Although both the novel and the film follow roughly the same structure, th. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels.
The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance.
Bringing together multidisciplinary perspectives on African crises through postmillennial films, the book addresses the need to situate global south cultural studies within the region. The book employs film criticism and semiotics as devices to decode contemporary cultures of African cities, with a specific focus on crisis. Drawing on a variety of contemporary theories on cities of the global south, especially Africa, the book sifts through nuances of crisis urbanism within postmillennial African films.
In doing so the book offers unique perspectives that move beyond the confines of sociological or anthropological studies of cities. It argues that crisis has become a mainstay reality of African cities and thus occupies a central place in the way these cities may be theorized or imagined.
The book considers crises of six African cities: nonentity in post-apartheid Johannesburg, laissez faire economies of Kinshasa, urban commons in Nairobi, hustlers in postwar Monrovia, latent revolt in Cairo, and cantonments in postwar Luanda, which offer useful insights on African cities today. The book will be of interest to students and scholars of urban studies, urban geography, urban sociology, cultural studies, and media studies. The rich and multifarious range of film and literature emanating from Africa and the diaspora provides a fascinating lens through which we can understand the complex consequences of gendered violence on the lives of women, children and minorities.
Contributors to this volume examine the many ways in which gendered violence mirrors, expresses, projects and articulates the larger phenomenon of human rights violations in Africa and the African diaspora and how, in turn, the discourse of human rights informs the ways in which we articulate, interrogate, conceptualise and interpret gendered violence in literature and film.
The book also shines a light on the linguistic contradictions and ambiguities in the articulation of gendered violence in private spaces and war. This book will be essential reading for scholars, critics, feminists, teachers and students seeking solid grounding in exploring gendered violence and human rights in theory and practice.
Yet most western movie audiences live in cultures that do not value this necessary process and filmgoers finding themselves deeply moved by a particular film are often left wondering why. In Cinema as Therapy, John Izod and Joanna Dovalis set out to fill a gap in work on the conjunction of grief, therapy and cinema.
By analysing the meaning of each film and the root cause of the particular losses featured, the authors demonstrate how our experiences in the movie theatre create an opportunity to prepare psychologically for the inevitable losses we must all eventually face.
In recognising that the movie theatre shares symbolic features with both the church and the therapy room, the reader sees how it becomes a sacred space where people can encounter the archetypal and ease personal suffering through laughter or tears, without inhibition or fear, to reach a deeper understanding of themselves.
Cinema as Therapy will be essential reading for therapists, students and academics working in film studies and looking to engage with psychological studies in depth as well as filmgoers who want to explore their relationship with the screen. The book includes a glossary of Jungian and Freudian terms which enhances the clarity of the text and the understanding of the reader.
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