[csaa-forum] NEW / Critical Arts: Special Issue: Cinema at the End of the World

Baden Offord baden.offord at curtin.edu.au
Wed Apr 25 10:38:24 ACST 2018

Critical Arts: South-North Cultural and Media Studies 31(5)
Special Issue: Cinema at the End of the World

Guest Editors: Antonio Traverso & Deane Williams

In November 2015, a collection of scholars from across the southern hemisphere, and some from the north whose interests are southern, gathered at Monash University, Melbourne, for the inaugural Cinema at the End of the World conference (note: planning is already underway for a Cinema at the End of the World II conference, to be held in Sao Paulo, Brazil, in 2019). With delegates from the Republic of South Africa, Australia, Aotearoa/New Zealand, Chile, Brazil, Argentina, the USA and the UK, the conference proved wildly diverse in terms of topics and approaches, as well as sharing a common sense of camaraderie in one of the southernmost cities in the world. The essays collected in this special issue of Critical Arts were developed from papers presented at the conference. The denomination Cinema at the End of the World can be understood in various interrelated ways. Firstly, it alludes to the material conditions of cinematic culture emerging in the world’s most remote locations, including film production, screenings, and implausibly located cinema houses. Secondly, it refers to the innovative, independent cinemas not only of southern hemisphere nations but the cinemas of the Global South. Third, there is also an undeniable apocalyptic sense invested in Cinema at the End of the World, which we address here in terms of the critical and transformative vitality involved in the Global South’s project of decolonisation rather than the purely dystopic anxieties mobilised by the Western imaginary of world endings. The Cinema at the End of the World collection seeks to prefigure a critical footing for cinematic culture from and for the Global South in the face of hegemonic Western eschatological traditions and discourses, invoking in this way the paramount role that cinematic representation, reflection, and imagining are to play in the context of the ominous global challenges that we all face as we accelerate through the twenty-first century. These challenges are tragically epitomised by the melting of the planet’s polar ice and the resultant predicament of Pacific island peoples threatened by the imminent disappearance of their homelands due to rising oceans; a catastrophe directly caused by global warming, for which the industrialised, consumption-obsessed societies of the Global North are mostly responsible. In the context of such urgent global concerns and attendant critical and cultural responses, this special issue of Critical Arts considers screen culture’s engagement with cross-cultural translation and transformation, settler culture and modernity, indigenous and localised media practice and theory, and representations of trauma and violence from a southern perspective, seeking to create conditions for the generation, sharing and circulation of new knowledge that is both southern and about the Global South.

Cinema at the End of the World
Antonio Traverso & Deane Williams

Between Political Film and Militant Video: An Analysis of the Discussions at the Rencontres Internationales pour un Nouveau Cinéma, Montreal, 1974
Mariano Mestman

The Return to the Social through the Collective “I”: Disrupting the Uneventful Face of Neoliberal Precariousness in the Chilean DocumentaryEl otro día
Walescka Pino-Ojeda

Representations of Women’s Agency in African Anti-colonial Struggles: The Case of Sambizanga (1972) and Mapantsula (1988)
Norita Mdege

After Death: Public Mourning, Discourse, and Myth in the Afterlife Representations of a Tanzanian Movie Star
Claudia Böhme

Screen Genres of Reconciliation in Australia, Chile, Rwanda, and New Zealand

Not Reconciled: Grey Matter (Ruhorahoza 2011) and the Lacunae of Post-genocide Rwandan Cinema
Mick Broderick

Top of the Lake’s Emotional Landscape: Reparation at the Edge of the World
Susannah Radstone

La Flaca Alejandra: Post-dictatorship Documentary and (No) Reconciliation in Chile
Antonio Traverso

Disturbing the Peace: The Ghost in beDevil and The Darkside
(Felicity Collins)

Be Careful, Cowboy: The Translation and Mutation of the Western Genre in Red Hill
Nicholas Moll

Transnational Telenovela Remakes: Challenging Dominant Models and Old-Fashioned Heroines
Sofia Rios

Different but the Same: Landscape and the Gothic as Transnational Story Space in Jane Campion’s Sweetie (1989) and Lucrecia Martel’s La Ciénaga (2001)
Margaret McVeigh

Mapping the Landscape with Sound: Tracking the Soundscape from Australian Colonial Gothic Literature to Australian Cinema and Australian Transcultural Cinema
Anne Barnes

Kangaroo: The Australian Story
Constantine Verevis

Beyond Poetics: Raúl Ruiz’s Rethinking of Narrative
Julia Vassilieva

The Maslyn Williams Network
Ross Gibson & Deane Williams

Professor Baden Offord
Director | Dr Haruhisa Handa Chair of Human Rights Education
Professor of Cultural Studies and Human Rights
Centre for Human Rights Education
School of Media, Creative Arts and Social Inquiry
Faculty of Humanities

Curtin University
T: | +61 8 9266 7186
E: | baden.offord at curtin.edu.au
CRICOS Provider Code 00301J (WA).

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