potential of youth in the face of social injustice and political repression. This article explores how the so-called Arab Spring foregrounded Moroccan\u0000 youth's alternative conceptions of citizenship and being young in the MENA region today. Using the emergence of citizen cinema as a case study, I will examine the subjective politics of Moroccan youth's alternative to dominant political and social authority. Made, self-produced and\u0000 distributed online free of charge by a young and self-avowed citizen filmmaker, Nadir Bouhmouch's debut documentary My Makhzen and Me (2012) does not pretend to offer an objective account of Morocco's so-called Arab Spring. Instead, the filmmaker focuses on relating his own personal\u0000 story as a young upper-class Moroccan student in San Diego, who returned to the country in the summer of 2011 armed with a camera as his weapon in the February 20 Movement's battle for democratic citizenship and social justice in Morocco. In this article, I will show how the subjective point\u0000 of view structuring this documentary offers a unique perspective not only on Morocco's Arab Spring but also on the impossibility of representing citizenship objectively on the documentary camera. The article ultimately argues that because the personal is always already political in North African\u0000 documentary filmmaking since 2011, the subjective point of view allows for the emergence of the insurgent citizenship of the region's youth.","PeriodicalId":41188,"journal":{"name":"Journal of African Cinemas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48487427","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}

引用次数: 0

Cinema is a country: The transgressive power of images in The Sea is Behind by Hicham Lasri 电影是一个国家:希查姆·拉斯里《背后的大海》中影像的越界力量

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Journal of African Cinemas Pub Date : 2019-10-01 DOI: 10.1386/jac_00010_1

Ute Fendler

引用次数: 0