1,720,961 research outputs found
Global Black Lives Matter, a Visual Essay:A Global Visual Journey of Black Lives Matter 2020
No full textThis visual essay is a global journey of the multiple demonstrations of protest and solidarity across the world, reflecting on how Black Lives Matter sparked actions of solidarity and demands for justice against police violence - everywhere connected by widespread inequality and institutional racism. In just one week hundreds of thousands of people mobilised and held protests in all fifty states of the United States and around the world. Social media, global news, graffiti, murals, and performances have visually accompanied the thousands of people who have marched across cities in every part of the world giving support to the Black Lives Matter movement sparked again in June 2020 by George Floyd's infamous murder. Local and global struggles have adapted the call for justice to their contexts of injustices whilst denouncing police brutality against Blacks and First People in the US and beyond. From the townships of Johannesburg to the favelas of Rio de Janeiro and the plains of South Dakota, a global movement was visually captured through smartphones, news reporters, viral videos and artwork. Performative parading and artistic actions were symbols of visual resistance alongside celebrity presence and filmmaker’s visual statements. A collage of images from multiple places in different contexts here aims to reflect on the powerful force of collective action and offer a visual sense of the protest. By selecting news clips, viral social media, photographs and videos, I have created a narrative to convey the power, diversity and global dimension of the Black Lives Matter as it erupted everywhere. The music inspired and framed the editing (here curated by Raffaello Rossini, editor of the visual essay). Testimonies from key speakers, policy makers (Cuomo), intellectuals (Cornel West), celebrities and activists led the analysis and reflections on the moment. I especially valued the effect of viewing these images together again after a year since the protest sparked, as images dissolve in the flows of visual communication. Some key moments that were visually captured were in fact striking, catalytic in fixing the moment, and transformative (see Kaur and Klinkert in this issue)
Anthropology and Cinema: Visual Representations of Human Rights, Displacement and Resistance in Come Back Africa by Lionel Rogosin
No full textThis article is devoted to reevaluating the anthropological importance of the work of Lionel Rogosin, whose films, like those of Jean Rouch and Robert Flaherty before him, reflect a symbiosis between cinema and visual research. Focused on apartheid, civil rights, and displacement, his filmmaking activity includes such important titles as Come Back Africa [2004], on the apartheid in South Africa during the 1950s, and Onthe Bowery [1956], located in inner-city New York in the 1960s. I believe his work should be positioned within anthropology and cinema, and analyzed for use of an approach of the ‘‘participant camera.’
Migrant cinema: Transnational and guerrilla practices of film productions and representations
No full textThis paper explores the transnational industry of migrant cinema. It particularly addresses the production and ‘guerrilla film-making’ of this genre in Italy, whilst aspects of representation and diversity, identity and cultural participation. I focus on the means of production and distribution as they have expanded in a transnational strategy of international co-productions beyond post-colonial communication and cooperation flows, and within new dynamics created by digital technology
Towards a Fifth Cinema
No full textFollowing other advances in international film movements, namely Third and Fourth Cinema, we propose the concept of Fifth Cinema to refer to a composite of audio-visual production developed primarily by refugees and/or enabled with their interests and stories at the centre. Although the experience of expatriation varies greatly from one person to the next, Fifth Cinema exhibits certain stylistic similarities, from the films’ open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and its transgression. Characteristically, it is a cinema that is nomadic, insecure, fragmented, displaced, bricoleur, accented, hybrid. Emotionally and politically fraught, it is emergency cinema, getting unheard voices heard. It is a smart cinema enabled by the spread of digital technologies making it instantaneous, dispensable yet indispensable as a record of a millennial phenomenon. By no means a concerted social movement, it is certainly about reflecting on the surge of individual movements and their filmic outputs, occasionally collective as the result of shared endeavours and co-productions. In this article, we chart some key features and proponents of Fifth Cinema as an ‘open corpus’ and as part of making a political statement: that refugee conditions and contributions are appreciated, valorised and supported with the means to represent themselves, creatively, interculturally and politically through the (co-)production of their own stories with what we propose as an ‘open poethic’ approach
Introduction - Global Black Lives Matter: Representations of resistance, memory and politics
Get PDFViral videos, murals, graffiti, performance activism, tumbling statues, and Black Atlantic film screenings are all part of empowering audio-visual-digital narratives that contribute to the rising momentum against ongoing institutional racism - on the backs of the legacies of colonialism, slavery and exploitation across the world. From the Rhodes Must Fall movement that started in South Africa, the townships of Johannesburg, the favelas of Rio de Janeiro and Black Lives Matter in US and UK, to the reclaiming of rights of indigenous communities, migrant ‘braccianti’ in Italy, Palestinians in Israeli-occupied territories among other ethno-racial minorities - audio-visual-digital conduits have connected local and global struggles for rights and recognition in the face of state brutality, corporate collaborations and racist violent attacks. This is amid growing awareness of the disproportionate impact of the COVID-19 pandemic on marginalised Black, migrant, minority, and indigenous communities – further linking social exclusion and health inequalities to ethnic or racial discrimination. Triggered by the global protests that sparked in the United States following the atrocious murder of George Floyd in May 2020, we set out to explore such mediated representations and performances as ‘catalytic signifiers’ in moments of rupture (Kaur) that play a major contributory role in explosive uprisings (Grassilli) even while they may be limited in terms of their long-term effects (Stewart 2015). We recognise that this is not the first time that such revolt has occurred mobilised by grassroots media – the police killings of Michael Brown, Trayvon Martin and Eric Garner among many others also acted like lightning rods where their deaths were differently mediated as with in situ audio-visual testimony, post-death imagery, audio recordings before a fatal shot, and online calls in a series of recurrent hauntings (see Cox 2015)
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
