Bøger af Nicole Brenez

First global exploration of contemporary forms of filmmaking from political and cultural self-determination movements of Autochthonous communities and peoples. Film X Autochthonous Struggles Today brings together for the first time filmmakers, activists, film curators, and scholars who share a common interest in filmmaking practices that emerge from and participate in the various situations of struggle that the Autochthonous/Indigenous/Native/Aboriginal/First Nations peoples and communities are involved in worldwide. Starting with the Edison Studio's 1894 short films Buffalo Dance and Sioux Ghost Dance, representations of Autochthonous peoples have been part of cinema right from its inception. The vast majority of these representations, however, have not been produced by nor for Autochthonous peoples. In the wake of political and cultural self-determination movements of the 1960s and 1970s, and with the gradual democratization and accessibility of the tools of moving-image making, Autochthonous communities have displaced and renewed cinema's forms and means of production, increasingly reclaiming their right for self-representation by way of film and video. Along with the vibrant forms of moving images arising from within the communities, close to their existential concerns, filmmaking has also become a potent tool in Autochthonous struggles. This book answers the need to take a global look at the diverse ways of filmmaking that fight for land rights and against environmental injustice (Brazil, Morocco, Taiwan, USA), that resist neocolonial domination, economic and political exploitation (Japan, Philippines), that offer a counterpoint during low intensity or drawn-out armed conflicts (Colombia, Mexico), that invent strategies of counter information and representation (Australia, Canada, Russia, Samoa), and that strive for visibility.

A collection of wide-ranging essays written throughout the 1990s, On the Body in General and the Figure in Particular: Figurative Invention in Cinema covers an array of genres and styles to propose an original method of cinematic analysis and interpretation foregrounding film's formal and plastic qualities in all their multifaceted materiality and aesthetics. Brenez reconsiders what a body on film can be and what constitutes a figure in cinema.

Confronting the intensity of the body as flesh, as phantasm, as organic-ness that is accommodated by rituals and social constructs yet ultimately resists all symbolization, the films of Clarisse Hahn (born 1973) expose a somatic state that is simultaneously biologically ordinary and socially extreme. Clarisse Hahn: Politics of Presence incorporates writings from the various spheres that are central to her work, from contemporary art to cinema, guerilla groups and eroticism; dialogues between Clarisse Hahn, artists, and art historians; and reproductions of (and commentary on) the artworks, photographs, photograms and videograms.

Argues for Abel Ferrara's place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. This work also argues that films such as "Bad Lieutenant" express this evil through visionary characters struggling against the inadmissible.