Matthew H Brown
Biographic Data
| ID | 132940 |
|---|---|
| NAME | Matthew H Brown |
| GIVEN NAMES | Matthew H |
| FAMILY NAME | Brown |
| SIGNATURE | BROWN M H |
| AFFILIATIONS | University of Wisconsin–Madison |
| ORCID | 0009-0000-1520-5111 |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Awam Ampka, dir. The Man Died. 2024. 105 minutes. English and Yoruba, with English subtitles. Nigeria. Zuri 24 Media. No price reported.
On interregna
In this brief meditation on Tejumola Olaniyan's theoretical writing, I explore the entanglements between Olaniyan's widely-cited concept of the "postcolonial incredible" and the notion of an "interregnum," drawn from Antonio Gramsci. By reconsidering Olaniyan's use of terms like "overthrow," "presupposed," and "normality," I argue that Olaniyan theorizes the crisis of African postcolonial politics as a crisis of modernity itself. Given that Grams…
Kèlání and the Question of Sovereign Cinema
One of the great philosophical questions at the heart of Túndé Kèlání's oeuvre concerns the sovereignty of cinematic practice. Can cinema, particularly in postcolonial Nigeria, be free from undue outside influence? Can it exercise ultimate power over its internal constituencies? What does freedom from outside influence look like? What are cinema's internal constituencies? Are they purely aesthetic? Do they include the sphere of spectatorship? I p…
The Enchanted History of Nigerian State Television
State and Culture in Postcolonial Africa
Genre as Ideological Impulse
This article draws from “big-data” analysis of Netflix’s usage, which suggests that what spectators tend to like about films is inherently generic. Moreover, the process of liking serves as a metaphor, over and above the process of taking pleasure, for the ways in which spectators make texts meaningful rather than deriving meaning from them. The article then discusses some examples of African cultural production in order to focus attention on the…
Restructuring in retrospect
Genre as Ideological Impulse
This article draws from “big-data” analysis of Netflix’s usage, which suggests that what spectators tend to like about films is inherently generic. Moreover, the process of liking serves as a metaphor, over and above the process of taking pleasure, for the ways in which spectators make texts meaningful rather than deriving meaning from them. The article then discusses some examples of African cultural production in order to focus attention on the…
Kèlání and the Question of Sovereign Cinema
One of the great philosophical questions at the heart of Túndé Kèlání's oeuvre concerns the sovereignty of cinematic practice. Can cinema, particularly in postcolonial Nigeria, be free from undue outside influence? Can it exercise ultimate power over its internal constituencies? What does freedom from outside influence look like? What are cinema's internal constituencies? Are they purely aesthetic? Do they include the sphere of spectatorship? I p…
Restructuring in retrospect
State and Culture in Postcolonial Africa
Genre as Ideological Impulse
This article draws from “big-data” analysis of Netflix’s usage, which suggests that what spectators tend to like about films is inherently generic. Moreover, the process of liking serves as a metaphor, over and above the process of taking pleasure, for the ways in which spectators make texts meaningful rather than deriving meaning from them. The article then discusses some examples of African cultural production in order to focus attention on the…
The Enchanted History of Nigerian State Television
Kèlání and the Question of Sovereign Cinema
One of the great philosophical questions at the heart of Túndé Kèlání's oeuvre concerns the sovereignty of cinematic practice. Can cinema, particularly in postcolonial Nigeria, be free from undue outside influence? Can it exercise ultimate power over its internal constituencies? What does freedom from outside influence look like? What are cinema's internal constituencies? Are they purely aesthetic? Do they include the sphere of spectatorship? I p…
On interregna
In this brief meditation on Tejumola Olaniyan's theoretical writing, I explore the entanglements between Olaniyan's widely-cited concept of the "postcolonial incredible" and the notion of an "interregnum," drawn from Antonio Gramsci. By reconsidering Olaniyan's use of terms like "overthrow," "presupposed," and "normality," I argue that Olaniyan theorizes the crisis of African postcolonial politics as a crisis of modernity itself. Given that Grams…
Awam Ampka, dir. The Man Died. 2024. 105 minutes. English and Yoruba, with English subtitles. Nigeria. Zuri 24 Media. No price reported.
African history and culture studies (5 works) · Political science (4 works) · Art (3 works) · Philosophy (3 works) · Sociology (3 works) · Aesthetics (2 works) · Cinema and Media Studies (2 works) · Computer Science (2 works) · Philosophy (2 works) · Politics (2 works)