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https://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/181412Registro completo de metadatos
| Campo DC | Valor | Lengua/Idioma |
|---|---|---|
| dc.creator | Shapiro, Michael J. | - |
| dc.date | 2018-11-21 | - |
| dc.date.accessioned | 2023-03-15T20:35:41Z | - |
| dc.date.available | 2023-03-15T20:35:41Z | - |
| dc.identifier | https://revistas.ucm.es/index.php/GEOP/article/view/62457 | - |
| dc.identifier | 10.5209/GEOP.62457 | - |
| dc.identifier.uri | https://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/181412 | - |
| dc.description | The bookends of this article are analyses of two kinds of Africa-situated visual texts. It begins with a focus on Michelangelo Antonioni’s film The Passenger (1975), a movie simultaneously about a personal and cartographic drama, involving the micropolitics of the violent life of a journalist and a space with a legacy of colonial violence, the Africa country of Chad. It ends with a focus on the photography of Santu Mofokeng, which expresses a community of sense among Black citizens in post-Apartheid South Africa. | en-US |
| dc.description | Los soportes de este artículo son análisis de dos tipos de textos visuales situados en África. Comienza centrándose en la película de Michelangelo Antonioni El Reportero (1975), un film sobre un drama personal y cartográfico simultáneamente, que implica la micropolítica de la vida violenta de un periodista y un espacio con un legado de violencia colonial, el país africano de Chad. Termina centrándose en la fotografía de Santu Mofokeng, que expresa la comunidad de sentido entre los ciudadanos negros en la Sudáfrica del post-apartheid. | es-ES |
| dc.description | O suporte deste artigo são análises de dois tipos de textos visuais situados em África. Começa centrando no filme de Michelangelo Antonioni Profissão: Repórter (1975), um filme sobre um drama pessoal e cartográfico simultaneamente, que implica a micropolítica da vida violenta de um jornalista e um espaço com um legado de violência colonial, o país africano de Chade Termina centrando na fotografia de Santu Mofokeng, que expressa a comunidade de sentido entre os cidadãos negros na África do Sul do pós-apartheid. | pt-PT |
| dc.format | application/pdf | - |
| dc.language | spa | - |
| dc.publisher | Ediciones Complutense | es-ES |
| dc.relation | https://revistas.ucm.es/index.php/GEOP/article/view/62457/4564456548693 | - |
| dc.relation | /*ref*/Arrowsmith, W. (1995) Antonioni: The Poet of Images. New York: Oxford University Press. | - |
| dc.relation | /*ref*/Benjamin, W. (1998) The Origin of German Tragic Drama [trad. de John Osborne]. New York: Verso. | - |
| dc.relation | /*ref*/Bersani, L., y Dutoit, L (2004) Forms of Being: Cinema, Aesthetics, Subjectivity. London: bfi. | - |
| dc.relation | /*ref*/Burch, N. (1981) Theory of Film Practice. Princeton (NJ): Princeton University Press. | - |
| dc.relation | /*ref*/Chatman, S. (1985) Antonioni, or, The Surface of the World. Berkeley: University of California Press. | - |
| dc.relation | /*ref*/Cole, T (2017) “Victory in the Shadows”. The New York Times Magazine, 10 de agosto [URL: <https://www.nytimes.com/2017/08/10/magazine/victory-in-the-shadows.html>. Consultada el 10-06-2018]. | - |
| dc.relation | /*ref*/Deleuze, G. (1987) Cinema 1: The Movement Image. Minneapolis: University of Minnesota Press. | - |
| dc.relation | /*ref*/Deleuze, G (1989) Cinema 2: The Time Image. Minneapolis: University of Minnesota Press. | - |
| dc.relation | /*ref*/Deleuze, G. and Guattari, F. (1987) A Thousand Plateaus [trad. Brian Massumi]. Minneapolis: University of Minnesota Press. | - |
| dc.relation | /*ref*/DeLillo, D. (1985) White Noise. New York: Penguin. | - |
| dc.relation | /*ref*/Didi-Huberman, G. (1989) “The Art of Not Describing: Vermeer – the Detail and the Patch”. History of the Human Sciences, vol. 2, núm. 2, 135-169. | - |
| dc.relation | /*ref*/Driver, F. (1994) “Geography Triumphant? Joseph Conrad and the Imperial Adventure: A Review Essay”. The Conradian, vol. 18, núm. 2, 103-111. | - |
| dc.relation | /*ref*/Felman, S. (2002) The Juridical Unconscious. Cambridge (MA): Harvard University Press. | - |
| dc.relation | /*ref*/Hayes, P. (2009) “Santu Mofokeng, photographs: «the violence is in the knowing»”. History and Theory, vol. 48, núm. 4, 34-51. | - |
| dc.relation | /*ref*/Lacan, J. (1977) “Desire and the Interpretation of Desire in Hamlet”. Yale French Studies, núm. 55/56, 11-52. | - |
| dc.relation | /*ref*/Lindqvist, S. (1992) Exterminate all the Brutes [trad. Joan Tate]. New York: The New Press. | - |
| dc.relation | /*ref*/Mercken-Spaas, G. (1977) “An Interview with Alain Robbe-Grillet and Lillian Dumont”. The French Review, vol. 50, núm. 4, 653-655. | - |
| dc.relation | /*ref*/Shapiro, M (2009) Cinematic Geopolitics. New York: Routledge. | - |
| dc.relation | /*ref*/Silverman, K (1986) The Threshold of the Visible World. New York: Routledge. | - |
| dc.relation | /*ref*/Tawa, M (2010) Agencies of the Frame: Tectonic Strategies in Cinema and Architecture. Newcastle (UK): Cambridge Scholars. | - |
| dc.relation | /*ref*/Thompson, D. (2015) “Ruminations? Or, Ruinations? In the work of Santu Mofokeng”. [En línea. URL: <http://africasacountry.com/2015/05/ruminations-or-ruinations-in-thework- of-santu-mofokeng/>. Consultado el 21/0(/2017]. | - |
| dc.relation | /*ref*/Turner, J. (1999) “Antonioni’s The Passenger as Lacanian Text”. Other Voices, vol. 1, núm. 3 [En línea. URL: <http://othervoices.org/1.3/turner/passenger.php>. Consultado el 13/07/2017]. | - |
| dc.relation | /*ref*/Weinand, A. (2014) “Santu Mofokeng: Alternative Ways of Seeing (1996-2013)”. Safundi: The Journal of South African and American Studies, vol. 15, núm. 2-3, 307-328. | - |
| dc.relation | /*ref*/Walsh, M. (1975) “Antonioni’s Narrative Design”. Jump Cut, núm. 8 [En línea. URL: <https://www.ejumpcut.org/archive/onlinessays/JC08folder/PassengerWalsh.html>. Consultado el 30/03/2018]. | - |
| dc.source | Geopolítica(s). Revista de estudios sobre espacio y poder; Vol. 9 No. 2 (2018); 195-208 | en-US |
| dc.source | Geopolítica(s). Revista de estudios sobre espacio y poder; Vol. 9 Núm. 2 (2018); 195-208 | es-ES |
| dc.source | Geopolítica(s). Revista de estudios sobre espacio y poder; Vol. 9 N.º 2 (2018); 195-208 | pt-PT |
| dc.source | 2172-7155 | - |
| dc.source | 2172-3958 | - |
| dc.subject | cinematic practices | en-US |
| dc.subject | photography | en-US |
| dc.subject | colonial violence | en-US |
| dc.subject | personal violence | en-US |
| dc.subject | Africa | en-US |
| dc.subject | ácticas cinemáticas | es-ES |
| dc.subject | fotografía | es-ES |
| dc.subject | violencia colonial | es-ES |
| dc.subject | violencia personal | es-ES |
| dc.subject | África | es-ES |
| dc.subject | práticas cinemáticas | pt-PT |
| dc.subject | fotografia | pt-PT |
| dc.subject | violência colonial | pt-PT |
| dc.subject | violência pessoal | pt-PT |
| dc.subject | África | pt-PT |
| dc.title | Necro- and Geopolitics: Antonioni’s "The Passenger" | en-US |
| dc.title | Necro- y Geopolítica: "El Reportero", de Michelangelo Antonioni | es-ES |
| dc.title | Necro- e Geopolítica: Profissão: "Repórter", de Michelangelo Antonioni | pt-PT |
| dc.type | info:eu-repo/semantics/article | - |
| dc.type | info:eu-repo/semantics/publishedVersion | - |
| Aparece en las colecciones: | Facultad de Ciencias Políticas y Sociología - UCM - Cosecha | |
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