"As the dominant narrative forms in the age of media convergence, films and games call for a transmedial perspective in narratology. Games allow a participatory reception of the story, bringing the transgression of the ontological boundary between the narrated world and the world of the recipient in
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to focus. These diverse transgressions - medial and ontological - are the subject of this transdisciplinary compendium, which covers the subject in an interdisciplinary way from various perspectives: game studies and media studies, but also sociology and psychology, to take into account the great influence of storytelling on social discourses and human behavior." (Publisher description)
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"La representación de la mujer en el cine de Colombia ha tendido a estar asociada a nociones de sumisión, victimización o sexualización, sugiriendo una cierta uniformidad, invisibilidad y repetición acerca de su existencia social y cinematográfica. A pesar de esta complejidad cultural e histó
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rica, existe una serie de producciones colombianas hechas en el nuevo milenio que trascienden los sesgos de género patriarcales y las dicotomÃas morales sobre la mujer en la pantalla grande. Teniendo en cuenta la sanción de la Ley de Cine 814 de 2003, la cual ha tenido un impacto positivo en el sector cinematográfico colombiano, este libro propone examinar de forma inédita, conjunta y crÃtica, diversas maneras en que las mujeres son representadas en un grupo de pelÃculas de ficción colombianas del siglo XXI. Bajo un prisma interdisciplinario de estudios de cine, feministas, poscoloniales y subalternos, este trabajo ofrece un enfoque temático y un análisis textual de un total de doce pelÃculas en el que se analizan imágenes de la mujer en el cine de Colombia, reconociendo sus raÃces en las normas que ha establecido el patriarcado, y sus eventuales transgresiones. De este modo, este libro explora e invita a celebrar representaciones diversas y emergentes de la mujer entendiendo el silencio y la sumisión como factores subversivos, los tipos de emancipación de la mujer dentro de grupos al margen de la ley, y la sexualidad y el deseo de las mujeres como agentes de cambio al hablar de la feminidad. Esta obra argumenta que la Ley de Cine creó un espacio para que los y las cineastas representaran los lÃmites de las normas de género hegemónicas en la sociedad colombiana y los esfuerzos que se vienen haciendo para desafiarlas a través de su cine." (Resumen)
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"Comprising 39 chapters by a team of international contributors, the Handbook is divided into six general themes: Gendered identities; Visualizing gender; The politics of gender; Gendered contexts and strategies; Gendered violence and communication; Gendered advocacy in action These sections examine
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central issues, debates, and problems including: the ethics and politics of gender as identity, impacts of media and technology, legal and legislative battlegrounds over gender inequality and LGBTQ+ human rights, changing institutional contexts, and recent research into communication and gendered violence. The final section links academic research on communication and gender to activism and advocacy beyond the academy." (Publisher description)
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"Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, a
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llegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts - developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack - to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi." (Publisher description)
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"Since the beginnings of African cinema, the realm of beauty on screen has been treated with suspicion by directors and critics alike. James S. Williams explores an exciting new generation of African directors, including Abderrahmane Sissako, Mahamat-Saleh Haroun, Fanta Regina Nacro, Alain Gomis, Ne
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wton I. Aduaka, Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and embrace the concept of cinematic beauty by not reducing it to ideological critique or the old ideals of pan-Africanism. Locating the aesthetic within a range of critical fields - the rupturing of narrative spectacle and violence by montage, the archives of the everyday in the "afropolis", the plurivocal mysteries of sound and language, male intimacy and desire, the borderzones of migration and transcultural drift - this study reveals the possibility for new, non-conceptual kinds of beauty in African cinema: abstract, material, migrant, erotic, convulsive, queer. Through close readings of key works such as Life on Earth (1998), The Night of Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille soleils (2013) and Timbuktu (2014), Williams argues that contemporary African filmmakers are proposing propitious, ethical forms of relationality and intersubjectivity. These stimulate new modes of cultural resistance and transformation that serve to redefine the transnational and the cosmopolitan as well as the very notion of the political in postcolonial art cinema." (Publisher description)
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"[This book] reflects on the extent to which films can play an active role in denouncing human rights abuses and exposing the struggle for visibility of different social movements and minorities. This collection explores Latin American cinema’s representations of human rights violators and oppress
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ed subjects and groups. In so doing, it aims to assess the long overdue relation between cinema and human rights in the region, thus opening new avenues to understanding cinema’s role in social transformation. In effect, the chapters relate to at least one of these three main themes: human rights, social movements and activism. They seek to demonstrate the various ways they have been depicted in contemporary Latin American films, especially in the twenty-first century. Together, the chapters reinforce the importance of examining the ways in which contemporary Latin American cinema has explored human rights issues, while offering new perspectives to the study of (trans)national and world cinemas. Moreover, they explore the main themes and concepts covered in the volume in order to reveal the different aesthetic, political, social and historical representations of human rights in cinema." (Introduction, page 2)
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"Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas such as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of
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filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners." (Publisher description)
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"Seit Erscheinen des Buches «Movie-mientos. Der lateinamerikanische Film: Streiflichter von unterwegs» im Jahre 2000 hat sich viel getan in der lateinamerikanischen Filmszene: Parallel zur Wirtschaftskrise, die Länder wie Argentinien durchmachten, erlebte das dortige Kino trotz finanzieller EngpÃ
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¤sse eine kreative Blüte, deren Ausstrahlung weit über die Grenzen des Kontinentes hinaus ging. Auch Filmemacher anderer Länder, wie etwa der Brasilianer Fernando Meirelles («Cidade de Deus»/«City of God») oder der Mexikaner Alejandro González Iñárritu («Amores perros», erregten mit ihren zutiefst eindrucksvollen, die gesellschaftlichen Krisen und Gewaltverhältnisse ungeschönt beschreibenden und gleichzeitig künstlerisch originellen Filmen international Aufsehen. Das lateinamerikanische Kino hat sich in den letzten Jahren in rapidem Tempo globalisiert. Die Zahl der internationalen Koproduktionen mit Europa ist gestiegen. Insbesondere die Verflechtungen mit Spanien sowie, im Falle Mexikos, mit den USA haben sich weiter verfestigt, und auch in Deutschland konsolidierte sich eine kleine, aber solide Infrastruktur für Festivals, Verleih und Koproduktionen mit Lateinamerika. Etliche lateinamerikanische Regisseure arbeiten mittlerweile regelmäßig in den USA oder in Europa. Ihre Filme handeln auch, aber nicht nur von «latino-spezifischen» Themen wie Migration und kultureller Identität, sondern decken fast die ganze Bandbreite filmerischer Genres und Schauplätze ab. Lateinamerika, der Kontinent, in dem sich seit Jahrhunderten Kulturen sowohl gewaltsam als auch lustvoll und spielerisch vermischen, kreiert auch im neuen Jahrtausend eine vielstimmige und daher universelle Kinosprache." (Verlagsbeschreibung)
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"This book aims to acquaint the reader with English-language films whose characters include a woman of color, specifically an American woman character who belongs to a minority group or a woman of the Third World," explains Oshana. Even, as in many cases, when the role is played by a white woman, it
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is included; emphasis is on character of women's roles rather than on the actresses. Coverage is from 1930 to 1983, and consists mainly of films from the U.S., with a few from Britain. No attempt is made to be comprehensive; this, says the author, would be almost impossible because of the number of black and Hispanic women playing servants. Nor are silent films listed. Even so, there are more than 1,700 entries, each of which contains a filmography and brief synopsis. An actress index giving only actresses playing minority roles is followed by a director's index, and a minority/Third World classification index beginning with the 'Arabian Nights' and ending with the South Sea Islands." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 1412)
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