دورية أكاديمية
AFROBBUBBLEGUM, QUEER RESISTANCE AND HOPE IN RAFIKI, BY WANURI KAHIU ; Afrobubblegum, resistencia e esperança queer em Rafiki (2018), de Wanuri Kahiu
| العنوان: | AFROBBUBBLEGUM, QUEER RESISTANCE AND HOPE IN RAFIKI, BY WANURI KAHIU ; Afrobubblegum, resistencia e esperança queer em Rafiki (2018), de Wanuri Kahiu |
|---|---|
| المؤلفون: | Ravazzano, Lucas, Asevedo, Everaldo |
| المصدر: | COMMUNICATION. International Journal of Audiovisual Communication, Advertising and Cultural Studies; Vol. 21 No. 2 (2023): Monográfico sobre cines africanos; 14-31 ; COMUNICACIÓN. Revista Internacional de Comunicación Audiovisual, Publicidad y Estudios Culturales; Vol. 21 Núm. 2 (2023): Monográfico sobre cines africanos; 14-31 ; 1989-600X ; 1695-6206 ; 10.12795/Comunicacion.2023.v21.i02 |
| بيانات النشر: | Universidad de Sevilla |
| سنة النشر: | 2023 |
| مصطلحات موضوعية: | Wanuri Kahiu, cinema do Quênia, cinema queer, afrobubblegum, Rafiki, Kenyan cinema, queer cinema |
| الوصف: | In this article, we propose to analyze Wanuri Kahiu's contributions to African queer cinema. We will discuss how in Rafiki (2018), only her second feature film as director, Kahiu presents and aesthetically develops the premises of an Afrobubblegum art proposed by her, in order to portray, in a context of hope and new possibilities, the experience of being queer in a heterosexist Africa. To this end, the research will resort to works such as those by Diawara (2007, 2010) and Adichie (2009) in order to demonstrate how the director's aesthetic proposal aims to counter predominantly pessimistic views that cinema projects regarding African countries. Additionally, we will explore the Kenyan director's story of struggle and resistance to see her film reach the screens in her country of birth and the importance that the screening of this work in Kenyan cinemas had as a moment of celebration of the existence of queer people in Africa. These discussions will be conducted based on contributions such as those from Louro (2008) and Green-Simms (2022) regarding the importance of queer cinema creating stories that show resistance and hope in the face of oppressive realities. ; No presente artigo, propomo-nos a analisar as contribuições de Wanuri Kahiu para o cinema queer africano. Abordaremos como em Rafiki (2018), apenas seu segundo longa-metragem como realizadora, Kahiu apresenta e desenvolve esteticamente as premissas de uma arte Afrobubblegum por ela proposta, de modo a retratar, num contexto de esperança e novas possibilidades, a experiência de ser queer numa África heterossexista. Para tanto, a pesquisa irá recorrer a trabalhos como os de Diawara (2007, 2010) e Adichie (2009) de modo a demonstrar como a proposta estética da diretora visa contrapor visões predominantemente pessimistas que o cinema projeta a respeito de países africanos. Adicionalmente, exploraremos a história de luta e resistência da diretora queniana para ver seu filme chegar às telas de seu país de nascimento e a importância que a exibição desta obra, ... |
| نوع الوثيقة: | article in journal/newspaper |
| وصف الملف: | application/pdf |
| اللغة: | Spanish; Castilian |
| العلاقة: | https://revistascientificas.us.es/index.php/Comunicacion/article/view/24580/22019Test; https://revistascientificas.us.es/index.php/Comunicacion/article/view/24580Test |
| DOI: | 10.12795/Comunicacion.2023.v21.i02.01 |
| الإتاحة: | https://doi.org/10.12795/Comunicacion.2023.v21.i02.01Test https://doi.org/10.12795/Comunicacion.2023.v21.i02Test https://revistascientificas.us.es/index.php/Comunicacion/article/view/24580Test |
| حقوق: | Derechos de autor 2023 Lucas Ravazzano, Everaldo Asevedo ; https://creativecommons.org/licenses/by-nc-sa/4.0Test |
| رقم الانضمام: | edsbas.7B3DB928 |
| قاعدة البيانات: | BASE |
| DOI: | 10.12795/Comunicacion.2023.v21.i02.01 |
|---|