Jude G Akudinobi
Biographic Data
| ID | 87958 |
|---|---|
| NAME | Jude G Akudinobi |
| GIVEN NAMES | Jude G |
| FAMILY NAME | Akudinobi |
| SIGNATURE | AKUDINOBI J G |
| AFFILIATIONS | University of California, Santa Barbara |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 2 |
Feature FILMS - Andrew Dosunmu, dir. Mother of George. 2013. Nigeria/U.S. English and Yoruba, with English subtitles. 106 minutes. New York. Distributed by Oscilloscope Laboratory. Price not reported
FEATURE FILMS - Andrew Dosunmu, dir. Mother of George. 2013. Nigeria/U.S. English and Yoruba, with English subtitles. 106 minutes. New York. Distributed by Oscilloscope Laboratory. Price not reported. - Volume 57 Issue 1
Feature Film - Newton I. Aduaka. One Man’s Show.2012. Nigeria/France. French, English, Latin, and Beti, with English subtitles. 75 minutes. Granit Films, Paris. Price not reported
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Images and Empires: Visuality in Colonial and Postcolonial Africa
Durable Dreams: Dissent, Critique, and Creativity in Faat Kiné and Moolaadé
Durable Dreams: Dissent, Critique, and Creativity in Faat Kin and Moolaad
Ousmane Sembene's oeuvre, in many ways, grants African feminism a legitimacy of its own, denying recurrent attempts to fit it within valorized, largely Western, templates for liberation. Not surprising, Faat Kine' (2001) and Moolaade (2004), the first two films in a planned triptych that, according to Sembene, honor everyday heroism, challenge certain assumptions about African womanhood, and remarkably demonstrate a range of contexts and indigeno…
Nationalism, African Cinema, and Frames of Scrutiny
The impasse within the theoretical formulation of "nation" and "nationalism" can be found in various definitions, anthologies, and individual volumes (see Hutchinson and Smith; Bhabha; Balkrishnan; Beiner). Ernest Renan, for instance, defines the nation as "a soul, a spiritual principle [. . .] a large-scale solidarity [. . . ] a daily plebiscite" (19). Walker Connor thinks the "terminological chaos" abides because "the essence of a nation is int…
Reco(r)ding Reality: Representation and Paradigms in Nonfiction African Cinema
Introduction to Special Issue: African Cinema/Critical Configurations
(2000). Introduction to Special Issue: African Cinema/Critical Configurations. Social Identities: Vol. 6, No. 3, pp. 237-240
Reel Zones of Ex(Change): An Interview with Mweze Ngangura
African cinema and the question of meaning: An interview with Jean‐Pierre Bekolo
(1999). African cinema and the question of meaning. Third Text: Vol. 13, No. 48, pp. 71-80
Survival Instincts: Resistance, Accommodation and Contemporary African Cinema
This overview of contemporary Sub-Saharan African cinema identifies survival' and universalism' as conceptual categories through which its overtures to the Euro-American market are articulated. While the current orientation is not premised on any rigid or aesthetic markers, it appears that, generally, the films seek to establish appeal' not in relation to essential cultural norms', as was the case earlier, but with the transformation of those nor…
Nationalism, African Cinema, and Frames of Scrutiny
The impasse within the theoretical formulation of "nation" and "nationalism" can be found in various definitions, anthologies, and individual volumes (see Hutchinson and Smith; Bhabha; Balkrishnan; Beiner). Ernest Renan, for instance, defines the nation as "a soul, a spiritual principle [. . .] a large-scale solidarity [. . . ] a daily plebiscite" (19). Walker Connor thinks the "terminological chaos" abides because "the essence of a nation is int…
Reco(r)ding Reality: Representation and Paradigms in Nonfiction African Cinema
Survival Instincts: Resistance, Accommodation and Contemporary African Cinema
This overview of contemporary Sub-Saharan African cinema identifies survival' and universalism' as conceptual categories through which its overtures to the Euro-American market are articulated. While the current orientation is not premised on any rigid or aesthetic markers, it appears that, generally, the films seek to establish appeal' not in relation to essential cultural norms', as was the case earlier, but with the transformation of those nor…
Survival Instincts: Resistance, Accommodation and Contemporary African Cinema
This overview of contemporary Sub-Saharan African cinema identifies survival' and universalism' as conceptual categories through which its overtures to the Euro-American market are articulated. While the current orientation is not premised on any rigid or aesthetic markers, it appears that, generally, the films seek to establish appeal' not in relation to essential cultural norms', as was the case earlier, but with the transformation of those nor…
African cinema and the question of meaning: An interview with Jean‐Pierre Bekolo
(1999). African cinema and the question of meaning. Third Text: Vol. 13, No. 48, pp. 71-80
Reco(r)ding Reality: Representation and Paradigms in Nonfiction African Cinema
Introduction to Special Issue: African Cinema/Critical Configurations
(2000). Introduction to Special Issue: African Cinema/Critical Configurations. Social Identities: Vol. 6, No. 3, pp. 237-240
Reel Zones of Ex(Change): An Interview with Mweze Ngangura
Nationalism, African Cinema, and Frames of Scrutiny
The impasse within the theoretical formulation of "nation" and "nationalism" can be found in various definitions, anthologies, and individual volumes (see Hutchinson and Smith; Bhabha; Balkrishnan; Beiner). Ernest Renan, for instance, defines the nation as "a soul, a spiritual principle [. . .] a large-scale solidarity [. . . ] a daily plebiscite" (19). Walker Connor thinks the "terminological chaos" abides because "the essence of a nation is int…
Durable Dreams: Dissent, Critique, and Creativity in Faat Kiné and Moolaadé
Durable Dreams: Dissent, Critique, and Creativity in Faat Kin and Moolaad
Ousmane Sembene's oeuvre, in many ways, grants African feminism a legitimacy of its own, denying recurrent attempts to fit it within valorized, largely Western, templates for liberation. Not surprising, Faat Kine' (2001) and Moolaade (2004), the first two films in a planned triptych that, according to Sembene, honor everyday heroism, challenge certain assumptions about African womanhood, and remarkably demonstrate a range of contexts and indigeno…
Images and Empires: Visuality in Colonial and Postcolonial Africa
Feature Film - Newton I. Aduaka. One Man’s Show.2012. Nigeria/France. French, English, Latin, and Beti, with English subtitles. 75 minutes. Granit Films, Paris. Price not reported
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Feature FILMS - Andrew Dosunmu, dir. Mother of George. 2013. Nigeria/U.S. English and Yoruba, with English subtitles. 106 minutes. New York. Distributed by Oscilloscope Laboratory. Price not reported
FEATURE FILMS - Andrew Dosunmu, dir. Mother of George. 2013. Nigeria/U.S. English and Yoruba, with English subtitles. 106 minutes. New York. Distributed by Oscilloscope Laboratory. Price not reported. - Volume 57 Issue 1
African history and culture studies (11 works) · Art (8 works) · Sociology (7 works) · Law (6 works) · Philosophy (6 works) · Political science (6 works) · Art history (5 works) · Aesthetics (4 works) · Law (4 works) · Movie theater (4 works)