Susanne Bier’s Boundary-crossing Screen Authorship

2018 ◽  
pp. 1-12
Author(s):  
Missy Molloy ◽  
Mimi Nielsen ◽  
Meryl Shriver-Rice
Keyword(s):  
21St Century ◽  
Cultural Influences ◽  
Boundary Crossing ◽  
Cinema Studies

The volume introduction contextualizes Susanne Bier’s work in light of Danish cinema’s unprecedented popularity around the turn of the 21st century; outlines the evolution of her career; relates her work to broader questions in cinema studies related to women’s screen authorship, genre and cinema’s social and cultural influences; and previews the book’s structure and chapter foci.

scholarly journals Women in Law and Justice

2020 ◽  
Author(s):  
Helen Dancer
Keyword(s):  
21St Century ◽  
Women's Rights ◽  
Cultural Influences ◽  
African Women ◽  
Women’S Rights ◽  
Political Transitions ◽  
Early 21St Century ◽  
Legal Activism ◽  
Women Lawyers ◽  
Law And Justice

African law and justice systems in the early 21st century are the result of over a thousand years of religious and cultural influences and political change on the continent. As customary and Islamic laws became reinterpreted and formalized by colonial states, women experienced the effects of successive periods of religious and political conquest as an entrenching of patriarchal control in the family and personal law sphere. The 20th century saw African women’s resistance rise from the grass roots as an important force for national liberation. African women’s legal activism grew after political independence and African women lawyers were part of global feminist movements. In the wake of dramatic political changes across Africa, Latin America, and Eastern Europe, the global sphere of rights post-1989 became an enabling frame for women’s legal activism. Political transitions to multiparty democracy, the liberalization of African economies, and a wave of constitutional reforms strengthened women’s rights and gender equality guarantees. The 1980s and 1990s saw the founding of regional and pan-African women’s legal activist organizations, including the Action Committee of Women Living Under Muslim Laws and Women in Law and Development in Africa as well as the adoption of the Maputo Protocol on the Rights of Women in Africa in 2003. In the 21st century, while social, economic, and legal inequalities persist in spite of many gains for women’s rights, some African women lawyers have risen to occupy the highest echelons of the judiciary in several countries and in international courts.

scholarly journals MORFOLOGI KOTA-KOTA DI PRIANGAN TIMUR PADA ABAD XX – XXI; Studi Kasus Kota Garut, Ciamis, dan Tasikmalaya

2017 ◽  
Vol 9 (1) ◽  
pp. 1
Author(s):  
Miftahul Falah ◽  
Nina Herlina Lubis ◽  
Kunto Sofianto
Keyword(s):  
21St Century ◽  
Cultural Influences ◽  
Open Spaces ◽  
Historical Method ◽  
The City ◽  
Morphology Changes

Tulisan ini akan mengkaji perubahan Morfologi Kota-Kota di Priangan Timur pada Abad XX-XXI dengan memfokuskan pada Kota Garut, Ciamis, dan Tasikmalaya. Untuk mencapai tujuan itu, dalam penelitian ini digunakan metode sejarah yang meliputi empat tahap yakni heuristik, kritik, interpretasi, dan historiografi. Hasil penelitian menunjukkan bahwa pertumbuhan morfologi kota dengan mengkaji tata ruang dan infrastruktur kota, simbol kota, bangunan, dan ruang terbuka di Kota Garut, Ciamis, dan Tasikmalaya menunjukkan kecenderungan yang berbeda. Pada awalnya, struktur dan pola kota ketiganya menunjukkan kecenderungan yang sama karena mendapat pengaruh struktur kota tradisional. Akan tetapi, dalam perkembangannya menunjukkan perbedaan yang terlihat dari struktur dan pola kota Tasikmalaya yang cenderung mengabaikan struktur dan pola kota tradisional. Unsur-unsur kota kolonial di ketiga kota tersebut cukup nampak sehingga terjadi perpaduan antara kota tradisional dan kota kolonial yang salah satunya terlihat dari bangunan yang mendapat pengaruh budaya indis. This paper examines the morphology changes of Cities in East Priangan in the 20th and 21st  century by focusing on the city of Garut, Ciamis and Tasikmalaya. To achieve that goal, this study uses historical method which includes four stages of heuristics, criticism, interpretation, and historiography. The results showed that the growth of the city by studying morphology and spatial infrastructure of the city, a symbol of the city, buildings and open spaces in the city of Garut, Ciamis and Tasikmalaya shows a different trend. At first, the structure and pattern of the three cities showed the same tendency as under the influence of traditional city structures. However, in its development shows the differences seen from the structure and pattern of Tasikmalaya which tends to undermine the structure and pattern of traditional town. The elements of the colonial city in the three cities are quite visible, causing a blend of traditional and colonial city. One of which is visible from the building that received cultural influences of Indies.

Transnational and Diasporic Cinema

2016 ◽  
Author(s):  
Ramona Curry
Keyword(s):  
Digital Media ◽  
Forced Migration ◽  
The United States ◽  
Border Crossing ◽  
Boundary Crossing ◽  
Religious Discrimination ◽  
Transnational Cinema ◽  
Deep Roots ◽  
Cinema Studies ◽  
Wide Range

Although from the earliest years film production, marketing, and reception involved extensive national border crossing, the rubric “transnational cinema” has emerged only comparatively recently. Taken up from other disciplines such as anthropology and migration and postcolonial studies, the concept of “transnational” in this still-emerging area of cinema studies remains highly varied, pointing to sometimes contested working definitions and analytic approaches. Rather than attempting to delimit an evolving concept narrowly, this bibliography seeks to elucidate the present understandings and significance of transnational cinema through the selection and annotation of a wide range of compelling scholarship that together constitutes an exciting contemporary discourse. That discourse generally includes “diasporic cinema” as a subcategory distinguished from transnational cinema primarily through the specific historical circumstances of the film- and video-makers studied and their target audiences. Diasporic cinema usually refers to a set of films or other media works produced by (and often in the first instance for) members of demographic groups and often their descendants who have experienced collective, sometimes forced, migration from their lands of origin to survive in face of ethno-racial, political, or religious discrimination or displacement due to war or other economic necessity. Although diasporic film-making thus defined is neither as commonplace nor as long-standing a practice as transnational cinema more broadly, such incidents of cinema production and consumption also emerged early in cinema history, dating to the late 1910s. Wide-ranging research conducted particularly since the 1980s has yielded the fresh and field-shaping awareness of transnational and diasporic cinema’s deep roots, with many books and essays demonstrating nuanced connections between the practices. That circumstance warrants an integrated overview of transnational and diasporic cinema studies as a conjoined research field that has emerged in conjunction with broader intellectual shifts from unitary to more multivocal, de-centered perspectives as realized in, for example, cultural and critical race studies. Such trends underpin the current reframing of film historical and many contemporary studies away from the “national” to an at once localized and more globally based, boundary-crossing scale, with many scholars bringing interdisciplinary case study approaches to document and interpret understudied occurrences of transnational or diasporic cinema. A factor driving the growth of transnational and diasporic cinema studies is the visible proliferation of the phenomena. The sheer volume of media derived from “elsewhere” now accessible in at least electronic format to an alert observer at any given location (even, with some effort, in the United States) invites queries into the processes of contemporary media flow and exchange. To focus its very considerable scope, this article addresses primarily scholarship on narrative transnational and diasporic cinema, making quite limited reference to research on documentary or experimental work or digital media.

21st-century Buffalo Boys: Intersectional approaches to the complexities of modern masculinity

2020 ◽  
Vol 7 (1-2) ◽  
pp. 135-153
Author(s):  
Georgina Ripley
Keyword(s):  
21St Century ◽  
Cultural Influences ◽  
West African ◽  
Cross Cultural ◽  
Gender And Sexuality ◽  
Fashion Magazines ◽  
Binary Oppositions ◽  
The Face ◽  
The Look ◽  
New Generation

Scottish-born stylist, Ray Petri, founder of the maverick Buffalo Collective, defined the look and feel of radical 1980s fashion magazines such as i-D, The Face and Arena. The Buffalo Boy look pioneered a more sexually ambiguous form of fashion iconography, undermining the putative immutability of normative codes of gender and sexuality and communicating a new image of masculinity. Previous conviction that the Buffalo spirit died with its founder has been upended by a new generation tapping into the Buffalo legacy, notably British-Ghanaian photographer, model-casting agent and publisher, Campbell Addy, and West African stylist, Ibrahim Kamara – both former interns of original Buffalo Collective members. This article explores how Addy and Kamara’s imagery interrogates the fragile relationship between menswear and masculinity, underpinned by intersectional issues of sex, race, faith and identity. Breaking down the construct of hegemonic masculinity, this article compares contemporary works by Addy and Kamara with the output of Buffalo to argue that the Buffalo spirit is evolving in how Addy and Kamara address notions of authenticity, exploit cross-cultural influences and transcend binary oppositions – redefining modern masculinity.

scholarly journals Boundary Crossing and the Construction of Cinematic Genre

2004 ◽  
Author(s):  
Steffen Hantke
Keyword(s):  
Film History ◽  
Film Noir ◽  
Boundary Crossing ◽  
American Film ◽  
Cinema Studies ◽  
Deferred Action ◽  
Genre Film

BOUNDARY CROSSING AND THE CONSTRUCTION OF CINEMATIC GENRE: FILM NOIR AS "DEFERRED ACTION" The Frame-Up: Theoretical ConsiderationsIn recent years, critical consensus in cinema studies has begun to coalesce around the idea that, in a sense, there never was such a thing as film noir. Thomas Elsaesser, for example, comes to this conclusion after examining what might be called one of the foundational myths of film noir, the "connection between German Expressionist cinema and American film noir" (Elsaesser: 420). (1) Ever since this story about noir's origins has solidified into one of the "commonplaces of film history," Elsaesser argues, it has become difficult to see film noir for what it really is, "an imaginary entity whose meaning resides in a set of shifting signifiers" (Elsaesser: 420). Following a critical rather than a cinematic tradition, he traces the consolidation of the genre's identity back to the intervention of German exiles like...

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