activities to mobilise others to join or collaborate in their efforts.
Owing to the possibility of its circulation outside mainstream venues,
small-format video was seen as especially effective in its ability to
reach lower-income and regionally isolated (sometimes illiterate)
audiences. Hence, video quickly played a vital role in expanding the
discourses of citizenship during the 1980s.
A Session at the 2019 Modern Language Association Convention
Robert Jackson, Sharon P. Holland and Shawn Salvant
“Interventions” was the organizing term for the presentations of
three Baldwin scholars at the Modern Language Association Convention in Chicago
in January of 2019. Baldwin’s travels and activities in spaces not
traditionally associated with him, including the U.S. South and West, represent
interventions of a quite literal type, while his aesthetic and critical
encounters with these and other cultures, including twenty-first-century
contexts of racial, and racist, affect—as in the case of Raoul
Peck’s 2016 film I Am Not Your Negro—provide
opportunities to reconsider his work as it contributes to new thinking about
race, space, property, citizenship, and aesthetics.
This book provides an institutional case study of the BBC Television Service, as it undertook the responsibility of creating programmes that addressed the impact of black Britons, their attempts to establish citizenship within England and subsequent issues of race relations and colour prejudice. Beginning in the 1930s and into the post millennium, the book provides a historical analysis of policies invoked, and practices undertaken, as the Service attempted to assist white Britons in understanding the impact of African-Caribbeans on their lives, and their assimilation into constructs of Britishness. Management soon approved talks and scientific studies as a means of examining racial tensions, as ITV challenged the discourses of British broadcasting. Soon after, BBC 2 began broadcasting, and more issues of race appeared on the TV screens, each reflecting sometimes comedic, somewhat dystopic, often problematic circumstances of integration. In the years that followed, however, social tensions, such as those demonstrated by the Nottingham and Notting Hill riots, led to transmissions that included a series of news specials on Britain's Colour Bar, and docudramas, such as A Man From the Sun, which attempted to frame the immigrant experience for British television audiences, but from the African-Caribbean point of view. Subsequent chapters include an extensive analysis of television programming, along with personal interviews. Topics include current representations of race, the future of British television, and its impact upon multiethnic audiences. Also detailed are the efforts of Black Britons working within the British media as employees of the BBC, writers, producers and actors.
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord
of cultural citizenship, diaspora,
revolutionary legacy and globalisation, and they do so through what we
call ‘deterritorialised intimacies’. These intimacies are
afforded by their documentary practices of decolonised ethnography: a
set of aesthetic and ethical documentary strategies that are expressive
of historical and emotional geographies of belonging and non-belonging
for the filmmaker, subject
Normative masculinity and disciplined gun violence
Justin A. Joyce
of conveying a ‘certain image of a man,
a style, which expresses itself most clearly in violence.’18 As I argue,
the inverse is equally true: the Western exhibits a style of violence that
expresses itself most clearly as masculinity. I contend in this chapter
that the Western genre’s masculine style functions as a ‘technology of
citizenship,’ a disciplinary apparatus that seeks to tame the exercise of
personal gun violence.
I draw the term ‘technology of citizenship’ from Barbara Cruikshank,
which she defines in The Will to Empower: Democratic Citizens and Other
The autobiography of Kitty Marion was written in the early 1930s but never published. It records Marion’s childhood in Germany, her life in British provincial theatre and music hall and her campaigns against the ‘casting couch’, a career as a militant suffragist or suffragette during which she committed numerous acts of arson, was imprisoned and suffered force feeding, and finally her move to America and involvement in the American birth control movement. The Epilogue details her life in New York after the end of the autobiography, including her work in the Federal Theatre Project, while the three appendices reproduce extracts from key archive documents which throw additional light on the autobiography. An Introduction outlines the problems Marion incurred trying to publish her story, its subsequent history and addresses some of the issues that her story raises about women’s history of activism.
, the film seeks to appeal to
As I will show, the affective structure of
Miró’s film is a particularly revealing framework for
exploring the ways in which female citizenship and identity were
renegotiated during the transition. Although the Spanish Constitution
recognised women as ‘equal’ citizens, women were still not
While women directors continue to be a minority in most national and transnational film contexts, there are those among them who rank among the most innovative and inventive of filmmakers. Filmmaking by women becomes an important route to exploring what lies outside of and beyond the stereotype through reflexivity on violence and conflict, and through visual and narrative explorations of migration, exile, subjectivity, history or individual and collective memory. By documenting and interpreting a fascinating corpus of films made by women coming from Latin America, the US, Portugal and Spain, this book proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. It critically examines the work of Hispanic and Lusophone female filmmakers. It 'weaves' several 'threads' by working at the intersections between feminist film theory, gender studies and film practices by women in Latin America, the US, Portugal and Spain. The book explores the transcultural connections, as well as the cultural specificities, that can be established between Spanish, Portuguese, Latin American and Latino contexts within and beyond the framework of the nation state. It suggests that the notion of home and of Basque motherland carry potentially different resonances for female directors.
Mother Country. While their sacrifice was behind
the push to make Britain abolish colonial status for its Dominions, 15
imperial belonging coloured Australian politics for the whole of the
interwar period. Torn between conservative imperial loyalty and growing
nationalism, Australia was scarred by the events of the war and some
began to doubt the wisdom of a citizenship so directly linked to
probes the uncertain borders between official history and the effort to make
sense of memory that is necessarily piecemeal.
The complexities of experiencing dictatorship and then
emerging into democracy also inform Catherine Benamou and Leslie
Marsh’s chapter ‘Women filmmakers and citizenship in Brazil,
from Bossa Nova to the retomada ’. The chapter considers
the work of several women