By Josef Gugler
In African movie: Re-imagining a Continent, Josef Gugler presents an creation to African cinema via an research of 15 movies made by way of African filmmakers. those administrators got down to re-image Africa; their movies supply Western audience the chance to re-imagine the continent and its humans. As some degree of comparability, extra motion pictures on Africa—one from Hollywood, the opposite from apartheid South Africa—serve to focus on African directors’ altogether diverse views.
Gugler’s interpretation considers the monetary and technical problems of African movie construction, the meant audiences in Africa and the West, the restrictions on distribution, and the severe reception of the movies.
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Extra resources for African Film: Re-Imagining a Continent
The change to the title Mean Streets was not isolated; it was part of a larger movement within the script and film as a whole to make the film more socially intelligible to a wider constituency. The reference to Raymond Chandler in the title is merely one of many allusions the film makes to American popular culture, especially Hollywood cinema, as an attempt by Scorsese to locate Mean Streets within a filmmaking tradition. The characters in the film may be from a culturally specific group, but this culture has now been transformed by its connection with the world of mass entertainment represented by Hollywood cinema.
2006) Gangster Priest: The Italian American Cinema of Martin Scorsese. Toronto: University of Toronto Press. Ebert, R. (1997) When Taxi Driver meets Pulp Fiction. Chicago Sun-Times (February 9, 1997). Farber, S. (1975) Has Martin Scorsese gone Hollywood? New York Times (March 30, 1975): C1, C13. Geraghty, C. (1976) American cinema in the 70s: Alice Doesn’t Live Here Anymore. Movie, 22: 39–42. How Scorsese Became Scorsese 37 Goldstein, R. and Jacobson, M. (1976/1999) Martin Scorsese tells all: blood and guts turn me on!
And there you have the difference between the work of Paul Schrader and Quentin Tarantino” (Ebert, 1997). In the same article, Schrader describes his understanding of the ironic or postmodern view of art: “Everything in the ironic world has quotation marks around it. You don’t actually kill somebody; you ‘kill’ them. ” It is this postmodern irony that would be so often accused of nihilism in the following decade. This accusation of nihilism would extend beyond the journalistic realm detailed by Sconce.
African Film: Re-Imagining a Continent by Josef Gugler