An Analysis Of Pieces D Identites, And Aesthetics Of African Cinema

Extra Credit Assignment MILK 1. What are the main themes, politically and socially, that are portrayed in the film?

The concept art imitates life is crucial to film directors who express their views on political and social issues in film. In regard to film studies, race is a topic rare in many films. Like America, many films simply refuse to address this topic for various reasons. However, more recently, Jordan Peele’s 2017 box office hit Get Out explicates contemporary race relations in America. In the form of an unconventional comedy horror, Get Out is intricate in its depiction of white liberal attitudes towards African Americans. In short, Get Out suggests a form of covert racism existing in a post- Jim Crow era. Similarly, Eduardo Bonilla- Silva’s book Racism Without Racists acknowledges the contemporary system of racism or “new racism,” a system

These stereotypes depicted “drug dealers, prostitutes, single mothers, and complacent drag queens” (Harris, 51). In the 1980s, African American filmmakers began to make a name for themselves. These films are “social commentaries, indictments of racism and depictions of ‘everyday’ American lives” (Harris, 51). Compared to the traditional representations of blacks and blackness, New Black cinema takes on this cultural intervention and the recoding of blackness. Harris describes this as “revising the visual codes surrounding black skin on the screen and in the public

The United States has long been a country that has accepted that change is a necessity for prosperity and growth. However, each change within the nation's history was hard fought against those who resisted such change either through racism, bigotry, and blatant discrimination. African American cinema is enshrouded in history that depicts these themes of racism, struggle, and deprivation. Yet, this same cinema also shows scenes of hope, artistic spirit, intellectual greatness, and joy. Black actresses, actors, directors, producers, and writers have been fighting for recognition and respect since the great Paul Robeson. The civil rights movement of the 1950's and 60's was fueled by black cinema through films like A Raisin in the Sun.

The drama-comedy film Mississippi Masala (1991) directed by Mira Nair explores an interracial love story between Meena, an Indian woman, and Demetrius, an African-American, portrayed by Sarita Choudhury and Denzel Washington, respectively. This is one of those movies that I had high hopes for and anticipated that by the end I would feel so empowered and moved that it would be impossible to not constantly hype up the motion picture to friends and strangers. To my relief, those expectations were met. I truly and deeply was so encapsulated and emotionally committed to this feature because it was massively progressive and transcended the norm of the time by depicting with such grace and tact, the power dynamics, racial hierarchy, colorism, and social contexts between the two racial groups in Uganda and the American south.

Already the DVD covers point to a certain salience of red in American Beauty, blue in Shame, and white in Revolutionary Road; however, the films do not only conform in an equally striking importance of the use of colours, they also share similarities in meaning communicated by them. Since the semiotics of colour still depends on personal perception to a certain extent, this analysis indeed considers other critics’ opinions but is largely based on my personal receptions of the film and associations the use of colour has evoked in me. The focus of my observations is primarily set on how the shades of red, blue, and white as well as the general antithesis of warm and cold colours reflect Lester’s, Frank’s, and Brandon’s state of mind and their surroundings. Furthermore, lighting and the contrast of bright and dark are addressed and exemplified through incorporated screenshots of the films. Another outstanding aspect of effectively tying in form with meaning in all three films is their respective soundtrack; however, an in-depth analysis of the use of sound and music would go beyond the scope of this thesis and can thus be considered an interesting approach for addressings

• The media’s representation on ethical/racial and colonial illustration is not always accurate; there are many stereotypes and critics always find something to be false. Realism also plays a big role in representing in what critics believe. (Shothat 178)

African food is not the only thing expanding to the United States; African movies can be found at most African shops that sell food. Most of these movies are produced by Nigerians, due to France has financially backed Nigeria films. Most of these films are in English, some in French and few in Pidgin English and French. Many popular movies take western movie themes and put an originally African twist on them. Africans in the United States are known to buy these movies as they buy their twenty-pound bag of Gari. Western Africans like these movies more than East, due to many of the movies have a reputation of having witchcraft in them.

Title: Two Versions of a Single Story: National Perspective and Auteur Approaches to the Outsider “Western”. Kurosawa’s Yojimbo and Leone’s Fistful of Dollars Compared. Student: I-Fu Chen Class: CTCS 502 Professor: Priya Jaikumar Due: Oct 8th, 2014 Films: Yojimba, Akira Kurasawa (dir.) 1961, Japan (Viewed Sept 17, 2014) Fistful of Dollars, Serge Leone (dir.) 1964, Italy. (Viewed

[2] For films concerning slavery, the role of the filmmaker as educator is substantially heightened. All too often slavery films categorically vilify whites as oppressive forces, polarizing race and stereotyping the white

While watching The Ink Road there was a lot of new information that I was taking in, about the history and culture of West Africa that I had no knowledge of whatsoever. I was enlightened of all the new characteristics of West Africa that I had not heard about. There seems to be a substantial difference between West Africa and America, between culture, history, and education. West African values are undoubtedly charismatic, and it bewilders me how little have fallen in their footsteps.

There were three films we saw in class; these three films were made during political and social change in their respective countries. The three films have a similar style and it helped people to cope with this reality. These films represent the political social freedom of speech. First, The Great Dictator, a film with humor, was made at the beginning of World War II when Charlie Chaplin spoke for the first time representing different characters to prove his opposition against Nazism and mocking Hitler. His humoristic film relieves political stress over society. Next, No Regrets For Our Youth, a sentimental film, was made at the end of World War II and represents a new generation with new changes. The principal character projected the new style

Mary Ellen Higgins, in her book Hollywood’s Africa after 1994, investigated Hollywood’s Colonial film legacy in the post-apartheid era, and contemplates what has changed in the west’s representation of Africa. Barbara Ransby, professor of African

As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema

Black Panther is a work of art developed by people of African descent that strives to show the ‘real Africa’. What is the ‘real Africa’ though? Keim suggests that Americas yearn for the “real Africa to be different, and often the more different the