School of Arts (Journal Articles)

Permanent URI for this collectionhttps://hdl.handle.net/10539/37882

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Start date: 1998End date: 1998

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    Africanity and Orality in the Films/Videos of Women Filmmakers of the African Diaspora
    (Deep Focus: A Film Quarterly, 1998) Ebrahim, Haseenah
    In this essay, I consider the role of African cultural heritage and of oral tradition in selected films/videos by women filmmakers of the African Diaspora. for practical purposes, I limit the scope of my analysis to the works of a handful of filmmakers in the United States and the Caribbean: Julie Dash (USA), Euzhan Palcy (Martinique/France), Zeinabu irene Davis (USA), and Gloria Rolando (Cuba).
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    RE-VIEWING THE TROPICAL PARADISE: AFRO-CARIBBEAN WOMEN FILMMAKERS
    (Northwestern University, 1998) Ebrahim, Haseenah
    This dissertation presents a new conceptual framework, a "pan-African feminist" critical model, to examine how Euzhan Palcy of Martinique, Gloria Rolando and the late Sara Gómez of Cuba, and the Sistren Collective of Jamaica have negotiated - individually or collectively - the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video. I examine the aesthetic, political, social and economic strategies utilized by these filmmakers to reinsert themselves into recorded versions of history, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression.
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    Afrocuban religions in Sara Gomez's one way or another and Gloria Ronaldo's Oggun
    (The Western Journal of Black Studies, 1998) Ebrahim, Haseenah
    This paper explores the depiction of Afrocuban religions in two films - Sara Gomez's One way or another(1974/1977) and Gloria Rolando's Oggun: Forever present(1991).A (Western) feminist's analysis of Gomez's One way or another characterizes Abakua and Santeria as "voodoo" - not only collapsing three different Afro-Carribean religious traditions, but also reflecting Marxistbiases that exclude (ironically) a recognition that Gomez's depictions of Abakua and Santeria reflect a gendered perspective.Rolando's Oggun reflects a recent trend in Cuban cinema to celebrate Afrocuban religious practices.Oggun's stunning visuals, compelling song and dance sequences, and fascinating mythology provoke a desire to understand the role and impact of this remarkable religious tradition in Cuban society.