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Framing Africa : Portrayals of a Continent in Contemporary Mainstream Cinema / ed. by Nigel Eltringham.

Contributor(s): Material type: TextTextPublisher: New York ; Oxford : Berghahn Books, [2013]Copyright date: ©2013Description: 1 online resource (176 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781782380733
  • 9781782380740
Subject(s): DDC classification:
  • 791.43/651 23
LOC classification:
  • PN1995.9.A43 F73 2013
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Introduction. Cinema/Chimera? The Re-presencing of Africa in Twenty-First-Century Film Nigel Eltringham -- One. ‘Print the Legend’: Myth and Reality in The Last King of Scotland Mark Leopold -- Two. Black Hawk Down: Recasting U.S. Military History at Somali Expense Lidwien Kapteijns -- Three. Pharma in Africa: Health, Corruption and Contemporary Kenya in The Constant Gardener Daniel Branch -- Four. War in the City, Crime in the Country: Blood Diamond and the Representation of Violence in the Sierra Leone War Danny Hoffman -- Five. Showing What Cannot Be Imagined: Shooting Dogs and Hotel Rwanda Nigel Eltringham -- Six. Torture, Betrayal and Forgiveness: Red Dust and the Search for Truth in Post-Apartheid South Africa Annelies Verdoolaege -- Seven. Go Amabokoboko! Rugby, Race, Madiba and the Invictus Creation Myth of a New South Africa Derek Charles Catsam -- Notes on Contributors -- Index
Summary: The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781782380740

Frontmatter -- Contents -- Introduction. Cinema/Chimera? The Re-presencing of Africa in Twenty-First-Century Film Nigel Eltringham -- One. ‘Print the Legend’: Myth and Reality in The Last King of Scotland Mark Leopold -- Two. Black Hawk Down: Recasting U.S. Military History at Somali Expense Lidwien Kapteijns -- Three. Pharma in Africa: Health, Corruption and Contemporary Kenya in The Constant Gardener Daniel Branch -- Four. War in the City, Crime in the Country: Blood Diamond and the Representation of Violence in the Sierra Leone War Danny Hoffman -- Five. Showing What Cannot Be Imagined: Shooting Dogs and Hotel Rwanda Nigel Eltringham -- Six. Torture, Betrayal and Forgiveness: Red Dust and the Search for Truth in Post-Apartheid South Africa Annelies Verdoolaege -- Seven. Go Amabokoboko! Rugby, Race, Madiba and the Invictus Creation Myth of a New South Africa Derek Charles Catsam -- Notes on Contributors -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)