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Projecting Nation: South African Cinemas after 1994
・ISBN 978-1-61186-363-5 paper US$ 54.95
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| 著者・編者 | Moyer-Duncan, Cara, |
|---|---|
| シリーズ | (African Humanities and the Arts) |
| 出版社 | (Michigan State University Press, US) |
| 出版年月 | 2020 |
| ページ数 | 298 pp. |
| 言語 | ENG |
| ニュース番号 | ＜A01-48716＞ |
解説
In 1994, not long after South Africa made its historic transition to multiracial democracy, the nation's first black-majority government determined that film had the potential to promote social cohesion, stimulate economic development, and create jobs. In 1999 the new National Film and Video Foundation was charged with fostering a vibrant, socially engaged, and self-sufficient film industry. What are the results of this effort to create a truly national cinematic enterprise?
Projecting Nation: South African Cinemas after 1994 answers that question by examining the ways in which national and transnational forces have shaped the representation of race and nation in feature-length narrative fiction films.
Offering a systematic analysis of cinematic texts in the context of the South African film industry, author Cara Moyer-Duncan analyzes both well-known works like District 9 (2009) and neglected or understudied films like My Shit Father and My Lotto Ticket (2008) to show how the ways filmmakers produce cinema and the ways diverse audiences experience it - whether they watch major releases in theatres in predominantly white suburban enclaves or straight-to-DVD productions in their own homes - are informed by South Africans' multiple experiences of nation in a globalizing world.
Projecting Nation: South African Cinemas after 1994 answers that question by examining the ways in which national and transnational forces have shaped the representation of race and nation in feature-length narrative fiction films.
Offering a systematic analysis of cinematic texts in the context of the South African film industry, author Cara Moyer-Duncan analyzes both well-known works like District 9 (2009) and neglected or understudied films like My Shit Father and My Lotto Ticket (2008) to show how the ways filmmakers produce cinema and the ways diverse audiences experience it - whether they watch major releases in theatres in predominantly white suburban enclaves or straight-to-DVD productions in their own homes - are informed by South Africans' multiple experiences of nation in a globalizing world.