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 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.

CONTENTS

INTRODUCTION 

CINEMA CAN MAKE A CHANGE IN THE WORLD

A CONVERSATION BETWEEN ROS GRAY AND JUNE GIVANNI

Ros Gray & June Givanni

COLONIALISM, HISTORY AND MEMORY IN ADWA:

AN AFRICAN VICTORY AND BLOOD IS NOT FRESH WATER

Riccardo Uras

A RIP IN TIME: 

CRIME AND POETRY IN MALUNGUINHO

Eduardo Prado Cardoso

MARCELA CANTUÁRIA AND LATIN AMERICAN CINEMA:

PAINTING AND DOCUMENTARY FROM AN ANTIHEGEMONIC PERSPECTIVE

Aldones Silva

THE STRANGENESS OF WHAT WE ARE:

FIONA TAN’S FACING FORWARD.

João Oliveira Duarte

BETWEEN MARXISM AND POSTMODERNISM:

‘CULTURAL REVOLUTION’ AND THE SINOSOVIET SPLIT AS ENTERTAINMENT IN JEAN-LUC GODARD’S LA CHINOISE (1967)

Matthew Mason