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Item Africanity and Orality in the Films/Videos of Women Filmmakers of the African Diaspora(Deep Focus: A Film Quarterly, 1998) Ebrahim, HaseenahIn 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).Item RE-VIEWING THE TROPICAL PARADISE: AFRO-CARIBBEAN WOMEN FILMMAKERS(Northwestern University, 1998) Ebrahim, HaseenahThis 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.Item From "ghetto" to mainstream: Bollywood in South Africa(Scrutiny2, 2008) Ebrahim, HaseenahThis essay explores two aspects of the Bollywood "phenomenon" as it has played out, in the past decade, in South Africa - a part of the Indian diaspora where the popularity of the Hindi-Indian cinema has an established history. Firstly, the article maps the expansion of Bollywood beyond the Indian diasporic audience to so-called "crossover" audiences, a phenomenon I have labelled the "mainstreaming" of Bollywood in South Africa. Secondly, it examines developments in relation to the expansion of Bollywood - South African film industry co-operation, including Bollywood's use of South Africa for location shooting.Item Sarita and the Revolution: Race and Cuban Cinema(European Review of Latin American and Carribean Studies, 2007-04) Ebrahim, HaseenahThis essay explores questions of race and ethnicity in relation to Cuban cinema during the height of the Revolution, focusing in particular on one filmmaker, the late Sara Gómez. This essay argues that while contemporary filmmakers in Cuba have benefited from a growing acceptance of African heritage as an integral component of Cuban culture, Sara Gómez’s interest in exploring matters of racial inequalities in the Revolutionary Cuba of the 1960s and ’70s forced her to negotiate a rather challenging political and social milieu in which official attitudes frowned upon the acknowledgement of racial discrimination as a contemporary phenomenon.Item Afrocuban religions in Sara Gomez's one way or another and Gloria Ronaldo's Oggun(The Western Journal of Black Studies, 1998) Ebrahim, HaseenahThis 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.