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Journal articles on the topic 'Race au cinéma'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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1

Renoir, Simon. "Detroit dans le cinéma étatsunien : mise en doute du rêve américain et conflits de classe et de race." Les Enjeux de l'information et de la communication N° 24/1A, S1 (2024): 15–31. http://dx.doi.org/10.3917/enic.hs14.0015.

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L’article s’intéresse aux représentations de la ville de Detroit dans le cinéma étatsunien et, en particulier, à la façon dont les films entrelacent un discours sur l’érosion du rêve américain et un discours sur les conflits de classe et de race. À partir de l’analyse d’un corpus de dix-sept films, je me demande à quel point les films mettant en scène Detroit remettent en cause le rêve américain et si la ville joue un rôle de marqueur territorial et symbolique associé à des conflits de classe et de race si profonds qu’ils compromettent la croyance dans cette idéologie.

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2

Galafa, Beaton. "Le corps noir et le racisme dans Lupin (2021) de George Kay et François Uzan." (Des)troços: revista de pensamento radical 4, no. 2 (2023): e47480. http://dx.doi.org/10.53981/destroos.v4i2.47480.

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Alors que les pays occidentaux continuent d’évoluer vers des sociétés qui embrassent aujourd’hui la diversité, nous sommes souvent confrontés à des événements qui vont à l’encontre du récit du multiracialisme et de la multiethnicité. Ainsi, le racisme et les stéréotypes, qui ont servi de base au colonialisme et à l’esclavage, sont des phénomènes récurrents. En France, par exemple, le racisme et les stéréotypes restent des motifs de la culture populaire, signalant l’existence de ces phénomènes dans la société contemporaine. Une production intéressante dans laquelle de tels thèmes sont récurrent

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3

Labidi, Imed Ben. "Hollywood’s Bad Muslims: Misrepresentations and the Channeling of Racial Violence." Journal of Religion and Popular Culture 33, no. 3 (2021): 126–37. http://dx.doi.org/10.3138/jrpc.2020-0068.

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The cinemas of Arab and Muslim societies encompass a substantial number of film genres produced locally or in the diaspora. Arab and Muslim filmmakers experiment with different cinematic narratives, styles, and hybrid forms: auteur, documentary, diasporic, migrant, Third Cinema, and transnational productions. Their richness, diverse thematic foci, creative stylistic characteristics, and ability to reach global audiences recently motivated film scholars and other academics in Europe and the United States to consider designating a category called “Muslim Cinema” and defining its contours. The in

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4

Manley, Theodoric. "The cinema and its shadow: race and technology in early cinema." Ethnic and Racial Studies 38, no. 3 (2014): 510–11. http://dx.doi.org/10.1080/01419870.2014.939209.

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5

Zhong, Ouyuan. "The Values in the Hollywood Cinema Market." Highlights in Business, Economics and Management 22 (December 27, 2023): 41–46. http://dx.doi.org/10.54097/48wmag55.

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Some have misled Hollywood cinema with impressions due to some conception that it is limited to big budgets, stars, special effects, and extensive publicity campaigns. However, it encompasses more than investment diversification, production, and commercial propaganda feature. In other words, beyond the illustrative classic Hollywood pre-sold mechanism, monopoly, and overseas market, it supports values and serves as multicultural, sexual and race equality. This paper lists the phenomenon that contemporary Hollywood cinema is revenue-driven, resulting in many low-quality and quantity reproductio

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6

Brozgal, Lia. "Seeing Through Race in Contemporary French Cinema." L'Esprit Créateur 59, no. 2 (2019): 12–24. http://dx.doi.org/10.1353/esp.2019.0013.

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7

Phruksachart, Melissa. "The Bourgeois Cinema of Boba Liberalism." Film Quarterly 73, no. 3 (2020): 59–65. http://dx.doi.org/10.1525/fq.2020.73.3.59.

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If what characterizes Asian American radical politics in 2020 is an articulation of the difference between, and interrelatedness of, the Asian diasporic elite and the migrant poor, the 2018 Asian American films Crazy Rich Asians and Searching achieved mainstream success by celebrating the emergence of the former. The media paratexts of Crazy Rich Asians used race-consciousness as putative resistance, engendering “messianic visibility”—an over-investment in cinematic identification as possessing transformative, even curative, political and personal potential for liberal cisheteronormativity. Me

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8

Towns, Armond R. "(Dark) Pure War: Virilio, the Cinematic, and the Racial." Media Theory 3, no. 2 (2019): 145–60. http://dx.doi.org/10.70064/mt.v3i2.972.

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Paul Virilio’s work has largely been utilized in theories of media and war, specifically his discussion of ‘pure war’, or the continuance of war beyond its physicality. Cinema, for Virilio, was a pedagogical tool toward preparing populations for such a war. Cinema produced images of objects, perceptually distancing audiences from said objects; it, thus, prepared ‘everyone’ to become objects open to being watched, holding relevance for cinema, surveillance, and information studies. Yet, this concern with watching and surveillance is not race neutral. I argue that Virilio’s work on pure war can

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9

Ebrahim, Haseenah. "Sarita and the Revolution: Race and Cuban Cinema." European Review of Latin American and Caribbean Studies | Revista Europea de Estudios Latinoamericanos y del Caribe, no. 82 (April 15, 2007): 107. http://dx.doi.org/10.18352/erlacs.9642.

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10

Bertrand, Karine. "Epistolary Enunciation in Quebec and Indigenous Cinemas: The Letter as Identity Vector and Memory Tool." Área Abierta 19, no. 3 (2019): 307–26. http://dx.doi.org/10.5209/arab.65390.

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This article focuses on the use of the letter in Canadian cinema, and more particularly in Quebec films featuring plural identities that further complexify this province’s relationship with its identity and those of others. This article explores how the letter becomes a means for Quebec migrants to communicate with their family history and with their host community. It also shows how the letter is a mediator and a symbol uniting minority cultures in search of roots, for filmmakers who stage immigrants or mixed-race protagonists. Finally, I explore how the letter serves the Indigenous peoples o

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11

C, Chellapillai. "Cinema and the Dravidian Renaissance." International Research Journal of Tamil 4, S-5 (2022): 125–31. http://dx.doi.org/10.34256/irjt22s519.

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Linguists claim that “Tamil” is the most ancient of the languages spoken in the world, and it is language that introduces a group of people to the world. It is accepted by the majority that the race referred to by the word Dravidian refers to the group of people who speak the languages of present-day Andhra, Kannada, Malayalam, Tulu and Tamil. EVR Periyar became the leader after the Neethi Katchi became a secular non-brahmin movement under the leadership of PD Thiarayar and TM Nair. After that he started the magazines such as Viduthalai, Kudiyarasu etc. This movement grew out of the print medi

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12

Savage, Maxine. "A Queer and Foreign State." lambda nordica 25, no. 3-4 (2021): 29–53. http://dx.doi.org/10.34041/ln.v25.707.

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Since the year 2000, twenty Icelandic films have been produced which could be aptly grouped as LGBTQ+ or queer Icelandic cinema. This “queer turn” in Icelandic cinema emerges as the nation makes strides in advancing LGBTQ+ rights and as its demographics markedly shift, first-generation immigrants now comprising 12.6 per cent of the population. These changes have not occurred in a vacuum, and the films discussed in this article complicate the boundary between native and foreign, Icelandic and non-Icelandic, alongside their centering of queer characters and stories. In addition to narrative focu

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13

Sprochi, Amanda K. "Book Review: Race in American Film: Voices and Visions That Shaped a Nation." Reference & User Services Quarterly 57, no. 3 (2018): 228. http://dx.doi.org/10.5860/rusq.57.3.6629.

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Race in American Film is a three-volume encyclopedic treatment of race and racism in American cinema, from the early film era to modern times. The editors, Daniel Bernardi and Michael Green, address the question of “American cinema’s place in American and world culture with respect to the question of race” (xxx). For the purpose of this three-volume set, they define “race” broadly, using Omi and Winant’s definition of race as a “‘shifting yet reforming’ complex of meanings that works to shape our sense of selves and those we see as similar—thereby allowing us to see others as different.” (xxi)

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14

Webster, Robert M. "NOTES ON FRENCH CINEMA, COLONIALISM, IMMIGRATION, AND RACE RELATIONS." Contemporary French Civilization 17, no. 2 (1993): 304–11. http://dx.doi.org/10.3828/cfc.1993.17.2.006.

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15

Palis, Eleni. "Race, authorship and film quotation in post-classical cinema." Screen 61, no. 2 (2020): 230–54. http://dx.doi.org/10.1093/screen/hjaa012.

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16

Sterritt, David. "Race Movies: Pioneers of African-American Cinema (Kino Lorber)." Quarterly Review of Film and Video 34, no. 2 (2016): 198–200. http://dx.doi.org/10.1080/10509208.2016.1256619.

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17

Repinecz, Martin. ""Salvaje primitiva, como vosotros": Race Camp in Almodóvar's Cinema." Revista de Estudios Hispánicos 51, no. 3 (2017): 513–41. http://dx.doi.org/10.1353/rvs.2017.0055.

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18

Pattynama, Pamela. "Memories of Interracial Contacts and Mixed Race in Dutch Cinema." Journal of Intercultural Studies 28, no. 1 (2007): 69–82. http://dx.doi.org/10.1080/07256860601082947.

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19

Verheul, Jaap. "Italy in Early American Cinema: race, landscape, and the picturesque." Historical Journal of Film, Radio and Television 31, no. 2 (2011): 327–29. http://dx.doi.org/10.1080/01439685.2011.574460.

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20

Lyman, Stanford M. "Race, sex, and servitude: Images of blacks in American cinema." International Journal of Politics, Culture and Society 4, no. 1 (1990): 49–77. http://dx.doi.org/10.1007/bf01384770.

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21

Mennel, Barbara. "Race under Reconstruction in German Cinema: Robert Stemmle’s Toxis (review)." German Studies Review 35, no. 2 (2012): 439–41. http://dx.doi.org/10.1353/gsr.2012.a478079.

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22

O’Malley, Hayley. "Another Cinema." James Baldwin Review 7, no. 1 (2021): 90–114. http://dx.doi.org/10.7227/jbr.7.6.

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James Baldwin was a vocal critic of Hollywood, but he was also a cinephile, and his critique of film was not so much of the medium itself, but of the uses to which it was put. Baldwin saw in film the chance to transform both politics and art—if only film could be transformed itself. This essay blends readings of archival materials, literature, film, and print culture to examine three distinct modes in Baldwin’s ongoing quest to revolutionize film. First, I argue, literature served as a key site to practice being a filmmaker, as Baldwin adapted cinematic grammars in his fiction and frequently p

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23

Maasdorp, Liani. "South African cinema 1896–2010; and Cinema in a democratic South Africa: the race for representation." South African Theatre Journal 28, no. 3 (2015): 256–59. http://dx.doi.org/10.1080/10137548.2015.1084087.

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24

Holmlund, Chris, and Andrew Nestingen. "Journal of Scandinavian Cinema turns ten: About the past and for the future." Journal of Scandinavian Cinema 10, no. 3 (2020): 225–34. http://dx.doi.org/10.1386/jsca_00025_1.

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Chris Holmlund and Andrew Nestingen have long been involved with the Journal of Scandinavian Cinema (JSCA) – Chris since 2013, Andy since the journal’s inception in 2010. This article reviews trends in the journal’s first decade and identifies areas where more scholarship would be welcome. JSCA has built a reputation for excellence and is the authoritative publication on cinema and media of the Nordic region. Special Issues, articles on the representation of sexuality and discussions of national cinema constitute valuable contributions. There have been many excellent articles on male auteurs,

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25

Brown, William. "A (mush)room of one’s own: feminism, posthumanism and race in Sofia Coppola’s The Beguiled." Aniki : Revista Portuguesa da Imagem em Movimento 7, no. 1 (2020): 71–95. http://dx.doi.org/10.14591/aniki.v7n1.557.

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The Beguiled (Sofia Coppola, USA, 2017) is one of several recent films to feature mushrooms as a prominent plot device. In this essay, I argue that the use of mushrooms here allows cinema to engage with issues surrounding the Anthropocene, or the period in which capitalist man has shaped the world more than the world has shaped capitalist man. I shall in particular propose that the association between women and fungi suggests that the Anthropocene entails an anthropocentric and patriarchal worldview. That is, The Beguiledsuggests that the Anthropocene is defined specifically by capitalist man

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26

Banerjea, Kingshuk. "A Comparative Study of LGBT+ Characters in Indian Cinema with its Latin American counterparts." Praxis International Journal of Social Science and Literature 6, no. 6 (2023): 1–6. http://dx.doi.org/10.51879/pijssl/060601.

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Latin American countries and India share almost similar history broadly. In fact, the basic characteristics of the structure of Cinema in these countries are quite similar. In this background, this paper deals with a comparative study of LGBT characters in the Cinema of these countries, also tries to study the impact of patriarchy. To study the comparison, many texts, books, and cinema have been referred to. The characters were analysed through the lenses of the socio-political milieu of the time. We must understand a character is not a onedimensional entity, it is a multi-dimensional one. Aft

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27

Benson-Allott, Caetlin. "Undoing Violence: Politics, Genre, and Duration in Kathryn Bigelow's Cinema." Film Quarterly 64, no. 2 (2010): 33–43. http://dx.doi.org/10.1525/fq.2010.64.2.33.

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Kathryn Bigelow's eight feature films all seek a balance between progressive representations of gender and race and the demands of commercial filmmaking. Close attention to the filmmaker's experiments with duration and camera technology reveals her interest in reworking Hollywood conventions to critique conventionally masculinist genres.

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28

O'Meara, Patrick, and Keyan Tomaselli. "The Cinema of Apartheid: Race and Class in South African Film." African Studies Review 33, no. 1 (1990): 136. http://dx.doi.org/10.2307/524633.

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29

Grieveson, Lee. "Fighting Films: Race, Morality, and the Governing of Cinema, 1912-1915." Cinema Journal 38, no. 1 (1998): 40. http://dx.doi.org/10.2307/1225735.

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30

Pohl, Adrienne. "Dossier Introduction: Race, Gender, and Genre in Twenty-First-Century Cinema." Film Matters 8, no. 3 (2017): 60. http://dx.doi.org/10.1386/fm.8.3.60_1.

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31

Craven, Allison. "Period features, heritage cinema: Region, gender and race in The Irishman." Studies in Australasian Cinema 5, no. 1 (2011): 31–42. http://dx.doi.org/10.1386/sac.5.1.31_1.

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32

ARMES, ROY. "The Cinema of Apartheid. Race and Class in South African Film." African Affairs 90, no. 360 (1991): 471–72. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098454.

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33

Stoller, Paul. ": The Third Eye: Race, Cinema, and Ethnographic Spectacle . Fatimah Tobing Rony ." Film Quarterly 52, no. 1 (1998): 92–93. http://dx.doi.org/10.1525/fq.1998.52.1.04a00560.

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34

Laslett, Sarah, Daniel Bernardi, and Jesse Algeron Rhines. "The Birth of Whiteness: Race and the Emergence of U.S. Cinema." Journal of American History 84, no. 3 (1997): 1138. http://dx.doi.org/10.2307/2953224.

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35

Lightweis-Goff, Jennie. "The Cinema and Its Shadow: Race and Technology in Early Cinema AliceMaurice. Minneapolis: University of Minnesota Press, 2013." Journal of American Culture 37, no. 2 (2014): 254–55. http://dx.doi.org/10.1111/jacc.12201.

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36

Peterson, Jennifer. "Book Review: The Third Eye: Race, Cinema, and Ethnographic Spectacle, and: Parallel Tracks: The Railroad and Silent Cinema." Modernism/modernity 5, no. 2 (1998): 177–81. http://dx.doi.org/10.1353/mod.1998.0037.

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37

Warren, Jonathan. "The Racist and Antiracist Traditions in 21st Century Brazilian Cinema." Revista Tempos e Espaços em Educação 10, no. 21 (2017): 17–28. http://dx.doi.org/10.20952/revtee.v10i21.6329.

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The seminal study of race and Brazilian cinema is Robert Stam’s “Tropical Multiculturalism”. Since the publication of this groundbreaking book in 1997, there has been remarkably little effort by Brazilian film scholars or critics to deepen and build upon Stam’s central claims or extend his analysis to the 21st century. In this article I hope to reverse this trend and invigorate more discussion and study of racial politics and Brazilian film. To this end, I detail the ways that Brazilian cinema continues to be complicit with white supremacy, highlight and analyze some of the most notable antira

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38

De Lara, Marlo. "Mixed race cinemas: multiracial dynamic in America and France." Transnational Screens 10, no. 2 (2019): 128–29. http://dx.doi.org/10.1080/25785273.2019.1602345.

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39

Allen, Robert C. "Reimagining the History of the Experience of Cinema in a Post-Movie-Going Age." Media International Australia 139, no. 1 (2011): 80–87. http://dx.doi.org/10.1177/1329878x1113900111.

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As theatrical movie-going is supplanted by other modes of engaging with cinema, it becomes more apparent that one of the most striking features of the experience of cinema for a century was its sociality. Prior to the 1980s, the experience of cinema around the world involved groups of people converging upon particular places to experience together something understood to be cinema. As it emerged as a cultural industry, cinema depended upon the regular repetition of this social practice under the sign of cinema. This article explores the application of digital technologies in representing the h

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40

Moffat, Kate. "Race, Ethnicity, and Gang Violence: Exploring Multicultural Tensions in Contemporary Danish Cinema." Scandinavian-Canadian Studies 25 (December 1, 2018): 136–53. http://dx.doi.org/10.29173/scancan156.

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ABSTRACT: One of the most striking genre conventions to emerge in Danish cinema in recent years is the gangster motif. Replete with gritty social realism, urban decay, and tribal warfare between different ethnic groups, these films reflect a growing discontent in the Danish welfare state, particularly regarding multiculturalism and inclusion. This article follows these trends from the mid-1990s, focusing specifically on the themes of ethnic division in four films: Nicolas Winding Refn’s Pusher (1996), Michael Noer’s Nordvest (2013) [Northwest], Omar Shargawi’s Gå med fred, Jamil (2008) [Go Wit

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41

Kirkendall, Andrew J., and Robert Stam. "Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture." History of Education Quarterly 38, no. 3 (1998): 338. http://dx.doi.org/10.2307/369172.

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42

Maurice, Alice. "“Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies." Camera Obscura: Feminism, Culture, and Media Studies 17, no. 1 (2002): 31–71. http://dx.doi.org/10.1215/02705346-17-1_49-31.

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43

Soe, Valerie. "Review: The Chinese American Diaspora on American Screens: Race, Sex, and Cinema." Afterimage 42, no. 2 (2014): 38. http://dx.doi.org/10.1525/aft.2014.42.2.38.1.

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44

Winstead, Antoinette. "A Review of “Race Under Reconstruction in German Cinema: Robert Stemmle's Toxi”." Quarterly Review of Film and Video 29, no. 2 (2012): 184–89. http://dx.doi.org/10.1080/10509208.2011.646569.

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45

Goodman, Lizbeth. "Race and the Cinema: An Interview with Stuart Hall and Paul Gilroy." Critical Sociology 19, no. 3 (1992): 107–20. http://dx.doi.org/10.1177/089692059201900305.

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46

Rodríguez, Pedro Noel Doreste. "Littoral Blackness: Race, cinema and mid-century cultural nationalisms in Puerto Rico." Studies in Spanish & Latin American Cinemas 20, no. 1 (2023): 59–73. http://dx.doi.org/10.1386/slac_00103_1.

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This article is the winner of the 2021 SCMS Latinx Caucus’s Graduate Student Award. It focuses on the mid-century fictional and documentary films on the Black cultural practice of Loíza produced by Puerto Rico’s Division of Community Education (DivEdCo) and addresses the pedagogical film’s role in promoting its attendant cultural-nationalist project. It analyses the DivEdCo period of Oscar Torres, a pioneering presence in the national cinemas of all three Hispanic Caribbean islands. Torres was an artist twice exiled; banished from the Dominican Republic for decrying the oppressive policies of

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47

Shome, Raka. "Race and popular cinema: The rhetorical strategies of whiteness incity of joy." Communication Quarterly 44, no. 4 (1996): 502–18. http://dx.doi.org/10.1080/01463379609370035.

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48

Lyons, Kathleen. "Transcultural Cinema: Reading Race and Ethnicity in Neil Jordan's "The Crying Game"." South Atlantic Review 67, no. 1 (2002): 91. http://dx.doi.org/10.2307/3201587.

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49

Lesser, Jeffrey. "Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture." Hispanic American Historical Review 79, no. 1 (1999): 180–81. http://dx.doi.org/10.1215/00182168-79.1.180.

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50

CASSANO, GRAHAM. "“The Last of the World's Afflicted Race of Humans Who Believe in Freedom”: Race, Colonial Whiteness and Imperialism in John Ford and Dudley Nichols's The Hurricane (1937)." Journal of American Studies 44, no. 1 (2009): 117–36. http://dx.doi.org/10.1017/s0021875809990703.

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This essay examines the political meanings of John Ford and Dudley Nichols's film The Hurricane (1937). The Hurricane appears at a pivotal moment in American history, a moment when Ford and Nichols set out to make films for a “new kind of public.” This new audience was forged by new political forces, including the rise of the Congress of Industrial Organizations, the Popular Front, and Roosevelt's New Deal. Building on previous work that documents Nichols's affiliation with Popular Front organizations, and Ford's own political cinema (including The Informer (1935), The Grapes of Wrath (1940),

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