Situated within an emerging academic interest in documentary film in the Middle East and North Africa, this book studies the development of diverse documentary forms in relation to revolutionary and emancipatory movements that took place across the twentieth-century Arab World.
Situated within an emerging academic interest in documentary film in the Middle East and North Africa, this book studies the development of diverse documentary forms in relation to revolutionary and emancipatory movements that took place across the twentieth-century Arab World.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Viola Shafik is a filmmaker, curator and film scholar. She is the author of several books on Arab cinema and has taught at the American University in Cairo, Egypt, Zürich University, Switzerland, Humboldt University, Berlin, Germany and Ludwig Maximilians University, Munich, Germany. She has also worked as a consultant for numerous international film festivals and film funds - such as La Biennale di Venezia and the World Cinema Fund - as well as directing documentaries including My Name Is Not Ali (2011) and Arij ¿ Scent of Revolution (2014).
Inhaltsangabe
Introduction 1. Cameramen, their Heroes and the Expansion of Time 2. Voice of the People or Voice of Authority? 3. Encrypting Revolution 4. Wars of Liberation, Wars of Publicity 5. Authorial Dissidence 6. Direct Cinema in Excess 7. Film Collectivism's Revolutionary Scope 8. A Subjective Revolution? 9. Staging and Performing (Gendered) Resistance 10. Cinematic Archeologies and their Archives Instead of a Conclusion
Introduction 1. Cameramen, their Heroes and the Expansion of Time 2. Voice of the People or Voice of Authority? 3. Encrypting Revolution 4. Wars of Liberation, Wars of Publicity 5. Authorial Dissidence 6. Direct Cinema in Excess 7. Film Collectivism's Revolutionary Scope 8. A Subjective Revolution? 9. Staging and Performing (Gendered) Resistance 10. Cinematic Archeologies and their Archives Instead of a Conclusion
Introduction 1. Cameramen, their Heroes and the Expansion of Time 2. Voice of the People or Voice of Authority? 3. Encrypting Revolution 4. Wars of Liberation, Wars of Publicity 5. Authorial Dissidence 6. Direct Cinema in Excess 7. Film Collectivism's Revolutionary Scope 8. A Subjective Revolution? 9. Staging and Performing (Gendered) Resistance 10. Cinematic Archeologies and their Archives Instead of a Conclusion
Introduction 1. Cameramen, their Heroes and the Expansion of Time 2. Voice of the People or Voice of Authority? 3. Encrypting Revolution 4. Wars of Liberation, Wars of Publicity 5. Authorial Dissidence 6. Direct Cinema in Excess 7. Film Collectivism's Revolutionary Scope 8. A Subjective Revolution? 9. Staging and Performing (Gendered) Resistance 10. Cinematic Archeologies and their Archives Instead of a Conclusion
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