Matthias De Groof
Biographic Data
| ID | 640109 |
|---|---|
| NAME | Matthias De Groof |
| GIVEN NAMES | Matthias |
| FAMILY NAME | De Groof |
| SIGNATURE | DE GROOF M |
| AFFILIATIONS | University of Antwerp |
| ORCID | 0000-0002-7383-1038 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 12 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Science fiction and masquerade in Jean-Pierre Bekolo’s Les Saignantes (2005)
In the feature film Les Saignantes (2005) by Cameroonian filmmaker Jean-Pierre Bekolo, Africa looks allegorically at itself through its cinema. The film features two women reacting against the postcolonial power-structure of commandment and the phallocentric gaze that shapes the imagery of Africa. They do so by applying a masquerade strategy central to feminist film theory. In setting its narrative in the future and in a dying universe, the film …
Anticolonial Aesthetics
As the colonial roots of the ecological crisis become ever more apparent and its colonial present (in the form of environmental racism, climate apartheid, and green imperialism) also increasingly evident, one might consider climate activism and its aesthetics to be anticolonial. In this essay I discuss the aesthetics of eco-cinema from the “Global South” in terms of both artistic expression and activist uses of the medium, and examine how they pr…
Ethnographic Film's Relation to African Cinema
Critical reading on the Senegalese filmmaker Safi Faye is scarce, on her embodiment of different shifts in ethnographic film or on her relationship with Jean Rouch’s work; but her oeuvre is now seen as an important case in the complex relationship between African cinema and ethnography. Safi Faye pioneered in two important respects. First, after being filmed by Rouch and so participating in his ethnographic method, she became an ethnographic film…
Images & animation
Empire and film
Film and the end of empire
Postcolonial Cinema Studies
Rouch's Reflexive Turn
One of the most important driving forces in the development of ethnographic film and its theory has been reflexivity. As a cinematographic and theoretical device, reflexivity is put forward by epistemological and ethical concerns in ethnographic filmmaking, and has shaped the genre of ethnographic film. Reflexivity, and particularly its limits, constitutes a very particular pivotal point of the shift from Western ethnographic film to indigenous f…
Black Film Label
Highly criticised by African film‐makers, most prominently by Ousmane Sembène, the concept of Negritude is now experiencing a renaissance. A reconsideration of Negritude reveals new ways of thinking about African cinema. Negritude and African cinema should be viewed in their particularism, instead of presumed essentialism, and considered in their strategic aspects. African cinema can then be seen no longer as a tributary of occidental cinema but …
Rouch's Reflexive Turn
One of the most important driving forces in the development of ethnographic film and its theory has been reflexivity. As a cinematographic and theoretical device, reflexivity is put forward by epistemological and ethical concerns in ethnographic filmmaking, and has shaped the genre of ethnographic film. Reflexivity, and particularly its limits, constitutes a very particular pivotal point of the shift from Western ethnographic film to indigenous f…
Ethnographic Film's Relation to African Cinema
Critical reading on the Senegalese filmmaker Safi Faye is scarce, on her embodiment of different shifts in ethnographic film or on her relationship with Jean Rouch’s work; but her oeuvre is now seen as an important case in the complex relationship between African cinema and ethnography. Safi Faye pioneered in two important respects. First, after being filmed by Rouch and so participating in his ethnographic method, she became an ethnographic film…
Black Film Label
Highly criticised by African film‐makers, most prominently by Ousmane Sembène, the concept of Negritude is now experiencing a renaissance. A reconsideration of Negritude reveals new ways of thinking about African cinema. Negritude and African cinema should be viewed in their particularism, instead of presumed essentialism, and considered in their strategic aspects. African cinema can then be seen no longer as a tributary of occidental cinema but …
Postcolonial Cinema Studies
Rouch's Reflexive Turn
One of the most important driving forces in the development of ethnographic film and its theory has been reflexivity. As a cinematographic and theoretical device, reflexivity is put forward by epistemological and ethical concerns in ethnographic filmmaking, and has shaped the genre of ethnographic film. Reflexivity, and particularly its limits, constitutes a very particular pivotal point of the shift from Western ethnographic film to indigenous f…
Images & animation
Empire and film
Film and the end of empire
Ethnographic Film's Relation to African Cinema
Critical reading on the Senegalese filmmaker Safi Faye is scarce, on her embodiment of different shifts in ethnographic film or on her relationship with Jean Rouch’s work; but her oeuvre is now seen as an important case in the complex relationship between African cinema and ethnography. Safi Faye pioneered in two important respects. First, after being filmed by Rouch and so participating in his ethnographic method, she became an ethnographic film…
Anticolonial Aesthetics
As the colonial roots of the ecological crisis become ever more apparent and its colonial present (in the form of environmental racism, climate apartheid, and green imperialism) also increasingly evident, one might consider climate activism and its aesthetics to be anticolonial. In this essay I discuss the aesthetics of eco-cinema from the “Global South” in terms of both artistic expression and activist uses of the medium, and examine how they pr…
Science fiction and masquerade in Jean-Pierre Bekolo’s Les Saignantes (2005)
In the feature film Les Saignantes (2005) by Cameroonian filmmaker Jean-Pierre Bekolo, Africa looks allegorically at itself through its cinema. The film features two women reacting against the postcolonial power-structure of commandment and the phallocentric gaze that shapes the imagery of Africa. They do so by applying a masquerade strategy central to feminist film theory. In setting its narrative in the future and in a dying universe, the film …
African history and culture studies (8 works) · Art (8 works) · Movie theater (5 works) · Art history (4 works) · Sociology (4 works) · Aesthetics (3 works) · Cinema and Media Studies (3 works) · History (3 works) · Political science (3 works) · African studies and sociopolitical issues (2 works)