Affective Power/Formal Knowledge: Diaspora, African Cinema and Film Festivals Outside Africa

De-Westernizing Film Studies

“…"Black" diversity and fashionable defiance are not necessarily un-raced or de-raced, mainly when seen through "the fluid intertextual shiftiness of [film/ moving image] genre" put in contact with the "black" diasporic (Bâ 2007: 49; see also Bâ 2008). Crucially, this coming together of genre, film/moving image, and diaspora also constitutes a bridge toward further problematizing oceanic frameworks by applying analytical tools that suggest the limitations of the oceanic's value, both in and beyond texts per se.…”

“…this relationship does not reach or affect the bases of what generated the triangular paradigm in the first place; it just perpetuates it through a different geometrical form. 8 See Martin (1995), Stam (1995), Bâ (2007), and Malik (2010). 6 "Saltwater" is borrowed from Smallwood's book Saltwater Slavery (2008).…”

“…That any cinema can be described as such may be undeniable. For further details see Wilderson (2010: 35-63) or Bâ (2011b). "White" was/is never opaque, invisible and/or concealed: it has always been subject(ed) by "white" hegemony to what Snead calls "mythification" and "marking" (1989: 4, 5).…”

“…28 Here Wynchank (2003: 98) must be acknowledged but also critiqued; she makes an insightful link between Diop-Mambéty's La Petite Vendeuse de soleil/The Little Girl who Sold "The Sun" (1999) and Dogma, while overlooking two crucial issues: first, what they share (regarding technology, shooting style, camerawork, and story design) permeate the whole of Diop-Mambéty's worknot just one filmand second, Diop-Mambéty's "extreme simplicity" when using technology did not "echo" Von Trier, Vinterberg, and Dogma (Wynchank 2003: 98), it had simply forerun them. 33 On Gilroy's Black Atlantic (theory and book) and his theories of "race" in cinema, visual culture, and/or cultural studies, see Palumbo-Liu (2004), Oboe and Scacchi (2008), Bâ (2010a and2011b), Barson and Gorshlüter (2010), and Glissant in Diawara (2010a). 30 This "aeriality" trope informed Flow Motion's multimedia interactive project Promised Lands (2009-).…”