Harrow Harrow
Biographic Data
| ID | 5604164 |
|---|---|
| NAME | Harrow Harrow |
| GIVEN NAMES | Harrow |
| FAMILY NAME | Harrow |
| SIGNATURE | HARROW H |
| AFFILIATIONS | Michigan State University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 0 |
World Cinema versus Subjectivity
In Nigerian Video Films (2000), Jonathan Haynes delineated the ways in which Nollywood called for new critical approaches that would differ from the ways in which African film had been mediated to European or American audiences. Nollywood decidedly did not lend itself to the familiar ideological readings that had marked African film criticism from the outset. Haynes turned to questions of globalization, the economic and social factors that accoun…
Gikandi and the Modern Subject
What is the slave’s relationship to the master and what is the master’s to the slave. It is hard to ignore Hegel’s model, bizarre though it is in seeing agency and subjectivity being possible for the slave more than for the master. The slave does not and is not in need of the recognition of the other since, having resigned himself, herself, to obedience, docility, labor, servitude, there is no point in seeking recognition from the other who sees …
Patrice Nganang's L'invention du beau regard and Dog Days
Western epistemologies about Africa that have become dominant in the past decade focus upon Africa as a site of death. The alternative "Shrobenius" proposition sees in Africa the source of life. From the late 1970s on, it is the Afro-pessimistic paradigm that has been on the ascendancy. In Oyono's Une vie de boy (1956), the commandants and the Pères blancs (white fathers), displaced the African fathers, erecting an unbridgeable barrier between th…
Trash and a New Approach to Cinema Engagé
This paper is an attempt to rethink a new approach to African cinema grounded in the various ramifications of the notion of trash—that is, the materiality of what Ba taille identifies with expenditure: the detritus of the various systems and institu tions engendered by globalized commodity capitalism, and their ultimate relationship to African cinema. In all its senses, the term “trash” impels us to push into the heart of the rubbish tip until we…
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Trash and a New Approach to Cinema Engagé
This paper is an attempt to rethink a new approach to African cinema grounded in the various ramifications of the notion of trash—that is, the materiality of what Ba taille identifies with expenditure: the detritus of the various systems and institu tions engendered by globalized commodity capitalism, and their ultimate relationship to African cinema. In all its senses, the term “trash” impels us to push into the heart of the rubbish tip until we…
Patrice Nganang's L'invention du beau regard and Dog Days
Western epistemologies about Africa that have become dominant in the past decade focus upon Africa as a site of death. The alternative "Shrobenius" proposition sees in Africa the source of life. From the late 1970s on, it is the Afro-pessimistic paradigm that has been on the ascendancy. In Oyono's Une vie de boy (1956), the commandants and the Pères blancs (white fathers), displaced the African fathers, erecting an unbridgeable barrier between th…
World Cinema versus Subjectivity
In Nigerian Video Films (2000), Jonathan Haynes delineated the ways in which Nollywood called for new critical approaches that would differ from the ways in which African film had been mediated to European or American audiences. Nollywood decidedly did not lend itself to the familiar ideological readings that had marked African film criticism from the outset. Haynes turned to questions of globalization, the economic and social factors that accoun…
Gikandi and the Modern Subject
What is the slave’s relationship to the master and what is the master’s to the slave. It is hard to ignore Hegel’s model, bizarre though it is in seeing agency and subjectivity being possible for the slave more than for the master. The slave does not and is not in need of the recognition of the other since, having resigned himself, herself, to obedience, docility, labor, servitude, there is no point in seeking recognition from the other who sees …
Aesthetics (3 works) · Art (3 works) · History (3 works) · Law (3 works) · Political science (3 works) · Politics (3 works) · Sociology (3 works) · African history and culture studies (2 works) · Capitalism (2 works) · Cinema and Media Studies (2 works)