Black film British cinema II / Clive Nwonka, Anamik Saha.
Publisher: London : Goldsmith's Press, 2021Description: 300 pages ; 23 cmContent type: text Media type: unmediated Carrier type: volume001: BDZ0045646533ISBN: 9781912685639 (hbk.) :Subject(s): Motion pictures -- Social aspects -- Great Britain | Blacks in motion pictures | Race in motion pictures | Performing Arts | Films, cinema | Dance | Ethnic studies | Electronic, holographic & video art | Film: styles & genres | Relating to ethnic minorities & groupsDDC classification: 791.43652996041 LOC classification: PN1995.9.N4Summary: Considering the politics of race in British screen culture over the last 30 years, addressing the institutional, textual, cultural, and political shifts that have occurred during this period. The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period. Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race. Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodrguez, Tess S. Skadegrd Thorsen, Natalie Wreyford.| Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|---|
| Book | MAIN LIBRARY Book | 791.436 NWO (Browse shelf(Opens below)) | 1 | Available | 114016 | |||
| Book | MAIN LIBRARY Book | 791.436 NWO (Browse shelf(Opens below)) | 2 | Checked out | 26/04/2022 | 114017 |
Enhanced descriptions from Syndetics:
The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period.
Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema , marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics , curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race.
Contributors
Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Ozlem Koksal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodriguez, Tess S. Skadeg rd Thorsen, Natalie Wreyford
Considering the politics of race in British screen culture over the last 30 years, addressing the institutional, textual, cultural, and political shifts that have occurred during this period. The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period. Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race. Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodrguez, Tess S. Skadegrd Thorsen, Natalie Wreyford.
Table of contents provided by Syndetics
- Contributors (p. ix)
- Preface (p. xv)
- 1 Film, Culture, and the Politics of Race: An Introduction to Black Film British Cinema II (p. 1)
- Part I The New Politics of Representation in Black Film (p. 19)
- 1 Black Film British Cinema: In Three Acts (p. 21)
- 2 On Digitopia and Neoliberal Multiculturalism: Black Cinema and the Image's Digital Regime (p. 41)
- 3 Violence, Above All, Is What Maintains the Breach: Racial Categorisation and the Flattening of Difference (p. 55)
- Part II Black Film Aesthetics (p. 69)
- 4 From Harlem to Mazatlán: Transnational Desires and Queer of Colour Politics in the Work of Isaac Julien (p. 71)
- 5 Understanding Steve McQueen (p. 81)
- 6 Circumventing the Spectacle of Black Trauma in Practice (p. 91)
- Part III Curatorship, Exhibition, and Arts Practice (p. 107)
- 7 An Invitation to Enchantment: How Exhibition and Curation Connect Black Film and British Cinema (p. 109)
- 8 Spaces of Intervention: Politics, Aesthetics, and Archives in the Films of John Akomfrah (p. 125)
- 9 Cosmopolitanism, Contemplation, and the Ontopolitics of Movement in John Akomfrah's Gallery Practice (p. 143)
- Part IV The Politics of Diversity (p. 163)
- 10 'Could You Hire Someone Female or from an Ethnic Minority?': Being Both: Black, Asian, and other Minority Women Working in British Film Production (p. 165)
- 11 'Enriching Danish Film with Cultural Diversity': Danish Representational Politics through the Lens of the Danish Film Institute (DFI) (p. 185)
- 12 The Power of Data: BFI, Black Star, and the True Landscape of Diversity in the UK Film Industry (p. 203)
- 13 A Woman Is Watching: Reflections on Film, When Film Doesn't Reflect You (p. 215)
- Index (p. 225)
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