By Sheila Petty
Created on the crossroads of slavery, migration, and exile, and comprising an international inhabitants, the black diaspora is a various house of assorted histories, studies, and objectives. Likewise, black diasporic movie has a tendency to target the complexities of transnational id, which oscillates among similarity and distinction and resists effortless categorization. in touch Zones writer Sheila J. Petty addresses various filmmakers, theorists, and concerns in black diasporic cinema, highlighting their ongoing impacts on modern inventive and theoretical discourses.
Petty examines either Anglophone and Francophone movies and theorists, divided in accordance with this volume's 3 thematic sections-Slavery, Migration and Exile, and past Borders. The characteristic motion pictures and documentaries considered-which contain Sankofa, Daughters of the dirt, the guy by means of the Shore, and impolite, between others-represent quite a lot of cultures and subject matters. via shut textual research that comes with the paintings of recognized diasporic thinkers like W. E. B. DuBois, goalé Césaire, and Frantz Fanon besides modern notables comparable to Molefi Kete Asante, bell hooks, Clenora Hudson-Weems, René Depestre, Paul Gilroy, and Rinaldo Walcott, Petty info the original ways that black diasporic movies create meaning.
via exploring various African American, Caribbean, Black British, and African Canadian views, touch Zones offers a close survey of the range and power of black diasporic contributions to cinema and conception. This quantity might be a great addition to the libraries of students and scholars of movie stories and Africana studies.
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Additional info for Contact Zones: Memory, Origin, and Discourses in Black Diasporic Cinema
As an art object in a neutral space, the carving evokes the Western preoccupation of collecting history without context. Yet, as the camera moves in a circular pan, it encourages the spectator to savor the loving relationship exhibited by the child leaning against the woman. This domestic familial image serves to humanize African experience and, given the later events of the film, symbolizes loss incurred with the destruction of family units and ties that are characteristic of 28 Recoupment of Origin in Sankofa slavery.
By the 1660s, as slavery was increasingly recognized as a statutory institution, colonial assemblies began constructing laws that forbade sexual congress between blacks and whites. For example, Virginia prohibited interracial relationships as early as 1691, describing the children issuing from such miscegenation as “abominable” (110–11). In addition, Virginia’s decision to deny African slaves the right to bear arms, a privilege accorded to whites, further entrenched their inferior status (109).
Like Mona, Shola’s closeness to white society has resulted in a devaluation of her own African terms of reference. In addition, this association has also ingrained in her a certain set of values predicated on compliance and complicity with her own enslavement. This attitude, as Asante points out, is a direct result of a racist system designed to assure compliancy and servility by breaking down African values while simultaneously valorizing white culture. The result was a decentering of slave identity that forced slaves to accept the subordination of their cultures in order to survive (1993, 119).
Contact Zones: Memory, Origin, and Discourses in Black Diasporic Cinema by Sheila Petty