Tomaselli Tomaselli
Biographic Data
| ID | 5654657 |
|---|---|
| NAME | Tomaselli Tomaselli |
| GIVEN NAMES | Tomaselli |
| FAMILY NAME | Tomaselli |
| SIGNATURE | TOMASELLI T |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Towards a Theory of Orality in African Cinema
Towards a Theory of Orality in African Cinema Keyan G. Tomaselli (bio), Arnold Shepperson (bio), and Maureen Eke (bio) The direct importation into Africa of methods, theories, ideas, and psychoanalytical assumptions developed in the 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 …
Film and Trauma
Films made by Africans on wars, gender oppression, slavery, and trauma project not only confrontations between individual filmmakers and their subjects, but they also reveal the confrontations between individuals and groups and the collective structures which shape, control, and direct their lives. How these collective structures become a story’s foreground is an important aspect of the cinematic signification process. The resulting film’s place …
Film and Trauma
Films made by Africans on wars, gender oppression, slavery, and trauma project not only confrontations between individual filmmakers and their subjects, but they also reveal the confrontations between individuals and groups and the collective structures which shape, control, and direct their lives. How these collective structures become a story’s foreground is an important aspect of the cinematic signification process. The resulting film’s place …
Towards a Theory of Orality in African Cinema
Towards a Theory of Orality in African Cinema Keyan G. Tomaselli (bio), Arnold Shepperson (bio), and Maureen Eke (bio) The direct importation into Africa of methods, theories, ideas, and psychoanalytical assumptions developed in the 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 …
Film and Trauma
Films made by Africans on wars, gender oppression, slavery, and trauma project not only confrontations between individual filmmakers and their subjects, but they also reveal the confrontations between individuals and groups and the collective structures which shape, control, and direct their lives. How these collective structures become a story’s foreground is an important aspect of the cinematic signification process. The resulting film’s place …
Towards a Theory of Orality in African Cinema
Towards a Theory of Orality in African Cinema Keyan G. Tomaselli (bio), Arnold Shepperson (bio), and Maureen Eke (bio) The direct importation into Africa of methods, theories, ideas, and psychoanalytical assumptions developed in the 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 …
African history and culture studies (2 works) · Art (2 works) · Aesthetics (1 works) · African Sexualities and LGBTQ+ Issues (1 works) · African studies and sociopolitical issues (1 works) · Cinema and Media Studies (1 works) · Literature (1 works) · Movie theater (1 works) · Orality (1 works) · Pedagogy (1 works)