Maureen Eke
Biographic Data
| ID | 148454 |
|---|---|
| NAME | Maureen Eke |
| GIVEN NAMES | Maureen |
| FAMILY NAME | Eke |
| SIGNATURE | EKE M |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Towards a Theory of Orality in African Cinema
The direct importation into Africa of methods, theories, ideas, and psychoanalytical assumptions developed in First World and applied to African cinema is not without epistemological problems. Marxist, positivist, or liberal-humanist approaches, among others, do not automatically apply in attempts to understand African films and audiences. The call on mainly Lacanian psychoanalysis as an interpretive framework assumes that African viewers have es…
Film and human rights
(1997). Film and human rights: Whose rights, whose interpretations, what consequences? Visual Anthropology: Vol. 9, No. 3-4, pp. 353-365
Transcending prison as a metaphor of apartheid
We examine film representations of prisons, with specific reference to the meaning of Robben Island in South African history. Topologically and symbolically, the Island represented the outer margin to which African resistance was banished. In liberation discourse, however, the Island was articulated into a symbol of defiance, a government-in-waiting, a temporarily inhabited territory. The central esthetic for black South African writing is the “t…
Transcending prison as a metaphor of apartheid
We examine film representations of prisons, with specific reference to the meaning of Robben Island in South African history. Topologically and symbolically, the Island represented the outer margin to which African resistance was banished. In liberation discourse, however, the Island was articulated into a symbol of defiance, a government-in-waiting, a temporarily inhabited territory. The central esthetic for black South African writing is the “t…
Film and human rights
(1997). Film and human rights: Whose rights, whose interpretations, what consequences? Visual Anthropology: Vol. 9, No. 3-4, pp. 353-365
Transcending prison as a metaphor of apartheid
We examine film representations of prisons, with specific reference to the meaning of Robben Island in South African history. Topologically and symbolically, the Island represented the outer margin to which African resistance was banished. In liberation discourse, however, the Island was articulated into a symbol of defiance, a government-in-waiting, a temporarily inhabited territory. The central esthetic for black South African writing is the “t…
Towards a Theory of Orality in African Cinema
The direct importation into Africa of methods, theories, ideas, and psychoanalytical assumptions developed in First World and applied to African cinema is not without epistemological problems. Marxist, positivist, or liberal-humanist approaches, among others, do not automatically apply in attempts to understand African films and audiences. The call on mainly Lacanian psychoanalysis as an interpretive framework assumes that African viewers have es…
Sociology (3 works) · African studies and sociopolitical issues (2 works) · Art (2 works) · Political science (2 works) · Aesthetics (1 works) · African history and culture studies (1 works) · African Sexualities and LGBTQ+ Issues (1 works) · Criminology (1 works) · Gender Studies (1 works) · Gender Studies (1 works)