Highlighting what is melodramatic, flashy, low, and gritty in the characters, images, and plots of African cinema, Kenneth W. Harrow uses trash as the unlikely metaphor to show how these films have depicted the globalized world. Rather than focusing on topics such as national liberation and postcolonialism, he employs the disruptive notion of trash to propose a destabilizing aesthetics of African cinema. Harrow argues that the spread of commodity capitalism has bred a culture of materiality and waste that now pervades African film. He posits that a view from below permits a way to understand the tropes of trash present in African cinematic imagery.
Highlighting what is melodramatic, flashy, low, and gritty in the characters, images,and plots of African cinema, Kenneth W. Harrow uses trash as the unlikely metaphor to show how thesefilms have depicted the globalized world. Rather than focusing on topics such as national liberationand postcolonialism, he employs the disruptive notion of trash to propose a destabilizing aestheticsof African cinema. Harrow argues that the spread of commodity capitalism has bred a culture ofmateriality and waste that now pervades African film. He posits that a view from below permits a wayto understand the tropes of trash present in African cinematic imagery.
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"Reading these films in this manner becomes a metaphor of how one must understand African nations in a global context... highly original and deeply historicized." Frieda Ekotto, University of Michigan
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Uses trash as the unlikely metaphor to show how African films have depicted the globalized world
Preface and Acknowledgements; Introduction
1. Bataille, Stam, and
Locations of Trash;
2. Ranciere: Aesthetics, Its Mesententes and Discontents;
3. The Out of Place Scene of Trash;
4. Globalization's Dumping Ground, The
Case of Trafigura;
5. Agency and the Mosquito: Mitchell and Chakrabarty;
6.
Trashy Women: Karmen Gei, l'Oiseau Rebelle;
7. Trashy Women, Fallen Men:
Fanta Nacro's "Puk Nini" and La Nuit de la verite;
8. Nollywood and Its
Masks. Fela, Osuofia in London and Butler's Assujetissement;
9. Abderrahmane
Sissako's Bamako and the Image: Trash in Its Materiality;
10. The
Counter-Archive for a New Postcolonial Order: O Heroi and Daratt;
11.Nollywood and Its Masks. Fela, Osuofia in London and Butler's
Assujetissement;
12. Trash's Last Leaves: Nollywood, Nollywood, Nollywood
Notes; Bibliography; Filmography; Index
