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DePaul Magazine

College of Education Professor Jason Goulah fosters hope, happiness and global citizenship through DePaul’s Institute for Daisaku Ikeda Studies in Education. Associate Journalism Professor Jill Hopke shares how to talk about climate change. News briefs from DePaul’s 10 colleges and schools: Occupational Therapy Standardized Patient Program, Financial Planning Certificate program, Business Education in Technology and Analytics Hub, Racial Justice Initiative, Teacher Quality Partnership grant, Intimate Partner Violence and Brain Injury collaboration, School of Music Career Closet, Sports Photojournalism course, DePaul Migration Collaborative’s Solutions Lab, Inclusive Screenwriting courses. New appointments: School of Music Dean John Milbauer, College of Education Dean Jennifer …

Cinema Studies, Burak Turten

University of South Florida (USF) M3 Publishing

PREFACE

Cinema Studies is a comprehensive book that, is hoped, will provide students and researchers with film studies and other persons interested in cinema with a useful reference book on film analysis and, where relevant, the different discussions surrounding that. The contributors analyze some films using ideas and concerns from modernism, cinematographic narrative, ideology, propaganda, migration, nomadism, and the sense of revenge. The book provides new insights into films and turns the discussion towards recent research questions and analyses, representing and constituting in each contribution new work in the discipline of film text analysis.

Therefore, each chapter of this book, …

A More Equitable Film Pedagogy: Including Media Literacy In Higher Education Film Classrooms To Result In Better Media Practitioners, Alexis Romero Walker

Journal of Media Literacy Education

This article explains the importance of including critical media literacy practices in skills-based classrooms in film education. Students continue to use methods of filmmaking that are inherently biased because they continue to be taught an age-old set of skills that do not engage in critical analysis. With the convergence of contemporary film theory in the classroom, educators can help students learn new methods of filmmaking that are representative for all communities and people. Through textual analysis of three films, this article shows why educators in higher education film programs must include critical media literacy in the skills course curriculum and …

Confessions Of A Media Literacy Scholar-Practitioner: Job Market Advantages, Research Agenda Challenges, And Theory-Driven Production, Christopher Boulton

Journal of Media Literacy Education

This essay explores how higher education’s move away from the liberal arts tradition of learning by thinking and towards more vocational “experiential” approaches has implications for media literacy educators’ career options, scholarly identities, and teaching strategies. Specifically, I consider my own negotiation of increasing administrative and student demands for “hands-on” production courses by confessing both my advantages on the job market and my post-hire challenges in articulating a clear research agenda. I then conclude with a case study of how I repurposed my scholar-practitioner identity and used critical theory to drive production by bringing film students into a cultural studies …

Panic At The Drive-In: Affordance, Moral Panic, And Drive-In Theatres, Maria Chatzifilalithis

Laurier Undergraduate Journal of the Arts

No abstract provided.

Du Néoréalisme En Afrique: Une Relecture De Borom Sarret, Sada Niang

Présence Francophone: Revue internationale de langue et de littérature

Critical evaluations of African cinema have tended in the past to confi ne the analysis of this corpus to its content. In books and articles published earlier, the colonial and postcolonial history of the continent abound, social dramas are explained at length, thefts at all levels, cultural mystifi cation, corruption as well as violence are amply described. The insights of such an approach notwithstanding, the aesthetic sources of African cinema are not limited to the rural and the traditional. Through a comparison of Vittorio De Sica Bicycle Thief and Sembène’s Borom Sarret, this paper argues that african cinema inserted itself …

L’Éthique Et L’Esthétique Chez Ousmane Sembéne, Frederic Ivor Case

Présence Francophone: Revue internationale de langue et de littérature

The ethics and aesthetics of the films and novels of Sembène reflect the axiological principles of his work. Sembène’s impact can be felt throughout as his practice in both cinema and literature helped redefi ne the features of the African novel and film. For him, writing was fed by the experiences, however painful, of workers of diverse origins attempting to survive their difficult conditions. His novels reveal the agony of this world but also various opportunities for self realization among his characters. Such practice, born out of the sweat, resistance and determination of men and women eking out their living, …

Un Autre Monde Est Possible: Création Et Résistance Dans L’Oeuvre D’Ousmane Sembène, David Murphy

Présence Francophone: Revue internationale de langue et de littérature

During an artistic career that spanned half a century, Ousmane Sembène often played a pioneering role. However, although the many awards he received constitute recognition of the artistic quality of his work, his literary and cinematic output is best known for its denunciation of colonial and neo-colonial injustices. This article argues that Sembène’s importance is not solely political, and nor should it be limited to his role as a pioneer of African cinema. Sembène was also a great artist who developed a profound refl ection on his practice both as a writer and as a filmmaker. The article will trace …

De La Fiction Criminelle En Afrique. Relecture Des Films D’Ousmane Sembène, Alexie Tcheuyap

Présence Francophone: Revue internationale de langue et de littérature

For institutional, ideological and even sociological reasons, the detective genre had difficulty rising to prominence within literatures and especially within the field of African cinema. If one observes today its shy emergence in the works of some West African film directors and within popular Nigerian video films, it is nonetheless possible, thanks to a finer scrutiny of theories developed on the subject, to realize that some films by Ousmane Sembène contain aesthetic strategies that allow for a fresh assessment of the works of a director whose films were often reduced to their ideological aspects. This second reading also unravels the …