resumo Este artigo oferece a primeira análise do papel do filme como um recurso de soft power na ... more resumo Este artigo oferece a primeira análise do papel do filme como um recurso de soft power na África do Sul. Ele examina as maneiras pelas quais as priorida-des políticas do governo sul-africano, até recentemente, pareciam trabalhar contra o objetivo estratégico da nação de usar o filme como uma ferramenta para alavancar soft power para obter influência política em toda a África, bem como para maximizar o potencial econômico da globalização. A econo-mia do cinema sul-africano está crescendo. Cidade do Cabo, em particular, tornou-se um centro de produção global. As produções internacionais são atraídas para o país pela versatilidade de seus locais, seu clima e suas insta-lações de baixo custo e alta qualidade. Isso proporcionou excelentes oportu-nidades de emprego para a equipe de produção local. No entanto, tem feito muito pouco para apoiar o desenvolvimento do talento criativo local. Assim, ao contrário, por exemplo, Nollywood, que apóia toda a "cadeia de valor" da pro...
In this article, we discuss the role of participatory video (PV) as a tool for developing communi... more In this article, we discuss the role of participatory video (PV) as a tool for developing community-level solutions to ‘Antimicrobial Resistance’ (AMR) in Nepal. In recent years, PV has become an ever more popular tool in development contexts for supporting communities in low and middle income countries to raise awareness of issues that they do not feel are adequately represented in mainstream media. One area of growing interest in this regard is public health. However, PV has not, to date, been used to address AMR, currently considered to be one of the biggest public health issues we face globally. Placing our project within the wider context of ‘participatory documentary’ practice, we examine the world-view presented in the films this project generated, a dimension of such projects that is, somewhat curiously perhaps, often overlooked, with commentators tending to focus on the process of delivering PV, rather than the final products made. Here we are particularly interested in que...
In European Cinema: Face to Face with Hollywood, Thomas Elsaesser observes that ‘European cinema ... more In European Cinema: Face to Face with Hollywood, Thomas Elsaesser observes that ‘European cinema distinguishes itself from Hollywood and Asian cinemas by dwelling so insistently on the (recent) past.’1 Even if one takes the briefest of looks at the most celebrated European films internationally, Elsaesser would appear to have a point. From Das Leben der Anderen (The Lives of Others, Florian Henckel von Donnersmarck, 2006) to The King’s Speech (Tom Hooper, 2010), historical dramas play a key role within national film cultures across the continent, acting as international ‘shop windows’ that can help support not only the domestic film industry but also the wider heritage and tourist sectors by attracting international visitors to the country. At the same time, such films can generate major debates at home on the role of the past in contemporary national identity construction and the problematic sedimentation of cinematic representations of history in collective memory. What forms has this enduring engagement with the continent’s history taken across different European film cultures? How and why do historical dramas reach the large and small screens across Europe, and what is their role in the promotion of European heritage, however this might be defined? These are the questions that are the focus of this chapter, which results from an AHRC Care for the Future project run by the Centre for World Cinemas at the University of Leeds and B-Film: The Birmingham Centre for Film Studies.
The Centre for World Cinemas at Leeds, in collaboration with ‘Theatre, Film and Television’ at Yo... more The Centre for World Cinemas at Leeds, in collaboration with ‘Theatre, Film and Television’ at York and the Sheffield Centre for Research in Film has been awarded a White Rose Studentship Network: European Film, European Heritage, European Identity.
If much contemporary German-language art-house cinema exploits film’s potential to use space and ... more If much contemporary German-language art-house cinema exploits film’s potential to use space and time to extend the affective moment, focusing on the gap between action and emotional resolution, The Jacket does the opposite. Instead, it creates a moment of claustrophobic intensity, that nonetheless similarly pivots on the function of affect in film.
Throughout these shows, a value system is constructed that runs counter to the apparent, stated a... more Throughout these shows, a value system is constructed that runs counter to the apparent, stated aim of normalizing the everyday experience of eastern Germans. GDR consumer goods are brought into the mainstream, only to be reconfined to the periphery as "strange" and nonwestern. In so doing, the programs invite former GDR citizens to join a club of western German consumers and to laugh along with them at their bizarre, ridiculous past. Consequently, while Ostalgie might not be what it used to be, the power dynamic between east and west remains the same. In these shows the GDR is no longer presented as a "Stasi state." Instead, through Ostalgie, it becomes a world of curious consumer products. Nevertheless, even if the gasps of horror and disapproval of earlier representations are replaced now by curiosity and amusement, these recent television shows still furnish us with a representation of the east from which the Federal Republic can distance itself, thereby find...
The contributors to this special edition of Studies in European Cinema were all participants in t... more The contributors to this special edition of Studies in European Cinema were all participants in the second annual meeting of the European Cinema Research Forum at the University of Wales, Aberystwyth in January 2002. The aim of the conference was to debate and ...
resumo Este artigo oferece a primeira análise do papel do filme como um recurso de soft power na ... more resumo Este artigo oferece a primeira análise do papel do filme como um recurso de soft power na África do Sul. Ele examina as maneiras pelas quais as priorida-des políticas do governo sul-africano, até recentemente, pareciam trabalhar contra o objetivo estratégico da nação de usar o filme como uma ferramenta para alavancar soft power para obter influência política em toda a África, bem como para maximizar o potencial econômico da globalização. A econo-mia do cinema sul-africano está crescendo. Cidade do Cabo, em particular, tornou-se um centro de produção global. As produções internacionais são atraídas para o país pela versatilidade de seus locais, seu clima e suas insta-lações de baixo custo e alta qualidade. Isso proporcionou excelentes oportu-nidades de emprego para a equipe de produção local. No entanto, tem feito muito pouco para apoiar o desenvolvimento do talento criativo local. Assim, ao contrário, por exemplo, Nollywood, que apóia toda a "cadeia de valor" da pro...
In this article, we discuss the role of participatory video (PV) as a tool for developing communi... more In this article, we discuss the role of participatory video (PV) as a tool for developing community-level solutions to ‘Antimicrobial Resistance’ (AMR) in Nepal. In recent years, PV has become an ever more popular tool in development contexts for supporting communities in low and middle income countries to raise awareness of issues that they do not feel are adequately represented in mainstream media. One area of growing interest in this regard is public health. However, PV has not, to date, been used to address AMR, currently considered to be one of the biggest public health issues we face globally. Placing our project within the wider context of ‘participatory documentary’ practice, we examine the world-view presented in the films this project generated, a dimension of such projects that is, somewhat curiously perhaps, often overlooked, with commentators tending to focus on the process of delivering PV, rather than the final products made. Here we are particularly interested in que...
In European Cinema: Face to Face with Hollywood, Thomas Elsaesser observes that ‘European cinema ... more In European Cinema: Face to Face with Hollywood, Thomas Elsaesser observes that ‘European cinema distinguishes itself from Hollywood and Asian cinemas by dwelling so insistently on the (recent) past.’1 Even if one takes the briefest of looks at the most celebrated European films internationally, Elsaesser would appear to have a point. From Das Leben der Anderen (The Lives of Others, Florian Henckel von Donnersmarck, 2006) to The King’s Speech (Tom Hooper, 2010), historical dramas play a key role within national film cultures across the continent, acting as international ‘shop windows’ that can help support not only the domestic film industry but also the wider heritage and tourist sectors by attracting international visitors to the country. At the same time, such films can generate major debates at home on the role of the past in contemporary national identity construction and the problematic sedimentation of cinematic representations of history in collective memory. What forms has this enduring engagement with the continent’s history taken across different European film cultures? How and why do historical dramas reach the large and small screens across Europe, and what is their role in the promotion of European heritage, however this might be defined? These are the questions that are the focus of this chapter, which results from an AHRC Care for the Future project run by the Centre for World Cinemas at the University of Leeds and B-Film: The Birmingham Centre for Film Studies.
The Centre for World Cinemas at Leeds, in collaboration with ‘Theatre, Film and Television’ at Yo... more The Centre for World Cinemas at Leeds, in collaboration with ‘Theatre, Film and Television’ at York and the Sheffield Centre for Research in Film has been awarded a White Rose Studentship Network: European Film, European Heritage, European Identity.
If much contemporary German-language art-house cinema exploits film’s potential to use space and ... more If much contemporary German-language art-house cinema exploits film’s potential to use space and time to extend the affective moment, focusing on the gap between action and emotional resolution, The Jacket does the opposite. Instead, it creates a moment of claustrophobic intensity, that nonetheless similarly pivots on the function of affect in film.
Throughout these shows, a value system is constructed that runs counter to the apparent, stated a... more Throughout these shows, a value system is constructed that runs counter to the apparent, stated aim of normalizing the everyday experience of eastern Germans. GDR consumer goods are brought into the mainstream, only to be reconfined to the periphery as "strange" and nonwestern. In so doing, the programs invite former GDR citizens to join a club of western German consumers and to laugh along with them at their bizarre, ridiculous past. Consequently, while Ostalgie might not be what it used to be, the power dynamic between east and west remains the same. In these shows the GDR is no longer presented as a "Stasi state." Instead, through Ostalgie, it becomes a world of curious consumer products. Nevertheless, even if the gasps of horror and disapproval of earlier representations are replaced now by curiosity and amusement, these recent television shows still furnish us with a representation of the east from which the Federal Republic can distance itself, thereby find...
The contributors to this special edition of Studies in European Cinema were all participants in t... more The contributors to this special edition of Studies in European Cinema were all participants in the second annual meeting of the European Cinema Research Forum at the University of Wales, Aberystwyth in January 2002. The aim of the conference was to debate and ...
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