Including the invention of «Caucasian» as the name of white people makes good sense in a conference dedicated to collective degradation, for the still current ter «Caucasian» connects directly to collective degradation, in the form of the gendered, eastern slave trade, via the network of learned societies that so deeply influenced the history of science in the eighteenth and early nineteenth centuries. Before this essay turns to Göttingen in 1795 and Johann Friedrich Blumenbach (1762-1840), who is known for having invented the association, let me locate the Caucasus and its peoples.
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veille informationnelle
Une vaste sélection de matériels portant sur l’équité et l’inclusion dans le milieu de l’audiovisuel ici et dans le monde.
The question of ‘authenticity’ has been at the heart of much critical thinking about African cinema. During the colonial era, cinematic images of Africa effectively served to reinforce the Western vision of the ‘dark continent,’ viewing Africa as a wild and savage place, existing outside of history. When African filmmakers began to emerge in the 1960s and 1970s, they set out to counter these demeaning Western representations of their continent. However, although there was widespread agreement that colonial representations were distorted and ‘inauthentic,’ the definition of an ‘authentic’ African cinema has remained deeply problematic. What should an African film look like? How should it differ from Western cinema?
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