scholarly journals I am not your negro, film de Raoul Peck, 2017, 94 min.

2019 ◽  
pp. 203-216
Author(s):  
Thierry Pastorello
Keyword(s):  
Raoul Peck

scholarly journals O Jovem Karl Marx. Direção: Raoul Peck (2017). 118 minutos. Produção: Alemanha, França, Bélgica.

2018 ◽  
Vol 8 (2) ◽  
pp. 556-568
Author(s):  
Norman Madarasz
Keyword(s):  
Karl Marx ◽  
Raoul Peck

O Jovem Karl Marx. Direção: Raoul Peck (2017). 118 minutos.Produção: Alemanha, França, Bélgica.

Raoul Peck's Lumumba and Lumumba: La mort du prophète: On Cultural Amnesia and Historical Erasure

2011 ◽  
Vol 54 (1) ◽  
pp. 85-116 ◽  
Author(s):  
Burlin Barr
Keyword(s):  
Historical Record ◽  
Life And Death ◽  
Raoul Peck ◽  
Cultural Amnesia

Abstract:This article examines two films by Raoul Peck—Lumumba: La mort du prophèle (1992) and Lumumba (2000) that offer vastly divergent methods for remembering, memorializing, and meditating on the life and death of Patrice Lumumba. Peck succeeds in creating films that do more than preserve or resuscitate a historical record. The earlier film in particular performs analytic historical work as it delves into the conflicted historical record in which Lumumba is remembered. Peck uses an experimental and confrontational approach to reveal the ongoing forms of cultural censorship that have attempted to erase Lumumba and his legacy.

scholarly journals Assistance mortelle de Raoul Peck

2019 ◽  
Vol LXXII (279) ◽  
pp. 333-337
Author(s):  
Alice Corbet
Keyword(s):  
Raoul Peck

scholarly journals Sob o signo da travessia:

Revista Prumo ◽  
2019 ◽  
Vol 4 (6) ◽  
pp. 200-208
Author(s):  
Marcelo Rodrigues Esteves
Keyword(s):  
United States ◽  
New York ◽  
Democratic Republic ◽  
Democratic Republic Of Congo ◽  
The United States ◽  
Republic Of Congo ◽  
Raoul Peck

At becoming worldly known, in 2016, thanks to the success of his documentary I Am Not Your Negro, the Haitian Raoul Peck already possessed an extensive career as a filmmaker, with a first fiction film, Haitian Corner, released in 1987. The movie tells the story of na haitian poet, immigrant, who lives in Brooklyn, New York, tormented by the ghosts of torture suffered in Haiti in the Duvalier era. Himself marked by the sign of displacement – Peck lived in Haiti, in the Democratic Republic of Congo, in Germany, in the United States and France – the filmmaker starts with Haitian Corner a long list of characters displaced or on transit that would thematically shape many of your works. This article intends to revise the image of the refugee/immigrant in this inaugural piece by Peck, with enfasis on the approach of the director to subjects of memory and the trauma caused in the sphere of asylum.

scholarly journals Baldwin’s Transatlantic Reverberations

2020 ◽  
Vol 6 (1) ◽  
pp. 176-198
Author(s):  
Jovita dos Santos Pinto ◽  
Noémi Michel ◽  
Patricia Purtschert ◽  
Paola Bacchetta ◽  
Vanessa Naef
Keyword(s):  
Critical Race Studies ◽  
Situated Knowledge ◽  
Black Feminist ◽  
The Arts ◽  
Sexual Racism ◽  
Queer Of Color ◽  
Controlling Images ◽  
Raoul Peck ◽  
The Village ◽  
The U.S

James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.

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