Ana Barroso | Ana Gago | Anna Rebecca Unterholzner | Beatriz Albuquerque | Beny Wagner | Carolina Baptista | Chiara Pussetti | Constança Babo | Daniel Tavares | Doug Bailey | Federica Manfredi | Filipa Sofia C. Carvalho e Cruz | Filippo Deorsola | Frederico Henriques | João Pedro Amorim | Mário Bruno Pastor | Milan Kroulík | Nádia Moura | Rosinda Casais | Sasha Litvintseva
Aldones Silva | Eduardo Prado Cardoso | Isabel Capeloa Gil | João Oliveira Duarte | June Givanni | Matthew Mason | Riccardo Uras | Ros Gray
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
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