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Revolution & Cinema

In this volume we gathered the contributions of various researchers that aim to address the relationship between cinema and revolution. The book opens with a conversation between Ros Gray, specialist in militant filmmaking, particularly in relation to liberation struggles and revolutionary movements...

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Furkejuvvon:
Váldodahkkit: Ribas, Daniel, Crespo, Nuno, Gray, Ros, Givanni, June, Silva, Aldones, Cardoso, Eduardo Prado, Gil, Isabel Capeloa, Duarte, João Oliveira, Mason, Matthew, Uras, Riccardo
Materiálatiipa: Online
Giella:eaŋgalasgiella
Almmustuhtton: UCP Press 2025
Fáttát:
Cinema; Pan-African cinema; Film
thema EDItEUR::A The Arts
thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism
thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFB Individual film directors, film-makers
Liŋkkat:https://directory.doabooks.org/handle/20.500.12854/148233.2
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Čoahkkáigeassu:In this volume we gathered the contributions of various researchers that aim to address the relationship between cinema and revolution. The book opens with a conversation between Ros Gray, specialist in militant filmmaking, particularly in relation to liberation struggles and revolutionary movements in Mozambique, Angola, Guinea-Bissau and Burkina Faso, and June Givanni, film curator, archivist, international consultant around Pan-African cinema and founding director of the June Givanni Pan-African Cinema Archive (JGPACA). This volume also gathers contributions by: Aldones Silva on the work of the Brazilian visual artist Marcela Cantuária; Eduardo Prado Cardoso and his reading of the film Malunguinho directed by Felipe Peres Calheiros; Isabel Capeloa Gil on colonial memories of Portuguese cinema; João Oliveira Duarte and the relationship between present, future and past in Fiona Tan’s work Facing Forward; Matthew Mason and the tension between Marxism and post-modernism via Jean-Luc Godard’s La Chinoise; and Riccardo Uras on the absence of debate on Italy’s colonial past and its myths, through the analysis of Adwa: An African Victory by Haile Gerima, and Blood Is Not Fresh Water by Theo Eshetu.

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