By Josef Gugler
In African movie: Re-imagining a Continent, Josef Gugler offers an creation to African cinema via an research of 15 motion pictures made by means of African filmmakers. those administrators got down to re-image Africa; their movies provide Western audience the chance to re-imagine the continent and its humans. As some degree of comparability, extra motion pictures on Africa—one from Hollywood, the opposite from apartheid South Africa—serve to spotlight African directors’ altogether diverse views.
Gugler’s interpretation considers the monetary and technical problems of African movie creation, the meant audiences in Africa and the West, the restrictions on distribution, and the serious reception of the flicks.
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Additional info for African Film: Re-Imagining a Continent
Travis is in his neighbourhood bodega when a skinny black junkie attempts a hold-up. The junkie has a gun in his hand and he's panicky enough to use it, but Travis fires first and the junkie goes down. As he slumps to the ground, Travis steps on the junkie's hand to keep him from firing, but it's clear the guy is already dead or dying. Travis tells the storekeeper that he doesn't have a permit for the gun he used. The storekeeper tells him not to worry, he'll handle it with the cops. Travis flings his gun on the counter as he dashes out.
It sets up the idea that there are some crimes the cops are happy to ignore. They'll take the storekeeper's word that he shot the junkie in self-defence. The scene thus supports the logic of the twist at the end, when Travis, rather than being charged with murder, becomes a tabloid hero. At home, watching American Bandstand, Travis leans back in his chair, aiming his gun at a sweetly smiling black kid whose face fills the TV screen. As the TV image widens to show an entire dance floor filled with teenage couples, Travis relaxes his aim, bracing his elbow on the chair arm and holding the gun straight up, so that it brushes the side of his head.
Still, its erotic undertone is unmistakable. It is probably the most stunning example of gun fetishism in the history of cinema and the phallic connotations are blatant. It's as if Travis was being offered cocks of every shape and size. He buys them all. 24 Travis is enraptured by the display, and so is Scorsese, who is also practising a bit of cinematic one-upmanship. 38 by Mike Hammer. The element of reflexivity gives the scene a certain distance, but it's disturbing nevertheless. When Travis tries out one of the guns, aiming it out the window at a passer-by, it doesn't seem as if he's in on the joke.
African Film: Re-Imagining a Continent by Josef Gugler