"This author started elaborating aspects of the present synthesis of strains of debates in African cinema following the “Semaphores and Surfaces” conference on African cinema held at Princeton University on November 1–3, 2013—co-organized by Wendy Belcher and Beatriz Leal Riesco and featurin
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g several scholars of African cinema and media." (Abstract)
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"Ten Arab Filmmakers provides an up-to-date overview of the best of Arab cinema, offering studies of leading directors and in-depth analyses of their most important films. The filmmakers profiled here represent principal national cinemas of the Arab world?Algeria, Egypt, Lebanon, Morocco, Palestine,
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and Syria. Although they have produced many of the region's most-renowned films and gained recognition at major international festivals, with few exceptions these filmmakers have received little critical attention. All ten share a concern with giving image and voice to people struggling against authoritarian regimes, patriarchal traditions, or religious fundamentalism?theirs is a cinéma engagé. The featured directors are Daoud Abd El-Sayed, Merzak Allouache, Nabil Ayouch, Youssef Chahine, Mohamed Chouikh, Michel Khleifi, Nabil Maleh, Yousry Nasrallah, Jocelyne Saab, and Elia Suleiman." (Publisher description)
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"This book explores how human rights developed as a language located in history, space and time, and how the festivals continue with this tradition by adapting it for local audiences. The tensions produced by human rights' search for universality and the located-ness of the festivals are explored in
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detail through two case studies: one located in Buenos Aires, South America; the other in New York, North America, which was the first human rights film festival worldwide." (Back cover)
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"In Südafrika gibt es seit 120 Jahren Kino und Filmproduktionen. Die südafrikanische Filmindustrie zählt zur ältesten weltweit. Bereits 1895 zog das erste Kinetoscope in Johannesburg Zuschauer an. Jahrzehntelang von der Ideologie des burischen Nationalismus dominiert, muss sich die heutige Films
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zene Südafrikas gegen Massenware aus Hollywood behaupten." (Seite 35)
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"Tracing the history of Africa's relationship to film festivals and exploring the festivals' impact on the various types of people who attend festivals (the festival experts, the ordinary festival audiences, and the filmmakers), Dovey reveals what turns something called a "festival" into a "festival
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experience" for these groups." (Publisher description)
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"Gerade in Ländern des Globalen Südens gibt es eine beeindruckende Vielfalt kritischer Spielfilme aller Genres, vom Roadmovie bis zur Groteske. Mal sind sie explizit politisch, mal eher angedeutet und metaphorisch, um die Zensur zu umgehen oder um eindimensionale Interpretationen zu unterlaufen. I
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hre Filmstile, Themen, Kameraperspektiven, Schnitttechniken, Sprachen und Schauspielkünste mögen hiesige Sehgewohnheiten bisweilen irritieren – aber das ist gut so! Die postkolonialen hybriden Formen all dieser filmgestaltenden Mittel laden zu immer neuen gegenseitigen Entdeckungsreisen ein. Spielfilme sind ein wunderbares Medium der Verständigung über gesellschaftliche Unterschiede und Süd-Nord-Bezüge hinweg." (Editorial, seite 17)
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"ReaGilès are pre-fabricated, self-contained, education and entertainment complexes situated on 400m2 sites at local schools or public open spaces consisting of a 60-seat cinema, 30- seat computer and Internet facility, community care and policing centre. These complexes are intended to service his
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torically underserviced peri-urban black dormitory townships of South Africa and to help create jobs, especially amongst the youth, women and the disabled. The ReaGilè concept, on roll-out, has the potential to revolutionise exhibition and distribution in local film industries in ways mirroring the ground-breaking Nollywood straight-to-DVD model. The article discusses the potential of the ReaGilè concept to offer solutions to the twin crises of 1) representation stemming from existing film distribution networks that limit micro-budget filmmakers, and 2) of government departments and local municipalities' tendency towards dividing practices that objectivise the subject through frustrating development via delays, paperwork, never-ending meetings, fees, endless formalities and legalities, and red tape. The authors posit that ReaGilè has the potential to creatively disrupt and redesign formal distribution models and to fracture the narrow modernisation paradigm they deploy, replacing them with a responsive communication re/ordering and flexible distribution that restore subjectivity to the disenfranchised South African subject (the filmmaker and audience from the township)." (Abstract)
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"We all have many strands in our lives. In this memoir, Peter Malone takes us through his various strands. He is a man of a certain vintage, mainly Irish heritage. He grew up as a Catholic in a pre-Vatican II Church. His call was to a religious congregation from the late 1950s and to priesthood from
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the mid-1960s. For many years he worked in religious formation in his congregation and taught theology and Old Testaments Studies, as part of the Melbourne College of Divinity. But, in different ways throughout the years, there was always the cinema strand, reviewing, writing, seminars and heading up the Catholic Church's international cinema organisation and then SIGNIS, The World Catholic Association for Communication." (Back cover)
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"Examining the vast breadth and diversity of contemporary documentary production, while also situating nonfiction film and video within the cultural, political, and socio-economic history of the region, this book addresses topics such as documentary aesthetics, indigenous media, and transnational fi
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lmmaking, among others." (Publisher description)
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"In this paper, I examine the aims and motivations behind the EU’s audiovisual assistance programs to countries in the Global South, using data from policy documents and semi-structured, in-depth interviews with program managers and administrative staff in Brussels. These programs prioritize forms
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of audiovisual content that are locally specific, yet globally tradable. Furthermore, I argue that they have an ambivalent relationship with traditional notions of international development, one that conceptualizes media not only as a means to achieve economic development and human rights aims, but as a form of development itself." (Abstract)
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"Die Beiträge dieses Buches zeigen am Beispiel des ¡muestra! IberoAmerikanischen Filmfests in Passau, welche filmischen Schätze der Kulturraum zu bieten hat und wie diese im deutschsprachigen Raum rezipiert werden. Gleichzeitig dokumentieren sie die zwar junge, aber sehr erfolgreiche Festivalgesc
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hichte der Passauer ¡muestra!" (Buchrücken)
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"Es lässt sich also feststellen, dass der Dokumentarfilm der Demokratie insofern zuträglich ist, da er seinen Schwerpunkt auf der Gewährleistung der Validierungs-, Orientierungs-, Informations-, Bildungs- und Sozialisationsfunktion hat, während das citizen journalism footage sich insbesondere da
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durch auszeichnet, dass es der Beobachter-, Informations-, Artikulations- und Kritik- und Kontrollfunktion verstärkt gerecht wird. Indem also das citizen journalism footage durch professionelle Instanzen in eine den gängigen Konventionen entsprechenende Form des etablierten Dokumentarfilms gebracht wird, können so die demokratieförderlichen Attribute ,alter‘ und ,neuer‘ Medien ergänzend kombiniert werden." (Conclusio, Seite 75-76)
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