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Contemporary cinematic constructions...

Barnes, Kristen Gail.

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Contemporary cinematic constructions of French and Francophone African immigrant identities: (1950--The present).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Contemporary cinematic constructions of French and Francophone African immigrant identities: (1950--The present)./
作者:	Barnes, Kristen Gail.
面頁冊數:	262 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4245.
Contained By:	Dissertation Abstracts International64-12A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3114960

Contemporary cinematic constructions of French and Francophone African immigrant identities: (1950--The present).
Barnes, Kristen Gail.

Contemporary cinematic constructions of French and Francophone African immigrant identities: (1950--The present). - 262 p.

Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4245.

Thesis (Ph.D.)--Duke University, 2003.

The subject of my dissertation is cinematic constructions of African immigrant and French identities. I analyze <italic>Vivre au Paradis</italic> (Bourlem Guerdjou), <italic>Soleil Ô</italic> (Med Hondo), <italic> La Noire de…</italic> (Ousmane Sembene), and <italic>Mémoires d'immigrés</italic> (Yamina Benguigui) from cultural, aesthetic, and political perspectives to consider representations of peoples of African heritage. As a comparative corpus, I examine <italic>La Bataille d'Alger</italic> (Gillo Pontecorvo), <italic>Cléo de cinq à sept</italic> (Agnès Varda),<italic> Ici et Ailleurs</italic> (Jean-Luc Godard, Anne-Marie Miéville), <italic> Le Joli Mai</italic> (Chris Marker, Pierre Lhomme), and <italic>Chronique d'un été</italic> (Jean Rouch, Edgar Morin).Subjects--Topical Terms:

854529
Cinema.

Contemporary cinematic constructions of French and Francophone African immigrant identities: (1950--The present).
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100 1 $a Barnes, Kristen Gail. $3 1945625
245 1 0 $a Contemporary cinematic constructions of French and Francophone African immigrant identities: (1950--The present).
300 $a 262 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4245.
500 $a Supervisor: Jane Gaines.
502 $a Thesis (Ph.D.)--Duke University, 2003.
520 $a The subject of my dissertation is cinematic constructions of African immigrant and French identities. I analyze <italic>Vivre au Paradis</italic> (Bourlem Guerdjou), <italic>Soleil Ô</italic> (Med Hondo), <italic> La Noire de…</italic> (Ousmane Sembene), and <italic>Mémoires d'immigrés</italic> (Yamina Benguigui) from cultural, aesthetic, and political perspectives to consider representations of peoples of African heritage. As a comparative corpus, I examine <italic>La Bataille d'Alger</italic> (Gillo Pontecorvo), <italic>Cléo de cinq à sept</italic> (Agnès Varda),<italic> Ici et Ailleurs</italic> (Jean-Luc Godard, Anne-Marie Miéville), <italic> Le Joli Mai</italic> (Chris Marker, Pierre Lhomme), and <italic>Chronique d'un été</italic> (Jean Rouch, Edgar Morin).
520 $a Using semiological, post-structuralist, and comparative strategies, I consider several key questions: (1) How are African and French identities filmically constructed? (2) What myths shape African and French identities? (3) To what extent do the films express a hybrid French-African imaginary? (4) What strategies of resistance do the texts offer to counter and destabilize representations of peoples of African heritage in French discourse? (5) How do these works reshape the contemporary debates in France regarding identity and nation? (6) What images, tropes, and sounds are privileged? (7) How do the cineastes define the space of African people within the world?
520 $a African cinema is situated at the intersection of a series of theoretical and political discourses. The artistic works that define my corpus exemplify this complexity in their subject matter and in that they were produced by artists who currently reside in France but are linked by heritage to France's former colonies of Algeria, Mauritania, and Senegal. Juxtaposing the texts of African cineastes with those of other filmmakers, I seek to mark the contributions of African people to France's debates regarding its character and content, as a nation. Further, I attempt to demonstrate that the African “Other,” as configured in mainstream French discourse, is integral to France's definitions of its culture and identity. Finally, I seek to establish that the artistic works of my corpus display a distinct aesthetic, essential to which is the shift of the powers of representation and critique to those who were formerly limited to being objectified in French discourse.
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