Gaze Regimes
Описание книги
Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners. The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa’s film practitioners.
Оглавление
Tsitsi Dangarembga. Gaze Regimes
Contents
ACKNOWLEDGEMENTS
FOREWORD
INTRODUCTION: BY WAY OF CONTEXT AND CONTENT
REFERENCES
NOTES
CHAPTER 1: AFRICAN WOMEN IN CINEMA: AN OVERVIEW1
REFERENCES
NOTES
CHAPTER 2: ‘I AM A FEMINIST ONLY IN SECRET’
CHAPTER 3: STAGED AUTHENTICITY: FEMININITY IN PHOTOGRAPHY AND FILM
WRITING
PHOTOGRAPHY
FILM
VIRTUAL VIOLABILITY
REFERENCES
NOTES
CHAPTER 4: ‘POWER IS IN YOUR OWN HANDS’: WHY JIHAN EL-TAHRI DOES NOT LIKE MOVEMENTS
NOTES
CHAPTER 5: AFTERMATH – A FOCUS ON COLLECTIVE TRAUMA
REFERENCES
NOTES
CHAPTER 6: SHOOTING VIOLENCE AND TRAUMA: TRAVERSING VISUAL AND SOCIAL TOPOGRAPHIES IN ZANELE MUHOLI’S WORK
REFERENCES
NOTES
CHAPTER 7: PUK NINI – A FILMIC INSTRUCTION IN SEDUCTION: EXPLORING CLASS AND SEXUALITY IN GENDER RELATIONS
REFERENCES
CHAPTER 8: I AM SAARTJIE BAARTMAN
REFERENCES
NOTES
CHAPTER 9: FILMMAKING AT THE MARGINS OF A COMMUNITY: ON CO-PRODUCING ELELWANI
REFERENCES
CHAPTER 10: ON COLLECTIVE PRACTICES AND COLLECTED REFLECTIONS
REFERENCE
NOTES
CHAPTER 11: ‘CINEMA OF RESISTANCE’1
REFERENCES
NOTES
CHAPTER 12: DARK AND PERSONAL
REFERENCES
NOTES
CHAPTER 13: ‘CHANGE? THIS MIGHT MEAN TO SHOVE A FEW MEN OUT’
CHAPTER 14: BARAKAT! MEANS ENOUGH!
REFERENCES
NOTES
CHAPTER 15: ‘WOMEN, USE THE GAZE TO CHANGE REALITY’
REFERENCES
NOTES
CHAPTER 16: POST-COLONIAL FILM COLLABORATION AND FESTIVAL POLITICS
NOTES
CHAPTER 17: TSITSI DANGAREMBGA: A MANIFESTO
Acronyms and Abbreviations
List of Contributors
Filmography
Index. A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
Отрывок из книги
GAZE REGIMES
FILM AND FEMINISMS IN AFRICA
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… the new members of the FEPACI believed their prophetic mission was to unite and to use film as a tool for the liberation of the colonized countries and as a step toward the total unity of Africa. It was in this sense that in its early days FEPACI sought to be affiliated with its sister association, the Organization of African Unity (OAU). In 1969, at the Festival Panafricain de la Culture in Algiers, African filmmakers gathered to create an inter-African organization (1992:39).
The establishment of FEPACI was a defining moment for the programmatic agenda of ‘decolonising cinema’.
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