Dayna Oscherwitz
Biographic Data
| ID | 110180 |
|---|---|
| NAME | Dayna Oscherwitz |
| GIVEN NAMES | Dayna |
| FAMILY NAME | Oscherwitz |
| SIGNATURE | OSCHERWITZ D |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 33 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 2 |
Globalisation, Cinéma-monde and the Work of Abderrahmane Sissako
This chapter compares and contrasts Abderrahmane Sissako’s better-known films with the English-language novels of the Afropolitanism movement, whose African-born characters all share a familiarity with the realities of the Global North. The chapter further surveys the most celebrated films of the Mauritanian-born, Malian-raised, Russian-trained, French-based director, demonstrating how they dispute the universal narrative on globalisation and con…
The Western in the Global South
Mahamat-Saleh Haroun, director. Dry Season. Original title: Daratt . 2006. 96 minutes. French and Chadian Arabic, with English subtitles. Chad and France. ArtMattan Production. $26.95. DVD. $9.95. DSR
Mahamat-Saleh Haroun, director. Dry Season. Original title: Daratt. 2006. 96 minutes. French and Chadian Arabic, with English subtitles. Chad and France. ArtMattan Production. 9.95. DSR. - Volume 57 Issue 2
Postcolonial African Cinema: From Political Engagement to Postmodernism , by Kenneth W. Harrow
Reviewed by: Postcolonial African Cinema: From Political Engagement to Postmodernism Dayna Oscherwitz Postcolonial African Cinema: From Political Engagement to Postmodernism By Kenneth W. Harrow Bloomington: Indiana UP 2007. xx + 268pp. ISBN 978-0-253-21914-5 paper. Kenneth Harrow begins his study of African cinema by asserting that it is “time for a revolution in African film criticism” (xi). The revolution for which he calls consists of abandon…
Of Cowboys and Elephants: Africa, Globalization and the Nouveau Western in Djibril Diop Mambety's Hyenas
Djibril Diop Mambety's film Hyenas (1992) has typically been read as an Africanized version of Friedrich Dürrenmatt's 1962 play, The Visit. Although the play is an important influence on Mambety's film, it is not the only one. The form and iconography of Hyenas seem to derive from the Hollywood western. Mambety engages the western in his film in order to critique materialism, American cultural hegemony, and Western economic imperialism. Moreover,…
Historical dictionary of French cinema
Part 1 Editor's Foreword Part 2 Preface Part 3 Reader's Note Part 4 Acronyms and Abbreviations Part 5 Chronology Part 6 Introduction Part 7 THE DICTIONARY Part 8 Bibliography Part 9 About the Authors
Pop goes the Banlieue: Musical métissage and the articulation of a multiculturalist vision
Postcolonial Hospitality: The Immigrant as Guest
In recent years, hospitality has emerged as a category in French thinking for addressing a range of issues associated with immigration and other types of journeys. Rosello's book concentrates primarily on France and its former colonies in North and sub-Saharan Africa and considers how hospitality and its dissidence are defined, practiced, and represented in European and African fictions, theories, and myths at the end of the twentieth century. Po…
Postcolonial Hospitality: The Immigrant as Guest
In recent years, hospitality has emerged as a category in French thinking for addressing a range of issues associated with immigration and other types of journeys. Rosello's book concentrates primarily on France and its former colonies in North and sub-Saharan Africa and considers how hospitality and its dissidence are defined, practiced, and represented in European and African fictions, theories, and myths at the end of the twentieth century. Po…
Of Cowboys and Elephants: Africa, Globalization and the Nouveau Western in Djibril Diop Mambety's Hyenas
Djibril Diop Mambety's film Hyenas (1992) has typically been read as an Africanized version of Friedrich Dürrenmatt's 1962 play, The Visit. Although the play is an important influence on Mambety's film, it is not the only one. The form and iconography of Hyenas seem to derive from the Hollywood western. Mambety engages the western in his film in order to critique materialism, American cultural hegemony, and Western economic imperialism. Moreover,…
Pop goes the Banlieue: Musical métissage and the articulation of a multiculturalist vision
Postcolonial Hospitality: The Immigrant as Guest
In recent years, hospitality has emerged as a category in French thinking for addressing a range of issues associated with immigration and other types of journeys. Rosello's book concentrates primarily on France and its former colonies in North and sub-Saharan Africa and considers how hospitality and its dissidence are defined, practiced, and represented in European and African fictions, theories, and myths at the end of the twentieth century. Po…
Pop goes the Banlieue: Musical métissage and the articulation of a multiculturalist vision
Historical dictionary of French cinema
Part 1 Editor's Foreword Part 2 Preface Part 3 Reader's Note Part 4 Acronyms and Abbreviations Part 5 Chronology Part 6 Introduction Part 7 THE DICTIONARY Part 8 Bibliography Part 9 About the Authors
Of Cowboys and Elephants: Africa, Globalization and the Nouveau Western in Djibril Diop Mambety's Hyenas
Djibril Diop Mambety's film Hyenas (1992) has typically been read as an Africanized version of Friedrich Dürrenmatt's 1962 play, The Visit. Although the play is an important influence on Mambety's film, it is not the only one. The form and iconography of Hyenas seem to derive from the Hollywood western. Mambety engages the western in his film in order to critique materialism, American cultural hegemony, and Western economic imperialism. Moreover,…
Postcolonial African Cinema: From Political Engagement to Postmodernism , by Kenneth W. Harrow
Reviewed by: Postcolonial African Cinema: From Political Engagement to Postmodernism Dayna Oscherwitz Postcolonial African Cinema: From Political Engagement to Postmodernism By Kenneth W. Harrow Bloomington: Indiana UP 2007. xx + 268pp. ISBN 978-0-253-21914-5 paper. Kenneth Harrow begins his study of African cinema by asserting that it is “time for a revolution in African film criticism” (xi). The revolution for which he calls consists of abandon…
Mahamat-Saleh Haroun, director. Dry Season. Original title: Daratt . 2006. 96 minutes. French and Chadian Arabic, with English subtitles. Chad and France. ArtMattan Production. $26.95. DVD. $9.95. DSR
Mahamat-Saleh Haroun, director. Dry Season. Original title: Daratt. 2006. 96 minutes. French and Chadian Arabic, with English subtitles. Chad and France. ArtMattan Production. 9.95. DSR. - Volume 57 Issue 2
The Western in the Global South
Globalisation, Cinéma-monde and the Work of Abderrahmane Sissako
This chapter compares and contrasts Abderrahmane Sissako’s better-known films with the English-language novels of the Afropolitanism movement, whose African-born characters all share a familiarity with the realities of the Global North. The chapter further surveys the most celebrated films of the Mauritanian-born, Malian-raised, Russian-trained, French-based director, demonstrating how they dispute the universal narrative on globalisation and con…
African history and culture studies (7 works) · History (7 works) · Art (5 works) · Law (5 works) · Political science (5 works) · Archaeology (4 works) · History (4 works) · Literature (4 works) · Sociology (4 works) · Art history (3 works)