Subjects -> ART (Total: 882 journals)
    - ART (468 journals)
    - DANCE (26 journals)
    - FILM AND AUDIOVISUALS (125 journals)
    - MUSIC (171 journals)
    - THEATER (92 journals)

FILM AND AUDIOVISUALS (125 journals)                     

Showing 1 - 120 of 120 Journals sorted alphabetically
1895. Mille huit cent quatre-vingt-quinze     Open Access   (Followers: 7)
24 images     Full-text available via subscription   (Followers: 2)
Acta Universitatis Sapientiae, Film and Media Studies     Open Access   (Followers: 3)
Adaptation     Hybrid Journal   (Followers: 9)
Ambitos     Open Access   (Followers: 1)
Aniki : Revista Portuguesa da Imagem em Movimento     Open Access  
Animation     Hybrid Journal   (Followers: 12)
Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe     Open Access   (Followers: 5)
Área Abierta     Open Access   (Followers: 2)
Asian Cinema     Hybrid Journal   (Followers: 3)
Baltic Screen Media Review     Open Access   (Followers: 1)
Bioscope: South Asian Screen Studies     Hybrid Journal   (Followers: 3)
Black Camera     Full-text available via subscription   (Followers: 8)
Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production     Open Access  
Celebrity Studies     Hybrid Journal   (Followers: 13)
Ciné-Bulles : Le cinéma d’auteur avant tout     Full-text available via subscription   (Followers: 1)
CINEJ Cinema Journal     Open Access   (Followers: 7)
Cinema Journal     Full-text available via subscription   (Followers: 25)
Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies     Full-text available via subscription   (Followers: 5)
Con A de animación     Open Access   (Followers: 1)
Continuum: Journal of Media & Cultural Studies     Hybrid Journal   (Followers: 32)
Cuadernos de Cine Documental     Open Access  
East Asian Journal of Popular Culture     Hybrid Journal   (Followers: 6)
Entrelacs     Open Access  
Essais     Open Access  
Ética&Cine Journal     Open Access  
Film & History: An Interdisciplinary Journal of Film and Television Studies     Full-text available via subscription   (Followers: 36)
Film Criticism     Open Access   (Followers: 4)
Film History     Full-text available via subscription   (Followers: 26)
Film International     Hybrid Journal   (Followers: 15)
Film Matters     Hybrid Journal   (Followers: 12)
Film Studies     Full-text available via subscription   (Followers: 8)
Film, Fashion & Consumption     Hybrid Journal   (Followers: 9)
Film-Philosophy Journal     Open Access   (Followers: 9)
FILMHISTORIA Online     Open Access   (Followers: 2)
Fotocinema : Revista Científica de Cine y Fotografía     Open Access   (Followers: 5)
Framework : The Journal of Cinema and Media     Full-text available via subscription   (Followers: 19)
French Forum     Full-text available via subscription   (Followers: 9)
French Screen Studies     Hybrid Journal   (Followers: 1)
Genre en séries. Cinéma, télévision, médias     Open Access  
Getty Research Journal     Full-text available via subscription   (Followers: 4)
Historical Journal of Film, Radio and Television     Hybrid Journal   (Followers: 27)
Hitchcock Annual     Full-text available via subscription  
Horror Studies     Hybrid Journal   (Followers: 6)
Image & Narrative     Open Access   (Followers: 6)
Images : The International Journal of European Film, Performing Arts and Audiovisual Communication     Open Access   (Followers: 3)
Inside Film: If     Full-text available via subscription   (Followers: 5)
International Journal of Image Mining     Hybrid Journal   (Followers: 1)
International Journal of Multimedia Intelligence and Security     Hybrid Journal   (Followers: 9)
International Journal of Screendance     Open Access   (Followers: 1)
Jeunesse: Young People, Texts, Cultures     Full-text available via subscription   (Followers: 4)
Journal of Adaptation in Film & Performance     Hybrid Journal   (Followers: 7)
Journal of African Cinemas     Hybrid Journal   (Followers: 2)
Journal of Anthropological Films     Open Access  
Journal of British Cinema and Television     Hybrid Journal   (Followers: 13)
Journal of European Popular Culture     Hybrid Journal   (Followers: 10)
Journal of Film and Video     Full-text available via subscription   (Followers: 21)
Journal of Italian Cinema and Media Studies     Hybrid Journal   (Followers: 5)
Journal of Japanese and Korean Cinema     Hybrid Journal   (Followers: 4)
Journal of Media Ethics : Exploring Questions of Media Morality     Hybrid Journal   (Followers: 14)
Journal of Popular Film and Television     Full-text available via subscription   (Followers: 33)
Journal of Religion & Film     Open Access   (Followers: 9)
Journal of Religion and Popular Culture     Full-text available via subscription   (Followers: 20)
Journal of Scandinavian Cinema     Hybrid Journal   (Followers: 2)
Journal of Screenwriting     Hybrid Journal   (Followers: 5)
Kino : The Western Undergraduate Journal of Film Studies     Open Access   (Followers: 4)
L'Atalante : Revista de estudios cinematográficos     Open Access  
L'Esprit Créateur     Full-text available via subscription   (Followers: 2)
LiNQ (Literature in North Queensland)     Open Access  
Mechademia     Full-text available via subscription   (Followers: 2)
Metro Magazine: Media & Education Magazine     Full-text available via subscription   (Followers: 3)
Mise au Point     Open Access   (Followers: 1)
Modernist Cultures     Hybrid Journal   (Followers: 6)
Moving Image Review & Art Journal     Hybrid Journal   (Followers: 4)
Music and the Moving Image     Full-text available via subscription   (Followers: 6)
New Cinemas Journal of Contemporary Film     Hybrid Journal   (Followers: 15)
New Soundtrack     Hybrid Journal   (Followers: 2)
Nineteenth Century Theatre and Film     Full-text available via subscription   (Followers: 9)
Northern Lights     Hybrid Journal   (Followers: 2)
October     Hybrid Journal   (Followers: 17)
Panoptikum     Open Access  
Projections     Full-text available via subscription   (Followers: 4)
Quarterly Review of Film and Video     Hybrid Journal   (Followers: 20)
Rocky Mountain Review     Full-text available via subscription   (Followers: 1)
S : Journal of the Circle for Lacanian Ideology Critique     Open Access  
Scene     Hybrid Journal   (Followers: 2)
Schermi. Storie e culture del cinema e dei media in Italia     Open Access  
Science Fiction Film and Television     Hybrid Journal   (Followers: 16)
Screen Bodies : An Interdisciplinary Journal of Experience, Perception, and Display     Full-text available via subscription  
Screen Education     Full-text available via subscription   (Followers: 1)
Secuencias. Revista de Historia del Cine     Open Access  
Senses of Cinema     Open Access   (Followers: 10)
Séquences : La revue de cinéma     Full-text available via subscription  
Shakespeare Bulletin     Full-text available via subscription   (Followers: 15)
Short Film Studies     Hybrid Journal   (Followers: 3)
SMPTE Motion Imaging Journal     Full-text available via subscription   (Followers: 2)
Social Interaction : Video-Based Studies of Human Sociality     Open Access   (Followers: 1)
Sound Studies : An Interdisciplinary Journal     Hybrid Journal  
Studies In Australasian Cinema     Hybrid Journal   (Followers: 2)
Studies in Documentary Film     Hybrid Journal   (Followers: 15)
Studies in Eastern European Cinema     Hybrid Journal   (Followers: 1)
Studies in European Cinema     Hybrid Journal   (Followers: 6)
Studies in French Cinema     Hybrid Journal   (Followers: 12)
Studies in Russian and Soviet Cinema     Hybrid Journal   (Followers: 3)
Studies in South Asian Film & Media     Hybrid Journal   (Followers: 2)
Studies in Spanish & Latin American Cinemas     Hybrid Journal   (Followers: 9)
Studies in World Cinema     Full-text available via subscription  
The Big Picture Magazine     Hybrid Journal  
The Journal of Film Music     Full-text available via subscription   (Followers: 4)
The Moving Image     Full-text available via subscription   (Followers: 5)
The Soundtrack     Hybrid Journal   (Followers: 1)
The Velvet Light Trap     Full-text available via subscription   (Followers: 7)
Toma Uno     Open Access   (Followers: 1)
Transnational Screens     Hybrid Journal   (Followers: 1)
Trasvases Entre la Literatura y el Cine     Open Access  
Ventana Indiscreta     Open Access  
Visual Culture in Britain     Hybrid Journal   (Followers: 5)
VMIDEA     Open Access  
Wave Motion     Hybrid Journal   (Followers: 5)
WSQ: Women's Studies Quarterly     Full-text available via subscription   (Followers: 15)

           

Similar Journals
Journal Cover
Black Camera
Number of Followers: 8  
 
  Full-text available via subscription Subscription journal
ISSN (Print) 1536-3155 - ISSN (Online) 1947-4237
Published by Indiana University Press Homepage  [27 journals]
  • Editor's Notes

    • Free pre-print version: Loading...

      Abstract: The past three successive issues of Black Camera have been devoted to the African cinematic and its formations in the Black diaspora. Part I (issue 12.1) celebrated the fiftieth anniversary of FESPACO and comprised essays, dossiers, and commissioned commentaries by filmmakers and media professionals worldwide. Part II (12.2) addressed cinema's role and contributions to recover and reconstitute African peoples as historical subjects in the project of world-making, while Part III (13.1), a compendium, endeavors to document decoloniality in cultural policies both in Africa and the diaspora by the formal assertions of declarations, manifestos, resolutions, and programmatic statements. Together, this ambitious ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Still Got the News: Fifty Years Out on Finally Got the News

    • Free pre-print version: Loading...

      Abstract: Black Camera invites submissions for a Close-Up devoted to the documentary by the League of Revolutionary Black Workers, Finally Got the News (1970). The year 2020 marked the fifty-year anniversary of this film and its resounding vision of radical social change. The time that stands between now and the production of Finally Got the News is one that bears witness to great and devastating changes both in Detroit and internationally as deindustrialization has wreaked havoc on organized labor. Yet, perhaps even more devastating, the racial chauvinism against which the League of Revolutionary Black Workers organized remains a stagnant and destructive feature of our society. For this reason, Finally Got the News's vision ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • The Harder They Come: The Legacy Continues

    • Free pre-print version: Loading...

      Abstract: Black Camera invites submissions for a Close-Up on the Jamaican film The Harder They Come, directed by Perry Henzell. Released ten years after Jamaica's independence, the story by Henzell and Jamaican playwright Trevor Rhone is a fictionalized account of the real life of Ivanhoe Rhygin. International reggae star, Jimmy Cliff, played the lead role and several of his songs on the soundtrack later became hits.The upcoming half-century milestone since its release in 1972 invites a reconsideration of The Harder They Come, its enduring legacy and contentions as a Jamaican-made Blaxploitation and Gangster film. Can we interrogate the challenges of the film through a 21st century lens, including its representations of ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Cinema Negro in Brazil: Disrupting the Visual and Discursive Foundations
           of Blackness in Branco sai, preto fica

    • Free pre-print version: Loading...

      Abstract: Ideas about race and representation have shifted considerably in Brazil over the past two decades. Throughout most of the twentieth century, democratic and authoritarian governments upheld the idea of Brazil as a racial democracy and citizens were encouraged to not believe in racial differences.1 Social inequality was seen as a result of class and not ethnoracial background. Indeed, colorblind ideologies effectively silenced discussion of racial hierarchies and inequality in Brazil until the late 1980s.2 However, generations of Black activists and numerous scholars have refuted the idea of Brazil as a racial democracy.3 Following the United Nation's conference on racism in Durban, South Africa in 2001, Brazil's ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Cultivating a Community of Viewers in Africa: How Sissako Frames
           Spectatorship and Performance in His Films

    • Free pre-print version: Loading...

      Abstract: One distinctive feature of Abderrahmane Sissako's innovative filmmaking is how he frames the spectator's experience with scenes where people are watching or looking at images within his film narratives. This framing recurs throughout his body of work in various forms including sequences with still photography, videographers rehearsing on set, families in front of the television, and films-within-films. The many ways Sissako represents the acts of both watching and creating images is a signature of his auteur aesthetic that will be explored in his major films, Life on Earth (1998), Waiting for Happiness (2002), Bamako (2006), and Timbuktu (2014). This exploration will demonstrate how his emphasis on spectatorship ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Òrúnmìlà Epistemic Reproduction: Nigerian Film-Philosophy via Divinity
           and Orality

    • Free pre-print version: Loading...

      Abstract: Mbye Cham contends that "adaptation of oral narratives and novels has been a part of African film culture from the start [as the] filmmakers looked first to their respective oral narrative traditions for stories as well as styles and techniques to tell these stories in film."1 If the influence of oral tradition has been acknowledged in contemporary African film culture, it seems possible to assume that oral tradition or indigenous knowledge has no influence on the contemporary Nigerian films. In the studies of Nollywood, "the focus on material conditions of production, exhibition, and distribution have risen to the fore, replacing hermeneutic analysis; and the study of genre—with occultism, melodrama, romance, and ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • John Akomfrah's The Nine Muses: A Reading with Glissant's "Relation" and
           Quantum Entanglement

    • Free pre-print version: Loading...

      Abstract: After ten minutes of introducing his themes, in The Nine Muses (2010, United Kingdom), Akomfrah pauses for a moment to give us a view of a mountain and lake scape in Alaska. A place with images of the cold. The water with ice floes; the mountain snowcapped, snow covering portions of the rocky sides; low clouds of vapor, frozen ice particles surely inside them. Clouds covering an effulgent light. Yet the entire view, almost two tones of white and dark, serenely composed with the bright light on the distant shore, the majesty of the range of mountains, the feathered weight of the clouds—three tiers from the closer portion of water, the border of the far shore at the base of the mountains, and the clouds above the ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Kahlil Joseph, New Media, and the New Black Cinema: A Case for Situating
           Kahlil Joseph's Audiovisual Work Within the Theoretical Frameworks of
           African Film

    • Free pre-print version: Loading...

      Abstract: Kahlil Joseph is a director whose music videos, films, and commercial collaborations draw from various forms of African culture—referencing Yoruba deities, Senegalese film masters, and Sierra Leonean literature—while expressing the diaspora's contemporary condition in a range of locations. He has collaborated with an array of influential musicians including Beyoncé, FKA Twigs, Flying Lotus, Kendrick Lamar, Sampha Sisay, and Shabazz Palaces, achieving millions of views across various digital platforms. Under the stewardship of Georgia State University's Alessandra Raengo, the liquid blackness research group commemorated his achievements by organizing a special Joseph-themed week through the online MediaCommons ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Speaking Animals: Fables of Resistance in Get Out, Sorry to Bother You,
           and Atlanta

    • Free pre-print version: Loading...

      Abstract: The single most important film to mainstream Black cinema of late is arguably Black Panther (dir. Ryan Coogler, 2018). Why this fantastical film about an imaginary African country gained such purchase in our culture has already been discussed by various scholars.1 One of them, Sudip Sen, is troubled by several aspects of the film, especially its stereotypical depiction of the Monkey King. He writes, "Am I that stick-in-the-mud who fails to understand that in this 'Marvellous' universe, the representation of a tribe of cold half-naked Africans in fur led by a Great Gorilla making monkey noises, is actually a new form of empowerment'"2 As the title of the piece, "The Black Panther and the Monkey Chant," indicates ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Screaming with Laughter: How Jordan Peele's Get Out Rereads Obama by
           Rewriting the Black Messiah

    • Free pre-print version: Loading...

      Abstract: Jordan Peele is quick to contextualize his film Get Out (2017) as a parable of the "myth of post-racialism"1—and with it, the myth of the Black Messiah. Conceived during the Obama administration but released after the advent of Trump, Peele's film is a study of suspension. The cinematography divides viewers between the suburban and the urban, the liberal and the conservative, the horrors of African American history and the hallmarks of power typically reserved for the beneficiaries of White privilege. With its concentration on duality and division, Get Out features a protagonist who is neither a subtle metaphor for Barack Obama nor an apologetic defender of Obama's legacy. Like the forty-fourth American president ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Too Hot for TV: Black Sketch Comedy and the Politics of Crossing-Over

    • Free pre-print version: Loading...

      Abstract: Sketch comedy has long been a staple of American television. The genre also frequently serves as an important site for the interrogation of representational politics. This detail rings specifically true for Black American creative image makers who have often occupied the sketch comedy format as a vehicle for performing resistant strategies of humor within a mainstream cultural discourse. Black sketch comedy programs have regularly engaged with political and social justice concerns, delivering carefully crafted performances to commercial audiences as a subversive attempt to challenge the ever-present racialized anxieties operating in the US social imagination. Historically, Black comics have been required to conform ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Race as Special Effect: Michael Jackson, Captain EO, and the Borders of
           the Cosmos

    • Free pre-print version: Loading...

      Abstract: Every generation creates its heroes, and their characteristics usually reveal as much about the culture which exalts them as of the heroes themselves.1In the five-year lull between his record-breaking album Thriller (1982) and its much anticipated follow-up, Bad (1987), Michael Jackson collaborated with a group of luminaries from the American entertainment industry that included directors Francis Ford Coppola and George Lucas. The resulting film, entitled Captain EO (dir. Francis Ford Coppola, 1986), enjoyed a run at Disney theme parks from 1986 through the 1990s, and was trumpeted as an innovation in 4D technology for its fusion of 3D film and synchronized in-theater effects such as floor hydraulics, a fiber-optic ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Introduction: BlacKkKlansman, "On the Right Side of History"'

    • Free pre-print version: Loading...

      Abstract: Loosely based on former police officer Ron Stallworth's recollections of his infiltration into the Colorado Springs chapter of the Ku Klux Klan, BlacKkKlansman (dir. Spike Lee, 2018) exploits the paradoxical situation of its black author passing for a white supremacist to integrate the "Organization" as a powerful source of humor and critique. Director Spike Lee uses the autobiographical narrative as a source text to trace the roots of the Trumpian rhetoric in a history of nativist activism, embedded in the history and the images of Hollywood. BlacKkKlansman uses intertextual references to depict a racially divisive culture, which undergirds films that produce 'whiteness' and 'blackness' for antithetical audiences. ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Adapting BlacKkKlansman: "Based upon some fo' real, fo' real sh*t"

    • Free pre-print version: Loading...

      Abstract: BlacKkKlansman artfully combines politics and entertainment as a sarcastic piece that elicits critical responses rather than emotional reactions, using black humor as a political strategy to level criticism at the buddy film as a popular genre in the so-called postracial moment. The structural irony of the form creates humorous dialectics between blacks and whites that unravel different aspects of race. BlacKkKlansman is based on a vaudeville situation where a black undercover police officer (Ron Stallworth, played by John David Washington) passes for a white supremacist on the phone and has a Jewish colleague (Flip Zimmerman, played by Adam Driver) attend KKK gatherings in his place. The trick is so successful ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Not Just Talk: The Politics of Enunciation in BlacKkKlansman

    • Free pre-print version: Loading...

      Abstract: Much criticism on Spike Lee focuses on his exploration of race,1 but less attention has been paid to the enunciative strategies his films develop as they represent political issues. This article approaches BlacKkKlansman (dir. Spike Lee, 2018) through its shifting modes of address to investigate how the film explicitly envisions a politicized spectator. Francesco Casetti's work on enunciation in Inside the Gaze provides a useful framework for tracing the troubled trajectory of the spectator through Lee's film. In BlacKkKlansman, the tonal shifts that were alternately praised and criticized by reviewers attest to frequent changes in the mode of enunciation. Following Casetti, the spectator is thus constructed "from ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Twos and Threes: A Structural Analysis of BlacKkKlansman's Undercover
           Narrative

    • Free pre-print version: Loading...

      Abstract: BlacKkKlansman (2018) was hyped as Spike Lee's return to the fore of fiction filmmaking, occurring at a time when a younger generation of Black Hollywood artists were making their mark. In late 2016, Ava DuVernay's 13th opened the New York Film Festival, and a few months later Barry Jenkins's Moonlight (2016) took home the Best Picture Oscar. The following year-and-a-half saw the release of Get Out (dir. Jordan Peele, 2017), Blindspotting (dir. Carlos López Estrada, 2018), Sorry to Bother You (dir. Boots Riley, 2018), Black Panther (dir. Ryan Coogler, 2018), and Mudbound (2017)—this last by Lee's own protégé, Dee Rees, while television shows such as Blackish (2014–2022) and Insecure (2016–2021) were experiencing a ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • BlacKkKlansman and the "Sheets of the Past": Toward a Theory of Blacklash
           Cinema

    • Free pre-print version: Loading...

      Abstract: So I began my undercover career investigating the Black Panthers, to go after the other side of the coin. The Klan had called, after all.1 (emphasis mine)Ron Stallworth's experiences as the first Black police officer in a bastion of traditionally conservative and the nearly all-white Colorado Springs precinct describes Black transcendence beyond the color line. Yet Stallworth's not-so undercover impersonation of a Ku Klux Klan supporter also reports white supremacy's grip on the United States. Spike Lee's adaptation of Stallworth's memoir, BlacKkKlansman (2018), describes progress and regression exposing contradictory American drives: how glimpses of postracial possibilities invigorate white desire to ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Introduction

    • Free pre-print version: Loading...

      Abstract: Paulin Soumanou Vieyra (1925–1987), one of the first African filmmakers, is a key component to all the early cinematographic activities in West Africa. He is a multifaceted pioneer known as a prominent filmmaker, producer, and scholar. He served as mentor and production manager for several renowned filmmakers, including Ousmane Sembène. His expertise and prolific contributions as a film specialist coincide with his insights as an intellectual who was deeply sensitive to the predicament of the continent and was dedicated to the social and cultural rehabilitation and emancipation of his people. His film criticism is constantly infused with his reflections on how to provide a better future for Africa. Consequently ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Vieyra's Vision of Cinema on the Verge of Independences

    • Free pre-print version: Loading...

      Abstract: Each time Africans have had the opportunity to discuss their future, they have always done it in a way quite different from what the Europeans had imagined [for them].Vieyra, a multifaceted figure due to his personal story and training, indeed played an important role in phrasing the way Africans would do things differently. His contribution to the Brussels conference (see infra) attests to his eminent role in the world of cinema, his commitment to the cause of African cinema, and his notoriety in the political and cultural context of the late 1950s. Vieyra's thoughts and his role in this context of national struggle and late colonialism are here scrutinized to understand his subversive position on behalf of ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • René Vautier and Paulin S. Vieyra: Contact of Cinéastes
           engagés

    • Free pre-print version: Loading...

      Abstract: As the first sub-Saharan African to attend the Institut des Hauts Études Cinématographiques (IDHEC) in Paris, Paulin Vieyra (1925–1987) trained for his career in film direction, production, criticism, and history in proximity to many soon-to-be well-known French filmmakers. Aside from Chris Marker and Alain Resnais, Vieyra was noted by Rachel Gabara to have occupied the same Parisian Left Bank "cinematic world" as militant filmmaker René Vautier (1928–2015), having also attended the IDHEC and been active in the same film discussion groups.1 Mostly known for his short films, Vautier's consistently politically engaged career spanned thematically across anticolonial works like Afrique 50 (1950), pro-worker films ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Rise of a Nation: An Exploration of Vieyra's Vision for Senegal Through
           Une nation est née

    • Free pre-print version: Loading...

      Abstract: Paulin Vieyra is no stranger to making political statements with film. His first film, Afrique-sur-Seine (1955), puts the lives of afrodescendants in Paris on screen, with the express desire to combat the stereotypes that traditional European cinema had imposed on Black actors up to that point.1 In 1961, Vieyra continued this trend of subtle political cinema with Une nation est née: La République du Sénégal. This film is considered an important work by his son, Stéphane Vieyra, who has worked to incorporate the film as a part of the educational curriculum in Senegal as referenced in one of the film's title credits. In spite of this effort to underline its importance, the film has remained the subject of very little ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • African Realities in Motion: The Role of Dance in Vieyra's Films in
           Constructing Intersubjective African Identities

    • Free pre-print version: Loading...

      Abstract: One of film's most important advancements for audiovisual production was its ability to capture motion. Images were no longer only exclusively of still, posed bodies and snapshots of landscapes frozen in time: they could capture the very dynamic movements of ourselves and our surroundings that define the lived human experience. As such, at the moment of its invention, film became one of the main tools by which people sought to understand what it means to be human through encounters with others around the world. The resulting genre of ethnographic film that would endeavor to provide answers to these questions would itself be brought into motion through its leverage by colonial powers and administrators to enact ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Motor, Mirror, Reinvention: Paulin Soumanou Vieyra on the African Cinema
           to Come (1956–1961)

    • Free pre-print version: Loading...

      Abstract: Paulin Soumanou Vieyra's earliest writings and talks were conceived during a time of transition, when the independences had not yet settled into their now familiar shapes.1 Dating from between 1956 and 1961, they register the twilight of colonial rule: from the period of the French Union (1946–1958) and the founding of the French Community (1958)—last-ditch efforts both to "reform" the French colonial empire—to the emergence of the short-lived Federation of Mali, which after a brief period of self-rule within the French Community gained full sovereignty on June 20, 1960, before falling apart again two months later to produce the separate nations of Mali and Senegal.2 In this liminal half-decade, a space of untold ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Senegalese Wrestling as "National Sport" and Other Modern Myths in Lamb

    • Free pre-print version: Loading...

      Abstract: The short documentary film Lamb (1963), directed by Paulin Soumanou Vieyra (1925–1987), depicts Senegalese wrestling. For the first time, a film presented wrestling as a "national sport". The Senegalese wrestling appears in the film as a collective catharsis, an event capable of mobilizing emotions, whose regulatory function is the social cohesion of a young African nation. This article discusses the relations between mythical imaginary and post-colonial ideology in Lamb. As Mircea Eliade suggested, the modern political ideologies present remnants of ancient myths.1 Claude Lévi-Strauss stressed many times the proximity between political ideology and mythical thought.2 Roland Barthes was interested in the ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Paulin S. Vieyra's Iba N'Diaye: Seminal Modernists in Paint and Film

    • Free pre-print version: Loading...

      Abstract: As Paulin S. Vieyra's final film, Iba N'Diaye was produced between 1977 and 1980 and released in 1982, only one year before Vieyra's final book was published and five years before his death in 1987. As one of the film's narrators and N'Diaye's primary interlocutor, Vieyra is present in Iba N'Diaye, making it one of his last appearances on camera. In foregrounding the life and practice of the father of Senegalese painting in this documentary, Vieyra explores themes from his own experience as a creative individual, navigating the cultural spheres of independent Senegal and the world at large. Both men witnessed the liberation of Africa's nations from their unique vantage points as Africans moving between the ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Paulin Soumanou Vieyra: Imposing His Voice Within an Imposed Value System

    • Free pre-print version: Loading...

      Abstract: Upon the much-yearned arrival of Independence in some African nations in the 1960s, the cinema screen became a new canvas on which the cultural, political, and economic identities of the newly fledged states were sketched. During this era of marked political effervescence, the documentary form was attributed with the important roles of documenting a historic moment and articulating the ideals and ideologies of the filmmakers or regimes that commissioned work. The professional journey of each of these filmmakers played a pivotal role in their aesthetic and thematic choices. Their career path at this time was still largely determined by how they experienced the colonial project, notably in relation to their cinematic ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Paulin Soumanou Vieyra, the Soviet Union, and Cold War Circuits for
           African Cinema, 1958–1978

    • Free pre-print version: Loading...

      Abstract: A photo taken during the 1973 Moscow International Film Festival shows a bright summer day on a boat on the Moscow-Volga canal (fig. 1). It captures three people on a bench: Senegalese Paulin Soumanou Vieyra, Nigerian director Oumarou Ganda, and Estonian actress Eve Kivi. Kivi stares intently beyond the horizon, posing for the photographer. Ganda and Vieyra are engaged in a deep and comfortable conversation, ignoring both Kivi and the camera. That day on the boat, Vieyra was conducting anFigure 1VIII Moscow International Film Festival. From left: member of short film competition jury, director Oumarou Ganda (Nigeria); Soviet actress Eve Kivi; member of full-length feature film contest jury Paulin Vieyra ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Paulin Soumanou Vieyra in the Documents of the Rediscovered Audiovisual
           Archive of the Senegalese Ministry of Culture

    • Free pre-print version: Loading...

      Abstract: Paulin Soumanou Vieyra is mainly known as a pioneer of sub-Saharan cinema, a writer, critic, and film historian, but he is seldom remembered as the director of Actualités Sénégalaises, an important newsreel service in the two decades following Senegal's Independence.During the colonial period, information was provided by the news service AOF (Afrique Occidentale Française), which used radio and cinema newsreels to keep the population up to date on current affairs in the motherland—France—and the wider world, in order to perpetuate ties with the citizens of the colonies. When Senegal gained Independence in 1960, the departure of the French administration—despite its continued presence for practical cooperation—left ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Welcoming Paulin Vieyra's Papers to Indiana University's Black Film Center
           & Archive

    • Free pre-print version: Loading...

      Abstract: Permanent readiness for the marvelous.On September 5–6, 2019, the Black Film Center & Archive hosted an international and multidisciplinary workshop, Paulin Vieyra: Pioneer of African Cinemas—Filmmaker, Producer, Historian.1 Co-designed by me as director of the BFCA and Vincent Bouchard, Associate Professor of Francophone Studies, the workshop brought together a group of researchers, writers, and librarians to share what we knew and what we wanted to know about Vieyra through collectively exploring the feasibility of making a home for Vieyra's archives at Indiana University. Rather than simply "getting" the papers here, I wanted to build an environment where key faculty, staff, and students at IU and in the field ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen
           by Samantha N. Sheppard (review)

    • Free pre-print version: Loading...

      Abstract: The rise in athlete activism, and widespread protests by American and international sporting leagues, made headlines in 2020 as part of a broader conversation concerning police violence and racial discrimination. While certainly remarkable, this most recent embrace of social activism is one in a long list of boycotts, protests, sit-ins, and hashtags that have been mobilized by athletes and nonathletes alike in the struggle for racial equality. In Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen, Samantha N. Sheppard investigates the intersections of race, sports, media, and power to explore how connected histories surrounding subjects like protesting or collective resistance are mapped ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Film Review: La Negrada

    • Free pre-print version: Loading...

      Abstract: In preparation for the 2020 Census, the National Institute of Statistics and Geography (Instituto Nacional de Estadística, Geografía e Informática, or INEGI) conducted the Intercensal Survey (2015), and for the first time ever, included an afrodescendiente (Afro-descendant) category, a watershed moment for afromexicanos (Afro-Mexicans).1 Prior to 2015, Afro-Mexicans lacked constitutional recognition. The Mexican government quite literally did not count them in census data. Afro-Mexicans's invisibility dates back to the 1917 Constitution, which erased African heritage from a nascent Mexican identity.2 A postrevolutionary Mexican government furthered the erasure of Afro-Mexicans by unifying the country's ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
  • Professional Notes and Research Sources

    • Free pre-print version: Loading...

      Abstract: African American Arts: Activism, Aesthetics, and FuturitySharrell D. Luckett, Bucknell University Press, 2019African Diasporic Cinema: Aesthetics of ReconstructionDaniela Ricci, Michigan State University Press, 2020African Ecomedia: Network Forms, Planetary PoliticsCajetan Iheka, Duke University Press, 2021African Film Studies: An IntroductionBoukary Sawadogo, Routledge, 2018The Afterlives of Kathleen Collins: A Black Woman Filmmaker's Search for New LifeL. H. Stallings, Indiana University Press, 2021Algeria on Screen: Society, Politics, and Culture in the Films of Merzak AllouacheNabil Boudraa, Cambria Press, 2020The Algerian War in Film Fifty Years Later, 2004–2012 (After the Empire: The Francophone World and ... Read More
      PubDate: 2022-04-09T00:00:00-05:00
       
 
JournalTOCs
School of Mathematical and Computer Sciences
Heriot-Watt University
Edinburgh, EH14 4AS, UK
Email: journaltocs@hw.ac.uk
Tel: +00 44 (0)131 4513762
 


Your IP address: 18.232.177.219
 
Home (Search)
API
About JournalTOCs
News (blog, publications)
JournalTOCs on Twitter   JournalTOCs on Facebook

JournalTOCs © 2009-