Please click the image to read Black Camera on Project MUSE.
Table of Contents
Articles
Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door
- Marilyn Yaquinto
Charles Burnett’s Dialogic Aesthetics: My Brother’s Wedding as a Bridge between Killer of Sheep and To Sleep with Anger
- Amy Corbin
Special Feature
Conversations with Ava DuVernay -- "A Call to Action": Organizing Principles of an Activist Cinematic Practice
- Michael T. Martin, Ava DuVernay
Close-Up: Postcolonial Filmmaking in French-speaking Countries
Introduction: Postcolonial Migration Stories on Screen
-Delphine Letort, Guest Editor
The Algerian War: Memory through Cinema
- Benjamin Stora, Jarrett Anderson
Looking Elsewhere to Film and Capture Life: Transnational Journeys, Nomadism, and Cultural Métissage in Tony Gatlif’s Cinema
-Isabelle Vanderschelden
Farida Benlyazid and Juanita Narboni: Two Women from Tangier
-Florence Martin
Rethinking the Diaspora through the Legacy of Slavery in Rachid Bouchareb�s Little Senegal
- Delphine Letort
Cassava Westerns: Ways of Watching Abderrahmane Sissako
- Tsitsi Jaji
How to Get to Barcelona or Die Trying: Postcolonial Poverty and Migration in Moussa Tour�s La Pirogue
-Jeanne Garane
Close-Up Gallery
Women on the Algerian Art Scene: Interrogating the Postcolonial Gaze through Documentary and Video Art
- Delphine Letort, Emmanuelle Cherel
Africultures Dossier
�We need to think again from the beginning!�: Interview with Erez Pery about Sderot, Last Exit, and the School of Sound and Screen Arts at Sappir College, Israel
- Olivier Barlet, Erez Pery
Sderot, seconde classe / Sderot, Last Exit by Osvalde Lewat (review)
- Olivier Barlet, Melissa Thackway
Ici on noie les Alg�riens: 17 Octobre 1961 / Here We Drown Algerians: October 17, 1961 by Yasmina Adi (review)
-Olivier Barlet, Beti Ellerson
Sur la planche / On the Edge by Le�la Kilani (review)
- Olivier Barlet, Beti Ellerson
