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New African Cinema.
・ISBN 978-0-8135-8995-4 cloth US$ 71.95
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お気に入り
★★★
・ISBN 978-0-8135-7956-6 paper US$ 24.95
￥5,845.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
| 著者・編者 | Orlando, Valérie K., |
|---|---|
| シリーズ | Quick Takes: Movies and Popular Culture |
| 出版社 | (Rutgers U. Pr., US) |
| 出版年月 | 2017 |
| ページ数 | 200 pp. |
| 言語 | ENG |
| ニュース番号 | ＜636-L2300 636-P4914＞ |
解説
New African Cinema examines the pressing social, cultural, economic, and historical issues explored by African filmmakers from the early post-colonial years into the new millennium. Offering an overview of the development of postcolonial African cinema since the 1960s, ValErie K. Orlando highlights the variations in content and themes that reflect the socio-cultural and political environments of filmmakers and the cultures they depict in their films.
Orlando illuminates the diverse themes evident in the works of filmmakers such as Ousmane SembEne's Ceddo (Senegal, 1977), Sarah Maldoror's Sambizanga (Angola, 1972), Assia Djebar's La Nouba des femmes de Mont Chenoua (The Circle of women of Mount Chenoua, Algeria, 1978), ZEzE Gamboa's The Hero (Angola, 2004) and Abderrahmane Sissako's Timbuktu (Mauritania, 2014), among others. Orlando also considers the influence of major African film schools and their traditions, as well as European and American influences on the marketing and distribution of African film. For those familiar with the polemics of African film, or new to them, Orlando offers a cogent analytical approach that is engaging.
Orlando illuminates the diverse themes evident in the works of filmmakers such as Ousmane SembEne's Ceddo (Senegal, 1977), Sarah Maldoror's Sambizanga (Angola, 1972), Assia Djebar's La Nouba des femmes de Mont Chenoua (The Circle of women of Mount Chenoua, Algeria, 1978), ZEzE Gamboa's The Hero (Angola, 2004) and Abderrahmane Sissako's Timbuktu (Mauritania, 2014), among others. Orlando also considers the influence of major African film schools and their traditions, as well as European and American influences on the marketing and distribution of African film. For those familiar with the polemics of African film, or new to them, Orlando offers a cogent analytical approach that is engaging.