By Josef Gugler
In African movie: Re-imagining a Continent, Josef Gugler offers an advent to African cinema via an research of 15 motion pictures made through African filmmakers. those administrators got down to re-image Africa; their movies provide Western audience the chance to re-imagine the continent and its humans. As some degree of comparability, extra movies on Africa—one from Hollywood, the opposite from apartheid South Africa—serve to spotlight African directors’ altogether varied views.
Gugler’s interpretation considers the monetary and technical problems of African movie creation, the meant audiences in Africa and the West, the restrictions on distribution, and the serious reception of the movies.
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Additional info for African Film: Re-Imagining a Continent
To see a fictional character express fear does not necessarily mean we share that emotional reaction. It is worth comparing this with an alternative opening scene that was shot but not used in the finished film. In this, the camera lingers over an unclothed woman (Stella Horan) who is rubbing herself (here with sun-lotion) and whose parted lips suggest an utter absorption in her own sexuality. However, a key difference, which might have gone some way to mitigating allegations of voyeuristic misogyny towards De Palma, is that this is Carrie’s gaze.
P. 23. 45. , p. xvi. 46. , p. xviii. 47. Ibid. See pp. 91–94, p. 110, and p. 138. 48. , p. xviii. 49. Ibid. See p. xii and p. xvii. 50. Stephen King in Frank Darabont, The Shawshank Redemption: The Shooting Script (New York: Newmarket Press, 1996), p. ix. 51. See Stephen King, On Writing (London: New English Library, 2000), p. 260 and Stephen King, ‘Rita Hayworth and the Darabont Redemption’– Introduction to Frank Darabont, The Shawshank Redemption: The Shooting Script, op. , p. xii. 52. Stephen King, On Writing, pp.
Some kind of bloodline with De Palma’s film is attempted in setting the narrative twenty years after the first film, in the same high school, with a protagonist, Rachel Lang (Emily Bergl), who discovers that she shares Carrie’s telekinetic gift. Partly to claim greater veracity to a source text, Amy Irving, one of Carrie’s tormentors in the original film, now plays the part of counsellor, Sue Snell, redeeming her, and the final confrontation between Carrie and her mother follows the scenario of the book more closely (as a second draft of the original film had done), with Carrie slowing down her heartbeat to a stop – alluding perhaps to Edgar Allan Poe’s short story, ‘Tell-Tale Heart’ (1843).
African Film: Re-Imagining a Continent by Josef Gugler