Peter Limbrick
Biographic Data
| ID | 210939 |
|---|---|
| NAME | Peter Limbrick |
| GIVEN NAMES | Peter |
| FAMILY NAME | Limbrick |
| SIGNATURE | LIMBRICK P |
| AFFILIATIONS | University of California, Santa Cruz |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Reconstituting Archives: Moroccan Cinema and History in Ahmed Bouanani and Ali Essafi's Projects of Re-collection
This article addresses two recent contributions to the archive of Moroccan cinema and culture: Ahmed Bouanani (1938-2011)'s recently published history of cinema in Morocco, La Septième porte: Une histoire du cinéma au Maroc de 1907-1986 (2020), and Ali Essafi's montage film Avant le déclin du jour (2020). In addressing these two works, the essay also evokes Bouanani's archival film Mémoire 14 (1971) which, like the other two texts, theorizes a re…
Leaks, Hacks, and Scandals: Arab Culture in the Digital Age, written by Tarek El-Ariss
Arab Modernism as World Cinema: The Films of Moumen Smihi
After the American Century: The Ends of U.S. Culture in the Middle East
In After the American Century we follow Brian Edwards’s dazzling interpretations of a range of US cultural products and their unlikely transformation in the global cities of Cairo, Tehran, and Casablanca. The aim of Edwards’s carefully argued book is to show how culture now travels in unpredictable ways that challenge our understandings of the relation between the United States and the rest of the world. Working across film, literature, and popul…
Seconds: Politics, Art and the Archival Imagination
This article addresses John Greyson's 14.3 Seconds [2008 2008 14.3 Seconds. Iraq/Canada; digital video, color, 9 mins. [Google Scholar]], a video about the destruction of Iraqi film archives. This video continues the history of radical form and fabulation that characterizes Greyson's queer film/video œuvre while also engaging the provocative experimentations with archives and history that animate recent Arab visual culture. The essay argues that …
New voices in Arab cinema
Vernacular Modernism, Film Culture, and Moroccan Short Film and Documentary
Moroccan cinema, when it is present at all in anglophone film discourses, most oft en appears through the lens of national film history. Underpinned by postcolonial theory's emphasis on concepts of resistant nationalisms, critical discourse on Moroccan cinema tends to view it in terms of a struggle for the emergence of a coherent national practice in the wake of colonialism. Th is essay takes a diff erent tack, foregrounding cinematic and artisti…
Moumen Smihi's Tanjawi/Tangérois/Tangerian Cinema
The films of the Tanjawi Moumen Smihi elaborate the need for an Arab cinema that critically engages its cultural and political environs not through the singularity of nationalist, postcolonial or religiously-driven identity but by exploiting and further exploding the contradictions and heterogeneity that mark cinema's existence in the Arab world. This article argues that in working toward an aesthetic of an Arabo-Islamic culture, Smihi's films ev…
The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl
Research Article| May 01 2008 “The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl Peter Limbrick Peter Limbrick Search for other works by this author on: This Site Google Camera Obscura (2008) 23 (1 (67)): 184–193. https://doi.org/10.1215/02705346-2007-032 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Peter Limbrick; “The Stallion Who Became a Gelding Who Became a Mayor”: Georgi…
Journal of Visual Culture: The Flotsam and Jetsam of Film History: Hei Tiki and Postcolonial Rearticulations
This essay addresses the film Hei Tiki (Alexander Markey, 1935) within the context of colonial transactions and postcolonial rearticulations. The film itself and the leftovers of its production are considered as colonial `flotsam and jetsam' that have been picked up and refashioned in new ways
After the American Century: The Ends of U.S. Culture in the Middle East
In After the American Century we follow Brian Edwards’s dazzling interpretations of a range of US cultural products and their unlikely transformation in the global cities of Cairo, Tehran, and Casablanca. The aim of Edwards’s carefully argued book is to show how culture now travels in unpredictable ways that challenge our understandings of the relation between the United States and the rest of the world. Working across film, literature, and popul…
Vernacular Modernism, Film Culture, and Moroccan Short Film and Documentary
Moroccan cinema, when it is present at all in anglophone film discourses, most oft en appears through the lens of national film history. Underpinned by postcolonial theory's emphasis on concepts of resistant nationalisms, critical discourse on Moroccan cinema tends to view it in terms of a struggle for the emergence of a coherent national practice in the wake of colonialism. Th is essay takes a diff erent tack, foregrounding cinematic and artisti…
The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl
Research Article| May 01 2008 “The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl Peter Limbrick Peter Limbrick Search for other works by this author on: This Site Google Camera Obscura (2008) 23 (1 (67)): 184–193. https://doi.org/10.1215/02705346-2007-032 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Peter Limbrick; “The Stallion Who Became a Gelding Who Became a Mayor”: Georgi…
Journal of Visual Culture: The Flotsam and Jetsam of Film History: Hei Tiki and Postcolonial Rearticulations
This essay addresses the film Hei Tiki (Alexander Markey, 1935) within the context of colonial transactions and postcolonial rearticulations. The film itself and the leftovers of its production are considered as colonial `flotsam and jetsam' that have been picked up and refashioned in new ways
The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl
Research Article| May 01 2008 “The Stallion Who Became a Gelding Who Became a Mayor”: Georgie Girl Peter Limbrick Peter Limbrick Search for other works by this author on: This Site Google Camera Obscura (2008) 23 (1 (67)): 184–193. https://doi.org/10.1215/02705346-2007-032 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Peter Limbrick; “The Stallion Who Became a Gelding Who Became a Mayor”: Georgi…
Moumen Smihi's Tanjawi/Tangérois/Tangerian Cinema
The films of the Tanjawi Moumen Smihi elaborate the need for an Arab cinema that critically engages its cultural and political environs not through the singularity of nationalist, postcolonial or religiously-driven identity but by exploiting and further exploding the contradictions and heterogeneity that mark cinema's existence in the Arab world. This article argues that in working toward an aesthetic of an Arabo-Islamic culture, Smihi's films ev…
Vernacular Modernism, Film Culture, and Moroccan Short Film and Documentary
Moroccan cinema, when it is present at all in anglophone film discourses, most oft en appears through the lens of national film history. Underpinned by postcolonial theory's emphasis on concepts of resistant nationalisms, critical discourse on Moroccan cinema tends to view it in terms of a struggle for the emergence of a coherent national practice in the wake of colonialism. Th is essay takes a diff erent tack, foregrounding cinematic and artisti…
Seconds: Politics, Art and the Archival Imagination
This article addresses John Greyson's 14.3 Seconds [2008 2008 14.3 Seconds. Iraq/Canada; digital video, color, 9 mins. [Google Scholar]], a video about the destruction of Iraqi film archives. This video continues the history of radical form and fabulation that characterizes Greyson's queer film/video œuvre while also engaging the provocative experimentations with archives and history that animate recent Arab visual culture. The essay argues that …
New voices in Arab cinema
After the American Century: The Ends of U.S. Culture in the Middle East
In After the American Century we follow Brian Edwards’s dazzling interpretations of a range of US cultural products and their unlikely transformation in the global cities of Cairo, Tehran, and Casablanca. The aim of Edwards’s carefully argued book is to show how culture now travels in unpredictable ways that challenge our understandings of the relation between the United States and the rest of the world. Working across film, literature, and popul…
Arab Modernism as World Cinema: The Films of Moumen Smihi
Leaks, Hacks, and Scandals: Arab Culture in the Digital Age, written by Tarek El-Ariss
Reconstituting Archives: Moroccan Cinema and History in Ahmed Bouanani and Ali Essafi's Projects of Re-collection
This article addresses two recent contributions to the archive of Moroccan cinema and culture: Ahmed Bouanani (1938-2011)'s recently published history of cinema in Morocco, La Septième porte: Une histoire du cinéma au Maroc de 1907-1986 (2020), and Ali Essafi's montage film Avant le déclin du jour (2020). In addressing these two works, the essay also evokes Bouanani's archival film Mémoire 14 (1971) which, like the other two texts, theorizes a re…
Art (8 works) · Art history (6 works) · History (6 works) · Jewish and Middle Eastern Studies (5 works) · Movie theater (5 works) · Political science (5 works) · Sociology (5 works) · History (4 works) · Law (4 works) · African history and culture studies (3 works)