Transmodern Cinema and Decolonial Film Theory

A Study of Youssef Chahine's al-Masir

Inbunden, Engelska, 2024

Av Robert K. Beshara, USA) Beshara, Assistant Professor Robert K. (Northern New Mexico College

1 689 kr

Beställningsvara. Skickas inom 5-8 vardagar

Fri frakt för medlemmar vid köp för minst 249 kr.

In this book, Robert K. Beshara applies decolonial film theory to an analysis of Youssef Chahine’s (1997) Al-Masir (Destiny).Transmodern Cinema and Decolonial Film Theory is the first book on decolonial film theory, which unpacks key concepts in decoloniality and decolonial aesthetics. Decolonial film theory is then applied to Youssef Chahine’s (1997) historical drama al-Ma?ir in an effort to juxtapose the Egyptian filmmaker (Chahine) and his decolonial cinema to the Andalusian polymath (Ibn Rushd) and his Islamic philosophy.

Produktinformation

Utgivningsdatum2024-05-02
Mått152 x 229 x undefined mm
FormatInbunden
SpråkEngelska
Antal sidor192
FörlagBloomsbury Publishing Plc
ISBN9781501385117

Tillhör följande kategorier

Kolonialism och imperialism inom Historia och arkeologi
Film inom Kultur

Robert K. Beshara is Associate Professor of Psychology & Humanities at Northern New Mexico College, USA. He is the author of Decolonial Psychoanalysis: Towards Critical Islamophobia Studies (2019) and Freud and Said: Contrapuntal Psychoanalysis as Liberation Praxis (2021). He is also the editor of A Critical Introduction to Psychology (2019) and Critical Psychology Praxis: Psychosocial Non-Alignment to Modernity/Coloniality (2021), as well as the translator of Mourad Wahba's (1995) Fundamentalism and Secularization (Bloomsbury, 2022). Beshara is the founder of the Critical Psychology website: www.criticalpsychology.org.

Robert K. Beshara’s compelling endeavor to “sketch the contours” of decolonial film theory is both captivating and profound. Through skillfully unpacking key concepts of postcolonial theory, modernity, coloniality, and decoloniality, his film theory is positioned as a radical aesthetic project navigating the delicate balance between the negation of oppression and the affirmation of liberation. Beshara enacts this through the thought-provoking selection of Egyptian cinematic icon Youssef Chahine and his 1997 film, al-Masir, portraying philosopher Ibn Rushd. The resulting book impressively renders a constellation of transhistorical and transmodern historiographies, ideas, and creative methodologies, offering an invaluable perspective for contemporary practices of critical scholars, artists, and activists.