{"title":"Michael T Martin","description":"\u003cp\u003eDelve into the thought-provoking works of Michael T. Martin, exploring themes of identity, social justice, and cultural heritage. A captivating voice for readers seeking insightful and moving contemporary stories.\u003c\/p\u003e","products":[{"product_id":"new-latin-american-cinema-vol-2-book-michael-t-martin-9780814325865","title":"New Latin American Cinema Vol. 2","description":"This volume (second of two), maps the historical and cultural contexts of film practices in Latin America. It explores the formation of the New Latin American cinema movement as a comparative national project. 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Griffith's controversial photoplay The Birth of a Nation continues to influence American film production and to have relevance for race relations in the United States. While lauded at the time of its release for its visual and narrative innovations and a box office hit with film audiences, it provoked African American protest in 1915 for racially offensive content. In this collection of essays, contributors explore Griffith's film as text, artifact, and cultural legacy and place it into both the historical and transnational contexts of the first half of the 1900s and its resonances with current events in America, such as #BlackLivesMatter, #HollywoodSoWhite, and #OscarsSoWhite movements. Through studies of the film's reception, formal innovations in visual storytelling, and comparisons with contemporary movies, this work challenges the idea the United States has moved beyond racial problems and highlights the role of film and representation in the continued struggle for equality. 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From Street to Screen: Charles Burnett's Killer of Sheep is the first book-length collection dedicated to the film and designed to introduce viewers to this still relatively unknown masterpiece. Beginning life as Burnett's master's thesis project in 1973, and shot on a budget of $10,000, Killer of Sheep immediately became a cornerstone of the burgeoning movement in African American film that came to be known variously as the LA School or LA Rebellion. By bringing together a wide variety of material, this volume covers both the politics and aesthetics of the film as well as its deeper social and contextual histories. This expansive and incisive critical companion will serve equally as the perfect starting point and standard reference for all viewers, whether they are already familiar with the film or coming to it for the first time.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49738733715729,"sku":"NGR9780253049544","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0253049547.jpg?v=1752316290"},{"product_id":"african-cinema-manifesto-and-practice-for-cultural-decolonization-book-michael-t-martin-9780253066213","title":"African Cinema: Manifesto and Practice for Cultural Decolonization","description":"Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film.   Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the \"Father\" of African cinema.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49751731634449,"sku":"NGR9780253066213","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":52384725238033,"sku":"GOR014510466","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52687179120913,"sku":"NLS9780253066213","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0253066212.jpg?v=1763226124"},{"product_id":"cinemas-of-the-black-diaspora-book-michael-t-martin-9780814325889","title":"Cinemas of the Black Diaspora","description":"This is a study of the cinematic traditions and film practices in the black Diaspora. With contributions by film scholars, film critics, and film-makers from Europe, North America and the Third World, this diverse collection provides a critical reading of film-making in the black Diaspora that challenges the assumptions of colonialist and ethnocentrist discourses about Third World, Hollywood and European cinemas. The book examines the impact on film-making of Western culture, capitalist production and distribution methods, and colonialism and the continuing neo-colonial status of the people and countries in which film-making is practiced. Organised in three parts, the study first explores cinema in the black Diaspora along cultural and political lines, analysing the works of a radical and aesthetically alternative cinema. The book proceeds to group black cinemas by geographical sites, including Africa, the Caribbean and South America, Europe, and North America, to provide global context for comparative and case study analyses. Finally, three important manifestoes document the political and economic concerns and counter-hegemonic institutional organising efforts of black and Third World film-makers from the 1970s to the early 1990s. \"\"Cinemas of the Black Diaspora\"\" should serve as a valuable basic reference and research tool for the study of world cinema. 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Forged by Latin America's post-colonial environment of underdevelopment and dependency, the New Latin American Cinema movement has sought to inscribe itself in Latin America's struggles for cultural and economic autonomy. \"\"Volume One\"\" - this work - explores the formation of the New Latin American Cinema movement, its national and continental implications (including the diasporic\/exilic experience) and transcontinental articulations through the writings of pioneer film-makers and scholars. Glauber Rocha, Julio Garcia Espinosa, Jorge Sanjines, Fernando Solanas and Octavio Getino address the central question of the Latin American aesthetic - a particular style and production method connected with the political and social conditions and circumstances of Latin America. Ana Lopez, Julianne Burton and Michael Chanan examine the movement's formation in the 1950s and its development through the 1980s in a socio-historical context, paying special attention to modes of production and consumption. Paul Willemen assesses the movement's relevance to radical film practice and theory in the First and Third Worlds, and Antonio Skarmeta calls for a distribution network of Third World Cinema on a pan-European level. The volume concludes with essays by Ruby Rich and Zuzana M. Pick who address, from widely different approaches, the issues of the movement's adaptability, renovation and identity, in consideration of its evolution since the 1950s. \"\"Volume Two\"\" comprises essays on the development of the New Latin American Cinema as a comparative national project. Essays are grouped by nation into two regions - Middle and Central America and Caribbean and South America - for comparitive study, particularly between capitalist and post-revolutionary socialist formations. The selected essays examine the relationship between cinema and nationhood and the ambiguous categories of culture, identity and nation within the socio-historical specificities of the movement's development, especially in Cuba, Brazil, Mexico, Chile and Argentina. This collection should serve as an essential reference and research tool for the study of world cinema. 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Volume Three of this landmark series on African cinema spans the past century and is devoted to the documentation of decoloniality in cultural policy in both Africa and the Black diaspora worldwide. A compendium of formal resolutions, declarations, manifestos, and programmatic statements, it chronologically maps the long history and trajectories of cultural policy in Africa and the Black Atlantic. Beginning with the 1920 declaration of the Rights of the Negro Peoples of the World, which anticipates cinema as we know it today, and the formal oppositional assertions—aspirational and practical. The first part of this work references formal statements that pertain directly to cultural policy and cinematic formations in Africa, while the next part addresses the Black diaspora. 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