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Books on the topic 'Activist cinema'

Author: Grafiati

Published: 11 December 2022

Last updated: 26 January 2023

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1

Szymanski, Adam. Cinemas of Therapeutic Activism. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463723121.

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The hegemonic meaning of depression as a universal mental illness embodied by an individualized subject is propped up by psychiatry’s clinical gaze. Cinemas of Therapeutic Activism turns to the work of contemporary filmmakers who express a shared concern for mental health under global capitalism to explore how else depression can be perceived. In taking their critical visions as intercessors for thought, Adam Szymanski proposes a thoroughly relational understanding of depression attentive to eventful, collective and contingent qualities of subjectivity. What emerges is a melancholy aesthetics attuned to the existential contours and political stakes of health. Cinemas of Therapeutic Activism adventurously builds affinities across the lines of national, linguistic and cultural difference. The films of Angela Schanelec, Kelly Reichardt, Apichatpong Weerasethakul and Kanakan Balintagos are grouped together for the first time, constituting a polystylistic common front of artist-physicians who live, work, and create on the belief that life can be more liveable.

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2

Screening truth to power: A reader on documentary activism. Montréal, Québec: Cinema Politica, 2014.

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3

Cunha, Mariana, and Antônio Márcio da Silva, eds. Human Rights, Social Movements and Activism in Contemporary Latin American Cinema. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96208-5.

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4

Israeli cinema: East/West and the politics of representation. London: I.B. Tauris, 2010.

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5

Chateau, René. Le cinéma français sous l'Occupation, 1940-1944. Courbevoie: Editions René Chateau, 1995.

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6

Giuseppe, Sircana, ed. A partire dall'Apollon: Testimonianze e riflessioni su cultura, cinema e mondo del lavoro a quarant'anni dall'autunno caldo. Roma: Ediesse, 2010.

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7

Broodthaers, Marcel. Cinéma modèle: Programme La Fontaine 1970, nouvelle activité du Musée d'art modern, Département des aigles, 12 Burgplatz, Düsseldorf. Düsseldorf: Richter/Fey Verlag, 2012.

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8

Mario, Van Peebles. Panther: A pictorial history of the Black Panthers and the story behind the film. New York: Newmarket Press, 1995.

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9

Imran, Rahat. Activist Documentary Film in Pakistan: The Emergence of a Cinema of Accountability. Taylor & Francis Group, 2016.

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10

Imran, Rahat. Activist Documentary Film in Pakistan: The Emergence of a Cinema of Accountability. Taylor & Francis Group, 2016.

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11

Imran, Rahat. Activist Documentary Film in Pakistan: The Emergence of a Cinema of Accountability. Taylor & Francis Group, 2018.

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12

Activist Documentary Film in Pakistan: The Emergence of a Cinema of Accountability. Taylor & Francis Group, 2016.

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13

Imran, Rahat. Activist Documentary Film in Pakistan: The Emergence of a Cinema of Accountability. Taylor & Francis Group, 2016.

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14

Imran, Rahat. Activist Documentary Film in Pakistan: The Emergence of a Cinema of Accountability. Taylor & Francis Group, 2016.

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15

Rouxel, Mathilde, and Stefanie Van de Peer, eds. ReFocus: The Films of Jocelyne Saab. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474480413.001.0001.

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Jocelyne Saab was one of the most important female filmmakers pioneering a sense of international emancipatory world cinema from early 1970s to her death in 2019. This book is the first English-language study dedicated to her entire oeuvre which consisted of journalism, documentaries, experimental and feature films, as well as photography, art exhibitions and curation and film festival organisation. In this book, a range of international scholars integrates her work into a cohesive study of all aspects of her oeuvre – filmic, activist and artistic – representing the global significance of Saab’s work and the ongoing resonance of her ideals and activism in a worldwide perspective.

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16

Papanikolaou, Dimitris. Greek Weird Wave. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474436311.001.0001.

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This book is the first to provide a reading of the recent ‘Weird’ or ‘New Wave’ of Greek cinema, both through the concept of biopolitics and in the context of contemporary World Cinema politics, aesthetics, as well as production and circulation strategies. Its main aim is to show the ways in which, since the beginning of the 21^st century, cinema and other cultural forms in Greece have responded to a sense of Crisis and an ever expansive management of life that we have now come to call biopolitics. Through close cultural and film analysis, the Greek Weird Wave is proposed as a paradigmatic cinema of biopolitical realism, a trend observable more widely in world cinema today. Key films such as Yorgos Lantimos’s Dogtooth, Alps and The Lobster, Athina Rachel Tsangari’s Attenberg, Syllas Tzoumerkas’s Homeland, Alexandros Avranas’s Miss Violence and Panos H. Koutras’s Strella, are read together with less well-known short, medium and feature-length films by directors such as Konstantina Kotzamani, Yorgos Zois, Vassilis Kekatos, Alexandros Voulgaris, Argyris Papadimitropoulos, Babis Makridis. At the same time, the book offers an analysis of the larger cultural context of 21st-century Greece, often explaining the films’ major thematic and formal choices through references to contemporary novels, theatre performances, activist texts and political events.

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17

Cinemas of Therapeutic Activism Hb. Amsterdam University Press, 2020.

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18

Kim, Jihoon. Documentary's Expanded Fields. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603819.001.0001.

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Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the “twenty-first-century documentary,” dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

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19

Missero, Dalila. Women, Feminism and Italian Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.001.0001.

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Italian cinema experienced its peak of domestic and international popularity in the years between the ‘economic miracle’ of the late 1950s and the social and political turmoil of the 1970s. But how did the growing development of the feminist movement in this period impact on Italian film culture? And what role did that film culture play in women’s lives? This book explores the multiple intersections between feminism and Italian cinema from the perspective of women’s everyday lives and relationship with the medium. Drawing from a feminist approach to Gramscian cultural theory, the book builds an archival counter-history of Italian cinema in which women took part as movie-goers, activists and practitioners. By doing so, it reconstructs the many aspects of a collective historical agency that challenged cinema’s patriarchal structures and strategies of invisibilisation.

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20

Cinema of Oliver Stone: Art, Authorship and Activism. Manchester University Press, 2016.

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21

Scott, Ian, and Henry Thompson. Cinema of Oliver Stone: Art, Authorship and Activism. Manchester University Press, 2016.

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22

Environmental Documentary: Cinema Activism in the 21st Century. Bloomsbury Publishing Plc, 2017.

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23

Duvall, John A. Environmental Documentary: Cinema Activism in the 21st Century. Bloomsbury Publishing Plc, 2018.

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24

Williams, Tami. Popular Front Activism and Vichy. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0006.

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This chapter details the evolution of Dulac's socialist humanist politics under the Popular Front, from her activism and syndicalism or labor union work within the context of the vast cultural movement of Mai '36, to a rather controversial shift that led to her complex political position under the Vichy regime. During this era, from 1936 to 1938, Dulac's activism for the cinema and by way of the cinema blossomed. She undertook several Socialist film projects, and played a major role in restructuring the French film industry and in cultivating a propitious environment for the future of the medium. Her role was central on several fronts, from the nationalization of the industry to the creation of a French cinematheque and a film directors' union.

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25

The cinema of Oliver Stone: Art, authorship and activism. Manchester University Press, 2016.

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26

Geller, Theresa L., and Julia Leyda, eds. Reframing Todd Haynes. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022626.

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For three decades, award-winning independent filmmaker Todd Haynes, who emerged in the early 1990s as a foundational figure in New Queer Cinema, has gained critical recognition for his outsider perspective. Today, Haynes is widely known for bringing women’s stories to the screen. Analyzing Haynes’s films including Safe (1995), Velvet Goldmine (1998), Far from Heaven (2002), and Carol (2015), as well as his unauthorized Karen Carpenter biopic, Superstar (1987), and the television miniseries Mildred Pierce (2011), the contributors to Reframing Todd Haynes reassess his work in light of his long-standing feminist commitments and his exceptional career as a director of women’s films. They present multiple perspectives on Haynes’s film and television work and on his role as an artist-activist who draws on academic theorizations of gender and cinema. The volume illustrates the influence of feminist theory on Haynes’s aesthetic vision, most evident in his persistent interest in the political and formal possibilities afforded by the genre of the woman’s film. The contributors contend that no consideration of Haynes’s work can afford to ignore the crucial place of feminism within it. Contributors. Danielle Bouchard, Nick Davis, Jigna Desai, Mary R. Desjardins, Patrick Flanery, Theresa L. Geller, Rebecca M. Gordon, Jess Issacharoff, Lynne Joyrich, Bridget Kies, Julia Leyda, David E. Maynard, Noah A. Tsika, Patricia White, Sharon Willis

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27

Nanney, Lisa. John Dos Passos and Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.001.0001.

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John Dos Passos & Cinema, the first study to use the novelist’s little-known writing for the screen to assess the trajectory of his prolific career, explores both how film aesthetics shaped his revolutionary modernist narratives and how he later reshaped them directly into film form. The book features previously unpublished manuscripts and correspondence illustrating case studies of his screen writing during the 1930s for Hollywood feature films and in an innovative independent treatment; it examines the complexities of his role in the 1937 political documentary The Spanish Earth; and it explores the unproduced screen treatment of his attempts from the 1940s on to adapt his epic trilogy U.S.A. directly for the screen and to realign its leftist politics toward the anti-Communist conservatism reflected in his work and activism of that period. John Dos Passos & Cinema thus provides a new context for and reading of his modernist literary innovations and his conservative political reorientation in the 1930s that redefined his literary career.

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28

Silva, Antônio Márcio da, and Mariana Cunha. Human Rights, Social Movements and Activism in Contemporary Latin American Cinema. Palgrave Macmillan, 2018.

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29

Silva, Antônio Márcio da, and Mariana Cunha. Human Rights, Social Movements and Activism in Contemporary Latin American Cinema. Palgrave Macmillan, 2019.

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30

Fay, Jennifer. Inhospitable World. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.001.0001.

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Inhospitable World explores the connection between cinema and artificial weather, climates, and even planets in or on which hospitality and survival are at stake. Cinema’s dominant mode of aesthetic world-making is often at odds with the very real human world it is meant to simulate. The chapters in this book take the reader to a scene—the mise-en-scène—where human world-making is undone by the force of human activity, whether it is explicitly for the sake of making a film, or for practicing war and nuclear science, or for the purpose of addressing climate change in ways that exacerbate its already inhospitable effects. The episodes in this book emphasize our always unnatural and unwelcoming environment as a matter of production, a willed and wanted milieu, however harmful, that is inseparable from but also made perceivable through film. While no one film or set of films adds up to a totalizing explanation of climate change, cinema enables us to glimpse anthropogenic environments as both an accidental effect of human activity and a matter of design. Chapters on Buster Keaton, American atomic test films, film noir, the art of China’s Three Gorges Dam, and films of early Antarctic exploration trace parallel histories of film and location design that spell out the ambitions, sensations, and narratives of the Anthropocene, especially as it consolidates into the Great Acceleration starting in 1945.

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31

Szymanski, Adam. Cinemas of Therapeutic Activism: Depression and the Politics of Existence. Amsterdam University Press, 2020.

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32

Aveyard, Karina. “Our Place”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0018.

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This chapter examines the role of film and cinema as a force in women's lives by focusing on women as cinema audiences. More specifically, it considers the experiences of a modern-day group of women who patronize and actively support the First Avenue Cinema, a 1950s single-screen film theater located in the coastal town of Sawtell in New South Wales, Australia. The chapter first provides a brief background on the geographic and economic contours of Sawtell before turning to First Avenue Cinema and its women audiences, paying attention to how it positions itself as a social space that local women want to inhabit. It also discusses the practices of a “social audience” and describes cinema-going as an act of sociocultural participation. The chapter concludes with a look at the efforts and activism of a particular group of local residents (almost all women) who rallied together in 2009 in an effort to help save the cinema from permanent closure—a response that offers important insights into into the everyday significance of filmgoing for rural women.

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33

Balan, Canan. Imagining Women at the Movies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0005.

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This chapter examines early film culture in Istanbul by focusing on how Turkish male writers constructed cinema-going Turkish women in early twentieth-century and postwar Istanbul. The goal is to analyze gendered concerns about spectatorship emerging in the patriarchal imagination of that time. In order to understand the reception of early cinema in Turkey as well as the cultural status of Turkish cinema among the Ottoman/Turkish intelligentsia and the gender politics surrounding it, the chapter looks at novels, poems, and newspaper reviews. The discussion begins with an overview of film market in post-World-War I Istanbul and cinema-going as a public experience in the Ottoman capital. An analysis of female spectators depicted by male authors reveals a changing culture of spectatorship. This occurred concomitantly with the sociopolitical transition from the declining Ottoman Empire to the rise of the Turkish nation-state. The chapter argues that the change in gender politics during this period triggered the new anxieties that creative writers project onto the activity of filmgoing, and particularly that by cinema-going women.

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34

Moran, Richard. Cavell on Recognition, Betrayal, and the Photographic Field of Expression. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190633776.003.0005.

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The ideas of expression and expressiveness have been central to Stanley Cavell’s writing from the beginning, joining themes from his more strictly philosophical writing to the role of human expression as projected in cinema. This paper explores a thread running through several different parts of his writing, relating claims he makes about the photographic medium of film and its implications for the question of expression and expressivity in film There is an invocation of notions of necessity and control in the context of cinema that should be understood in the context of related ideas in his writings on Wittgenstein and others. The paper pursues some thoughts about the power of the camera, the themes of activity and passivity in expression, and the human face as the privileged field of such activity and passivity.

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35

Galt, Frances. Women's Activism Behind the Screens. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529206296.001.0001.

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This book contributes to important discussions on gender inequality in the present-day film and television industries and labour movement through an historical analysis of women workers and their trade union in the British film and television industries from 1933 to 2017. This book concentrates on the three iterations of the technicians’ union: the Association of Cine-Technicians (ACT) (1933-56), the Association of Cinematograph, Television and Allied Technicians (ACTT) (1957-91), and the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) (1991-2017). Drawing on previously unseen archival material and oral history interviews with activists, it casts new light on women’s experiences of union participation and feminism over nine decades. This book advances three key arguments in relation to its central themes: the operation of a gendered union structure, women’s activism, and the relationship between class and gender in the labour movement. Firstly, it argues that a gendered union structure was institutionalised from the union’s establishment and maintained through a belief system that women’s issues were not trade union issues. Secondly, it argues that separate self-organisation was essential to women’s activity within the gendered union structure as it provided an essential space and voice for women to discuss their gender-specific concerns, develop consciousness and skills and formulate policy. It further emphasises the importance of external feminist allies to women’s union activity. Thirdly, it argues that class differences between middle-class women in film and television production and working-class women in the laboratories informed the direction of women’s activity at its height during the 1970s and 1980s.

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36

Movie Wordsearch Film and Cinema Puzzles - Kids Movies: A Fun Children's Puzzle Activity Book. Independently Published, 2020.

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37

Scott, Ellen C. Cinema Civil Rights: Regulation, Repression, and Race in the Classical Hollywood Era. Rutgers University Press, 2015.

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38

Cinema Civil Rights: Regulation, Repression, and Race in the Classical Hollywood Era. Rutgers University Press, 2015.

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39

Scott, Ellen C. Cinema Civil Rights: Regulation, Repression, and Race in the Classical Hollywood Era. Rutgers University Press, 2015.

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40

Books, Health Mind Exercise. The Ultimate Movie Word Search: LARGE PRINT 8.5x11 Word Find Puzzles Activity Book Based on the Cinema. Independently Published, 2019.

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41

Cinema Civil Rights: Regulation, Repression, and Race in the Classical Hollywood Era. Rutgers University Press, 2015.

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42

Rice, Christina. Mean...Moody...Magnificent! University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181080.001.0001.

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By the early 1950s, Jane Russell (1921-2011) should have been forgotten. Her career was launched on what is arguably the most notorious advertising campaign in cinema history, which invited filmgoers to see Howard Hughes's The Outlaw (1943) and to "tussle with Russell." Throughout the 1940s, she was nicknamed the "motionless picture actress" and had only three films in theaters. With such a slow, inauspicious start, most aspiring actresses would have given up or faded away. Instead, Russell carved out a place for herself in Hollywood and became a memorable and enduring star.Christina Rice offers the first biography of the actress and activist perhaps most well-known for her role in Gentlemen Prefer Blondes (1953). Despite the fact that her movie career was stalled for nearly a decade, Russell's filmography is respectable. She worked with some of Hollywood's most talented directors—including Howard Hawks, Raoul Walsh, Nicholas Ray, and Josef von Sternberg—and held her own alongside costars such as Marilyn Monroe, Robert Mitchum, Clark Gable, Vincent Price, and Bob Hope. She also learned how to fight back against Howard Hughes, her boss for more than thirty-five years, and his marketing campaigns that exploited her physical appearance.Beyond the screen, Rice reveals Russell as a complex and confident woman. She explores the star's years as a spokeswoman for Playtex as well as her deep faith and work as a Christian vocalist. Rice also discusses Russell's leadership and patronage of the WAIF foundation, which for many years served as the fundraising arm of the International Social Service (ISS) agency. WAIF raised hundreds of thousands of dollars, successfully lobbied Congress to change laws, and resulted in the adoption of tens of thousands of orphaned children. For Russell, the work she did to help unite families overshadowed any of her onscreen achievements.On the surface, Jane Russell seemed to live a charmed life, but Rice illuminates her darker moments and her personal struggles, including her empowered reactions to the controversies surrounding her films and her feelings about being portrayed as a sex symbol. This stunning first biography offers a fresh perspective on a star whose legacy endures not simply because she forged a notable film career, but also because she effectively used her celebrity to benefit others.

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43

Izert, Małgorzata, Monika Kostro, Jolanta Sujecka-Zając, and Krystyna Szymankiewicz, eds. Au croisement des cultures, des discours et des langues. Cent ans d’études romanes a l’Université de Varsovie (1919–2019). Tome II: Linguistique et Didactique du FLE. University of Warsaw Press, 2021. http://dx.doi.org/10.31338/uw.9788323553021.

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The book is part of celebrations of the 100th anniversary of the Institute of Romance Studies and its scientific and didactic activity in the field of French and Romance studies. The articles concern French literature, as well as the literature of Belgium, Switzerland and Quebec and cover the period from the 17th to the 21st century. The authors analyse major novels, short stories, essays, dramas as well as selected epistolography and reportage, they indicate the places where literature meets painting and photography meets cinema. The volume offers a wide selection of critical discourses such as: history, history of ideas, narratology, genology, intermediality, post-colonial studies, geocriticism, ecocriticism, which dominate francophone literary research.

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44

Kroker, Wiesław, and Judyta Zbierska-Mościcka, eds. Au croisement des cultures, des discours et des langues. Cent ans d’études romanes a l’Université de Varsovie (1919–2019). Tome I: Études littéraires. University of Warsaw Press, 2021. http://dx.doi.org/10.31338/uw.978832352703.

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The book is part of celebrations of the 100th anniversary of the Institute of Romance Studies and its scientific and didactic activity in the field of French and Romance studies. The articles concern French literature, as well as the literature of Belgium, Switzerland and Quebec and cover the period from the 17th to the 21st century. The authors analyse major novels, short stories, essays, dramas as well as selected epistolography and reportage, they indicate the places where literature meets painting and photography meets cinema. The volume offers a wide selection of critical discourses such as: history, history of ideas, narratology, genology, intermediality, post-colonial studies, geocriticism, ecocriticism, which dominate francophone literary research.

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45

Challenge for Change: Activist Documentary at the National Film Board of Canada. McGill-Queen's University Press, 2010.

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46

Waugh, Thomas, Ezra Winton, and Michael Brendan Baker. Challenge for Change: Activist Documentary at the National Film Board of Canada. McGill-Queen's University Press, 2010.

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47

Waugh, Thomas, Ezra Winton, and Michael Brendan Baker. Challenge for Change: Activist Documentary at the National Film Board of Canada. McGill-Queen's University Press, 2010.

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48

Game, Viv. 8200 Romantic Movie Related Puzzle Word Search Sudoku Missing Vowel Scramble Words: Large Print 5 Adult Activity Books in 1 Mega Collection for Romance Cinema Lover, Valentine Gift. Independently Published, 2021.

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49

Steichen, James. Balanchine and Kirstein's American Enterprise. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.001.0001.

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George Balanchine is today one of the most celebrated figures in twentieth-century ballet and is closely identified with the two institutions he helped found in collaboration with Lincoln Kirstein: the School of American Ballet and the New York City Ballet. During the early years of their efforts in the 1930s, Balanchine and Kirstein’s enterprise underwent numerous changes and transformations. The complexity of their endeavors has been misrepresented in many existing accounts of their lives and careers, in part because their activities have not been assessed as a whole. This book chronicles Balanchine’s and Kirstein’s work between 1933 and 1940 in the spheres of ballet, opera, Broadway musicals, and Hollywood cinema. This new account shows the ways in which their collective and individual efforts influenced and affected one another and ultimately shaped the character of the institutions they would eventually found. The work of the short-lived organizations the American Ballet (1935–38) and Ballet Caravan (1936–40) brought together dozens of dancers and collaborators, and the activity of these companies was closely related to work of the School of American Ballet as well as Balanchine’s projects in Broadway musical theater and film.

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50

Nyong'o, Tavia. Afro-Fabulations. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479856275.001.0001.

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In Afro-Fabulations: The Queer Drama of Black Life, the cultural critic and historian Tavia Nyong’o surveys the conditions of contemporary black artistic production in the wake of post-blackness. Moving fluidly between the insurgent art of the 1960s and the intersectional activism of the present day, Afro-Fabulations challenges genealogies of blackness that ignore its creative capacity to exceed conditions of traumatic loss, social death, and archival erasure. Tracking how the bodies that were speculated in as commodities became speculative bodies, he develops an account of black fabulation that is always already feminist and queer. In so doing, he revises accounts of post-humanism and new materialism that ignore the subversive potential of life lived outside the sovereign coordinates of the human. If black survival in an anti-black world often feels like a race against time, Afro-Fabulations looks to the modes of memory and imagination through which a black polytemporality is invented and sustained. “Angular sociality” names the gate and rhythm of black social life as it moves in and out of step with itself, providing its internal dynamism and drama. To outline his theory of afro-fabulation, Nyong’o takes up a broad range of sites of analysis, from speculative fiction to performance art, from artificial intelligence to blaxploitation cinema. Reading the archive of violence and trauma against the grain, Afro-Fabulations summons the poetic powers of world-making that have always been immanent to the fight and play of black life.

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