LEADER 03012nam 2200577Ia 450 001 9910807501003321 005 20230803023616.0 010 $a1-299-24347-9 010 $a0-253-00757-7 035 $a(CKB)2560000000098222 035 $a(EBL)1144288 035 $a(OCoLC)834129217 035 $a(SSID)ssj0000836261 035 $a(PQKBManifestationID)11490161 035 $a(PQKBTitleCode)TC0000836261 035 $a(PQKBWorkID)11007713 035 $a(PQKB)10352720 035 $a(MiAaPQ)EBC1144288 035 $a(MdBmJHUP)muse26706 035 $a(Au-PeEL)EBL1144288 035 $a(CaPaEBR)ebr10666278 035 $a(CaONFJC)MIL455597 035 $a(EXLCZ)992560000000098222 100 $a20120913d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTrash$b[electronic resource] $eAfrican cinema from below /$fKenneth W. Harrow 210 $aBloomington $cIndiana University Press$d2013 215 $a1 online resource (344 p.) 300 $aDescription based upon print version of record. 311 $a0-253-00751-8 311 $a0-253-00744-5 320 $aIncludes bibliographical references and index. 327 $aBataille, Stam, and locations of trash -- Ranciere: aesthetics, its mesententes and discontents -- The out-of-place scene of trash -- Globalization's dumping ground: the case of Trafigura -- Agency and the mosquito: Mitchell and Chakrabarty -- Trashy women: Karmen Gei, L'Oiseau Rebelle -- Trashy women, fallen men: Fanta Nacro's "Puk Nini" and La nuit de la verite -- Opening the distribution of the sensible: Kimberly Rivers and Trouble the water -- Abderrahmane Sissako's Bamako and the image: trash in its materiality -- The counter-archive for a new postcolonial order: O Hero?i and Daratt -- Nollywood and its masks: Fela, Osuofia in London, and Butler's Assujetissement -- Trash's last leaves: Nollywood, Nollywood, Nollywood. 330 $aHighlighting what is melodramatic, flashy, low, and gritty in the characters, images, and plots of African cinema, Kenneth W. Harrow uses trash as the unlikely metaphor to show how these films have depicted the globalized world. Rather than focusing on topics such as national liberation and postcolonialism, he employs the disruptive notion of trash to propose a destabilizing aesthetics of African cinema. Harrow argues that the spread of commodity capitalism has bred a culture of materiality and waste that now pervades African film. He posits that a view from below permits a way to understan 606 $aRefuse and refuse disposal in motion pictures 606 $aMotion pictures$zAfrica 615 0$aRefuse and refuse disposal in motion pictures. 615 0$aMotion pictures 676 $a791.43096 700 $aHarrow$b Kenneth W$0659335 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910807501003321 996 $aTrash$94064445 997 $aUNINA