By Toni Pressley-Sanon, Sophie Saint-Just (eds.)
This entire selection of essays devoted to the paintings of filmmaker Raoul Peck is the 1st of its variety. The essays, interview, and keynote addresses gathered in Raoul Peck: energy, Politics, and the Cinematic Imagination concentrate on the ways that energy and politics traverse the paintings of Peck and are primary to his cinematic imaginative and prescient. on the center of this venture is the desire to assemble assorted interpretations of Raoul Peck’s motion pictures in one quantity. The essays incorporated herein are written via students from varied disciplines and are put along Peck’s personal articulations round the nature of strength and politics.
Raoul Peck: energy, Politics, and the Cinematic Imagination offers an advent to Peck’s better-known movies, interpretations of his hardly ever noticeable and lately published early movies, and unique analyses of his newer movies. It endeavors to discover the ways that the twin issues of energy and politics tell the paintings of Peck through taking a multidisciplinary method of contextualizing his filmography. It culls contributions from students who write from quite a lot of disciplines together with heritage, movie reviews, literary stories, postcolonial experiences, French and Francophone stories and African experiences. the result's a quantity that gives divergent views and frames of craftsmanship in which to appreciate Peck’s oeuvre that keeps to extend and deepen.
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Extra info for Raoul Peck: Power, Politics, and the Cinematic Imagination
One possible translation of the French title is Falling Bodies, another is Diving Bodies. The danger of drowning is strongly implied in the title. The title suggests violence, displacement, and impact. It could mean that for the cases that Chase works on, the force of the foreign objects plunged into the victims’ bodies displaces and extinguishes their life. The struggles in a violent world are to keep one’s body and soul floating, to rebound from the pressures, to live with the consequences of one’s acts.
Peck has stated that the film’s direct inspiration came from his childhood in Papa Doc’s Haiti. His eighth year was a happy one because he was surrounded by a large extended family, but it was also “the time of Duvalier’s first repression, so my memories are also of roadblocks, arrests, and assassinations” (SI 163). Peck recalls his mother driving him through the city late at night, still in his pajamas, as they searched everywhere for his father. While Peck remembers the “warmth and security” of being with his mother, he cannot forget the anxiety and terror of not finding his father (who had been arrested but was later released) (SI 163).
Hanne, Isabelle. “‘Moloch Tropical’: pouvoir, mon beau pouvoir. ” Libération (September 10, 2010). Web. July 25, 2015. Heffelfinger, Elizabeth, and Laura Wright. Visual Difference: Postcolonial Studies and Intercultural Cinema. New York: Peter Lang, 2010. Print. Kyle, Keith. Rev. of Lumumba (2000). 3 (2002): 595–604. Web. January 3, 2014. Lee, Andrew Michael, and Summer Marie Gray. Rev. of Sometimes in April. 2 (Fall 2008): 158–61. Web. June 8, 2014. McAuley, Christopher, and Claudine Michel. 2 (2003): 128–40.
Raoul Peck: Power, Politics, and the Cinematic Imagination by Toni Pressley-Sanon, Sophie Saint-Just (eds.)