scholarly journals Freddie versus Maya: A Textual Analysis of Two Narrative Structurations of (Post)colonial ‘Brown’ Subjectivity as read through Lacanian Film Theory

2019 ◽  
Vol 43 (1) ◽  
Author(s):  
Robert K. Beshara
Keyword(s):  
Textual Analysis ◽  
Film Theory ◽  
Post Colonial

Intimacy and Romance in Film Theory

2017 ◽  
Author(s):  
John Tulloch ◽  
Belinda Middleweek
Keyword(s):  
Detailed Analysis ◽  
Textual Analysis ◽  
Film Theory ◽  
Mutual Understanding ◽  
Historical Understanding ◽  
Mapping Theory

Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.

Indigenous Narratives as Experimental Cinematic Texts in Nigerian Films

2019 ◽  
Vol 29 (2) ◽  
Author(s):  
Joshua Usman
Keyword(s):  
Cultural History ◽  
Oral Tradition ◽  
Textual Analysis ◽  
Film Industry ◽  
Film Theory ◽  
African Film ◽  
Film Texts ◽  
Folk Narratives ◽  
Nigerian Film ◽  
Folk Stories

The paper seeks to consider the employment of folkloric tales (traditional stories) in indigenous Nigerian films as stimuli for establishing a definitive film industry. The integration of oral features into Nigerian films dates back to the era (1980–1990s) of early films in Nigeria: consider Ajani Ogun (1976), Daskin da Ridi (1990), Egg of Life (2003), Festival of Fire (1999) etcetera. Studies on Nigerian film and oral culture established that the strong narratives of Nollywood films are drawn from indigenous folk stories; indeed, the films are mostly adaptations of folktales. This article demonstrates Nigeria’s cultural history through investigating the role of culture as a strong contributor to media development in Nigeria. The research is based on textual analysis of three Nigerian films, namely The Fish Girl (2016), Hypocrisy (1992) and Daskin da Ridi (1990) as primary texts. The methodology is primarily textual. The study draws on a textual analysis of selected Nigerian films to determine their sources. The study adopts the African film theory which juxtaposes the pre-modern with modernity where the oral tradition and filmmakers are fused together, as highlighted by Tomaselli (1992). The hypothesis is that traditional folktales play an important role in the development of the Nigerian film industry (Nollywood). The study reveals that folktales and other oral genres set a footprint for film texts in Nollywood movies. Therefore, this indicates that there is a clear (although thus far, often ignored) bond between indigenous folk narratives and modern Nigerian films.

scholarly journals The African Writer and Commitment in Art: a Critical Discourse of Ngugi Wa Thiong’o’s Literature of Commitment, Social Vision and Stylistic Use of Satire in Matigari

2018 ◽  
Vol 5 (1) ◽  
pp. 11
Author(s):  
Bie Precious Dumka
Keyword(s):  
Working Class ◽  
Conceptual Framework ◽  
Textual Analysis ◽  
Ngugi Wa Thiong'o ◽  
Critical Discourse ◽  
Social Vision ◽  
Post Colonial ◽  
Close Textual Analysis ◽  
African Writer ◽  
African Writers

<p>African writers like Ngugi Wa Thiong’o have not relented in their portraiture of the dehumanizing plights of the working class. Ngugi is a revolutionary writer conditioned by the colonial, post-colonial and neo-colonial socio-political and economic quagmire and experiences surrounding him, and as such he has no choice than to use art as an avenue of expressing his ideology and vision about the multifaceted problems as pictured in his society. This paper therefore, examines commitment in literature with particular focus on the Kenyan writer, Ngugi wa Thiong’o’s committed literature and social vision, his stylistic use of satire. The conceptual framework is Marxism using Ngugi’s Matigari. The study as a close textual analysis adopts the descriptive design.</p>

scholarly journals Methodology, Representation, and Games

2017 ◽  
Vol 14 (7-8) ◽  
pp. 707-723 ◽  
Author(s):  
Diane Carr
Keyword(s):  
Literary Theory ◽  
Textual Analysis ◽  
Film Theory ◽  
Social Groups ◽  
Digital Games ◽  
Game Studies ◽  
Analysis Methodology

This article is about textual analysis, methodology, and representations (of bodies, identities and social groups) in digital games. The issues under consideration include textual analysis as procedure, the role of fragmentation in textual analysis, game ontology and the remit of textual analysis, and the role of the player-as-analyst in relation to subjectivity and embodied interpretation. These issues are discussed using a combination of game studies literature, film theory, and literary theory–and with reference to Deus Ex: Human Revolution (2011).

Normalisation of youth austerity through entertainment: critically addressing media representations of youth marginality in Britain

2017 ◽  
Author(s):  
Shane Blackman ◽  
Ruth Rogers
Keyword(s):  
Young Adults ◽  
Young People ◽  
Government Policy ◽  
Visual Imagery ◽  
Media Coverage ◽  
Textual Analysis ◽  
Film Theory ◽  
Media Representations ◽  
Social Crisis ◽  
The Media

Blackman and Rogers presents a textual analysis of the media representations of young people in newspapers and TV reality programmes. They argue that there has been a normalisation of youth austerity through entertainment. Using film theory they assert that the ‘returned gaze’ of youth positioned in austerity, both challenges and pushes young people to the edges of society, but remains a populist representation of social crisis, used by both government and media to exert control over young adults. They argue that selective visual imagery and a constructed language of fear shape the intersection of government policy and media coverage on young people.  They identify two zones of media representations: where young adults are projected as scroungers and marginalised through mockery and seen as a burden rather than an asset for society.

Cultural Patrimony, Political Identity, and Nationalism in Southwestern Nigeria

2015 ◽  
Vol 22 (4) ◽  
pp. 471-485
Author(s):  
Aderemi Suleiman Ajala
Keyword(s):  
Cultural Heritage ◽  
Power Relations ◽  
Textual Analysis ◽  
Political Identity ◽  
Civic Virtue ◽  
Southwestern Nigeria ◽  
Cultural Patrimony ◽  
Post Colonial

Abstract:The convergence of Yoruba nationals and the intensification of nationalism in southwestern Nigeria for self-assertion, political brokerage, and power relations in colonial and post-colonial eras were reinforced by the projection of Yoruba cultural heritage and patrimony expressed both in person and literary productions. Using textual analysis and observation, this paper examines some aspects of cultural heritage and Yoruba nationalism and how cultural heritage created patrimony, the sense of a nation, established civic virtue, and formed local (re)publics in southwestern Nigeria. The present discourse further examines how cultural patrimony is used to echo Yoruba sense of marginalization and political superiority in Nigeria. The paper further argues that most of this cultural heritage addresses a fairly well-defined audience, most especially those sympathetic to Yoruba nationalism and politics. Thus, cultural heritage and patrimony are active agents of nationalism and political identity in southwestern Nigeria.

scholarly journals The Orientalism of Arabs in Larry Charles Film’s The Dictator

2019 ◽  
Vol 25 (2) ◽  
Author(s):  
Iyank Zona Brammastian
Keyword(s):  
Film Theory ◽  
Colonial Discourse ◽  
Natural Form ◽  
Post Colonial ◽  
Comedy Film ◽  
Western Perspective ◽  
Genre Film

This article aims to portray the Orientalism of Arabs in Larry Charles’s film The Dictator (2012). The research applies Edward Said’s Orientalism to define the Western perspective in representing the awful images of Arabs in the film. It also deploys post-colonial discourse and comedy film theory in defining the distorted images of Arabs which often represented not as its natural form in this comedy genre film. As the result – throughout many Western and Orientalist creations – Arabs are depicted as bomber, barbaric and lustful.

scholarly journals Representation of The Other in Ghanaian Literary Texts: A Reading of Some Selected Works

2021 ◽  
Vol 2 (1) ◽  
pp. 58-77
Author(s):  
NII OKAIN TEIKO
Keyword(s):  
Textual Analysis ◽  
The Self ◽  
The Other ◽  
Literary Texts ◽  
Political Space ◽  
Post Colonial ◽  
Western Imperialism ◽  
Colonial Theory

Ghanaian literary texts have been greatly influenced by post-colonial theory which tends to depict and (expose) the inaccuracy of the duality embedded in western imperialism manifested in the concepts of the self and the other. With post-colonial theory as background and specifically the theoretical formulations from Said’s Orientalism (1978), Bhabha’s The location of Culture (1994), and Spivak’s “Can the Subaltern Speak?” (2001), this paper examines how Ghanaian written literature re-inscribes the concept of the Other with intent of justifying the existence of the advantageous self which apparently denigrates the other. Using textual analysis of some representative texts, I argue that Ghanaian literary artists portray the concepts of the self and the other with different connotations and permutations which reflect the ideals of the society within the geo-political space of world Literatures.   

scholarly journals THE ORIENTALISM OF ARABS IN LARRY CHARLES FILM’S THE DICTATOR

2019 ◽  
Vol 3 (1) ◽  
pp. 62
Author(s):  
Iyank Zona Brammastian
Keyword(s):  
Film Theory ◽  
Material Object ◽  
Colonial Discourse ◽  
Natural Form ◽  
Post Colonial ◽  
Comedy Film ◽  
Western Perspective ◽  
Genre Film

<p><em>This article aims to portray the Orientalism of Arabs in Larry Charles’s film The Dictator (2012). The research applies Edward Said’s Orientalism to define the Western perspective in representing the awful images of Arabs in the film. It also deploys post-colonial discourse and comedy film theory in defining the distorted images of Arabs which often represented not as its natural form in this comedy genre film. </em><em>The material object in this paper is The Dictator (2012) by Larry Charles. The formal object is the Arab representing by colonial bias. </em><em>As the result – throughout many Western and Orientalist creations – Arabs are depicted as bomber, barbaric and lustful.</em></p>

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