Kenneth W Harrow
Dados Biográficos
| ID | 75286 |
|---|---|
| NOME | Kenneth W Harrow |
| PRENOMES | Kenneth W |
| SOBRENOME | Harrow |
| ASSINATURA | HARROW K W |
| AFILIAÇÕES | Michigan State University |
| ORCID | 0000-0002-5186-5130 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 53 |
| TOTAL DE CITAÇÕES | 33 |
| TOTAL COMO AUTOR | 51 |
| TOTAL COMO EDITOR | 2 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1978 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2023 |
| ÍNDICE H | 3 |
African Cinema in a Global Age
This book traces the developments in African films that were made from the 1990s to the present within the evolving frame of what came to be called ‘World Cinema’ and, eventually, ‘Global Cinema.’ Kenneth W. Harrow explores how, from the time video and then digital technologies were introduced in the 1990s, and then again, when streaming platforms assumed major roles in producing and distributing film between the 2010s and 2020s, African cinema u…
Space and Time in African Cinema and Cine-scapes
This book is the first of its kind to bring basic notions of contemporary physics to bear on African cine-scapes. In this book, renowned African cinema scholar Kenneth W. Harrow presents unique new ways to think about space and time in film, with a specific focus on African and African diasporic cinema. Through a series of case studies, he explores how cinema creates and represents time and space and, more specifically, how a cinema centered in A…
In memory of Frank Ukadike
Mati Diop, director. A Thousand Suns. Original title
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button
The Labour of Trash Films
The notion of trash films, trashy performances, has marked Western film heavily. The emphasis often falls on disrupting an established order, “troubling the waters,” through anti-bourgeois language and images, through revolutionary class struggles. In this paper, I am interested in seeing how the features involving trash, disorder, and social struggle, accord with attempts to create a new cinematic language to convey positive visual and narrative…
Time and ecology in African cinema
This article examines how time and space-time relate to eco-critical films and their charge of intervening in issues dealing with environmentalism. From the earliest films the question of capturing the truth gave impetus to the desire to represent reality accurately, including its social and political ‘truths’. Increasing concerns over the environment have come to mean that filmmakers have also felt the necessity to present eco-critical dramas. T…
The materiality of automobility
Lindsey Green-Simms (2017) has written a fine book. For me there were perhaps three chapters where I was most impressed with that sense of new, strong thinking – those dealing with Francophone cine
A Companion to African Cinema
In Celebration of Idrissa Ouedraogo (1954-2018)
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
Cinema africano
Kenneth Harrow pensa o conceito de "cinema mundial" - e suas novas formulações, a partir do "transnacional" e do "global-local" - à luz dos cinemas africanos, tanto os herdeiros do Terceiro Cinema e dos cinemas de libertação nacional (de Ousmane Sembène a Jean-Marie Téno), quanto os que adotam uma perspectiva experimental ou vanguardista, como Jean-Pierre Bekolo, Mahamat-Saleh Haroun e Andy Amadi Okoroafor, incluindo também os cinemas populares, …
Timbuktu —The Controversy - Abderrahmane Sissako, Director. Timbuktu. Original Title
TIMBUKTU—THE CONTROVERSY - Abderrahmane Sissako, director. Timbuktu. Original title: Timbuktu, le chagrin des oiseaux. 2014. 97 minutes. In French, Bambara, Songhay, Tamashek, Arabic, and English. France/Mauritania. Worso Films. - Volume 59 Issue 3
Women in ‘African cinema’ and ‘Nollywood films’
There have been dramatic changes in depictions of women from the feminist perspectives in the first decades of postcolonial sub-Saharan African celluloid cinema (1960s–80s), to women in a global digital era (1990s–present). A classic example of African celluloid cinema, its style and political gravitas, can be seen in Jean-Marie Teno’s latest film, Une feuille dans le vent (2013). Though it appeared in the digital period, and may technically be d…
Rethinking African Cultural Production
"Manthia Diawara's Waves and the Problem of the "Authentic
This article begins by tracking how the delineation of "New Cinema" in the recent work of Manthia Diawara differs significantly from the approaches that had been dominant when he published his initial study on African cinema in 1992. The changes lead us to position current filmmaking practices vis-à-vis Nollywood film, and to ask how the formation of the cinematic subject functions in contemporary "new waves" of cinema
Trash
African film against high culture
Do We Still Have Postcolonialism
Do We Still Have Postcolonialism?." Journal of the African Literature Association, 7(2), pp. 56–69
Towards a new African cinema criticism
This article traces the trajectory of progressive African film-making from its early iterations as liberationist to contemporary postcolonial cinema. The critical engagements with Fanon have morphed under the influence of Mbembe, Shohat, Stam, Willemen and others. Political approaches that remain closer to The Empire Strikes Back or Fanon, recently embraced by Armes, are examined in light of Raymond Williams’s exploration of art and commitment, a…
Kiné, la Nouvelle Femme africaine
In Tribute Tothings Fall Apart
Keywords: African studiesChinua AchebedisciplinehistoryindependenceThings Fall Apart
A Question of Beginnings
This article asks us to rethink the models that have conventionally represented the coming of Islam to Africa: that of a pre-established entity, given from the outside, coherent, monadic, unity, like an already formed identity. Using Lacanian challenges to conventional notions of identity, this article contests the above version of Islam, viewing it as an incarnation of the imago: always there, always obeying the logic of a model of transmission …
Postcolonial African Cinema
A new critical approach to African cinema
Shibboleths
The ways in which a dominant ideology replicates itself include the generation of values taken for "common sense"—that is natural, normative, self-evident, and even self-creating. This holds as well for culture, the basis upon which an entire panoply of shibboleths about Africa has been generated over time. Culture, understood as that which is bound up in a particular people, requires an understanding of different groups as having distinct or dis…
Issues of Discourse and Decolonization in Spivak’s Critique of Postcolonialism (1999)1
(2006). Issues of Discourse and Decolonization in Spivak’s Critique of Postcolonialism (1999)1. Journal of the African Literature Association: Vol. 1, No. 1, pp. 165-186
African Francophone Cinema
African Francophone Cinema. By Diop Diop. New Orleans: UP of the South, 2004. ISBN 1-931948-19-4 paper. 106 pp
African cinema
"Manthia Diawara's Waves and the Problem of the "Authentic
This article begins by tracking how the delineation of "New Cinema" in the recent work of Manthia Diawara differs significantly from the approaches that had been dominant when he published his initial study on African cinema in 1992. The changes lead us to position current filmmaking practices vis-à-vis Nollywood film, and to ask how the formation of the cinematic subject functions in contemporary "new waves" of cinema
Bernth Lindfors and the Archive of African Literature
In studying the work of Ben Lindfors, one gets the impression that it spans the entire history of African literature: that he began the study of African literature not only when it was in its infancy, but that he was part of that beginning of the critical work. His books and articles have been published with increasing frequency, and in recent years have encompassed more and more of the performative and historical aspects of the discipline, thus …
Theatre and Drama in Francophone Africa
The materiality of automobility
Lindsey Green-Simms (2017) has written a fine book. For me there were perhaps three chapters where I was most impressed with that sense of new, strong thinking – those dealing with Francophone cine
Women in ‘African cinema’ and ‘Nollywood films’
There have been dramatic changes in depictions of women from the feminist perspectives in the first decades of postcolonial sub-Saharan African celluloid cinema (1960s–80s), to women in a global digital era (1990s–present). A classic example of African celluloid cinema, its style and political gravitas, can be seen in Jean-Marie Teno’s latest film, Une feuille dans le vent (2013). Though it appeared in the digital period, and may technically be d…
African Francophone Cinema
African Francophone Cinema. By Diop Diop. New Orleans: UP of the South, 2004. ISBN 1-931948-19-4 paper. 106 pp
Manthia Diawara'sRouch in Reverse
MORE THAN FORTY years ago Jean Rouch more or less initiated a form of ethnographic cinematography called cinema verite whose goal was to let the cinematic subjects of ethnographic films speak for themselves. He wanted to make films about Africans in which the filmmaker would yield the control over what would go into the film to the Africans he was filming. They would not just collaborate with him, they would take over the direction of what would …
Sembène Ousmane's Xala
Sembène Ousmane's Xala was written as a novel and made into a film in 1974. It is a biting attack upon the newly risen bourgeois class that has ascended to power and wealth in Senegal since independence. The ideological framework of Xala rests upon Marxist assumptions adapted to and modified by the circumstances in Africa. The distinctively Senegalese features which mark Sembène's portrayal include Muslim and traditional religious beliefs which f…
African Cinema in a Global Age
This book traces the developments in African films that were made from the 1990s to the present within the evolving frame of what came to be called ‘World Cinema’ and, eventually, ‘Global Cinema.’ Kenneth W. Harrow explores how, from the time video and then digital technologies were introduced in the 1990s, and then again, when streaming platforms assumed major roles in producing and distributing film between the 2010s and 2020s, African cinema u…
Space and Time in African Cinema and Cine-scapes
This book is the first of its kind to bring basic notions of contemporary physics to bear on African cine-scapes. In this book, renowned African cinema scholar Kenneth W. Harrow presents unique new ways to think about space and time in film, with a specific focus on African and African diasporic cinema. Through a series of case studies, he explores how cinema creates and represents time and space and, more specifically, how a cinema centered in A…
Time and ecology in African cinema
This article examines how time and space-time relate to eco-critical films and their charge of intervening in issues dealing with environmentalism. From the earliest films the question of capturing the truth gave impetus to the desire to represent reality accurately, including its social and political ‘truths’. Increasing concerns over the environment have come to mean that filmmakers have also felt the necessity to present eco-critical dramas. T…
Cinema africano
Kenneth Harrow pensa o conceito de "cinema mundial" - e suas novas formulações, a partir do "transnacional" e do "global-local" - à luz dos cinemas africanos, tanto os herdeiros do Terceiro Cinema e dos cinemas de libertação nacional (de Ousmane Sembène a Jean-Marie Téno), quanto os que adotam uma perspectiva experimental ou vanguardista, como Jean-Pierre Bekolo, Mahamat-Saleh Haroun e Andy Amadi Okoroafor, incluindo também os cinemas populares, …
In Tribute Tothings Fall Apart
Keywords: African studiesChinua AchebedisciplinehistoryindependenceThings Fall Apart
Rereading Camara Laye (review)
Reviewed by: Rereading Camara Laye Kenneth W. Harrow Rereading Camara Laye By Adele King Lincoln: U of Nebraska P, 2002. This reviewer is in a particular position (as are all reviewers to some extent) in attempting to provide an unimpeded judgment of the text he has set out to review. Adele King has written a meticulous, if not conclusive, study that purports to demonstrate that the real author of Le regard du roi (1954) was not Camara Laye, but …
Less Than One and Double
Le Bel Immonde
The Power and the Word
The full-grown Sufi is thus conscious of being, like other men, a prisoner of a world of forms, but unlike them he is also conscious of being free, with a freedom which immeasurably outweighs his imprisonment. He may therefore be said to have two centres of consciousness, one human and one Divine, and he may speak now from one and now from another, which accounts for certain apparent contradictions (Lings, 1977: 14
The Ashanti Doll
Sembène Ousmane's Xala
Sembène Ousmane's Xala was written as a novel and made into a film in 1974. It is a biting attack upon the newly risen bourgeois class that has ascended to power and wealth in Senegal since independence. The ideological framework of Xala rests upon Marxist assumptions adapted to and modified by the circumstances in Africa. The distinctively Senegalese features which mark Sembène's portrayal include Muslim and traditional religious beliefs which f…
L'anté-peuple
The Power and the Word
The full-grown Sufi is thus conscious of being, like other men, a prisoner of a world of forms, but unlike them he is also conscious of being free, with a freedom which immeasurably outweighs his imprisonment. He may therefore be said to have two centres of consciousness, one human and one Divine, and he may speak now from one and now from another, which accounts for certain apparent contradictions (Lings, 1977: 14
Le Bel Immonde
Avi Kwei Armah's Africa
Faces of Islam in African Literature
Faces of Islam in African Literature
Bessie Head's the Collector of Treasures
subject of Bessie Head's stories is change itself, and specifically the threshold where change takes place. Change has become the issue of women's writing since independence-change and not simply rights or equality. Though there has been continuous concern with abuse of women, a concern voiced in the miserabilist school of Sembene's Voltaique or Emecheta's Joys of Motherhood, or presented in more chauvinistic terms in Jagua Nana, it is in the sto…
Faces of Islam in African Literature
Faces of Islam in African Literature
The Open Sore of a Continent; A Personal Narrative of the Nigerian Crisis
This is an exploration into the history and future of Nigeria. In the process of elucidating the Nigerian crisis, the author opens readers to the broader questions of nationhood, identity, and the general state of African culture and politics at the end of the 20th century. He examines the different ways in which a nation can be defined, and asks how these varying definitions impact the people who live under them. The book concludes with a call f…
Theatre and Drama in Francophone Africa
With Open Eyes
Women with Open Eyes, Women of Stone and Hammers
With open eyes
Introduction. Kenneth W. HARROW: Women and African Cinema. ARTICLES. Stephen A. ZACKS: A Problematic Sign of African Difference in Reassemblage. Suzanne H. MACRAE: The Mature and Older Women of African Film. Beti ELLERSON: The Female Body as Symbol of Change and Dichotomy: Conflicting Paradigms in the Representation of Women in African Film. Ratiba HADJ-MOUSSA: The Locus of Tension: Gender in Algerian Cinema. J.O.J. NWACHUKWU-AGBADA: Women in Igb…
Women with Open Eyes, Women of Stone and Hammers
Manthia Diawara'sRouch in Reverse
MORE THAN FORTY years ago Jean Rouch more or less initiated a form of ethnographic cinematography called cinema verite whose goal was to let the cinematic subjects of ethnographic films speak for themselves. He wanted to make films about Africans in which the filmmaker would yield the control over what would go into the film to the Africans he was filming. They would not just collaborate with him, they would take over the direction of what would …
Under the Cover of the Way
In 1983, I published "A Sufi Interpretation of Le regard du roi," in Research in African Literatures, an article in which I challenged the hitherto Eurocentric interpretations of Laye's novel. The narrative had been treated as a Christian allegory, despite the fact that the author was Muslim, and the pattern of the narrative fit a Sufi Muslim mold. In general, Muslim approaches to African literature were rarely taken. My interpretation was based …
Bernth Lindfors and the Archive of African Literature
In studying the work of Ben Lindfors, one gets the impression that it spans the entire history of African literature: that he began the study of African literature not only when it was in its infancy, but that he was part of that beginning of the critical work. His books and articles have been published with increasing frequency, and in recent years have encompassed more and more of the performative and historical aspects of the discipline, thus …
Nationalism
Ethics and Difference
Research in African Literatures - Volume 33, Number 4, Winter 2002
Less Than One and Double
Idrissou Mora Kpai. Si-Gueriki (The Queen Mother). Benin, 2003. 62 minutes. In Bariba and French with English subtitles. Distributed by California Newsreel, 500 Third St., Suite 505, San Francisco, Ca…
Idrissou Mora Kpai. Si-Gueriki (The Queen Mother). Benin, 2003. 62 minutes. In Bariba and French with English subtitles. Distributed by California Newsreel, 500 Third St., Suite 505, San Francisco, Calif. 94107: www.newsreel.org. VHS. $195. - Volume 47 Issue 2
Rereading Camara Laye (review)
Reviewed by: Rereading Camara Laye Kenneth W. Harrow Rereading Camara Laye By Adele King Lincoln: U of Nebraska P, 2002. This reviewer is in a particular position (as are all reviewers to some extent) in attempting to provide an unimpeded judgment of the text he has set out to review. Adele King has written a meticulous, if not conclusive, study that purports to demonstrate that the real author of Le regard du roi (1954) was not Camara Laye, but …
Art (33 obras) · History (30 obras) · African history and culture studies (27 obras) · Sociology (24 obras) · Political science (20 obras) · History (16 obras) · Art history (14 obras) · Law (14 obras) · Movie theater (14 obras) · Postcolonial and Cultural Literary Studies (13 obras)