Fernanda Pinto De Almeida
Datos Biográficos
| ID | 251501 |
|---|---|
| NOMBRE | Fernanda Pinto De Almeida |
| NOMBRES | Fernanda Pinto |
| APELLIDO | De Almeida |
| FIRMA | DE ALMEIDA F P |
| AFILIACIONES | University of the Western Cape |
| ORCID | 0000-0003-1506-9468 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 9 |
| TOTAL DE CITAS | 8 |
| TOTAL COMO AUTOR | 9 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2015 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 2 |
History and its aftermath
South African scholar Premesh Lalu is a leading postcolonial theorist of South Africa. Framed by an introductory note by Fernanda Pinto de Almeida, this interview invites Lalu to discuss his critical work alongside his own intellectual trajectory, beginning with his early essay entitled “Sara’s Suicide” (2000). Building on his engagement with the concept of subalternity and a critique of nationalist narratives of the past, it asks whether this es…
A statement on the ongoing genocide in Gaza
Communication, Culture and Critique has been the leading venue for critical approaches to communication and media studies. This issue marks the first guided by a newly formed Editorial Collective, which seeks to rekindle the politically engaged scholarship epitomized by the Centre for Contemporary Cultural Studies at Birmingham University in the 1970s, then under the leadership of Stuart Hall. As we assume our responsibility to guide this journal…
Rabhia
Lucílio Manjate, Rabhia (Maputo: Alcance, 2019), 139 pp., ISBN: 9789928794338 The growing interest in Mozambican crime fiction since the early 2000's reflects a move to portray underexplored characters, stories and spaces of postcolonial life through the lens of the police procedural. This period has not only seen numerous debates in Mozambique surrounding the purported 'death' of Mozambican literature, but it has coincided with a significant lit…
Cinema and the Idea of Fieldwork in Sol Plaatje’s Journeys
In the mid-1920s, Solomon Tshekisho Plaatje toured the South African countryside showing films he brought from the Tuskegee Institute in the United States. Plaatje’s cinema tours complemented his educational talks on the status of Africans in the Union of South Africa alongside the material he collected for books, speeches and political tours. Focusing on the itinerant cinema as an element of fieldwork, our article asks what can be learned from a…
A “Poor Man's Pleasure”
What do cinema houses have to tell us about the experience of collective leisure in early twentieth-century South Africa? This article considers how the cinema house points to unprecedented social conditions that allowed the emergence of new publics. Drawing on scholarship on the development of cinema in South Africa, the article considers how the historical transformations through which the cinema has passed since the 1910s suggest attempts to d…
The Drive-In and the Desegregation of Cinemas in Apartheid Cape Town
Going to drive-ins became a popular pastime in Cape Town during the 1960s and 1970s, although most were restricted to white audiences. Towards the end of this period, however, the arrival of television and emerging cinemas in ‘Coloured’ areas pushed white cinema owners throughout the city to apply for permits for mixed-race audiences and to transform the white-only status of their venues. This article focuses on drive-ins, an overlooked dimension…
No lastro da imagem
O planejamento urbano da Cidade do Cabo, na África do Sul, bem como as políticas de segregação racial que o nortearam, informaram a construção de cinemas do distrito central e a zona informalmente conhecida como 'Cinelândia', onde se concentraram cineteatros racialmente restritos e elitizados. Este artigo aborda a segregação do lazer através da construção e demolição, em 1972, do Cinema Alhambra, também conhecido como 'Mother Theatre', como uma l…
"Seeing with the "Mother Theatre
In this essay, I consider the building and demolition of the Alhambra, once known as Cape Town’s Mother Theatre, as a way of approaching the transformations of the city centre in the twentieth century. I show how city planning schemes and segregation policies transformed the central district’s cinema theatres – particularly the area informally called “Theatreland” – and proposed alterations to the seashore land that restricted pedestrian access f…
Framing interior
This paper explores the depiction of dwellings in order to locate the emergence of a particular framing of the interior in South Africa. I suggest that in the first half of the twentieth century, images of domestic spaces pointed both to racially distinct interiors and racialised forms of interiority. As an aesthetic technology of the late nineteenth century, photography aided in the production of visual motifs that fixed the appearance of race i…
The Drive-In and the Desegregation of Cinemas in Apartheid Cape Town
Going to drive-ins became a popular pastime in Cape Town during the 1960s and 1970s, although most were restricted to white audiences. Towards the end of this period, however, the arrival of television and emerging cinemas in ‘Coloured’ areas pushed white cinema owners throughout the city to apply for permits for mixed-race audiences and to transform the white-only status of their venues. This article focuses on drive-ins, an overlooked dimension…
Framing interior
This paper explores the depiction of dwellings in order to locate the emergence of a particular framing of the interior in South Africa. I suggest that in the first half of the twentieth century, images of domestic spaces pointed both to racially distinct interiors and racialised forms of interiority. As an aesthetic technology of the late nineteenth century, photography aided in the production of visual motifs that fixed the appearance of race i…
A statement on the ongoing genocide in Gaza
Communication, Culture and Critique has been the leading venue for critical approaches to communication and media studies. This issue marks the first guided by a newly formed Editorial Collective, which seeks to rekindle the politically engaged scholarship epitomized by the Centre for Contemporary Cultural Studies at Birmingham University in the 1970s, then under the leadership of Stuart Hall. As we assume our responsibility to guide this journal…
A “Poor Man's Pleasure”
What do cinema houses have to tell us about the experience of collective leisure in early twentieth-century South Africa? This article considers how the cinema house points to unprecedented social conditions that allowed the emergence of new publics. Drawing on scholarship on the development of cinema in South Africa, the article considers how the historical transformations through which the cinema has passed since the 1910s suggest attempts to d…
"Seeing with the "Mother Theatre
In this essay, I consider the building and demolition of the Alhambra, once known as Cape Town’s Mother Theatre, as a way of approaching the transformations of the city centre in the twentieth century. I show how city planning schemes and segregation policies transformed the central district’s cinema theatres – particularly the area informally called “Theatreland” – and proposed alterations to the seashore land that restricted pedestrian access f…
Framing interior
This paper explores the depiction of dwellings in order to locate the emergence of a particular framing of the interior in South Africa. I suggest that in the first half of the twentieth century, images of domestic spaces pointed both to racially distinct interiors and racialised forms of interiority. As an aesthetic technology of the late nineteenth century, photography aided in the production of visual motifs that fixed the appearance of race i…
"Seeing with the "Mother Theatre
In this essay, I consider the building and demolition of the Alhambra, once known as Cape Town’s Mother Theatre, as a way of approaching the transformations of the city centre in the twentieth century. I show how city planning schemes and segregation policies transformed the central district’s cinema theatres – particularly the area informally called “Theatreland” – and proposed alterations to the seashore land that restricted pedestrian access f…
Cinema and the Idea of Fieldwork in Sol Plaatje’s Journeys
In the mid-1920s, Solomon Tshekisho Plaatje toured the South African countryside showing films he brought from the Tuskegee Institute in the United States. Plaatje’s cinema tours complemented his educational talks on the status of Africans in the Union of South Africa alongside the material he collected for books, speeches and political tours. Focusing on the itinerant cinema as an element of fieldwork, our article asks what can be learned from a…
A “Poor Man's Pleasure”
What do cinema houses have to tell us about the experience of collective leisure in early twentieth-century South Africa? This article considers how the cinema house points to unprecedented social conditions that allowed the emergence of new publics. Drawing on scholarship on the development of cinema in South Africa, the article considers how the historical transformations through which the cinema has passed since the 1910s suggest attempts to d…
The Drive-In and the Desegregation of Cinemas in Apartheid Cape Town
Going to drive-ins became a popular pastime in Cape Town during the 1960s and 1970s, although most were restricted to white audiences. Towards the end of this period, however, the arrival of television and emerging cinemas in ‘Coloured’ areas pushed white cinema owners throughout the city to apply for permits for mixed-race audiences and to transform the white-only status of their venues. This article focuses on drive-ins, an overlooked dimension…
No lastro da imagem
O planejamento urbano da Cidade do Cabo, na África do Sul, bem como as políticas de segregação racial que o nortearam, informaram a construção de cinemas do distrito central e a zona informalmente conhecida como 'Cinelândia', onde se concentraram cineteatros racialmente restritos e elitizados. Este artigo aborda a segregação do lazer através da construção e demolição, em 1972, do Cinema Alhambra, também conhecido como 'Mother Theatre', como uma l…
Rabhia
Lucílio Manjate, Rabhia (Maputo: Alcance, 2019), 139 pp., ISBN: 9789928794338 The growing interest in Mozambican crime fiction since the early 2000's reflects a move to portray underexplored characters, stories and spaces of postcolonial life through the lens of the police procedural. This period has not only seen numerous debates in Mozambique surrounding the purported 'death' of Mozambican literature, but it has coincided with a significant lit…
History and its aftermath
South African scholar Premesh Lalu is a leading postcolonial theorist of South Africa. Framed by an introductory note by Fernanda Pinto de Almeida, this interview invites Lalu to discuss his critical work alongside his own intellectual trajectory, beginning with his early essay entitled “Sara’s Suicide” (2000). Building on his engagement with the concept of subalternity and a critique of nationalist narratives of the past, it asks whether this es…
A statement on the ongoing genocide in Gaza
Communication, Culture and Critique has been the leading venue for critical approaches to communication and media studies. This issue marks the first guided by a newly formed Editorial Collective, which seeks to rekindle the politically engaged scholarship epitomized by the Centre for Contemporary Cultural Studies at Birmingham University in the 1970s, then under the leadership of Stuart Hall. As we assume our responsibility to guide this journal…
African history and culture studies (7 obras) · Sociology (7 obras) · History (6 obras) · Political science (6 obras) · South African History and Culture (6 obras) · Art (5 obras) · Law (5 obras) · Media studies (5 obras) · Movie theater (5 obras) · Archaeology (4 obras)