The Politics of Representation and Audience Reception: Alternative Visions of Africa
Western media has consistently misrepresented or underrepresented African people and cultures. This article focuses on Florence Ayisi's documentary film practice, which engages with alternative realities and images that portray the lived experiences of African people and how these are manifested in audio-visual representations, including narrative structure and point of view. Her multiple positions as African woman, film lecturer, and filmmaker mean that these documentaries provide a space to challenge the myriad of simplistic representations of African life and societies. The ideas explored in this article will be illustrated through a cross-disciplinary analysis of Zanzibar Soccer Queens (2007, 87 mins.) and Art of This Place: Women Artists in Cameroon (2011, 40 mins.). The academic discourse of this article is situated within several academic disciplines: audience reception studies, cognitive film theory, phenomenology, representation, and African film practice, where the experience of filmmaking is politicized and emerges from postcolonial struggles to redefine and counter cultural misrepresentations.
Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography.
Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.
Women, the arts and globalization: Eccentric experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense.