Film and Media Studies Commons^™

Imaginaire De La Fin, Icônes, Esthétique. (Ir)Représenter La Post-Apocalypse Dans La Bande Dessinée Et Le Cinéma Du Génocide Tutsi., Alain Agnessan

Electronic Thesis and Dissertation Repository

Cette étude sur la bande dessinée et le cinéma du génocide tutsi s’écarte de l’analyse désormais canonique des politiques mémorielles et pratiques testimoniales pour en investir le parti pris post-apocalyptique . Elle s’agence en deux volets, ou, plutôt, en deux lieux de regard. Envisageant l’imaginaire de la fin qui s’est constitué autour du génocide tutsi, le premier volet de l’étude s’attelle à décrire une scène « cross-traumatic » ou transtraumatique, appelée génoscape, sur laquelle la pensée, les images et les discours critiques lient le destin éthique, esthétique et épistémique du génocide tutsi à celui de la Shoah. Cette démarche …

Indigenous Representation In Cinema, Nathaniel Ninham

2019 Cohort

Indigenous people are underrepresented offscreen on film-sets, and misrepresented onscreen. This has always been true in cinema and progress towards proper representation has been incredibly slow.

This has effects both on Indigenous people, and how the rest of society views them. It limits career opportunities for Indigenous filmmakers, restricts Indigenous role models on film, and reinforces cultural misunderstandings in society.

Indigenous Representation In Cinema, Nathaniel Ninham

Head and Heart Posters 2019

Indigenous people are underrepresented offscreen on film-sets, and misrepresented onscreen. This has always been true in cinema and progress towards proper representation has been incredibly slow.

This has effects both on Indigenous people, and how the rest of society views them. It limits career opportunities for Indigenous filmmakers, restricts Indigenous role models on film, and reinforces cultural misunderstandings in society.

Indigenous Representation In Cinema, Nathaniel Ninham

Learning with your Head & Heart

Indigenous people are underrepresented offscreen on film-sets, and misrepresented onscreen. This has always been true in cinema and progress towards proper representation has been incredibly slow.

This has effects both on Indigenous people, and how the rest of society views them. It limits career opportunities for Indigenous filmmakers, restricts Indigenous role models on film, and reinforces cultural misunderstandings in society.

The Fear And Biopolitical Control Of The ‘Terrorist Other’, Percy Percy Sherwood

Western Research Forum

“I think Islam hates us,” Donald Trump said as a presidential candidate in a CNN interview in March 2016, conflating the religion with ‘radical Islamic terrorism.’ Trump’s statement exemplifies the prevailing fabricated enemy and resulting Islamophobia in the context of the ‘global war on terror.’ Since 9/11, powerful actors are using abstractions, ideologies, and narratives—that are usually defined along racial lines—to conjure up a fear so permeable that it serves to legitimize massive levels of violence in the name of self-righteousness. How do the racist abstractions, ideologies, and narratives that are associated with Islam and Muslims produce fear and insecurity …