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Introduction: African Blood, Hollywood's Diamonds? Hollywood's Africa after 1994 | p. 1 |
The Cited and the Uncited: Toward an Emancipatory Reading of Representations of Africa | p. 15 |
The Troubled Terrain of Human Rights Films: Blood Diamond, The Last King of Scotland, and The Devil Came on Horseback | p. 35 |
Hollywood's Representations of Human Rights: The Case of Terry George's Hotel Rwanda | p. 54 |
Hollywood's Cowboy Humanitarianism in Black Hawk Down and Tears of the Sun | p. 68 |
Again, the Darkness: Shake Hands with the Devil | p. 83 |
Ambiguities and Paradoxes: Framing Northern Intervention in The Constant Gardener | p. 96 |
Minstrelsy and Mythic Appetites: The Last King of Scotland's Heart of Darkness in the Jubilee Year of African Independence | p. 110 |
ôAn Image of Africa": Representations of Modern Colonialism in Africa in Peter Jackson s King Kong | p. 125 |
Plus Ça Change, Plus C'est la Même Chose: Hollywood's Constructions of Africa in Lord of War | p. 143 |
New Jack African Cinema: Dangerous Ground; Cry, the Beloved Country; and Blood Diamond | p. 157 |
"It Is a Very Rough Game, Almost as Rough as Politics": Rugby as Visual Metaphor and the Future of the New South Africa in Invictus | p. 177 |
"Every Brother Ain't a Brother": Cultural Dissonance and Nigerian Malaise in District g's New South Africa | p. 193 |
Coaxing the Beast Out of the Cage: Secrecy and Disclosure in Red Dust and Catch a Fire | p. 207 |
Situating Agency in Blood Diamond and Ezra | p. 222 |
Bye Bye Hollywood: African Cinema and Its Double in Mahamet-Saleh Haroun's Bye Bye Africa | p. 240 |
List of Contributors | p. 261 |
Index | p. 267 |
Table of Contents provided by Ingram. All Rights Reserved. |
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.