Academic literature on the topic 'Jordan Storytelling'

This chapter introduces Neil Jordan, who was born in Rosses Point, County Sligo on 25 February 1950, and studied English and History at University College Dublin. It talks about Jordan's first book, a collection of short stories titled Night in Tunisia in 1976, which feature many themes and ideas that Jordan would revisit throughout his career, including sexual relationships and notions of identity, and an experimental approach to perspective and narrative. The chapter also discusses Jordan's unique approach to storytelling that helped usher in a new kind of filmmaking in Ireland and radically changed perceptions of Irish culture for international audiences. It examines how Jordan's idiosyncratic approach to storytelling became more striking with each successive film. Finally, the chapter mentions The Company of Wolves as Jordan's second film and first foray into the realms of Gothic horror.

Jordan Clapper analyzes how the visual strategies of comic book storytelling intensify the oral storytelling traditions recreated in vignettes collected in Trickster: Native American Tales, A Graphic Collection.

This chapter analyses the fairy tales, folklore, and the art of oral storytelling that are all woven into the very fabric of Neil Jordan's The Company of Wolves. It outlines The Company of Wolves's fragmented narrative structure, which exists within the dreams of a sleeping adolescent girl that is comprised of stories told to her by her Granny. It also talks about how The Company of Wolves plays with the form of the fairy tale and its ideas regarding initiation, redemption, and personal and social progress in order to explore the changes and uncertainties of growing up. This chapter explores Jordan and Carter's process of demythologising culturally constructed notions of gender and identity by retelling the very fairy tales that helped establish such notions. It examines the role played by fairy tales in conditioning communities, and how certain tales were repurposed through literary adaptations to educate and instruct different types of audiences.

This concluding chapter demonstrates how disrupting white audience expectations depends on approaching narratives through an interpretive perspective contesting the idea of universal storytelling, which is very often, as Richard Dyer argues, de facto white storytelling. Though an analysis situated within discussions about universality as whiteness across storytelling modes, the chapter demonstrates how comedy show Key & Peele’s sketch “Othello ’Tis My Shite” (2013) and horror-thriller Get Out (2017) defy whiteness’s perspectival dominance. The sketch upends the myth of Shakespearean universality through two “Moors” who watch Othello at the Globe, their reactions indicting Shakespeare’s representation of Blackness. The sketch’s twist ending, however, imagines appropriations that take a Black perspective seriously as potentially rehabilitating this caricaturing. Jordan Peele makes real the challenge posed by the sketch in his film Get Out, a direct response to America’s post-racial fantasy. In its reimagining of both the horror genre and Othello’s basic narrative structure, Get Out literalizes the “necropolitics” (Achille Mbembe)—the physical and psychological violence and threat of literal and metaphorical death—enacted on Othello. Specifically, the film confronts America’s necropolitics through its emphasis on microaggressions, the concept of the coagula, and the idea of the sunken place. These two examples thus provide powerful frameworks for transforming Othello into a story about white supremacy’s alienation and appropriation of Blackness, a gesture that resists the universal white perspective in favor of a particular Black one.

Can the ways of knowing and being co-developed with SKMS and Parakh be reworked pedagogically in a public research university? This exploration births a combined undergraduate and graduate course, 'Stories, Bodies, Movements,' which unfolds in the form of fifteen weekly 'Acts' and uses storytelling, writing, and theatre as modes of collective relearning. In absorbing the writing of W.E.B. Du Bois, June Jordan, Nina Simone, Sujatha Gidla, Om Prakash Valmiki, Viet Thanh Nguyen, and others, the Syllabus asks: What of ourselves must each member of the class offer in order to become an ethical receiver of the stories we are reading? And how might this commitment to ethically receive stories translate into an embodied journey that seeks to transform the self in relation to the collective?